In Jan Krenz asked Witold Lutosławski for a composition to mark the following year’s tenth anniversary of Béla Bartók’s death. However. Funeral Music for String Orchestra. Duration: 13’30”; Instrumentation: archi ( ); Year: ; Language of edition: pol; Type: parts. Composer:Witold Lutosławski; Original title: Muzyka żałobna na orkiestrę Variations for Orchestra, Lutosławski: Funeral Music, Livre pour orchestre”, Berliner.
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Newsletter PWM Sign up. In the second part, the Metamorphoseswe hear a return of the melody from the Prologuetransformed in a sophisticated manner: From Wikipedia, the free encyclopedia. Metamorphosen – the dynamic 2nd part – is initiated by nervous pizzicati. The composition consists of one movement with four distinct sections marked by changes of texture and instrumentation as opposed to four distinct movements, which are marked by double bar lines and extended periods of silence.
Chain form describes a technique in which a composer “braids” two independent strands of music.
It is of small dimensions and non-independent character – this segment is essentially the culmination of the entire work. These four distinct sections are:. Works by funeal Orchestral Symphonic orchestra Chamber orchestra String orchestra Wind orchestra Instrument solo with orchestra ensemble Vocal-instrumental music Electronic music Stage works Music for children Sacred Music.
The music is formed similarly to that of the Prologue — with tension not rising, however, but falling.
Funeral Music | work by Lutosławski |
Although the apogeum is relatively short, musci in at less than one minute and consisting of a mere twelve bars, it is nevertheless structurally significant. Work on the piece lasted longer, however, and the Trauermusik was finally completed in This work is not only lutoslawsmi of the most important in the post-war history of Polish music, but also a significant turning point in the artistic development of the composer himself. The introduction to the moving atmosphere of this musical homage is the Prolog, which is in the form of a canon.
I was trying to create a set of means which would become my property. The dodecaphonic canon of the first section appears in this final section. Its process is characterized by a gradual buildup of tension to the culmination, after which follows quiet and funwral. It received a notable performance later that year at the Warsaw Autumn Festival Thomas The piece is scored for a small string orchestra of four violins, two violas, two cellos, and two basses.
Ninateka – Three composers – Funeral Music for string orchestra
Update Required To play the media you will need to either update your browser to a recent version or update your Flash plugin. Tension rises until the moment in which the violins chant two notes, F and B, a chant then taken up by the cellos with the double basses.
It consists of a succession musiv 32 twelve-tone chords.
Significantly, the twelve-tone row consists of only two intervals: This reaches its greatest intensity at the beginning of the climactic third part, the Apogeum. The melody passes through all instruments in the orchestra, overlapping with itself in increasingly dense weaves.
In any event, in this piece the wide registration gradually collapses inward onto a single pitch that musoc the final section.
This is accompanied by an intensification of sonic movement. Articles containing Polish-language text. Everywhere Shop Hire Library. It is in one movement, but one can distinguish in it four clear phases.
Retrieved from ” https: Views Read Edit View history. The works premiere took place on 6 March in Katowice. Music Education Day Lutlslawski. The Epilog, closing the whole, brings a reminiscence ltoslawski the mood of the Prolog. Its successive notes are interspersed with strange tones, the number of which gradually rises from one to seven.
And this is the first word spoken in this for me new language, but it is by no means the last.
Lutosławski Witold, Funeral Music For String Orchestra
Both of these intervals are associated with lament and funeral topics. The main culminating point was constructed on the basis of a note chord complex. Toward the end of the Apogeum the span of luhoslawski chords is diminished, while the chords themselves are reduced to a single note opening the fourth part of Funeral Musicthe Epilogue.
In any event, the row from the Prologue undergoes twelve transformations. For me, it represents the beginning of a new period, it is the result of lengthy experiments. The first movement of Funeral Musicthe Prologuepresents a melodic line consisting of 24 notes.