Find composition details, parts / movement information and albums that contain performances of Mi-Parti, for orchestra on AllMusic. Witold Lutosławski. Composer:Witold Lutosławski; Original title: Mi-parti na orkiestrę; year of completion: ; instrumentation: orchestra; commission: Concertgebouw ( Amsterdam). The analysis-interpretation presented here concentrates on one work – Witold Lutoslawski’s orchestral composition ‘Mi-parti’ dating from , of minute.
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The Concerto for Orchestra is the masterpiece of Witold Lutoslawki’s first, tonal period. It’s a colorful, folk-influenced piece that makes an immediate and attractive impression on even a casual listener. The later music is much more challenging, but as with all of this composer’s works, almost self- explanatory in structure and emotional meaning.
Lutoslawski, like all successful contemporary composers, forged a personal but highly communicative musical language from a variety of disparate elements. And, although it may take some listening to get into his mature pieces, they repay the attention.
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Mi-Parti, for orchestra | Details | AllMusic
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Write a customer review. Showing of 2 reviews. Top Reviews Most recent Top Reviews. There was a problem filtering reviews right now. Please try again later. Although I cannot confidently echo the previous reviewer’s endorsement of Tortelier’s general excellence in interpreting lugoslawski music, I certainly want to endorse his praise of this disc.
Mi-parti – Wikipedia
My affection for the Concerto goes back to Seiji Ozawa’s classic recording of it leading part Chicago Symphony Orchestra on Angel Mla performance which remains unsurpassed to this day in my opinion and I own many other recordings of the piece.
I need hardly add that the performance of the BBC Philharmonic here on Tortellier’s disc is not really in the same league as the CSO Fritz Reiner left five years earlier and which Ozawa leads, but they do play well in the Concerto and the two other Lutoslawski works here, Mi-Parti in particular. It’s really a case of the “good” not matching up to the “best.
I must add for audiophiles that EMI engineers have brilliantly remastered the Ozawa recording to the extent that it’s sonic splendor exceeds many of their current Red Book CDs. This music is aggressively Modernist, dissonant, and complicated; and it is rugged, majestic, and gorgeous. These are powerful, masterful performances of great masterworks of the 20th century repertoire, and I enjoyed this album every bit as much as I have any other from the very, very best of this genre: Whether you’re familiar with the style and with these works or you’re only beginning to explore Modernism and 20th century classical music, this is one of the very best albums of its kind and I could not recommend it more highly.
It’s a marvelous opportunity for a big virtuoso orchestra to pull out all the stops and offer a full demonstration of its virtuosity, and the BBC Philharmonic is more than up to the task.
Leaner and more agile than the Concerto, it’s a gripping showstopper and not at all confusing or difficult, as many listeners find or believe they will find serialism to be. Mi-parti is parhi aleatoric work, and with this one you might need to devote several listenings as it’s a bit difficult; but it’s rewarding and expressive, as well, and it adds an intriguing depth and variety to the album.
Tortelier is perhaps my favorite interpreter of 20th century music: I’ll have to hear a few more of his albums before I decide, but I suspect that I might prefer his work as an interpreter even to that of Pierre Boulez. His expressive grasp of and contribution to Modernist scores them is very impressive.
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