Utwory na płycie:

• Symphony No 1 (1941-47) - Allegro giusto - Poco meno mosso - Tempo I - Poco meno mosso - Poco sostenuto e poi accelerando - Tempo I -
• Symphony No 1 (1941-47) - Poco adagio - Pochissimo più mosso - Tempo I - Poco più largo - A tempo ma nolto sostenuto - Lento
• Symphony No 1 (1941-47) - Allegretto misterioso - A tempo ma poco meno mosso (Tempo II) - Tempo I
• Symphony No 1 (1941-47) - Allegro vivace - Subito meno mosso - Poco più vivo -
• Partita (1988) - Allegro giusto - Un poco meno mosso - Ancora meno
• Partita (1988) - Ad libitum -
• Partita (1988) - Largo - Poco meno mosso - A tempo - Meno mosso -
• Partita (1988) - Ad libitum -
• Partita (1988) - Presto - Poco meno mosso - Tempo I - Ad libitum - Presto
• Chain 2 (1984-85) - Ad libitum
• Chain 2 (1984-85) - A battuta Crotchet=c 150 [Tempo I] - Tempo II -
• Chain 2 (1984-85) - Ad libitum
• Chain 2 (1984-85) - A battuta Vivace - Ad libitum - A battuta Presto - Più mosso- furioso
• Preludia taneczne (1955) - Allegro molto
• Preludia taneczne (1955) - Andantino - Un poco più vivo - Tempo I - Poco meno mosso
• Preludia taneczne (1955) - Allegro giocoso
• Preludia taneczne (1955) - Andante - Tranquillo
• Preludia taneczne (1955) - Allegro molto - Poco più tranquillo - Avvivando poco

Dance Preludes (1955)
Symphony No. 1 (1941 – 47)
Partita (1988)
Chain 2 (1984 – 85)

This is the fifth and now final volume in our survey of orchestral works by the Polish composer Witold Lutosławski. Gramophone wrote of a previous volume in the series (CHSA 5106) that it ‘offers a broad view of Lutosławski’s creative profile, which the BBC Symphony Orchestra under Edward Gardner fleshes out with playing that is as polished as it is animated, and alert to the individuality of Lutosławski’s musical vocabulary and mode of expression’.

Lutosławski wrote his Symphony No. 1 between 1941 and 1947, but interestingly it does not display any obvious signs of his trying to come to terms with the ordeal that befell his people. Quite the opposite, in fact. Lutosławski himself described the symphony as bright and cheerful, ‘because that was the idea of the composition, which was conceived in the period of independence before the war, but brought into being during the terrible wartime and in far from idyllic post-war years’. At the time, one Polish colleague went so far as to call it ‘fauvist’, so wild and vibrant did it appear to the audiences at its first performance in April 1948.

Lutosławski was a meticulous collector of folk materials in the first half of the 1950s, but for him, Dance Preludes was a ‘farewell to folklore’, even though he privately still explored folk tunes for several more years. Here the orchestra and conductor are joined by the clarinettist Michael Collins, an exclusive Chandos artist.

As his career developed in the more open environment that emerged after the ‘socialist-realist’ period, Lutosławski began to receive international recognition, and with the Partita (1984, orchestrated 1988), for violin and orchestra, he presented a newly relaxed, more melodic compositional style to the public. The soloist is the exclusive Chandos artist Tasmin Little.

Chain 2 (1984 – 85) was premiered by Anne-Sophie Mutter on 31 January 1986 with Collegium Musicum, conducted by Paul Sacher to whom it was dedicated. On this recording Tasmin Little leads the orchestra through a succession of ideas, much as the soloist had done in the ‘Episodes’ movement of the Cello Concerto (recorded on CHSA 5106 with Paul Watkins).