LUTOSLAWSKI MI PARTI PDF

The first performance took place on 22 October in Rotterdam , with the composer conducting the Concertgebouw Orchestra. The work calls for a large orchestra made up as follows: [1]. From Wikipedia, the free encyclopedia. Instrumentation [ edit ] The work calls for a large orchestra made up as follows: [1] woodwind : 3 flutes all doubling piccolo , 3 oboes , 3 clarinets 3rd doubling bass clarinet , 3 bassoons brass : 3 trumpets in C, 4 horns , 3 trombones , 1 tuba percussion : timpani , 3 percussionists bells , marimba , xylophone , glockenspiel , tam-tams , cymbals , vibraphone without motor celesta , harp , piano and strings 8 first violins , 7 second violins, 6 violas , 6 cellos and 4 basses.

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PL EN. Search Browse About. Article details. Link to site. Muzyka Music. Article title. Tarnawska-Kaczorowska K. Title variants. Languages of publication. The analysis-interpretation presented here concentrates on one work - Witold Lutoslawski's orchestral composition 'Mi-parti' dating from , of minute duration.

The authoress subjects it to three examinations, each time from a further distance, from a higher plane of understanding and level of interpretation. There are many levels of reading a work and revealing its meanings - in fact, they are infinite. An understanding of a musical composition or any work of art is achieved gradually, and this process is never definitively completed. Every time a score is read anew, every time a composition is listened to again attentively, there is an increase in one's knowledge of it, and at the same time a modification of one's previous understanding of it.

The consecutive stages of acquiring knowledge of 'Mi-parti', understanding and experiencing the work, its poetics and logic, its form and meaning, its colouring and its value, are presented in three readings, representing three increasingly comprehensive approaches, or approximations, each deepening the understanding achieved previously.

The three consecutive levels of understanding a work of art, and the features and categories important for this work: harmony, tonality, contrasts of dramatic importance, and the two features identified by the composer himself: iciness and heat, are all characterised in turn.

In conclusion, the authoress refers to her proposed framework for understanding in the widest meaning of the word the structure of a musical composition, in which she distinguishes seven layers, or aspects: from the lowest, material one, to the highest or perhaps deepest - semiotic level. She explores the functioning of this framework in relation to Lutoslawski's composition, and finally attempts to elucidate the work's title. Institute of Art, Polish Academy of Sciences.

Physical description. Document type. The authoress passed away in Document Type. Publication order reference. CEJSH db identifier.

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Mi-Parti, for orchestra

The orchestral work Mi-Parti was commissioned by the city of Amsterdam for its Concertgebouw Orchestra , which gave the work its premiere under Lutoslawski 's direction on October 22, Lutoslawski found the piece's unusual title in a dictionary; its definition is "composed of two equal but unlike parts. In this minute composition Lutoslawski contrasts what he calls "warm" colors, using intervals of thirds and sixths, with the "cold" colors of major seconds, tritones, fourths, and fifths. The warm colors are employed at first, in a spacious and sensuous opening combining string glissandi slides and sustained tones. Clarinet, French horn, and other winds join in with short melodic motifs. The orchestration becomes denser as Lutoslawski starts to introduce the "cold" colors.

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Witold Lutoslawski: Mi-Parti For Orchestra

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Mi-parti was composed in the years on a city of Amsterdam commission for the orchestra Concertgebouw, which also gave its world premiere, first on October 22 in Rotterdam, , and two days later in Amsterdam, both under the direction of the composer. Here, the musical phrases are often made up of two sections, and the repetition of the second one includes a new element. The beginning module of the piece is based on a cycle of eight vertical tone aggregates. In the course of the musical action's development this cycle advances upwards in semitone steps.

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