Lutoslawski: Chamber Music with Piano

Editorial Reviews
Amazon.com
Witold Lutoslawski (1913-1994) had a career that touched on nearly all modes of composition in the 20th century, ranging from tonal, neoromantic works to atonal, serial, and downright unclassifiable pieces. This release of his piano music fully represents his compositional range--sonatas, works for two pianos, and works for voice. And, depending on your familiarity with Lutoslawski's music (and your taste), you'll find something here to your liking--which also means that there will be items that might not appeal to anyone at all. His Melodie Ludowe for Solo Piano ("Folk Melodies") of 1945 and Bukoliki of 1952 are quite appealing and part of the composer's neoromantic temperament; less so his discordant Five Songs of 1957. Nevertheless, all performances here are superb and would complement any Lutoslawski collection. --Paul Cook

Tracks:

Preludes 1-7 - Polish Chamber Orchestra
Fugue - Polish Chamber Orchestra
No.1 Pensees - Krakow Radio Chorus
No.2 Le Grand Combat - Krakow Radio Chorus
No.3 Repos Dans Le Malheur - Krakow Radio Chorus
Paroles Tissees - Louis Devos
Postlude No.1 - Witold Lutoslawski

Tracks:

No.1 The Sea - Halina Lukomska
No.2 Wind - Halina Lukomska
No.3 Winter - Halina Lukomska
No.4 Knights - Halina Lukomska
No.5 Church Bells - Halina Lukomska
Introduction - - Ramon Jablonski
Four Episodes - - Ramon Jablonski
Cantilena - - Ramon Jablonski
Finale - Ramon Jablonski
I: Introductory Movement - Alban Berg Quartett
II: Main Movement - Alban Berg Quartett

Customer Reviews:

two discs of fine, lesser-known Lutoslawski.......2005-06-22

This is a great 2-disc set, part of EMI's Gemini series. Everything here was recorded in Poland in 1976 and 1977, and all feature Lutoslawski himself conducting the Polish Radio National Symphony Orchestra (or Polish Chamber Orchestra), except the "String Quartet," which was recorded in 1997. I strongly recommend it (especially at the price!) to anyone who has heard THE ESSENTIAL LUTOSLAWSKI (see my review) and wants to hear more.

The first disc opens with "Preludes and Fugue for 13 solo strings" (1972 -- 33'32). A complex work that will sound forbidding to many, it is constructed from six lines (cantabile, grazioso, lamentoso, misterioso, estatico and furioso) bundled into seven interlocked preludes and an extended fugue. Then follow two vocal works, which are quite accessible and appealing -- "Trois poemes d'Henri Michaux" (1963 -- 20'11) for twenty-part all female choir and orchestra, and "Paroles tissees" (1965 -- 13'51) featuring the tenor Louis Devos. "Trois poems" includes some of the wildest, funniest passages I've heard from Lutoslawski, while the tenor piece, which evokes medieval love poetry, is one of the warmest and most moving. The first disc ends with "Postlude No. 1" (1958 -- 4'03), a very impressive orchestral work. It makes you wish for more, but apparently Lutoslawski was dissatisfied with No.s 2 and 3.

The second disc opens with another vocal work, "5 Songs for soprano and orchestra" (1957 -- 9'59), with the topics 1) The Sea, 2) Wind, 3) Winter, 4) Knights and 5) Church Bells. My one criticism of this fine set is that there is no text provided for the songs. All three vocal works are highly evocative, and are effective on a musical level regardless, and I suppose I shouldn't complain given that this is the Gemini budget series. The last two works are not Lutoslawski's best, but these are the best performances of them that I've heard. The "Cello Concerto" (1970 -- 22'20) was written for Msistislav Rostropovich, who recorded it for EMI. Roman Jablonski is the cellist here, and he and the Polish orchestra are far more convincing than the version recorded a few years later with Andras Schiff on cello, and Lutoslawski conducting a German orchestra (that recording is found on THE ESSENTIAL LUTOSLAWSKI, on Philips). The form, pitting the soloist against the orchestra, is standard, and I find the cumulative effect underwhelming, though again, the performance is committed.

