Witold Lutosławski
Witold Lutosławski | |
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Born | Witold Roman Lutosławski 25 January 1913 Warsaw, Congress Poland, Russian Empire |
Died | 7 February 1994 Warsaw, Poland | (aged 81)
Education | University of Warsaw |
Occupations |
|
Works | List of compositions |
Awards | Full list |
Witold Roman Lutosławski (Polish:
During his youth, Lutosławski studied piano and composition in
During World War II, after narrowly escaping German capture, Lutosławski made a living playing the piano in Warsaw bars. After the war, Stalinist authorities banned his First Symphony for being "formalist": accessible only to an elite. Rejecting anti-formalism as an unjustified retrograde step, Lutosławski resolutely strove to maintain his artistic integrity, providing artistic support to the Solidarity movement throughout the 1980s. He received numerous awards and honours, including the Grawemeyer Award and a Royal Philharmonic Society Gold Medal. In 1994, Lutosławski was awarded Poland's highest honour, the Order of the White Eagle.
Life and career
Early years (1913–1938)
Witold Roman Lutosławski was born on 25 January 1913, in
In 1915, with Russia at war with Germany,
After the war, the family returned to the newly independent Poland, only to find their estates ruined. After his father's death, other members of the family played an important part in Witold's early life, especially Józef's half-brother Kazimierz Lutosławski, a priest and politician.[6][4][5]
At age six, Lutosławski started two years of piano lessons in Warsaw. After the
World War II (1939–1945)
Military service followed; Lutosławski was trained in signalling and radio operating in Zegrze near Warsaw.[10] He completed his Symphonic Variations in 1939. The work was premiered by the Polish Radio Symphony Orchestra conducted by Grzegorz Fitelberg, with the performance broadcast on radio on 9 March 1939.[11][12] Like most young Polish composers, Lutosławski wanted to continue his education in Paris. His plans for further musical study were dashed in September 1939, when Germany invaded western Poland and Russia invaded eastern Poland.[13] Lutosławski was mobilised with the radio unit for the Kraków Army.[14] He was soon captured by German soldiers,[14] but escaped while being marched to prison camp, walking 250 miles (400 km) back to Warsaw.[15] Lutosławski's brother was captured by Russian soldiers and later died in a Siberian labour camp.[15][16]
To earn a living, Lutosławski joined "Dana Ensemble", the first Polish revellers, as an arranger-pianist, singing in "Ziemiańska Cafe".[17][18] He then formed a piano duo with friend and fellow composer Andrzej Panufnik, performing together in Warsaw cafés.[19][20] Their repertoire consisted of a wide range of music in their own arrangements, including the first incarnation of Lutosławski's Variations on a Theme by Paganini, a transcription of the 24th Caprice for solo violin by Niccolò Paganini.[20] Defiantly, they sometimes played Polish music (the Nazis banned Polish music in Poland—including that of Frédéric Chopin), and composed Resistance songs.[21] Listening in cafés was the only way in which the Poles of German-occupied Warsaw could hear live music; putting on concerts was impossible since the Germans occupying Poland prohibited any organised gatherings.[22] In café Aria, where they played, Lutosławski met his future wife Maria Danuta Bogusławska, a sister of the writer Stanisław Dygat.[23]
Lutosławski left Warsaw in July 1944 with his mother, just a few days before the Warsaw Uprising. During the complete destruction of the city by Germans after the failure of the uprising,[24] most of his music was lost, as were the family's Drozdowo estates.[25] He was able to salvage only a few scores and sketches;[26] of the 200 or so arrangements that Lutosławski and Panufnik had worked on for their piano duo, only Lutosławski's Variations on a Theme by Paganini survived.[20] Lutosławski returned to the ruins of Warsaw after the Polish-Soviet treaty in April 1945.[27]
Post-war years (1946–1955)
During the postwar years, Lutosławski worked on his First Symphony—sketches of which he had salvaged from Warsaw—which he had started in 1941.[28] It was first performed in 1948, conducted by Fitelberg.[29] To provide for his family, he also composed music that he termed functional, such as the Warsaw Suite (written to accompany a silent film depicting the city's reconstruction),[30] sets of Polish Carols, and the study pieces for piano, Melodie Ludowe ("Folk Melodies").[27]
In 1945, Lutosławski was elected as secretary and treasurer of the newly constituted Union of Polish Composers (ZKP—Związek Kompozytorów Polskich).[31] In 1946, he married Danuta Bogusławska.[30] The marriage was a lasting one, and Danuta's drafting skills were of great value to the composer: she became his copyist,[30] and solved some of the notational challenges of his later works.[32]
In 1947, the
Lutoslawski's First Symphony was proscribed as "formalist",
It was his substantial and original Concerto for Orchestra of 1954 that established Lutosławski as an important composer of art music. The work, commissioned in 1950 by the conductor Witold Rowicki for the newly reconstituted Warsaw Philharmonic Orchestra, earned the composer two state prizes in the following year.[41]
Maturity (1956–1967)
Stalin's death in 1953 allowed a certain relaxation of the cultural totalitarianism in Russia and its satellite states.
