"Partita" for violin and piano (1984):
The book tells us that the work was commissioned by the great violinist Pinchas Zukerman, he founded with Marc Neikrug early 1985. It also tells us that "Bach said Lutoslawski title and division into several movements [5 originally ], however, whose estate is not the baroque models. " The composer suggested in a second version in 1986 for Anne-Sophie Mutter. Today the movements are chained seamlessly without knowing if they incorporate the original frame.
The beginning of the movement is quite alive in flagrances with slower breathing, highlighted by the violin, with the latter that sounds so good throughout the score. One notices a beautiful harmony of two instruments mingled with careful listening to each other.
Shortly before the 13th minute, it is believed collect two agreements of the "Musica ricercata (music search) No. 2 for piano" by György Ligeti, with its famous alternating notes F-F sharp. But they had just a moment, as a point of musical recognition. Then the pace racing in rhythmic acceleration towards the end of the song.
"Severe" for cello and piano (1981):
A short piece (under 7 ') written in memory of the Polish musicologist Stefan Jarocinski, created the same year of its composition. The booklet recalls that "" Grave "begins with the same sounds as" Pelleas and Melisande "by Claude Debussy, the musicologist who spent his principal book on this master of post-romanticism. "These sounds reappear at the end of the book, designed so that overall we feel acceleration. "
It starts indeed dark and "serious" as the title suggests. Short, in one motion, she soothed finite manner. She can recall the style of a Henri Dutilleux.
"String Quartet" (1964):
"Main chamber music score" by the composer based the libretto, it was also the subject of an order, and was created by the mythical "La Salle Quartet" in Stockholm in March 1965.
It has two clearly separate movements but keep coming without interruption: "introductory movement" [shorter and static character from the book] and "main movement" [broader and dynamic character]. 1 therefore serves as an introduction to the main body of the work.
The 1st movement "opens with a recitative of the first violin, followed by several separate episodes, or rather framed by leaping octaves. A brief allusion to the opening recitative (this time on the cello) closes this introduction "[booklet]. It offers a beautiful aesthetic but remains "wise enough," judged today, with "piano" Distilled, from breaking the dense flow.
The second movement once more continuous "agitato" while remaining lyrical, chaining of pizzicato with consistency and without abrupt stylistic pranks. Then a soft calming occurs, "after a crisis of the four instruments" with very little sound production, which disappears into the 8th minute, like echoes and sounds heard reminiscences. Even a silence settles to the 10th minute and the 13th too.
The booklet quotes the composer recalls that the principle of chance is used, with a tempo determined that approximately, as with all its rhythmic values. "Each instrumentalist must play his part as if he were soloist. "By this principle of independence," the interpreters have never, from one run to another, print run quite the same work. "
Faster than the style of Edison Denisov and less meditative, consistent in the proposed works and expressive, is detected and finds in these 3 rooms highlighted a lyrical twist, detailed with a polyphonic detail, a sense of elegance and much less "stirring" than that proposed works today. Some may say that compared to the treatment of ropes of Brian Ferneyhough for example, the density is much less concentrated; but the courses are also opposed.
His aesthetic often leads us to meditation and consistency of the way, that reminds one of Henri Dutilleux, in a less original gesture but without tiring. Attractive risk-free to discover the music of the composer, a tension-free music for this record who listens without risk.