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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Metamorphosen – the dynamic 2nd part – is initiated by nervous pizzicati.

And this is the first word spoken in this for me new language, but it is by no means the last. Update Required To play the media you will need to either update your browser to a recent version or update your Flash plugin. In the second part, the Metamorphoseswe hear a return of the melody from the Prologuetransformed in a sophisticated manner: Everywhere Shop Hire Library. It received a notable performance later that year at the Warsaw Autumn Festival Lutoslswski Significantly, the twelve-tone row consists of only two intervals: The first movement of Funeral Musicthe Prologuepresents a melodic line consisting of 24 notes.

Chain form describes a technique in which a composer “braids” two independent strands of music. It is in one movement, but one can distinguish in it four clear phases.

From Wikipedia, the free encyclopedia. It consists of a succession of 32 twelve-tone chords.

In any event, the row from the Prologue undergoes twelve transformations. This reaches its greatest intensity at the beginning of the climactic third part, the Apogeum. Lutoslawsk by categories 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.


Both of these intervals are associated with lament and funeral topics. For ljtoslawski, it represents the beginning of a new period, it is the result of lengthy experiments.

Ninateka – Three composers – Funeral Music for string orchestra

Retrieved from ” https: The main culminating point was constructed on the basis of a note chord complex. 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. This funera, accompanied by an intensification of sonic movement. Funeral Music for string orchestra.

Newsletter PWM Sign up. 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.

Its successive notes are interspersed funerwl strange tones, the number of which gradually rises from one to seven. It is of small dimensions and non-independent character – this segment is essentially the culmination of the entire work. By using this site, you agree to the Terms of Use and Privacy Policy. Toward the end of the Apogeum the span of the chords is diminished, while the chords themselves are reduced to a single note musif the fourth part of Funeral Musicthe Epilogue.


The piece is scored for a small string orchestra of four violins, two violas, two cellos, and two basses. 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.

Funeral Music | work by Lutosławski |

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. The dodecaphonic canon of the first section appears in this final section. This page lutosalwski last edited on 29 Januaryat Work on the piece lasted longer, however, and the Trauermusik was finally completed in In luoslawski development of the form, one can notice a continual increase in funerzl of movement achieved by progressive complication of the rhythmic language leading finally to the Apogeum 3rd part.

Its process is characterized by a gradual buildup of tension to the culmination, after which follows quiet and tranquility. I was trying to create a set of means which would become my property. Articles containing Polish-language text. The melody passes through all instruments in the orchestra, overlapping with itself in increasingly dense weaves.