In a departure from his usually serious compositions in 1957 to 1963, Lutosławski also composed light music under the pseudonym Derwid. Mostly
In 1963, Lutosławski fulfilled a commission for the
Shortly after this, Lutosławski started work on his Second Symphony,[57] which had two premieres: Pierre Boulez conducted the second movement, Direct, in 1966, and when the first movement, Hésitant, was finished in 1967, the composer conducted a complete performance in Katowice.[55] The Second Symphony is very different from a conventional classical symphony in structure, with Lutosławski using his many compositional innovations to build a large-scale, dramatic work worthy of the name.[58] In 1968, the Symphony earned Lutosławski first prize from the International Music Council's International Rostrum of Composers, his third such award,[55] confirming his growing international reputation. In 1967, Lutosławski was awarded the Léonie Sonning Music Prize, Denmark's highest musical honour.[59]
International renown (1967–1982)
The Second Symphony, and Livre pour orchestre and a
In 1973, Lutosławski attended a recital given by the baritone Dietrich Fischer-Dieskau with the pianist Sviatoslav Richter in Warsaw; he met the singer after the concert and this inspired him to write his extended orchestral song Les Espaces du sommeil ("The spaces of sleep").[67] This work, Preludes and Fugue, Mi-Parti (a French expression that roughly translates as "divided into two equal but different parts"), Novelette, and a short piece for cello in honour of Paul Sacher's seventieth birthday, occupied Lutosławski throughout the 1970s, while in the background he was working away at a projected Third symphony and a concertante piece for the oboist Heinz Holliger. These latter pieces were proving difficult to complete,[68] as Lutosławski struggled to introduce greater fluency into his sound world and to reconcile tensions between the harmonic and melodic aspects of his style,[69] and between foreground and background.[70] The Double Concerto for oboe, harp and chamber orchestra—commissioned by Sacher—was finally finished in 1980,[71] and the Third Symphony in 1983. In 1977, he received the Order of the Builders of People's Poland. In 1983, he received the Ernst von Siemens Music Prize.[72]
During this period, Poland was undergoing yet more upheaval: in 1980, the influential movement Solidarność was created, led by Lech Wałęsa;[73] and in 1981, martial law was declared by General Wojciech Jaruzelski.[65] From 1981 to 1989, Lutosławski refused all professional engagements in Poland as a gesture of solidarity with the artists' boycott.[74] He refused to enter the Culture Ministry to meet any of the ministers, and was careful not be photographed in their company.[74] In 1983, as a gesture of support, he sent a recording of the first performance (in Chicago) of the Third Symphony to Gdańsk to be played to strikers in a local church.[74] In 1983, he was awarded the Solidarity prize, of which Lutosławski was reported to be more proud than any other of his honours.[75]
Final years (1983–1994)
Through the mid-1980s, Lutosławski composed three pieces called Łańcuch ("Chain"), which refers to the way the music is constructed from contrasting strands which overlap like the links of a chain.[76] Chain 2 was written for Anne-Sophie Mutter (commissioned by Sacher), and for Mutter he also orchestrated his slightly earlier Partita for violin and piano, providing a new linking Interlude,[77] so that when played together the Partita, Interlude, and Chain 2 form his longest work.[78]
In 1985, the Third Symphony earned Lutosławski the first
In 1986, Lutosławski was presented (by Tippett) with the rarely awarded Royal Philharmonic Society's Gold Medal during a concert in which Lutosławski conducted his Third Symphony;[82] also that year a major celebration of his work was made at the Huddersfield Contemporary Music Festival.[82] In addition, he was awarded honorary doctorates at several universities worldwide, including Cambridge.[83]
At this time Lutosławski was writing his Piano Concerto for Krystian Zimerman, commissioned by the Salzburg Festival.[84] His earliest plans to write a piano concerto dated from 1938; he was himself in his younger days a virtuoso pianist.[85] It was a performance of this work and the Third Symphony at the Warsaw Autumn Festival in 1988 that marked the composer's return to the conductor's podium in Poland, after substantive talks had been arranged between the government and the opposition.[86]
