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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Ninateka – Three composers – Funeral Music for string orchestra
Music Education Day Check. The piece is scored for a small string orchestra of four violins, luyoslawski violas, two cellos, and two basses. It is of small dimensions and non-independent character – this segment is essentially the culmination of the entire work. Everywhere Shop Hire Library. Its process is characterized by a gradual buildup of tension to the culmination, after which follows quiet and tranquility.
Funeral Music for string orchestra – Three composers – Ninateka
In any event, in this piece the wide registration gradually collapses inward onto a single pitch that initiates the final section. The composition consists of one movement with four distinct sections marked by changes of texture runeral instrumentation as opposed to four distinct movements, which are marked by double bar lines and extended periods of silence.
Musique funèbre – Wikipedia
Works by categories Orchestral Symphonic orchestra Funearl orchestra String orchestra Wind orchestra Instrument solo with orchestra ensemble Vocal-instrumental music Electronic music Stage works Music for children Sacred Music. Work on the piece lasted longer, however, and the Trauermusik was finally completed in Retrieved from ” https: This page was last edited on 29 Januaryat Both of these intervals are associated with lament and funeral topics.
It consists lutislawski a succession of 32 twelve-tone chords. This reaches its greatest intensity at the beginning of the climactic third part, the Apogeum. It received a notable performance lutoslxwski that year at the Warsaw Autumn Festival Thomas 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.
Funeral Music for string orchestra.
The first movement of Funeral Musicthe Prologuepresents a melodic line consisting of 24 notes. The melody passes through all instruments in the orchestra, overlapping with itself in increasingly dense weaves. Musoc works premiere took place on 6 March in Katowice. It is in one movement, but one can distinguish in it four clear phases. Articles containing Polish-language text. This is accompanied by an intensification of sonic movement.
I was trying to create a set of means which would become my property. Although the apogeum is relatively short, clocking in at less than one minute and consisting of a mere twelve bars, it is nevertheless structurally significant.
These four distinct sections are:. Views Read Edit View history. Chain form describes a technique in which a composer “braids” two independent strands of music.
The main culminating point was constructed on the basis of a note chord complex. The music is formed similarly to that of the Prologue — with tension not rising, however, but falling. In the development of the form, one can notice a continual increase in density of movement achieved by progressive complication of the rhythmic language leading finally to the Apogeum 3rd part. The dodecaphonic canon of the first section appears in this final section.
Update Required To play the media you will need to either update your browser to a recent version or update your Flash plugin. Metamorphosen – the dynamic 2nd part – is initiated by nervous pizzicati.
Newsletter PWM Sign up. This work is not only one 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 series is successively presented a fifth lower according to the circle of fifths. From Wikipedia, the free encyclopedia. The Epilog, closing the whole, brings a reminiscence of the mood of the Prolog.
And this is the first word spoken in this for me new language, but it is by no means the last. It is filled by a series of tone chords played sonorously by all instruments.
Toward the end of the Apogeum the span of the 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. The introduction to the moving atmosphere of this musical homage is the Prolog, which is in the form of a canon. Significantly, the twelve-tone row consists of only two intervals: In the second part, the Metamorphoseswe hear a return of the melody from the Prologuetransformed in a sophisticated manner: