Lutoslawski - Orchestral Works Vol. 6 - Symphony No. 1 ? Chantefleurs et Chantefables, etc
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Music CD Cover
Edition: Music CDCD Release Date: 1999-03-09
Music Label: Naxos
Soundtracks:
- Allegro giusto
- Poco adagio
- Allegretto misterioso
- Allegro vivace
- Oj, mi sie owiesek
- Ich, w tej studni
- Kukuleczka kuka
- Part 1
- Part 2
- Part 3
- Part 4
- 1. La belle-de-nuit (The Marvel of Peru)
- 2. La sauterelle (The Grasshopper)
- 3. La v?ronique (The Speedwell)
- 4. L'?glantine, l'aub?pine et la glycine (The Wild Rose, the Hawthorn and the Wisteria)
- 5. La tortue (The Tortoise)
- 6. La rose (The Rose)
- 7. L'alligator (The Alligator)
- 8. L'ang?lique
- 9. Le papillon (The Butterfly)
- I
Free Music Notes for Lutoslawski - Orchestral Works Vol. 6 - Symphony No. 1 ? Chantefleurs et Chantefables, etc
Free Music Review: Good performances of some of Lutoslawski's lesser works
Hit: 2 Stars
This Naxos disc is the sixth installment in a collection of Witold Lutoslawski's orchestral works performed by the Polish National Radio Symphony Orchestra conducted by Antoni Wit. It contains works, two of which have a special role for the soprano, here Olga Pasiecznik.
The "Symphony No. 1" was completed in 1947 after seven years of work. It is a very traditional piece, inspired by Stravinsky, Ravel, Debussy, and Prokofiev. Of great complexity, a frequent criticism is that the extravagance and lack of simplicity hides what is a fairly straightforward argument. This was the first piece of Lutoslawski's that I ever heard, and I was hooked, but now it seems so dull in comparison to most of his oeuvre (certainly to his other symphonies) that I rarely return to it.
The "Silesian Triptych" for soprano and orchestra was written in 1951, when the composer was forced to limit his writing to Socialist Realism. Since Lutoslawski said that the only serious piece from this era was the Concerto for Orchestra, one can't expect much for this triptych. Indeed, they are full of pomp yet quite insubstantial. I wonder how this remained in Lutoslawski's official catalogue of works.
Lutoslawski held "Jeux venitiens" to mark his first maturity as a composer, for it is here that he begins to experiment with limited aleatorism. The piece is a four-movement cycle for a chamber orchestra of twenty-nine soloists. The first three movements are short orchestral miniatures, while the last movement is a longer, complex finale. The first movement alternates between woodwind textures and soft, static string clusters. The second is a brief scherzo, again with alternative textures. The third movement (yet the last to be written), by far the simplest and somehow very reminiscent of his much later Symphony No. 3, is a recitative for solo flute. The finale is an exciting frenetic jumble of polyrhythms and polyphonic textures; the conductor's sole role here is to signal the entrance of various groups, otherwise they are on their own.
"Chantefleurs and Chantefables" for soprano and orchestra on poetry of Robert Desnos was written in 1991, in Lutoslawski's last phrase when he had mostly left avant-garde devices and embraced a neo-romantic idiom. Only the last piece here uses aleatorism in its counterpoint. While this performance is good, I prefer that with the LA Philharmonic conducted by Salonen with Dawn Upshaw.
The disc is filled out the "Postludium No. 1" (1958-1960), one of the quirky works of Lutoslawski's transition between folk inspiration and aleatorism. It is an unfocused, uncertain piece ; that the idea between the postludes is unsuccessful might be seen in Lutoslawski's abandoning of the fourth in 1960.
Performances here are enjoyable. Naxos can be a very unreliable label, but the Lutoslawski discs are superb nine times out of ten (the "Piano Concerto" being the only disappointment that comes to mind). Though the pieces here mark some theoretical advancements in Lutoslawski's writing, it would probably be a terrible introduction. Try the Naxos or Sony discs with his masterpiece Symphony No. 3.
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