Around 1990 Lutosławski also worked on a fourth symphony and his orchestral song-cycle
In 1993, Lutosławski continued his busy schedule, travelling to the United States, England, Finland, Canada and Japan,[90] and sketching a violin concerto,[91] but by the first week of 1994 it was clear that cancer had taken hold,[92] and after an operation the composer weakened quickly and died on 7 February, aged 81.[93] He had, a few weeks before, been awarded Poland's highest honour, the Order of the White Eagle (only the second person to receive this since the collapse of communism in Poland—the first had been Pope John Paul II).[93] He was cremated; his wife Danuta died shortly afterwards.[94]
Music
Lutosławski described musical composition as a search for listeners who think and feel the same way he did—he once called it "fishing for souls".[95]
Folk influence
Lutosławski's works up until and including the Dance Preludes (1955) show the influence of
Pitch organisation
In Five Songs (1956–57) and Musique funèbre (1958) Lutosławski introduced his own brand of
Aleatory technique
Although Musique funèbre was internationally acclaimed, his new harmonic techniques led to something of a crisis for Lutosławski, during which he still could not see how to express his musical ideas.[104] Then on 16 March 1960,[105] listening to Polish Radio broadcast on new music, he happened to hear John Cage's Concert for Piano and Orchestra. Although he was not influenced by the sound or the philosophy of the music, Cage's explorations of indeterminacy set off a train of thought which resulted in Lutosławski finding a way to retain the harmonic structures he wanted while introducing the freedom for which he was searching.[106] His Three Postludes were hastily rounded off (he had intended to write four) and he moved on to compose works in which he explored these new ideas.[107]
In works from Jeux vénitiens, Lutosławski wrote long passages in which the parts of the ensemble are not to be synchronised exactly. At cues from the conductor, each instrumentalist may be instructed to move straight on to the next section, to finish their current section before moving on, or to stop. In this way, the random elements within compositionally controlled limits defined by the term aleatory are carefully directed by the composer, who controls the architecture and harmonic progression of the piece precisely. Lutosławski notated the music exactly; there is no improvisation, no choice of parts is given to any instrumentalist, and there is thus no doubt about how the musical performance is to be realised.[108]
For his String Quartet, Lutosławski had produced only the four instrumental parts, refusing to bind them in a full score, because he was concerned that this would imply that he wanted notes in vertical alignment to coincide, as is the case with conventionally notated classical ensemble music. The LaSalle Quartet, however, specifically requested a score from which to prepare for the first performance.[109] Bodman Rae relates that Danuta Lutosławska solved this problem by cutting up the parts and sticking them together in boxes (which Lutosławski called mobiles), with instructions on how to signal in performance when all of the players should proceed to the next mobile.[54] In his orchestral music, these problems of notation were not so difficult, because the instructions on how and when to proceed are given by the conductor. Lutosławski's called this technique of his mature period "limited aleatorism".[110]
Both Lutosławski's harmonic and aleatory processes are illustrated by example 1, an excerpt from Hésitant, the first movement of the Symphony No. 2. At number 7, the conductor gives a cue to the flutes, celesta and percussionist, who then play their parts in their own time, without any attempt to synchronise with the other instrumentalists. The harmony of this section is based on a 12-note chord built from major seconds and perfect fourths. After all the instrumentalists have finished their parts, a two-second general pause is indicated ("P.G. 2" at top right of the example). The conductor then gives a cue at number 8 (and indicates the tempo of the following section) for two oboes and the cor anglais. They each play their part, again with no attempt to synchronise with the other players. The harmony of this part is based on the hexachord F♯–G–A♭–C–D♭–D, arranged in such a way that the harmony of the section never includes any sixths or thirds. When the conductor gives another cue at number 9, the players each continue until they reach the repeat sign, and then stop: they are unlikely to end the section at the same time. This "refrain" (from numbers 8 to 9) recurs throughout the movement, slightly altered each time, but always played by double-reed instruments which do not play elsewhere in the movement: Lutosławski thus also carefully controls the orchestral palette.[111]
