Matériel : Vocal Score
Witold Lutoslawski: Strawchain & Other Songs was written in 1951 for Polish Radio Strawchain & Other Songs presents a series of contrasting songs about nature andpeople. Strawchain itself is a set of variations where the Piano weaves around the unchanging melody. Lutoslawski's idiom is carefully crafted with short memorable motifs and imaginativeresponses to the mixture of Polish traditional poems and contemporary writers. Arranged and translated into English by Marie Pooler. The full score of the original orchestration is available for sale order number:SOS03307.
SKU: HL.14035403
UPC: 884088810498. 11.0x17.0x0.129 inches.
SKU: HL.14019681
UPC: 884088447533. 7.0x10.0x0.018 inches.
A folk song based on Polish words by Julian Tuwim for SSA and piano. Handy as a short item to include in a Junior/Middle school concert.
SKU: HL.14019682
ISBN 9780711969636. 8.75x11.75x0.067 inches.
SKU: HL.14019657
UPC: 884088490324. 8.5x11.0x0.166 inches.
The original version of this work, scored for chamber orchestra, was written in 1950 in response to a commission from Warsaw Radio. In the following year the composer revised and slightly extended the work and rescored it for symphony orchestra. The first performance was given by the Warsaw Radio Symphony Orchestra, conducted by Grzegorz Fitelberg, in Warsaw in April 1951. The work uses folk melodies from the village of Machow in the region of Rzeszow, east of Cracow. Duration c.11 mins. Full score and orchestral parts available on hire from the publisher.
SKU: HL.132866
UPC: 884088977009.
This collection of 10 Polish Folk Songs on Soldier Themes by Witold Lutoslawski, originally intended for male choir a cappella, was written in 1951. The score was published that same year by the Ministry of Defence Publishers in the series Biblioteka Muzyczna DomuWojska Polskiego no. 31. Some of the songs (numbers 4, 5, 6) were also published by PWM Edition in Krakow (1945) in the collection Pod jaworem (Under the Sycamore Tree) - a selection of Polish folk songs arranged for male choir a cappella, edited by Jozef K. Lasocki. 10 Polish Folk Songs... together with the 1951 cycle of four songs (Wyszlabym ja, Sluzba Polsce, Zelazny marsz and Naprzod idziemy) and the nine-bar Lord Tennyson Song written many years later (as an occasional gift for Robin Boyle) are the only songs written for a cappella choir by Witold Lutoslawski. Numerous questions from famous choral conductors from home and abroad persuaded me to undertake to make this edition of 10 Polish Folk Songs... for mixed choir a cappella. Study score does not authorise the copying and preparation of performance materials. In order to legally acquire choral scores, at apreferential price for the ensemble, please send an e-mail to: sales@pwm.com.pl or choose choral score (item #.
SKU: HL.286427
''Witold Lutoslawski treated the surrealistic poem of Jean Francois Chabrun as a symbolist story about love and death. In his musical interpretation, according to its default course he distinguished the subsequent stages of the opus which are characterised by different kinds of expression. The first stage is of an epic and lyrical character, the second refers to a lullaby, the third is of a dramatic nature and constitutes the culmination of the work, finally, the fourth stage is a kind of a lament ending with a reflective message. Lutoslawski's musical language is characterised by contemporary means of composing technique. One should take note of the unique twelve-note system elaborated by the composer, a characteristic time organisation based on contrasting the conducted sections against the ad libitum ones, and finally the vast repertoire of sound articulation allowing for unusual differentiation of the timbre. [Regina Chlopicka: Paroles tissees Witolda Lutoslawskiego, in: Muzyka polska 1945-1995'', Akademia Muzyczna w Krakowie, 1996].
SKU: HL.134549
Author: Lutoslawski.
The music form of ''Les Espaces du Sommeil'' is determined to a high degree by the form of Robert Desnos' poem which imposed its division on phrases and a one-piece structure. ''I think that I owe the unusually clear form of music to the splendid composition ofthe text.'' [Witold Lutoslawski, RM no. 8, 1980]. The music fully respects the surrealistic and symbolist integrity of Desnos' poem.Lutoslawski was always behaving this way, but never before had he given precedence to a poet to such a degree. Such an impression isgiven by considerable parts of the text sung on one or a few neighbouring sounds and therefore resembling an ordinary recitation. [Tadeusz Kaczynski].