Finally, the "String Quartet" (1964 -- 23'16) is here performed by the Alban Berg Quartet. This is a much better interpretation than the Arditti Quartet's (on KURTAG LUTOSLAWSKI GUBAIDULINA on Montaigne -- see my review), and I'm convinced that it's because of the ABQ's immersion in the classical repertoire. (I haven't heard the Kronos recording.) There are four sections, a long, slow opening movement which includes an element of improvisation and sounds gently chaotic, then a second movement that begins fast and agitated, culminating in an outburst which is followed by a sad, mournful, elegiac passage, and then a calm coda which returns to the sound of the first movement. Comparing the two versions, the ABQ's is warmer, and conveys the contrast between sections much more strongly than the Arditti Quartet, which plays the first movement with an edgier tone that undercuts the dramatic shift to the second movement.

That contrast is further evidence for my view that Lutoslawski was not at his best when he strayed the furthest into avant forms (ie, Symphonies 2 and 3, the String Quartet). I would place Lutoslawski alongside Dutilleux as one of the loveliest, not the most radical, of late 20th century composers. When he stayed closer to the classical tradition, extending Bartok and Debussy rather than competing with the Darmstadt Circle, Lutoslawski found his uniquely beautiful voice, as the best works on this disc demonstrate fantastically.

Lutoslawski: Twenty Polish Christmas Carols; Lacrimosa; Five Songs

Average customer rating:

Polish or Opera ?????
Marvelous!

Lutoslawski: Twenty Polish Christmas Carols; Lacrimosa; Five Songs
Olga Pasichnyk , Witold Lutoslawski , Antoni Wit , and Jadwica Rappe
Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

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Polish-American Christmas Carols
ON THE CHRISTMAS DAY - AUTHENTIC CHRISTMAS POLISH CAROLS FROM POLAND
Lulajze Jezuniu and Other Gems of Polish Carols
Polish Heart
Lutoslawski: Double Concerto; Dances Preludes; Chain I

ASIN: B000B6N66S
Release Date: 2005-10-18

Tracks:

Angels To The Shepards Came
Hey! Rejoice Now
When Christ To Us Is Born
Just After Midnight
God Is Born
Our Lovely Lady
Hurrying To Bethlehem
In A Manger
Jesus There Is Lying
We Are Shepards
Lullaby, Jesus
Hey, On This Day
Jesus Lovely Flower
Hey La, Hey La, Shepherds There You Are
What To Do With This Child
Hey, Hey Lovely Lady Mary
This Is Our Lord's Birthday
Shepherds, Can You Tell
Infant So Tiny
Holy Lady Mary (Wandered Through The World Wide)
Lacrimosa
The Sea
The Wind
Winter
Knights
Church Bells

Customer Reviews:

Polish or Opera ?????.......2006-12-01

Quite frankly, I was very disappointed in this selection. I read the reviews on how easy it was to follow, etc... I did not understand a word of it. This really sounds like a soprano opera. I had my grandparents and parents listen and no one had any idea. If you are expecting any song that you may recognize, think again.

Marvelous!.......2005-12-10

Marvelous production on all fronts. The carols themselves are the heart and soul of the Polish religous and Christmas spirit. The arrangements recast traditional and beloved kolendy in modern adaptations, reflecting Lutoslawski's ample skills as vocal and orchestral arranger. The notes give the background a newcomer to the genre needs, and those already familiar with the songs will learn more. The cover art is wonderful. The singing and orchestral accompaniment are beyond reproach. Downloading the lyrics, in Polish and English, will take 23 pages, but that's a small price to play to appreciate this examplary release. Wspaniale to all concerned. Buy it!