Late style
External audio | |
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Symphony No. 4 performed by the Los Angeles Philharmonic and Esa-Pekka Salonen | |
Symphony No. 4 |
The combination of Lutosławski's aleatory techniques and his harmonic discoveries allowed him to build up complex musical textures. According to Bodman Rae, in his later works Lutosławski evolved a more mobile, simpler, harmonic style, in which less of the music is played with an ad libitum coordination.[112][113] This development first appeared in the brief Epitaph for oboe and piano,[114] around the time Lutosławski was struggling to find the technical means to complete his Third Symphony. In chamber works for just two instrumentalists the scope for aleatory counterpoint and dense harmonies is significantly less than for orchestra.[115]
Lutosławski's formidable technical developments grew out of his creative imperative; that he left a lasting body of major compositions is a testament to his resolution of purpose in the face of the anti-formalist authorities under which he formulated his methods.[116][117]
Legacy
In the 21st century, Lutosławski is generally considered the most important Polish composer since Szymanowski, and perhaps the most outstanding since Chopin. This evaluation was not apparent after World War II, when Panufnik was more highly regarded in Poland. The success of Lutosławski's Concerto for Orchestra and Panufnik's 1954 defection to England brought Lutosławski to the forefront of modern Polish classical music. Initially, he was coupled with his younger contemporary Krzysztof Penderecki, due to their music's shared stylistic and technical characteristics. When Penderecki's reputation declined in the 1970s, Lutosławski emerged as the major Polish composer of his time and among the most significant 20th-century European composers.[1][118] His four symphonies, the Variations on a Theme by Paganini (1941), the Concerto for Orchestra (1954), and a cello concerto (1970) are his best known works.[119]
Awards and honours
See The Witold Lutosławski Society for a comprehensive list.
- Order of Polonia Restituta, 1953[120]
- Order of the Banner of Work, 1955[120]
- Związek Kompozytorów Polskich (ZKP) Prize, 1959[47]
- First Prize of the International Music Council's International Rostrum of Composers, 1959[47]
- Koussevitzky Prix Mondial du Disque (France), 1964[121]
- Grand Prix du Disque de Académie Charles Cros (France), 1965[122]
- Jurzykowski Prize (United States), 1966[123]
- Herder Prize (Germany/Austria), 1967[55]
- Léonie Sonning Music Prize (Denmark), 1967[124]
- First Prize of the International Music Council's International Rostrum of Composers, 1968[55]
- Grand Prix du Disque de Académie Charles Cros (France), 1971[122]
- Prix Maurice Ravel (France), 1971[125]
- Honorary member of the Polish Composers' Union, 1971[126]
- Wihuri Sibelius Prize (Finland), 1973[127]
- Honorary degree of the University of Warsaw, 1973[128]
- Koussevitzky Prix Mondial du Disque (France), 1976[72]
- Order of the Builders of People's Poland, 1977[72]
- Honorary degree of the Nicolaus Copernicus University in Toruń, 1980[128]
- Ernst von Siemens Music Prize (Germany), 1983[80][72]
- Honorary doctorate, Durham University 1983[128]
- Honorary degree of the Jagiellonian University, 1984[129]
- Queen Sofía Composition Prize (Spain), 1985[80]
- Koussevitzky Prix Mondial du Disque (France), 1986[123]
- Royal Philharmonic Society Gold Medal (United Kingdom), 1986[80]
- Grammy Award for Best Classical Contemporary Composition, 1987[130]
- Honorary doctorate, University of Cambridge, 1987[129]
- Honorary degree of the Fryderyk Chopin University of Music, 1988[128]
- Pour le Mérite for Sciences and Arts, 1993[131]
- Polar Music Prize (Sweden), 18 May 1993[132]
- Kyoto Prize (Japan), 1993[129]
- Honorary doctorate, McGill University, 30 October 1993[129]
- Order of the White Eagle (Poland), 1994[133]
References
- ^ a b c Bodman Rae 2001.
- ^ Steinberg 2000, p. 244.
- ^ Stucky 1981, p. 1.
- ^ a b c Stucky 1981, pp. 1–7.
- ^ a b c Bodman Rae 1999, pp. 1–8.
- ^ a b Witold Lutosławski – Guide to Warsaw: Marszałkowska 21. NIFC 2013
- ^ Witold Lutosławski – Guide to Warsaw: Plac Trzech Krzyży 18. NIFC 2013.
- ^ Bodman Rae 1999, p. 10.
- ^ Bodman Rae 1999, p. 11.
- ^ Stucky 1981, p. 10.
- ^ Stucky 1981, pp. 10–11.
- ^ Lutosławski – Guide to Warsaw: Konopnickiej 6. NIFC 2013.
- ^ Bodman Rae 1999, pp. 12–13.
- ^ a b Stucky 1981, p. 14.
- ^ a b Stucky 1981, p. 15.
- ^ Bodman Rae 1999, p. 14.
- ^ Witold Lutosławski – Guide to Warsaw: Mazowiecka 12. NIFC 2013.
- ^ Bodman Rae 1999, pp. 14–15.
- ^ Witold Lutosławski – Guide to Warsaw: Królewska 11 („SiM"); Szpitalna 5 („Lira"); Mazowiecka 5 (Aria, U Aktorek). NIFC 2013
- ^ a b c Stucky 1981, p. 16.
- ^ Stucky 1981, p. 17.
- ^ Panufnik 1987, see particularly Chapter 8, "Occupation", for an account of Panufnik and Lutosławski's duo in German-occupied Warsaw.
- ^ Bodman Rae 1999, p. 15.
- ^ Stucky 1981, p. 20.
- ^ Bodman Rae 1999, p. 18.
- ^ Bodman Rae 1999, p. 16.
- ^ a b Stucky 1981, p. 21.
- ^ Stucky 1981, p. 19.
- ^ Stucky 1981, p. 23.
- ^ a b c Bodman Rae 1999, p. 20.
- ^ Bodman Rae 1999, p. 19.
- ^ Bodman Rae 1999, p. 92.
- ^ Stucky 1981, pp. 34–35.
- ^ Bodman Rae 1999, p. 31.
- ^ Stucky 1981, pp. 36–37; Stucky 1981, p. 63 quotes Lutosławski speaking in 1957, "[I]t is difficult to conceive of a more absurd hypothesis than the idea that the achievements of the past several decades should be abandoned and that one should return to the musical language of the nineteenth century ... The period of which I speak may not have lasted long ... but all the same it was long enough to do our music immense harm."
- ^ Stucky 1981, p. 36.
- ^ Bodman Rae 1999, pp. 32–33.
- ^ Stucky 1981, p. 37.
- ^ Bodman Rae 1999, p. 46.
- ^ Lutosławski & Varga 1976, p. 8.
- ^ Stucky 1981, p. 48.
- ^ Stucky 1981, p. 60.
- ^ Stucky 1981, p. 62.
- ^ Bodman Rae 1999, p. 47.
- ^ Stucky 1981, p. 70.
- ^ Stucky 1981, p. 77.
- ^ a b c Stucky 1981, p. 78.
- ^ Stucky 1981, pp. 68–70.
- ^ a b Stucky 1981, chapter 3, "The years of transition: 1955–1960".
- ^ Stucky 1981, p. 133.
- ^ Bodman Rae 1999, p. 75.
- ^ Bodman Rae 1999, pp. 306–311.
- ^ a b Bodman Rae 1999, p. 90.
- ^ a b Stucky 1981, p. 87.
- ^ a b c d e f Stucky 1981, pp. 88–89.
- ^ Bodman Rae 1999, p. 101.
- ^ Bodman Rae 1999, p. 102.
- ^ Bodman Rae 1999, p. 108.
- ^ Stucky 1981, pp. 88–89. "In 1967 he received the Gottfried von Herder Prize from the University of Vienna, and in August of that year he was given the Leonie Sonning Prize in Copenhagen 'in recognition and admiration of his mastery as a composer, which is a source of inspiration to the musical life of our age'. The award was presented at an all- Lutoslawski concert as part of the Royal Danish Festival of Music and Ballet celebrating the 800th anniversary of Copenhagen's founding."
- ^ Bodman Rae 1999, p. 115.
- ^ Bodman Rae 1999, pp. 115–116.
- ^ Bodman Rae 1999, pp. 116–119.
- ^ Stucky 1981, p. 172.
- ^ Stucky 1981, pp. 92–93.
- ^ a b Bodman Rae 1999, pp. 177–178.
- ^ Stucky 1981, p. 92.
- ^ Stucky 1981, p. 97.
- ^ Stucky 1981, p. 101.
- ^ Bodman Rae 1999, pp. 129–130.
- ^ Bodman Rae 1999, p. 142.
- ^ Bodman Rae 1999, p. 154.
- ^ a b c d Stucky 1981, p. 99.
- ^ Bodman Rae 1999, p. 161.
- ^ a b c Bodman Rae 1999, p. 183.
- ^ Bodman Rae 1999, p. 184.
- ^ Bodman Rae 1999, p. 178.
- ^ Bodman Rae 1999, pp. 186–187.
- ^ Bodman Rae 1999, p. 209.
- ^ a b "1985 – Witold Lutoslawski". Grawemeyer Awards. University of Louisville. 15 March 1985. Archived from the original on 24 July 2014.
- ^ a b c d e Bohlman 2018, p. 273.
- ^ Bodman Rae 1999, pp. 209–10.
- ^ a b Bodman Rae 1999, p. 214.
- ^ Bodman Rae 1999, pp. 225, 271n.
- ^ Bodman Rae 1999, p. 217.
- ^ Bodman Rae 1999, p. 216.
- ^ Bodman Rae 1999, pp. 225–226.
- ^ Bodman Rae 1999, p. 226.
- ^ a b Bodman Rae 1999, p. 236.
- ^ a b Bodman Rae 1999, p. 227.
- ^ Bodman Rae 1999, pp. 248–150.
- ^ Bodman Rae 1999, pp. 254–255.
- ^ Bodman Rae 1999, pp. 250–251.
- ^ a b Bodman Rae 1999, p. 251.
- ^ Bodman Rae 1999, p. 254.
- ^ Lutosławski & Varga 1976, "Lutosławski's notebook", also quoted and discussed in Jacobson (1996), p. 100. "[...] I have a strong desire to communicate something, through my music, to the people. I am not working to get many 'fans' for myself; I do not want to convince, I want to find. I would like to find people who in the depths of their souls feel the same way as I do. That can only be achieved through the greatest artistic sincerity in every detail of music, from the minutest technical aspects to the most secret depths. I know that this standpoint deprives me of many potential listeners, but those who remain mean an immeasurable treasure for me. [...] I regard creative activity as a kind of soul-fishing, and the 'catch' is the best medicine for loneliness, that most human of sufferings."
- ^ Stucky 1981, p. 49: "Folk tunes are never simply quoted: they are radically transformed, manipulated, made to serve the composer's artistic vision. 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. 53: "Przedzierzgnę się siwą golębicą is distorted beyond audible recognition ... it is thoroughly dismembered.".
- ^ Stucky 1981, p. 59.
- ^ Stucky 1981, p. 32.
- ^ Stucky 1981, p. 120 quotes Lutosławski, "The different parts can play very complicated rhythms [...] and yet play only the notes of that [twelve-note] chord [...] It may occur that the chord never actually sounds in its entirety—it is supplemented by our memory and imagination."
- ^ Bodman Rae 1999, p. 63.
- ^ Bodman Rae, C. (1992). Pitch Organisation in the Music of Witold Lutoslawski Since 1979 (PhD thesis). University of Leeds.
- ^ Stucky 1981, p. 71.
- ^ Stucky 1981, p. 71, also discussion of Symphony No. 1 pp. 24–25 and symmetrical chords in the pitch organisation of Overture for Strings pp. 37–39
- ^ Stucky 1981, p. 79: "Solutions to some rhythmic and formal questions still eluded him."
- ^ Witold Lutosławski – Guide to Warsaw: Zwycięzców 39. NIFC 2013
- ^ Lutosławski & Varga 1976, p. 12, says, with reference to this event, "Composers often do not hear the music that is being played; it only serves as an impulse for something quite different—for the creation of music that only lives in their imagination"; see also Nordwall (1968), p. 20 and Stucky (1981), p. 84.
- ^ Stucky 1981, pp. 78–83; Bodman Rae 1999, p. 72.
- ^ Stucky 1981, p. 110 quotes Lutosławski: "I do not presuppose any improvised parts, even the shortest, in my works. I am an adherent of a clear-cut division between the role of the composer and that of the performer, and I do not wish even partially to relinquish the authorship of the music I have written."
- ^ Bodman Rae 1999, pp. 91–92.
- ^ Stucky 1981, p. 109.
- ^ Bodman Rae 1999, pp. 103–104; Stucky 1981, pp. 160–161.
- ^ Bodman Rae 1999, p. 84.
- ^ Jacobson 1996, pp. 112–113.
- ^ Bodman Rae 1999, p. 145.
- ^ Bodman Rae 1999, pp. 146–147.
- ^ Stucky 1981, p. 106: "Lutosławski's life has given ample evidence of the strength of character and sureness of artistic purpose necessary to regard with equanimity both the blandishments of his 'fans' and the disparagements of his detractors."
- ^ Bodman Rae 1999, p. 262: "Above all, he is admired for the musical and moral integrity of his long search, and often difficult struggle, for the personal language and consummate technique that served his individual voice."
- ^ Będkowski & Hrabia 2001, p. 1.
- ^ Thomas, Adrian (21 August 2019). "Composer of the Month: Witold Lutosławski". Limelight. Retrieved 7 August 2021. (subscription required)
- ^ a b The Witold Lutosławski Society, "Medals".
- ^ Będkowski & Hrabia 2001, p. 65.
- ^ a b "Witold Lutosławski—kolory muzyki, kolory życia" (PDF). Retrieved 1 November 2019.
- ^ a b The Witold Lutosławski Society, "Awards".
- ^ "Léonie Sonnig Musikfond. All recipients". Retrieved 2 November 2019.
- ^ "History of the Fondation Maurice Ravel". Retrieved 1 November 2019.
- ^ "Członkowie honorowi". Retrieved 1 November 2019.
- ^ "Wihuri Sibelius Prize". Retrieved 2 November 2019.
- ^ a b c d The Witold Lutosławski Society, "Honorary doctorates".
- ^ a b c d Będkowski & Hrabia 2001, p. 10.
- ^ "Witold Lutosławski". The Recording Academy. 23 November 2020. Retrieved 20 August 2021.
- ^ "Witold Lutosławski". Pour le Mérite. Retrieved 20 August 2021.
- ^ Będkowski & Hrabia 2001, p. 162.
- ^ "M.P. 1994 nr 19 poz. 142". Retrieved 2 November 2019.
Sources
Books
- Będkowski, Stanisław; Hrabia, Stanisław (2001). Witold Lutosławski: A Bio-bibliography. Santa Barbara: Greenwood Press. ISBN 978-0-313-25962-3.
- Bodman Rae, Charles (1999). The Music of Lutosławski, third edn. London: ISBN 978-0-7119-6910-0.
- Bodman Rae, Charles (2001). "Lutosławski, Witold". ISBN 978-1-56159-263-0. (subscription or UK public library membershiprequired)
- Jacobson, Bernard (1996). A Polish Renaissance. London: Phaidon. ISBN 978-0-7148-3251-7.
- Bohlman, Andrea F. (2018). "Lutosławski's Political Refrains". In Jakelski, Lisa; Reyland, Nicholas (eds.). Lutosławski's Worlds. Suffolk: JSTOR 10.7722/j.ctt1wx91nn.
- Lutosławski, Witold; Varga, Bálint András (1976). Lutosławski Profile: Witold Lutosławski in Conversation with Bálint András Varga. London: Chester Music/Edition Wilhelm Hansen London Ltd.
- Nordwall, Ove, ed. (1968). Lutosławski. Stockholm: Edition Wilhelm Hansen.
- ISBN 978-0-413-58880-7.
- Steinberg, Michael (2000). The Concerto. Oxford: ISBN 978-0-198-02634-1.
- ISBN 978-0-521-22799-5.
Online
- Witold Lutosławski – Guide to Warsaw. NIFC 2013 free app with biography
- "Life: Awards". The Witold Lutosławski Society.
Further reading
- See Stucky 1981, pp. 219–237 and Bodman Rae 2001 for extensive bibliographies.
- Jakelski, L., and N. Reyland (eds.). Lutosławski's Worlds. [S.l.]: The Boydell Press, 2018.
- Kaczyński, Tadeusz (2012) [1972]. Conversations with Witold Lutosławski. London: Chester Music. ISBN 978-0-85712-987-1.
- Skowron, Zbigniew (2001). Lutosławski Studies. Oxford and New York: ISBN 978-0-19-816660-3.
- ISBN 978-0-521-58284-1.
External links
- Polish Music Center: Witold Lutosławski
- Witold Lutosławski – a classic of 20th-century music at culture.pl
- Lutosławski Year 2013 official website