Lutos?awski: Piano Concerto; Symphony No 2 CD review - a glorious affirmation ... - The Guardian

It was the first large instrumental job to use his compositional strategy of "limited aleatoricism", the compromise Lutos?awski made between the Cageian concepts of possibility and also performer choice, and also the control that, as an author, he had to preserve over his musical material.

The pairing is essential too - with Rattle's live efficiency of a crucial job from an earlier stage in Lutos?awski's profession, the Second Symphony, finished in 1967. To me, a minimum of, it's a a lot more interesting success compared to the over-manicured Third and Fourth Symphonies that followed it.

The job that Witold Lutos?awski completed for Krystian Zimerman in 1988, 6 years before his death, rates along with Ligeti's entirely different concerto as one of the most important for piano as well as orchestra because Bart k. Zimerman gave the sneak preview at the Salzburg festival the same year, as well as tape-recorded it for Deutsche Grammophon in 1989, with the author performing the BBC Symphony Orchestra.

Zimerman has actually continuouslied do the concerto on a regular basis, dealing with it, refining his interpretation. With each other they make this new recording a marvelous confirmation of the location of Lutos?awski's work in the concerto canon - component of a lineage that extends back through Bart k and Prokofiev to Brahms, Schumann as well as Chopin

. Shake's performance, enormous as well as thrillingly wild, communicates the sense of a work that's both speculative and at the very same time profoundly assured. The piano component was consistently completely customized to his supreme technique - whether it's the simple, crystalline expressions of the opening motion, the whirling deceptions of the scherzo-like 2nd, the quasi-romantic expressiveness of the sluggish third, or in the remarkable ending, which handles to combine the elements of an orchestral chaconne with the chain type that was Lutos?awski's advancement in his later songs. And as this brand-new recording makes clearer than ever before, it is a job very much developed in the wonderful concerto custom, constantly questioning and also reflecting on the partnership between the soloist and the band. That relationship is frequently probed by Zimerman as well as Simon Rattle as well; the Berlin Philharmonic's realisation of the flickering, glinting instrumental writing is equally as thoroughly outlined as the jewel-like accuracy of the piano having fun

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