Average customer rating:

Nocturnal

Manufacturer: EMI Records [All429]
ProductGroup: Music
Binding: Audio CD

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Together/Julian Bream & John Williams

ASIN: B000002RTP
Release Date: 2000-10-17

Tracks:

Quatre pieces breves, Prelude: Lent - Vite
Quatre pieces breves, II: Air: Lent et bien rythme
Quatre pieces breves, III: Plainte: Sans lenteur
Quatre pieces breves, IV: Comme une Gigue: Com moto
Nocturnal after John Dowland,Op 70 I: Musingly (Meditativo)
Nocturnal after John Dowland,Op 70 II: Agitated (Molto agitativo)
Nocturnal after John Dowland,Op 70 III: Restless (Inquieto)
Nocturnal after John Dowland,Op 70 IV: Uneasy (Ansioso)
Nocturnal after John Dowland,Op 70 V: March-like (Quasi una marcia)
Nocturnal after John Dowland,Op 70 VI: Dreaming (Sognanti)
Nocturnal after John Dowland,Op 70 VII: Gently rocking (Cullante)
Nocturnal after John Dowland,Op 70 VIII: Passacaglia (Misurato)
Nocturnal after John Dowland,Op 70 IX: Slow and quiet (Molto tranqquillo)
Son for Gtr Fandangos y Boleros Preambulo: Lento/ Daza: Allegretto - Coda: Beethoven visita
Son for Gtr Saravanda de Scriabin (Omaggio a Scriabin
Son for Gtr La Toccata de Pasquini (Alla Toccata):
All in Twilight: I. 1/8=80
All in Twilight: II. 1/8=68 (Dark)
All in Twilight: III. 3/32=46
All in Twilight: IV. 3/8=100 (Slightly fast)
Ach, moj Jasienko (Sostenutoo)
Hej, od Krakowa (Allegretto)
Jest drozyna (Andantino)
Patereczka (Allegretto)
Na jabloni jablka (Moderato)
Od Sieradza (Allegretto)
Panie Michale (poco sostenuto - Allegro moderato)
W polu lipenka (Sostenuto - Precipitando
Zalotny (Allegretto)
Gaik (Allegro vivace)
Gasior (Andantino)
rektor (Allegro)

Average customer rating:

For the classical generalist.

Polish Heart

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

Ballets | Ballets & Dances | Classical | Styles | Music

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Górecki: Symphony No. 3 ("Symphony of Sorrowful Songs"); Three Olden Style Pieces

ASIN: B00004R7NB
Release Date: 2000-03-14

Tracks:

Polonaise No.3 in A, Op.40 No.1 'Military' - Idil Biret
Etude in b Flat, Op.4 No.3 - Polish State PO/Karol Stryja
Fant On Polish Airs, Op.13: Air: Juz Miesiac Zeszedt: Andantino - Idil Biret
Harnasie (Ballet Pantomime), Op.55 - Excerpt - Henryk Grychnik/Polish State Chor/Karol Stryja
Melodie Meditative - Konstantin Scherbakov
Ste in Modo Polonico: Oberek Mazurka: Vivace Giocoso - Marc Regnier
Mazurka, Kujawiak - Marat Bisengaliev/John Lenehan
The Maiden's Prayer, Op.4 - Peter Nagy
Melodie in G Flat, Op.16 No.2 - Peter Nagy
Ste in Modo Polonico: Kujawiak Mazurka: Lento - Marc Regnier
Krakowiak, Op.14: Rondo: Allegro Non Troppo - Idil Biret
Little Ste: Piosenka (Song) - Polish NRSO/Antoni Wit
Mazurka Op.12 No.2: Polish Song - Marat Bisengaliev/John Lenehan
Ste in Modo Polonico: Kotysanka No.1 (Berceuse D'Orient): Adagio Cantabile - Marc Regnier
Sym No.3 Op.36 (Sym Of Sorrowful Songs) 2nd Movt: Lento E Largo: Tranquillisimo - Zofia Kilanowicz
Nocturne No.2 in E Flat, Op.9 No.2 - Idil Biret

Customer Reviews:

For the classical generalist........2000-09-25

If you are looking to stock your classical musical shelves with a broad range of recognizable pieces, then this disc is for you. Otherwise, this album is not that great. Essentially it consists of the overplayed classical standards that happen to be Polish. If you are looking for a better introduction to modern Polish classical then try "The Varsovia Quartet play string quartets from Poland" (OLYMPIA OCD 328). And hey, if you find it let me know. That particular gem is out of print.

