(Ve’-told Loo-to-slwaf’-ske) 1913–94 Polish composer A talented violinist and pianist, Lutosławski studied composition with Witold Maliszewski (1873–1939). Early works (such as the Little Suite, 1950) demonstrate his interest in folk sources, a preoccupation that became all but obligatory with the advent of socialist realism in Poland in the late 1940s. But while publicly he followed the party line ...
‘Any Dream Will Do’ have been chart hits and the stage musical has been a success from London’s West End to Broadway. Introduction | Contemporary | Classical Personalities | Witold Lutosławski | Contemporary | Classical ...
on poems dating from Hölderlin’s final years of mental instability. As an oboist Holliger has had many works composed for him by, among others, Berio, Henze, Lutosławski and Stockhausen. Recommended Recording: Scardanelli-Zyklus, Aurèle Nicolet, London Voices, Ensemble Modern (cond) Heinz Holliger (ECM) Introduction | Contemporary | Classical Personalities | Karl Jenkins | Contemporary | ...
with the Berlin Philharmonic, the Los Angeles Philharmonic and other major orchestras. Praised especially for his Grieg performances, his repertoire also embraces Mozart, Schubert, Rachmaninov, Lutosławski and Kurtág. He co-founded the Risør Chamber Music Festival in Norway, and was its artistic director 1991–2010. Introduction | Contemporary | Classical Personalities | Martha Argerich | Contemporary | ...
that is told of Classical music a thousand years from now. ‘There are a thousand ways of probing the future.’ Olivier Messiaen Leading Exponents John Cage Elliott Carter Witold Lutosławski Karlheinz Stockhausen Pierre Boulez György Ligeti Luciano Berio Per Nørgård Alfred Schnittke Harrison Birtwistle Peter Maxwell Davies George Crumb Steve Reich Arvo Pärt Olivier Messiaen Contemporary Style Contemporary classical music ...
cultural ‘thaw’ were particularly visible in Poland, where the Warsaw Autumn Festival became (from 1956) a virtually unrestricted platform for international contemporary music, and composers such as Witold Lutosławski (1913–93) and Krzysztof Penderecki (b. 1933) appropriated avant-garde techniques to their own highly individual expressive ends. But elsewhere, especially in the USSR and East Germany, composers continued to ...
by Cage, many composers in the late 1950s began to introduce an aleatory or free element into their music, and to experiment with notation. In the case of Lutosławski this took the form of areas set aside for musicians to play a given cycle of notes, unsynchronized. Stockhausen, in his piece Klavierstück XI, provided groups of ...
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