Lutoslawski Venetian Games

Witold Roman Lutosławski (Polish: [ˈvitɔld lutɔsˈwafski]; 25 January 1913 – 7 February 1994) was a Polish composer and orchestral conductor. He was one of the major European composers of the 20th century, and one of the preeminent Polish musicians during his last three decades. He earned many international awards and prizes. His compositions (of which he was a notable conductor) include four symphonies, a Concerto for Orchestra, a string quartet, instrumental works, concertos, and orchestral song cycles. During his youth, Lutosławski studied piano and composition in Warsaw. His early works were influenced by Polish folk music. His style demonstrates a wide range of rich atmospheric textures. He began developing his own characteristic composition techniques in the late 1950s. His music from this period onwards incorporates his own methods of building harmonies from small groups of musical intervals. It also uses aleatoric processes, in which the rhythmic coordination of parts is subject to an element of chance. During World War II, after escaping German capture, Lutosławski made a living by playing the piano in Warsaw bars. After the war, Stalinist authorities banned his First Symphony for being "formalist"—allegedly accessible only to an elite. Lutosławski believed such anti-formalism was an unjustified retrograde step, and he resolutely strove to maintain his artistic integrity. In the 1980s, Lutosławski gave artistic support to the Solidarity movement. Near the end of his life, he was awarded the Order of the White Eagle, Poland's highest honour. Folk influence Lutosławski's works up until and including the Dance Preludes clearly show the influence of Polish folk music, both harmonically and melodically. Part of his art was in transforming folk music, rather than quoting it exactly. In some cases, folk music is unrecognisable as such without careful analysis, for example, in the Concerto for Orchestra.[15] As Lutosławski developed the techniques of his mature compositions, he stopped using folk material explicitly, although its influence remained as subtle features until the end. As he said, "[in those days] I could not compose as I wished, so I composed as I was able",[16] and about this change of direction he said, "I was simply not so interested in it [using folk music]". Also, Lutosławski was dissatisfied with composing in a "post-tonal" idiom: while composing the first symphony, he felt that this was for him a cul-de-sac.[17] Pitch organisation In Five Songs (1956–57) and Musique funèbre (1958) Lutosławski introduced his own brand of twelve-tone music, marking his departure from the explicit use of folk music.[18] His twelve-tone technique allowed him to build harmony and melody from specific intervals (in Musique funèbre, augmented fourths and semitones). This system also gave him the means to write dense chords without resorting to tone clusters, and enabled him to build towards these dense chords (which often include all twelve notes of the chromatic scale) at climactic moments.[19] Lutosławski's twelve-note techniques were thus completely different in conception from Arnold Schoenberg's tone-row system,[20] although Musique funèbre' does happen to be based on a tone row.[21] This twelve-note intervallic technique had its genesis in earlier works such as Symphony No. 1, and Paganini Variations.[22] Aleatory technique Although Musique funèbre was internationally acclaimed, his new harmonic techniques led to something of a crisis for Lutosławski, during which he still could not see how to express his musical ideas.[23] Then on 16 March 1960,[24] listening to Polish Radio broadcast on new music, he happened to hear John Cage's Concert for Piano and Orchestra. Although he was not influenced by the sound or the philosophy of the music, Cage's explorations of indeterminacy set off a train of thought which resulted in Lutosławski finding a way to retain the harmonic structures he wanted while introducing the freedom for which he was searching.[25] His Three Postludes were hastily rounded off[26] (he had intended to write four) and he moved on to compose works in which he explored these new ideas. In works from Jeux vénitiens, Lutosławski wrote long passages in which the parts of the ensemble are not to be synchronised exactly. At cues from the conductor, each instrumentalist may be instructed to move straight on to the next section, to finish their current section before moving on, or to stop. In this way, the random elements within compositionally controlled limits defined by the term aleatory are carefully directed by the composer, who controls the architecture and harmonic progression of the piece precisely. Lutosławski notated the music exactly; there is no improvisation, no choice of parts is given to any instrumentalist, and there is thus no doubt about how the musical performance is to be realised.[27] by Wikipedia