Witold Lutoslawski - Subito for Violin and Piano (1992) [Score-Video]

[@hectorbarrionuevo6034]

What a fabulous piece! I don't know if there is a tonal center here, but the music proceeds logically and there is not one dull moment. Love the "pointillism" in the piano part. The following is a highly subjective list of composers that produced great, highly dissonant, ENERGETIC music (some composers more than others, of course): RVW, Walton, Bartok, Stravinsky, Prokofiev, Schulhoff, Shostakovich, Lutoslawski, Messiaen, Ligeti, Penderecki, Schnittke, Corigliano, Barber, Honegger; Gubaidulina, Braga Santos, Copland, Schwantner, Ginastera, Ramette (new to me), Sierra, . . . . Long live dissonance (as used by these composers)! These two performers were outstanding also!

[@haggai0n0i]

I suspect the tonic would be Bb minor. Or as close to a tonic as you could have in such music. Great piece!

[@rogerparton8572]

Superb, elegant music, joining other works in Lutoslawski's output (such as the 'Epitaph' for oboe and piano) as eminently suitable for recital encores. This composer's affection for the violin is on display not just here, but in his "Partita" and "Chain 2". The performance here is excellent.

[@SuonoReale]

@@haggai0n0i I think this piece uses "pitch-exclusion" whereby he doesn't use a certain pitch until certain points in the piece. I also think it uses his idea of creating the total chromatic via complementation between the two instruments. It's been a while since I read about his methods, though.

[@rogerparton8572]

Superb, elegant music, joining other works in Lutoslawski's output (such as the 'Epitaph' for oboe and piano, and 'Grave', for cello and piano) as eminently suitable for recital encores. This composer's deep affection for the violin is on display not just here, but in his "Partita" and "Chain 2". The performance here, it must be said, is outstanding.

[@zuzanaSimurdova]

Gorgeous!

[@ВладимирНижнекамский65]

Великолепно !!! 187

[@__414.88b_]

Seductive Luto

[@vlad8888]

I beg to differ on the performance! The pulse/rhythm is important. Lutoslawski made TONS of recordings, and in none of those does he treat the pulse as if one can rush where one wants on a whim. Bar 15 rushes to more than double time (around 40 seconds in). Those are NOT triplets! Also, there's no tenuto on the first note of the piece...it should not be held like this. At bar 136 there are accents on the trill.....it's not simply ONE trill as is done here. Yes, it's difficult to co-ordinate, but to do this is to fake it. Sorry!

[@__414.88b_]

who gives

[@JeremyHarbottleMusic]

Bore off won't you?