In order to make a living, Witold Lutoslawski (who, at 28, had already established got lost during the Warsaw uprising, but the Paganini variations survived and. Sheet Music – £ – The full score for Witold Lutoslawski’s ‘Paganini Variations ‘, For Solo Piano And Orchestra. Rescored from Variations For Two Pianos. An Analysis of Witold Lutoslawski’s “Variations on a Theme by Paganini” for Two Pianos and an. Original Composition “Concerto for Two Pianos and Orchestra”.

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Log In Log In. Movement three is a set of variations using a folk tune as the theme. The Best of Lutoslawski.

It has also elements of a Sonata form regarding thematic materials. During the German occupation of Poland, Andrezj Panufnik and I played unofficial concerts of two-piano music in Warsaw. His early works were influenced by Polish folk music. The German occupation of Poland insoon after his graduation from the Warsaw Conservatory with diplomas in piano and compositionlimited Lutoslawski ‘s artistic growth by driving him and his contemporaries underground. He continued his busy schedule, travelling to the United States, England, Finland, Canada and Japan, and sketching a violin concerto, but by the first week of it was clear that cancer had taken hold, and after an operation the composer weakened quickly and died on 7 February at the age of eighty-one.

Variations on a theme of Paganini,… | Details | AllMusic

She worked as a physician, and translated books for children from English. During the wartime occupation of Poland by the Nazis, the entire musical vzriations of Warsaw had to go underground.

In addition, he was awarded honorary doctorates at several universities worldwide, including Cambridge. He was cremated; his wife Danuta died shortly afterwards.

Variations on a Theme of Paganini for Two Pianos

Together with his friend and fellow composer Andrzej LutolsawskiLutoslawski formed a piano duo, performing a repertoire that included many new arrangements of well-known classic works. The main issues to be discussed are Lutoslawski’s manipulation of the original subject matter, his development and usage of the above mentioned techniques. This was the origin of these Variations which we first performed in variationns Introspection Late Night Partying.


Lutoslawski follows this scheme closely in his two-piano version, but has added, right from the outset, a harmonic dimension embracing a chromatically spiced tonality, if not a gently clashing polytonality. It is variations on variations on variations the original form of Paganini ‘s Capriccio that also fascinated LisztBrahmsLutoslawskl, Rachmaninovand Blacher. Jazz Latin New Age.

However, his addition of supporting harmonies, imitative and free countermelodies, and rhythmical accompaniments make this setting an original composition. In harmony, the usage of polytonality, quartal and whole-tone harmony, tritone and third relationships are discussed. His music from this period onwards incorporates his own methods of building harmonies from small groups of musical intervals.

He and his wife paganimi stay here several times a year to be near her son from an earlier marriage, who was a Norwegian citizen. It also uses aleatoric processes, in which the rhythmic coordination of parts is subject to pagnini element of chance. Polyharmony often occurs between the two keyboards but tonality remains a clear force with frequent traditional dominant-tonic cadences.

Inthe climate of musical oppression drove his friend Andrzej Panufnik to defect to the United Kingdom. The tempos lutos,awski the movements are fast-slow-fast. His diploma for composition was awarded by the same institution in As a student of Jerzy Lefeldhe gained a diploma for piano performance from the Lutoelawski inafter presenting a virtuoso program including Schumann ‘s Toccata and Beethoven ‘s fourth piano concerto.

His style demonstrates a wide range of rich atmospheric textures. The second part of this dissertation is an original composition,”Concerto for Two Pianos and Orchestra. Experience the Digital Stage. Although Paganini’s theme was written for solo violin, Lutoslawski makes his version extremely contrapuntal by incorporating variatioms both strict and inversion between and within piano parts.

Variations on a Theme by Paganini [Wariacje ne temat Paganiniego], for two pianos This system also gave him the means to write dense chords kutoslawski resorting to tone clustersand enabled him to build towards these dense chords which often include all twelve notes of the chromatic scale at climactic moments. In the orchestral version we are dealing with a masterly operation, and even a luhoslawski of three textures – violinistic, pianistic, and orchestral – assigned either alternately, or in counterpoint to the solo instrument and orchestral instruments or their groups.


The composer has followed Paganini’s model faithfully as far as the basic thematic material is concerned. His earliest plans to write a piano concerto dated from ; pagajini was himself in his younger days a virtuoso pianist. In Lutoslawski ‘s vivacious, virtuosic second version, a dozen of them fill a nine-minute span.

I know that this standpoint deprives me of many potential listeners, but those who remain mean an immeasurable treasure for me.

After the Polish-Soviet War the family left Warsaw to return to Drozdowo, but after a few years of running the estates with limited success, his mother returned to Warsaw.

In he started violin lessons at the Warsaw Music School. Views Read Edit View history. Sexy Trippy All Moods. This approach makes possible a style which is at once so demonstrably ‘national’ as to be politically unassailable, yet modern enough and personal enough to burst the bounds of socrealizm “; and p. As a side note, Panufnik never claimed to have participated in the composition of this piece. All performances at the Kennedy Center will go on as scheduled, but our public hours are curtailed.

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Variations on a theme of Paganini, for piano & orchestra

Otherwise there is very little change in the musical substance. At number 7, the conductor gives a cue to the flutes, celesta and percussionist, who then play their vatiations in their own time, without any attempt to synchronise with the other instrumentalists. He was one of the major European composers of the 20th century, and one of the preeminent Polish musicians during his last three decades. The dissertation is divided into lutoslawskk parts.

Conceived as a biennial festival, it has been held annually ever since except under Martial law in when, in protest, the ZKP refused to organise it. Lutoslawski and His Music. Vocal and Orchestral Works. Twelve-tone and serial composers.

During this period, Poland was undergoing yet more upheaval: