Lutosławski at 100: III. Breakthrough to Modernism

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On Tuesday, Nov. 12, Q2 Music presents Lutosławski at 100 – 24 hours of music hosted by Nadia Sirota celebrating the centenary of Polish icon Witold Lutosławski. Curated by composer and Lutosławski scholar Steven Stucky, Lutosławski at 100 comprises seven one-hour episodes (beginning at 1 am, 9 am and 5 pm) tracing the life and creative evolution of one of Poland's legendary musical voices, as well as Lutosławski 101 – a one-hour primer (at 12 am, 8 am and 4 pm) with insights from noted Lutosławski conductor Esa-Pekka Salonen

Steven Stucky writes:

Through the late 1950s, in works like Musique funèbre, Lutosławski developed a modernist musical technique using a rich, chromatic harmonic vocabulary. A crucial turning point came in 1960, when (after hearing a radio broadcast of John Cage’s Concert for Piano and Orchestra) he realized that he could also achieve spontaneous-sounding rhythms and textures using an original technique variously called “aleatory counterpoint” or “controlled aleatorism.”

The idea was to take advantage of the expressive power of individual musicians, without giving up any control over the content of the music. (There is really no “chance,” no improvisation.)

Lutosławski at 100: Part 3 features the following works: Jeux vénitiens, String Quartet and Paroles tissées

* Introduction * Centennial Introduction by Steven Stucky 
* Lutosławski 101 * Insights and Anecdotes from Esa-Pekka Salonen

* Part 1 * Early Works and World War II
* Part 2 * The Postwar Period
* Part 3 * Breakthrough to Modernism
* Part 4 * Consolidating the Mature Style
* Part 5 * Heroism and Dissent
* Part 6 * The Late Style
* Part 7 * Last Thoughts

Celebrating Poland: Lutosławski, Penderecki and New Music Now is supported, in part, by the Adam Mickiewicz Institute as part of Polska Music programme, and is presented in partnership with the Polish Cultural Institute New York.