Janácek: Sonate pour violon et piano; Lutoslawski: Partita; Szymanowski: Mythes

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Janácek: Sonate pour violon et piano; Lutoslawski: Partita; Szymanowski: Mythes

Manufacturer: Harmonia Mundi Fr.
ProductGroup: Music
Binding: Audio CD

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Taneyev: Chamber Music

ASIN: B0000AH3DO
Release Date: 2003-10-14

Average customer rating:

Excellent Second Symphony; the Piano Concerto is less good
Brilliant Second Symphony and great Piano Concerto

Lutoslawski: Orchestral Works Vol. 2

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

Modern & 20th Century | Symphonies | Classical | Styles | Music

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Lutoslawski: Symphony No. 4; Partita for Violin & Orchestra
Lutoslawski: Double Concerto; Dances Preludes; Chain I
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Lutoslawski: Concerto for Orchestra; Three Poems; Mi-Parti
Lutoslawski - Symphony No. 1 · Chantefleurs et Chantefables, etc

ASIN: B00000145L
Release Date: 1996-11-19

Tracks:

Symphonic Variations
Little Suite (Mala suita): Fujarka (Piccolo)
Little Suite (Mala suita): Hurra Polka
Little Suite (Mala suita): Piosenka (Song)
Little Suite (Mala suita): Taniec (Dance)
Symphony No. 2: Hesitant
Symphony No. 2: Direct
Concerto For Piano And Orchestra: I
Concerto For Piano And Orchestra: II
Concerto For Piano And Orchestra: III
Concerto For Piano And Orchestra: IV

Amazon.com

Another fine disc in what is surely to become the definitive digital Witold Lutoslawski edition--and at budget price, too. The two major works are the Second Symphony, one of the composer's most challenging pieces, and the Romantic Piano Concerto--which has been described as the greatest piano concerto that Berg never wrote. The Second Symphony falls into two movements, labeled "Hesitant" and "Direct," and it makes extensive use of "controlled randomness," where the composer directs the players to repeat a phrase however many times they please within a specified amount of time. The other two works are early and very approachable. --David Hurwitz

Customer Reviews:

Excellent Second Symphony; the Piano Concerto is less good.......2003-12-16

This disc, the second in Naxos' series of Lutoslawski's orchestra music, covers his work over nearly 50 years, from his first piece for full orchestra, the Symphonic Variations of 1939, to one of his last, 1987's Piano Concerto.

The Symphonic Variations are a ten-minute student-level essay. Written in a style that bears considerable resemblance to Stravinsky and Les Six, this passes by inoffensively for its ten minute duration, without really catching fire. It might be an interesting entry for a "spot the composer" game, though. More distinctive is the Little Suite from 1950. Forced by Stalinist politics to write in a rather mild folk-inspired style, Lutoslawski here creates a light-hearted four-movement suite that is not without interest. The music here hints at more ambition than such works usually have, and at points sounds like a study for his first masterpiece, the 1954 Concerto for Orchestra.

