Lutosawski - Symphony No. 2, etc [CD]

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!

This is a generous compilation of four compositions by Witold Lutoslawski, SYMPHONIC VARIATIONS (9:19), LITTLE SUITE (10 min), SYMPHONY No.2 (40 min, 15 sec), and CONCERTO for PIANO AND ORCHESTRA (26 min, 37 sec). Of these, SYMPHONIC VARIATIONS is the piece that most invites repeated listenings, and will likely be found acceptable by most music-lovers. LITTLE SUITE can also be listened to by the common person, but it seems a bit too programmatic for my tastes. SYMPHONY No.2 is fascinating from start to finish, but is likely to be accepted only by fans of composers such as Charles Ives or Anthony Braxton. CONCERTO for PIANO AND ORCHESTRA seems to have been composed using the serialistic 12-tone method, and to my ears, one listening of this particular piece is more than enough.

SYMPHONIC VARIATIONS. This piece starts with a lively, motoristic sequence, sounding like Petrushka. At 3 minutes begins an anthemic sequence, sounding like bold music from a cowboy western film. At 3 min, 40 seconds, the lively Petrushka-like music returns. At 4 min, 30 seconds, starts a quiet part, reminiscent of a quiet part from Petrushka. At 6 min begins a brooding, quiet episode. At 6 min, 40 sec, begins a clomping, stomping theme, sounding like something from Lieutenant Kiji Suite.

LITTLE SUITE contains the following four short pieces. FUJARKA (2:44) begins with a gentle fairy dance on piccolo, followed by thrusting, motoristic sequence provided by strings and trumpet, followed again by the gentle fairy dance. HURRA POLKA (1:33) starts with a woodwind solo, followed by full orchestra developing the same tune. The strings play a tune reminiscent of the shark theme in the movie, Jaws. PIOSENKA (2:39) starts with flutes, clarinets, and oboe, playing a slow, lovely tune. At 1 min, 40 sec, the strings join in, playing an upward spiraling motif, growing louder and louder, and reminiscent of Bartok's Music for Strings, Percussion, and Celeste. TANIEC (3:19) starts with a lively woodwind tune, which is replaced by the full orchestra playing a tune quite similar to that of SUNRISE, SUNSET from Fiddler on the Roof.

SYMPHONY No.2 consists of two movements, HESITANT and DIRECT. Hesitant begins with a cacophony of brass, sounding like a Polish version of Charles Ives. At 1 min, 10 sec, the cacophony is replaced by a mysterious-sounding celeste which, at 1 min, 30 sec, is replaced by a cacophony of flutes sounding like a cageful of castrated monkeys. The monkeys continue until three minutes, when they are replaced by cackling clarinets sounding like a tribe of rabid ducks. At 3 min, 40 sec, begins a sequence of swarming wasps. The wasps continue for an entire minute. At 5 and a half minutes, begins a sequence sounding like jazz composer Anthony Braxton. At 9 min, 45 sec to ten min, 15 sec, the listener is treated to a melange of chattering, stuttering trumpets. At 13 and a half minutes, begins a 90 second sequence of blustering walrus farts. In HESITANT, a second or so of complete silence occurs between the above episodes.

DIRECT begins with an indistinct rush, not really sounding like musical instruments, but instead sounding like the distant din of a factory, growing louder and louder. This sound is reminiscent to the dinful sound found in THRENODY FOR THE VICTIMS OF HIROSHIMA by Penderecki (also Polish). Alternatively, one might characterize this sound as a continuously buzzing tone-cluster. The indistinct din eventually is replaced by a noiser din, sounding like the clash of Ivesian marching bands. At 6 min, 20 sec, the Threnody-sound returns. At 7 min, 20 sec, things quiet down but the quiet is punctuated repeatedly by a gang of swirling drunken flutes. At 9 min, 20 sec, the swirling din is suddenly replaced by a chattering piano, sounding like famed composer Cecil Taylor. Also, the listener is assaulted by a gang of trombone thugs, threatening the listener with statutory glissando. I do like SYMPHONY No.2, and I will be sure to listen to it again and again, but I will need to make certain that nobody else is at home at the time.

CONCERTO for PIANO AND ORCHESTRA begins with a chatter of flutes and clarinets. Then, the piano enters, playing a few tentative notes, sounding like Cecil Taylor warming up for an evening concert. At 3 min, 30 sec, the piano gathers up enough courage to play something resembling a tune. Overall, the first movement sounds like a serial, 12-tone composition. In the second movement, the piano plays low-throated sprinting motifs, sounding like the sound track of a film noire detective movie from the 1950s. The third movement starts with a 2 min, 50 sec piano solo. From time to time, the third movement sounds a bit like Barber's piano concerto, and at other times, like the night music sequence in Bartok's 3rd piano concerto. The fourth movement contains plenty of lively dialogue (interaction) between the piano and orchestra. But since the dialogue seemed to be in the 12-tone language, I wasn't able to understand what was going on.

CONCLUSION. Symphonic Variations is a coherent and joyful piece that is listenable by almost anybody. Symphony No.2 is listenable and likeable by any Ives devotee. Symphony No.2 is full of details and ideas.

This is one of about only 2 cd's that I could find that contained the Mala Suita (Little Suite). It is a nice recording and a great value. My only complaint is that the piccolo rushes tremendously throughout the first movement, which is basically and extended piccolo solo. A little aggravating! Otherwise a good cd to get exposed to some little-known, but lovely works.