Lutoslawski: Orchestral Works Vol. 2 - Symphony No. 2 - Little Suite - Piano Concerto - etc.
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Free Music Notes for Lutoslawski: Orchestral Works Vol. 2 - Symphony No. 2 - Little Suite - Piano Concerto - etc.
Free Music Review: Fascinating, diverse, and compelling music
Hit: 4 Stars
The very extensive program presented here captures a broad range of Lutoslawski's various approaches to composing. The "Symphonic Variations" are a very early tonal work in which a simple, pleasant theme is reworked in alternately sardonic, grandiose and impressionistic styles, concluding with a bold but brief, romantic recapitulation. Even in this early work there are nice touches, such as a Mahler-like "whoop" in the brass right before the final chord. The Little Suite is a more mature, utterly charming tonal work, and displays wit as well as moments of spine-tingling tone color and effective juxtapositions of tempo. The Second Symphony then moves into a completely altered, turbulent sound world, now purely atonal with many curious textures and effects; although I must confess I don't yet "get" this work and find it a bit too acerbic to fully enjoy, I'm going to be patient and keep trying it. Finally, the piano concerto (a later work) is a relatively quiet and introspective piece that seems to synthesize the tonal and atonal elements in Lutoslawski effectively, and it's utterly beautiful though hauntingly cold and remote in mood. Again, while I'm not in love with the Second Symphony (at least not yet), there is much else that I enjoy and admire on this disc (and every time I listen I notice more). The performances are authoritative and inspired, in very good, detailed sound. Free Music Review: Excellent Second Symphony; the Piano Concerto is less good
Hit: 4 Stars
This disc, the second in Naxos' series of Lutoslawski's orchestra music, covers his work over nearly 50 years, from his first piece for full orchestra, the Symphonic Variations of 1939, to one of his last, 1987's Piano Concerto.The Symphonic Variations are a ten-minute student-level essay. Written in a style that bears considerable resemblance to Stravinsky and Les Six, this passes by inoffensively for its ten minute duration, without really catching fire. It might be an interesting entry for a "spot the composer" game, though. More distinctive is the Little Suite from 1950. Forced by Stalinist politics to write in a rather mild folk-inspired style, Lutoslawski here creates a light-hearted four-movement suite that is not without interest. The music here hints at more ambition than such works usually have, and at points sounds like a study for his first masterpiece, the 1954 Concerto for Orchestra.
Moving on to 1967 and the Second Symphony, Lutoslawski's style had changed dramatically. Trading tonality for atonality and simplicty for complexity, the composer's works of the 1960s are demanding both on interpreters and performers, but for the most part are worth the effort. In particular, the Second Symphony may be about the most demanding of the lot. It's a work based around dichotomies--two movements, the first entitled Hesitant, the second Direct (and these titles pretty much sum up their content); two types of music, one conventionally notated, the other with all the instruments playing independently and not in time with each other; and a semi-soloistic group of oboes, cor anglais and bassoons against the rest of the orchestra. The first movement acts as an introduction, exploring motifs and ideas without developing them, the second builds these motifs gradually towards a powerful climax, after which the work falls apart in an epilogue for the bass instruments alone. This isn't as fine a work as the two succeeding symphonies, but it isn't negligible, and Wit directs a very fine performance. Giving the music more space to breath than, say, Salonen on Sony, he creates greater tension and a more powerful climax despite the superior orchestral playing on the Sony disc.
The Piano Concerto is a late work, and one where Lutoslawski's modernism had mellowed, allowing him a rapprochement with Romanticism without compromising his stylistic integrity. It is in four movements that play without a break; the first alternates delicate passages with a melodic cantilena which eventually leads to an impassioned climax, the second is a moto perpetuo scherzo, the third a slow movement that alternates solo recitative with accompanied passages and the finale a fast chaconne that ends with a variant of the first-movement cantilena. This performance isn't as good as that of the symphony; Piotr Paleczny is a fine pianist but lacks the lightness and vigour of Crossley on Sony and Zimerman on DG.
This disc can be warmly recommended for those looking for a good recording of the Second Symphony. Those looking for the Piano Concerto will find superior recordings elsewhere--if at a steeper price.
Free Music Review: Brilliant Second Symphony and great Piano Concerto
Hit: 5 Stars
The Naxos label has released several CDs of the complete works of Lutoslawski, and they are all indispensable to anyone even remotely interested in 20th-century classical music. This particular disc covers exactly 50 years of Lutoslawski, from his 1938 'Symphonic Variations' to his 1988 'Piano Concerto.' The recorded sound is, as usual, excellent, and the playing of the orchestra and of pianist Piotr Paleczny is just spectacular. The 'Symphonic Variations' put Lutoslawski on the map, and though early, reveal a sound that Lutoslawski could completely claim as his own. They are, as can be expected, scored with Lutoslawski's trademark utter delicacy. Next on the disc is his 'Little Suite' from the early 1950s. It is in four uptempo sections, with the second movement Hurra Polka being the most lively. All four sections are very pleasing to the ear, a sharp contrast to Lutoslawski's later style, which is represented next with his Second Symphony, certainly one of the greatest symphonies written in the 20th century. The half-hour long work is in binary form (two movements), a style which Lutoslawski would return to again and again in the future. He says that he intends to use the initial movement to moderately stir the interest of the listener, but not satisfy him/her; just as the listener is about to give up on the piece, Lutoslawski says, the second movement starts. And what a movement it is! Lutoslawski's principle of controlled chance is used to the max here. The players are allowed to repeat any marked passage any number of times. The movement builds up to a breathtaking climax with a whole battery of percussion taking the lead, then gently (almost inaudibly) fades off into the distance. Finally, his 'Piano Concerto' is a bit more listenable. He modeled it after the Baroque style, and it is a very rewarding piece for both performer and listener. Its four movements are all interconnected (following the composer's Chain principle), and are generally very listenable. Pianist Paleczny is one of Poland's finest pianists, and he gives a top-notch performance of his compatriot's work. Certainly one of the best, if not the best, piano concertos written in the last quarter century. All in all, this disc is essential for the 20th-century music fan. Music just doesn't get a lot better than this!