Witold Lutosławski

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风格: #现代古典
地区: Poland 波兰

艺人介绍

维托尔德·罗曼·卢托斯瓦夫斯基（波兰语：Witold Roman Lutosławski，1913年1月25日－1994年2月7日），波兰作曲家、指挥家。早年在华沙音乐学院学习钢琴及作曲，受波兰民间音乐影响。二战前的作品多毁于战火。50年代后开始采用序列音乐技法和自创的“机遇音乐”，作品中的部份段落由演奏者随机即兴演奏，而创出独特的风格，获得崇高的国际声望，是20世纪最著名的波兰作曲家之一。其音乐作品虽采用多种复杂的现代音乐技巧，但始终富于真情实感和丰富的音乐效果，受到各国听众的广泛欢迎。比较著名的作品包括四首交响曲，管弦乐协奏曲，为数不少的协奏曲和联篇歌曲等。

Witold Roman Lutosławski (25 January 1913 – 7 February 1994) was a Polish composer and orchestral conductor. He was one of the major European composers of the 20th century, and one of the preeminent Polish musicians during his last three decades. He earned many international awards and prizes. His compositions (of which he was a notable conductor) include four symphonies, a Concerto for Orchestra, a string quartet, instrumental works, concertos, and orchestral song cycles.

During his youth, Lutosławski studied piano and composition in Warsaw. His early works were influenced by Polish folk music. His style demonstrates a wide range of rich atmospheric textures. He began to develop his own characteristic composition techniques in the late 1950s. His music from this period onwards incorporates his own methods of building harmonies from small groups of musical intervals. It also uses aleatoric processes, in which the rhythmic coordination of parts is subject to an element of chance.

During World War II, after escaping German capture, Lutosławski made a living by playing the piano in Warsaw bars. After the war, Stalinist authorities banned his First Symphony for being &formalist&—allegedly accessible only to an elite. Lutosławski believed such anti-formalism was an unjustified retrograde step, and he resolutely strove to maintain his artistic integrity. In the 1980s, Lutosławski gave artistic support to the Solidarity movement. Near the end of his life, he was awarded the Order of the White Eagle, Poland's highest honour.

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by James Harley

Lutoslawski was the leading progressive figure in Polish music of the second half of the twentieth century. Born in Warsaw, he showed an exceptional musical talent at an early age, with his first compositions dating from 1922. He studied piano, violin, and composition (with Witold Maliszewski, a pupil of Rimsky-Korsakov), graduating from the Warsaw Conservatory in 1937. Two years, at the beginning of World War II, Poland was occupied by the Nazi Germany; and Nazi repression included censorship on artistic expression. Lutoslawski survived the difficult war years as well as the subsequent Stalinist period by writing for radio, film, and theatre. In addition, he arranged folk-songs and composed music for children.

Considered too formalist, his concert music was rarely performed. His first substantial orchestral work, The Symphonic Variations was premiered in 1939. It is a work firmly rooted in tonality with a folk-like theme that is varied in a kaleidoscopic way. His first stylistic period culminated in the folk-influenced, three-movement Concerto for Orchestra (1954).

With the cultural thaw which started in the late '50s, his reputation began to grow, at home and abroad, as did his compositional style, with twelve-tone techniques appearing in Funeral Music (1958). In this work, Lutoslawski continually resolves ascending scales with semi-tone intervals that tend to anchor tonal centers within keyless regions. In Jeux Vénitiens (1961), Lutoslawski took his first step into a &limited aleatory music& -- after hearing a performance of John Cage's Concerto for Piano in 1960. Lutoslawski's elegant String Quartet (1964) utilizes four rhythmically independent strands simultaneously, yielding wonderfully dense and elastic textures. In the Live pour orchestra (1968) the work's four main sections are connected by controlled aleatory passages. Most of his subsequent works were orchestral, fully chromatic, orchestrated in a manner suggesting Debussy and Ravel, and consistently develop an opposition between aleatory and metrical textures. Lutoslawski went on to compose nearly twenty major orchestral works, including Symphony No. 3 (1982), for which he was awarded the prestigious Grawemeyer Award, and his final Symphony No. 4 (1992), commissioned and premiered by the Los Angeles Philharmonic.

He also composed works for distinguished soloists, such as Dietrich Fischer-Dieskau, (&Les espaces du sommeil), Heinz and Ursula Holliger (Concerto for Oboe and Harp), Anne-Sophie Mutter, Chain II, Mstislav Rostropovich (cello concerto), and Krystian Zimmerman (Piano Concerto). Lutoslawski's extensive experience conducting his own works helped him to refine his musical language, his later works becoming more lyrical and harmonically transparent.

Witold Lutosławski　维托尔德·卢托斯瓦夫斯基

艺人介绍

最新简评（共9条）

Witold Lutosławski 维托尔德·卢托斯瓦夫斯基

艺人介绍

最新简评（共9条）

Witold Lutosławski　维托尔德·卢托斯瓦夫斯基