Witold Lutosławski (1913-1994)

## Introduction

Lutosławski studied composition and piano in Warsaw. His first works were inspired by the Polish folk songs. His style shows a wide range of rich textures. In the late 1950s, Lutosławski began to hone his unique compositional technique. After this period of time he incorporates his own methods of building harmonies from small groups of musical intervals. He also was interested and applied the use of aleatoric compositions which leaves some of the performance up to chance.

Lutosławski's notebook, in Varga (1976), also quoted and discussed in Jacobson, 1996 p. 100. "[...] I have a strong desire to communicate something, through my music, to the people. I am not working to get many 'fans' for myself; I do not want to convince, I want to find. I would like to find people who in the depths of their souls feel the same way as I do. That can only be achieved through the greatest artistic sincerity in every detail of music, from the minutest technical aspects to the most secret depths. I know that this standpoint deprives me of many potential listeners, but those who remain mean an immeasurable treasure for me. [...] I regard creative activity as a kind of soul-fishing, and the 'catch' is the best medicine for loneliness, that most human of sufferings."

## Work Analysis

Lutosławski's piece *Concerto for Orchestra* has a lot of upward movement, as well as having militant moments and even more so, the melodic lines contrast with the militant sound or the sound of the horns playing a sort of stop sign which is prominent in his second symphony. His Concerto for Strings, written between 1950-1954, is shown at the right. This symphony moves through 3 movements.

I - Intrada: Allegro maestoso
II - Capriccio notturno e Arioso: Vivace @ 7:32
III - Passacaglia, Toccata e Corale: Andante con moto - Allegro giusto @ 13:35﻿

## Comparisons

There are a lot of sonority similarities between Lutosławski and Stravinsky, as well as the way each of them use percussive rhythmic moments to emphasize certain melodic lines.However, Stravinsky wrote with a level of total control that Lutosławski allowed to be in the hands often instrumentalist, with some guidance from the conductor based on their time, which he understood was different based on your instrument and even the instrumentalist.

## Observations

Lutosławski worked a long career of complex music and compositions. His works seem to inspire many other composers and artists, as well as the "non-musically educated" public. His use of time and his acknowledging of it is what makes his works accessible and yet also something that will push you, as a listener to want to discover more. Time being the way we run our world , and his music saying that time is at his disposal, and he shall choose how fast or slow it shows!

## Works Cited

https://i.guim.co.uk/img/static/sys-images/Guardian/Pix/pictures/2013/1/15/1358247344068/Witold-Lutoslawski-010.jpg?w=700&q=55&auto=format&usm=12&fit=max&s=63fca2cc87960fcea2da9dbc1e966c10

https://en.wikipedia.org/wiki/Witold\_Lutos%C5%82awski

http://culture.pl/en/artist/witold-lutoslawski

https://www.theguardian.com/music/tomserviceblog/2013/jan/15/contemporary-music-guide-witold-lutoslawski