Moving on to 1967 and the Second Symphony, Lutoslawski's style had changed dramatically. Trading tonality for atonality and simplicty for complexity, the composer's works of the 1960s are demanding both on interpreters and performers, but for the most part are worth the effort. In particular, the Second Symphony may be about the most demanding of the lot. It's a work based around dichotomies--two movements, the first entitled Hesitant, the second Direct (and these titles pretty much sum up their content); two types of music, one conventionally notated, the other with all the instruments playing independently and not in time with each other; and a semi-soloistic group of oboes, cor anglais and bassoons against the rest of the orchestra. The first movement acts as an introduction, exploring motifs and ideas without developing them, the second builds these motifs gradually towards a powerful climax, after which the work falls apart in an epilogue for the bass instruments alone. This isn't as fine a work as the two succeeding symphonies, but it isn't negligible, and Wit directs a very fine performance. Giving the music more space to breath than, say, Salonen on Sony, he creates greater tension and a more powerful climax despite the superior orchestral playing on the Sony disc.

The Piano Concerto is a late work, and one where Lutoslawski's modernism had mellowed, allowing him a rapprochement with Romanticism without compromising his stylistic integrity. It is in four movements that play without a break; the first alternates delicate passages with a melodic cantilena which eventually leads to an impassioned climax, the second is a moto perpetuo scherzo, the third a slow movement that alternates solo recitative with accompanied passages and the finale a fast chaconne that ends with a variant of the first-movement cantilena. This performance isn't as good as that of the symphony; Piotr Paleczny is a fine pianist but lacks the lightness and vigour of Crossley on Sony and Zimerman on DG.

This disc can be warmly recommended for those looking for a good recording of the Second Symphony. Those looking for the Piano Concerto will find superior recordings elsewhere--if at a steeper price.

Brilliant Second Symphony and great Piano Concerto.......2000-02-04

The Naxos label has released several CDs of the complete works of Lutoslawski, and they are all indispensable to anyone even remotely interested in 20th-century classical music. This particular disc covers exactly 50 years of Lutoslawski, from his 1938 'Symphonic Variations' to his 1988 'Piano Concerto.' The recorded sound is, as usual, excellent, and the playing of the orchestra and of pianist Piotr Paleczny is just spectacular. The 'Symphonic Variations' put Lutoslawski on the map, and though early, reveal a sound that Lutoslawski could completely claim as his own. They are, as can be expected, scored with Lutoslawski's trademark utter delicacy. Next on the disc is his 'Little Suite' from the early 1950s. It is in four uptempo sections, with the second movement Hurra Polka being the most lively. All four sections are very pleasing to the ear, a sharp contrast to Lutoslawski's later style, which is represented next with his Second Symphony, certainly one of the greatest symphonies written in the 20th century. The half-hour long work is in binary form (two movements), a style which Lutoslawski would return to again and again in the future. He says that he intends to use the initial movement to moderately stir the interest of the listener, but not satisfy him/her; just as the listener is about to give up on the piece, Lutoslawski says, the second movement starts. And what a movement it is! Lutoslawski's principle of controlled chance is used to the max here. The players are allowed to repeat any marked passage any number of times. The movement builds up to a breathtaking climax with a whole battery of percussion taking the lead, then gently (almost inaudibly) fades off into the distance. Finally, his 'Piano Concerto' is a bit more listenable. He modeled it after the Baroque style, and it is a very rewarding piece for both performer and listener. Its four movements are all interconnected (following the composer's Chain principle), and are generally very listenable. Pianist Paleczny is one of Poland's finest pianists, and he gives a top-notch performance of his compatriot's work. Certainly one of the best, if not the best, piano concertos written in the last quarter century. All in all, this disc is essential for the 20th-century music fan. Music just doesn't get a lot better than this!

Average customer rating:

Nice brass selection except for "Eonta"

Modern Times with London Brass

Manufacturer: Elektra / Wea
ProductGroup: Music
Binding: Audio CD

Trios | Chamber Music | Classical | Styles | Music

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Customer Reviews:

Nice brass selection except for "Eonta".......2002-02-16

Overall, a diverse and well-performed selection. I recommend almost all the pieces, and am particularly fond of the Ruggles. But if you're a hard-core modern music enthusiast, don't get this disc for the Xenakis - the performance of Eonta is strangely flabby and punchless, kind of a "Xenakis Lite" (I've heard an excellent live performance, which was nothing like this recording). If not for the substandard Eonta, I'd have given the disc four stars.

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Romantic Music & Miniatures

Manufacturer: Live Classics
ProductGroup: Music
Binding: Audio CD

Duets | Chamber Music | Classical | Styles | Music

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Suites | Forms & Genres | Classical | Styles | Music

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ASIN: B00000J2T2
Release Date: 1999-05-01

Lutoslawski: Double Concerto; Dances Preludes; Chain I

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More fine music from Naxos
Appealing Music in Both of Lutoslawski's Styles

Lutoslawski: Double Concerto; Dances Preludes; Chain I

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

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Lutoslawski: Orchestral Works; Songs; String Quartet

ASIN: B0000ACY0N
Release Date: 2003-09-23

Tracks:

Allegro Molto - Zbigniew Kaleta
Andantino - Zbigniew Kaleta
Allegro Giocoso - Zbigniew Kaleta
Andante - Zbigniew Kaleta
Allegro Molto - Zbigniew Kaleta
Rapsodico - Nicolas Tulliez
Dolente - Nicolas Tulliez
Marziale E Grotesco - Nicolas Tulliez
Grave - Nicolas Tulliez
Chain I For 14 Performers - Witold Lutoslawski
The Belated Nightingale - Urszula Kryger
About Mr. Tralalinski - Urszula Kryger
Dance - Urszula Kryger
The Four Seasons - Urszula Kryger
Kitten - Urszula Kryger
Grzes Is Going Through The Village - Urszula Kryger
A Brook - Urszula Kryger
The Bird's Gossips - Urszula Kryger

Customer Reviews:

More fine music from Naxos.......2006-12-28

Naxos continues to impress me with this fine CD. As with the others in the series, the CD contains pieces from across Lutoslawski's life. The so-called 'folk-music' period is represented by a fine reading of Dance Preludes (certainly not under-represented on CD--I have at least three recordings) as well as two cycles of songs for children. Lutoslawski's sureness of line and illustrative orchestration are well in evidence here. Sadly, works of this vintage are often the only work of this composer that many people know. It's a sound-world not much different from Martinu or early Bartok. It's a world that Lutoslawski forcefully abandonded by midlife.

"Chain 1" is the first of the Chain series where Lutoslawski began working with interwoven melodies. It's a curious fish that points (let's mix metaphors here) both forward and back. For the most part, it has a clarity that was not always obvious in work of the preceding decade. At the same time, there's a "climax by accumulation", which was a key aspect of mid-period works like "Livres". It's not entirely convincing, but is seldom repeated in works to follow.

"Grave" combines solo cello and string orchestra in an intensely lyrical six minutes. Few composers in recent memory could write so effectively for strings.

But the keystone of the CD is the "Double Concerto" for Oboe, Harp and Chamber Orchestra. This is among the most accessible of Lutoslawski's mature works. This performance is one of several available recordings, and acquits itself well. The brief first movement begins with an aleatoric swarm of strings, an effect that repeats a few times with diminishing intensity. Such writing had been an important aspect of Lutoslawki's middle period, and was almost completely abandonded in the works that followed the Double Concerto. In many ways, you can hear the composer discarding the technique as the movement proceeds The middle movement is singing and lyrical, demanding sureness of intonation and command of the highest register of the oboe. The oboist, Arkadiusz Krupa, is admirably up to these demands. The final movement is a comic masterpiece. It has a quirky little march, with the lightest of strings and percussion. It features a domestic argument of sorts, with lovely harp writing continually shouted down by screeching oboe multiphonics (the original performers were Heinz and Ursula Holliger--husband and wife). The piece wraps up with a reprise of the march over some wonderfully syncopated string harmony. To my ear, the original Holliger recording is a bit more effective in this final movement. Sill, this performance is excellent. I have many recordings of this fine piece and each one beckons for its own reasons.

It should be pointed out that these are also superb recordings from a technical point of view. They are beautifully detailed without harshness. Balances are spot-on. Antoni Wit conducts with respect for what's on the page and all the possibilities presented there. The Polish National Radio Symphony Orchestra plays this music as well as any orchestra in the world.

Appealing Music in Both of Lutoslawski's Styles.......2003-11-14

The title refers to Witold Lutoslawski's differing styles contained on the CD. He started as a fairly conservative composer--e.g. his Concerto for Orchestra, Paganini Variations for Two Pianos--but then became more and more radical as time went on. What is amazing is that no matter the style Lutoslawski (1913-1994) always sounds like Lutoslawski. There is an impeccable craft--even in those pieces where there is an aleatoric element--and, underlying all, a sort of wittiness that I've always found attractive.

The first piece, 'Dance Preludes for Clarinet and Orchestra,' was originally for clarinet and piano, but he reworked it a few years later for clarinet and orchestra. There is a third version for wind quintet and solo strings. It's the clarinet and orchestra version recorded here, a little suite of five folk-derived movements totaling less than ten minutes. Soloist Zbigniew Kaleta does a terrific job of underlining the folkdance element, and indeed he keeps the whole thing dancing.

The 'Double Concerto for Oboe, Harp, and Orchestra' was commissioned by Paul Sacher, that wealthy Swiss conductor who was a veritable Maecenas of new works. It was written for the master of 'the cranky oboe' (Andrew Adler's phrase), Heinz Holliger, and his wife, harpist Ursula Holliger. This is not a concerto for equals; the harp part is clearly an obbligato instrument here, a Sancho Panza to the oboe's Quixote--it's really the oboist's show. Full of incident--and of extended technique for the oboist who occasionally uses, among other things, bent tones and multiphonics--the three movements have headlong forward movement, even in the 'dolente' middle movement which leads directly into the third, a march for oboe and xylophone that then recalls the opening buzzing of the strings heard in the first movement. The rhythmic and harmonic variety, mostly of a witty, even ironic, type, makes this concerto a jeu d'esprit. Oboist Arkadiusz Krupa and harpist Nicolas Tulliez do a fine job, only a little less effective than the Holligers in their recording with Lutoslawski himself conducting the Bavarian Radio Symphony still available on a 2 CD set from Polygram.

'Grave' for cello and string orchestra, played eloquently here by cellist Rafal Kwiatkowski, is a somber six-minute tribute, a set of variations, to his late friend, musicologist Stefan Jarocinski, whose intimate knowledge of the music of Debussy led Lutoslawski to quote 'Pelléas et Mélisande' in the opening bars of the work.

'Chain I' is the first of a series of three works named 'Chain' whose structure involves the overlapping of the musical ideas (links in a chain) so that it is difficult to tell where one leaves off and the next begins. Chain I was undertaken right after the composition of what is perhaps Lutoslawski's most famous late work, the wondrous Symphony No. 3 which, in some compositional respects, it resembles. For fourteen players (bassoon, clarinet In Bb, flute [doubling piccolo and alto flute], harpsichord, horn in F, oboe [doubling cor anglais], percussion, strings [1.1.1.1.1.], trombone, trumpet in C), it is in three somewhat indistinct sections. There are some aleatoric elements which are, nonetheless, fairly strictly prescribed by the composer. It is played with élan by principals from the Polish National Radio Orchestra under Antoni Wit, who conducts all the pieces here with deep familiarity and style.

The disc concludes with eight children's songs, from two different sets--'Two Children's Songs' and 'Six Children's Songs'--with words by Poland's master of children's verse, Julian Tuwim. They are from early in Lutoslawski's career and represent his 'easy' style in their simplicity and diatonic harmonies. They are performed nicely by soprano Urszula Kryger. Unfortunately the texts are not provided in the booklet.

This is the eighth of Naxos's series of recordings of Lutoslawski's complete orchestral works. Isn't it amazing what Naxos is doing for our expanding awareness of some hidden corners of the modern classical music literature? Huzzah, I say, huzzah!

Recommended.

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