Podcasts about witold lutos

SynopsisToday, some unfamiliar Christmas carols — or perhaps very familiar ones, if you're Polish.In 1946, the Director of Polish Music Publishing asked composer Witold Lutosławski to make some new arrangements of old Polish carols. During World War II, Poland had been under the control of Nazi Germany, and after the war dominated by the Soviet Union. In addition to material hardships, in the cultural sphere 1946 was a difficult time for Polish artists. Overnight Communist ideology was imposed on all endeavors, including music. The Polish Music Publishing director probably thought collecting and publishing Christmas carol arrangements was a relatively safe activity. And so, Lutosławski collected and arranged 20 old Polish Christmas carols for voice and piano, and these were premiered in Kraków soon after. In the political and cultural turmoil of the decades that followed, these arrangements were pretty much forgotten until almost 40 years later, when Lutosławski re-arranged them for solo soprano, chorus, and orchestra.  And, even if you don't speak Polish, if you sing in a choir looking for some new Christmas music, you should know these Lutosławski carol arrangements are available in English-language versions, too.Music Played in Today's ProgramWitold Lutosławski (1913-1994): The Angels Came to the Shepherds and Hey, We Look Forward Now (excerpts), from 20 Polish Christmas Carols; Polish Radio Chorus, Kraców; Polish National Radio Chorus and Symphony; Antoni Wit, conductor; Naxos 8.555994

Rond 1960 was ook de Pool Krzysztof Penderecki, evenals Ligeti, in de weer met dicht op elkaar gepakte klanken, met clusters, maar dan juist vanuit een sterk theatrale esthetiek. Witold Lutosławski behoorde in deze tijd eveneens tot de postseriële componisten. Hij paste met name geleide aleatoriek toe (de muziek klinkt dan menigmaal als een vrijblijvende […]

Compositor y director de orquesta polaco. Abarca el estilo neoclásico con elementos de música folclórica nacional y la música ligera, introduce su propio estilo dodecafónico, explora la aleatoriedad y evoluciona, en sus obras finales, hacia un estilo menos monumental._____Has escuchadoCello Concerto (1970). Heinrich Schiff, violonchelo; Symphony Orchestra of the National Philharmonic (Warsaw); Witold Rowicki, director. Philips (1999)Symphony No. 3 (1983). Berliner Philharmoniker; Witold Lutosławski, director. Philips (1999)Trois poèmes d'Henri Michaux: For 20-Part Choir and Orchestra. Le grand combat (1963). The Polish Radio Choir in Cracow; The Polish Radio National Symphony Orchestra in Katowice; Jan Krenz, director. WERGO (1979)_____ Selección bibliográficaBĘDKOWSKI, Stanisław y Stanisław Hrabia, Witold Lutosławski: A Bio-Bibliography. Greenwood Press, 2001BODMAN RAE, Charles, The Music of Lutosławski. Faber and Faber, 1994GARRIDO, Tomás, “Witold Lutosławski, un compositor fundamental del siglo XX”. Quodlibet: Revista de Especialización Musical, n.º 56 (2014), pp. 56-101*GIERACZYŃSKI, Bogdan, “Witold Lutosławski in Interview”. Tempo, n.º 170 (1989), pp. 4-10JAKELSKI, Lisa y Nicholas Reyland, Lutosławski's Worlds. The Boydell Press, 2018*KACZYŃSKI, Tadeusz, Conversations with Witold Lutosławski. Chester Music, 1984MARCO, Tomás, “Witold Lutosławski, de este a oeste”. Quodlibet: Revista de Especialización Musical, n.º 56 (2014), pp. 30-55*MARTÍNEZ GARCÍA, Gonzalo, Una teoría sobre el movimiento tonal a gran escala en la música del tercer periodo estilístico de Witold Lutosławski, 1979-1994. Tesis doctoral, Universidad Autónoma de Madrid, 2006—, “Estrategias de movimiento tonal a gran escala en la música tardía de Lutosławski, 1979-1994”. Quodlibet: Revista de Especialización Musical, n.º 56 (2014), pp. 102-141*REYLAND, Nicholas, “Livre or Symphony? Lutosławski's Livre pour orchestre and the Enigma of Musical Narrativity”. Music Analysis, vol. 27, n.º 2-3 (2008), pp. 253-294*RICE, Hugh Collins, “Witold Lutosławski and the Craft of Writing Nothing”. Tempo, vol. 64, n.º 253 (2010), pp. 21-29*RUST, Douglas, “Conversation with Witold Lutosławski”. The Musical Quarterly, vol. 79, n.º 1 (1995), pp. 207-223*SKOWRON, Zbigniew (ed.), Lutosławski Studies. Oxford University Press, 2001— (ed.), Lutosławski on Music. The Scarecrow Press, 2007STUCKY, Steven, Lutosławski and His Music. Cambridge University Press, 1981 *Documento disponible para su consulta en la Sala de Nuevas Músicas de la Biblioteca y Centro de Apoyo a la Investigación de la Fundación Juan March

- Mistrz był niezwykle wymagający, ale pracował zawsze z niezwykłą kulturą i z niezwykłą delikatnością - tak o Witoldzie Lutosławskim mówił prof. Andrzej Bauer, prezes Towarzystwa im. Witolda Lutosławskiego. 20 stycznia w Warszawie rozpocznie się Festiwal Witolda Lutosławskiego "Łańcuch XXI". 

- To sezon szczególny, ponieważ trzech wielkich polskich kompozytorów ma swoje rocznice: Krzysztof Penderecki, Witold Lutosławski i Henryk Mikołaj Górecki. Jednocześnie ten sezon chciałem rozpocząć od IX Symfonii Beethovena, którą planowaliśmy już dawno, ale ze względu na pandemię nie mogliśmy jej wykonać - mówił w Dwójce Andrzej Boreyko, dyrektor artystyczny Filharmonii Narodowej.

How far is jazz from classical music? Do they really speak radically different languages? Michael Bates' Acrobat and Lutosławski Quartet are ensembles from different musical environments. They have established an artistic dialogue focusing on the oeuvre of one of Poland's greatest 20th-century composers: Witold Lutosławski. The results of their work have been recorded and will soon be released under the Polish music label ANAKLASIS. The CD METAMORPHOSES: VARIATIONS ON LUTOSŁAWSKI enters the market on 28th June.Help support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber and Apple Classical. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber#AppleClassical Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.comThis album is broadcasted with the permission of Crossover Media Music Promotion (Zachary Swanson and Amanda Bloom).

O primeiro navio negreiro a aportar na Virgínia apareceu por lá em agosto de 1619. Sem saber, seus tripulantes estavam inaugurando um sistema que alteraria o Novo Mundo por completo dali pra frente – pra pior. Falamos como a indústria do tabaco fez proliferar a mão-de-obra escravista na Colônia da Virgínia, do surgimento do racismo institucional e das contradições da Revolução Americana de 1776. A escravidão transatlântica do século 17 foi infinitamente mais violenta e desigual do que quaisquer sistema anteriores de servidão; a gente explica por quê. [Esta é a parte 1 de 3 sobre a escravidão estadunidense.] Referências bibliográficas: Andrews, William L. The Novelization of Voice in Early African American Narrative. Publications of the Modern Language Association, Vol. 105, No. 1, p. 23-34, Jan. 1990. Blassingame, John W. Using testimony of ex-slaves: approaches and problems. The Journal of Southern History, Vol. 41, No. 4, p. 473-492, Nov. 1975a. Brass, Tom. "Unfree labour as primitive accumulation? Capital & Class". Capital & Class. 35 (1): pp. 23-38, 2011. Braudel, Ferdinand. Civilisation and Capitalism, 15th-18th Century, Vol. I. Berkeley: University of California Press, 1992. Berry, Mary Frances; Blassingame, John W. Long Memory: the black experience in America. New York/Oxford: Oxford University Press, 1982. Davidson, Basil. The African Slave Trade. Boston: Little Brown and Company, 1988. DeLombard, Jeannine Marie. Slavery on Trial: Law, Abolitionism, and Print Culture. Chapel Hill: The University of North Carolina Press, 2007. Eisenstark, Reyna. Abolitionism. New York: Chelsea House, 2010. (Key Concepts in American History) Harvey, David. The New Imperialism. Oxford: Oxford University Press, 2005 (sobretudo capítulo 4: "Accumulation by Dispossession”). Hill, J. Case Studies in Indentured Servitude in Colonial America. Constructing the Past, 9(1), 55-62, 2008. Lodge, Henry Cabot. A Short History of the English Colonies in America. New York, Harper & brothers, 1901. Marx, Karl. Das Kapital: Kritik der politischen Ökonomie. Köln: Anaconda Verlag, 2009 (sobretudo „Vierundzwanzigstes Kapitel: Die sogenannte ursprüngliche Akkumulation“, p. 659 et seq; a escravidão africana é mencionada na p. 704). McNesse, Tim. The Abolitionist Movement: Ending Slavery. New York: Chelsea House, 2008. Morgan, Kenneth (ed.). Servitude and Slavery in Colonial North America, 1607-1800. Edinburgh: Edinburgh University Press, 2014. Morrison, Toni. Unspeakable Things Unspoken: the Afro-American Presence in American Literature. Michigan quarterly review, Vol. 28, No. 1, p. 1-34, 1989. Newman, Richard S. The Transformation of American Abolitionism: Fighting Slavery in the Early Republic. Chapel Hill: The University of North Carolina Press, 2002. Sekora, John. Black Message/White Envelope: Genre, Authenticity, and Authority in the Antebellum Slave Narrative. Callaloo, No. 32, p. 482-515, Summer, 1987. Zinn, Howard. A People's History of the United States: 1492-today. NY: Harper's Classics, 2005, capítulos 1 a 3. Trilha sonora: Witold Lutosławski - Novelette For Orchestra (1979) Henryk Mikołaj Górecki - Symphony No. 3 (1976) Música de desfecho: Alfa Mist - Breathe (2017)

Un día como hoy, 7 de febrero. Acontecimientos: 1765, se publica El castillo de Otranto, de Horace Walpole. Nace: Tomás Moro. 1478: Tomás Moro, político, humanista y escritor inglés. 1812: Charles Dickens, escritor británico . 1864: Ricardo Castro Herrera, compositor mexicano. 1885: Sinclair Lewis, novelista estadounidense, premio nobel de literatura en 1930. Fallece: 1823: Ann Radcliffe, escritora y novelista británica. 1994: Witold Lutosławski, compositor polaco. 2003: Augusto Monterroso, escritor guatemalteco. Conducido por Joel Almaguer. Una producción de Sala Prisma Podcast. 2023

- Każdy utwór jest pożegnaniem się z własnym marzeniem, jest już rzeczywistością, a dostosowanie rzeczywistości do marzenia jest nie do osiągnięcia na tym świecie - mówił dla Polskiego Radia jeden z najwybitniejszych polskich kompozytorów XX wieku Witold Lutosławski. 25 stycznia minęła 110. rocznica jego urodzin.

Un día como hoy, 25 de enero. Nacen: 1868, Juventino Rosas. 1874, W. Somerset Maugham. 1882, Virginia Woolf. 1884, Artemio de Valle Arizpe. 1886, Wilhelm Furtwängler. 1913, Witold Lutosławski. Conducido por Joel Almaguer Una producción de Sala Prisma Podcast. 2023.

- Jeszcze zanim powstało Narodowe Forum Muzyki, Filharmonia Wrocławska otrzymała patrona w postaci właśnie Witolda Lutosławskiego. My przejęliśmy tę ideę i w tej chwili oficjalna nazwa naszej instytucji brzmi Narodowe Forum Muzyki im. W. Lutosławskiego we Wrocławiu - mówił w "Wybieram Dwójkę" Andrzej Kosendiak, dyrektor NFM.

con Luca Damiani

Today I am talking to pianist Peter Jablonski. We discuss piano repertoire in and outside the canon, how careers take time to develop, and wonder about the influence of social media on the longevity of a career in music.Peter Jablonski is an award-winning internationally acclaimed Swedish pianist. Discovered by Claudio Abbado and Vladimir Ashkenazy, and signed by Decca in his seventeenth year, Jablonski went on to perform, collaborate, and record with many of the world's leading orchestras and conductors, including the BBC Symphony Orchestra, Royal Philharmonic Orchestra, Leipzig Gewandhaus, Kirov (now Mariinsky), La Scala Philharmonic, Tonhalle Zürich, Orchestre National de France, NHK Tokyo, DSO Berlin, Warsaw Philharmonic, Philadelphia, Los Angeles Philharmonic, and Cleveland Orchestra; Vladimir Ashkenazy, Valery Gergiev, Andris Nelsons, Daniel Harding, Kurt Sanderling, Esa-Pekka Salonen, Riccardo Chailly, Daniele Gatti, and Myung-Whun Chung. Jablonski has performed and recorded the complete piano concertos of Beethoven, Tchaikovsky, Rachmaninoff, and Bartók, and all ten piano sonatas by Prokofiev. Hailed an ‘unconventional virtuoso' (Present Arts), during his three-decade-long career, Jablonski developed a diverse repertoire that includes works by Barber, Gershwin, Szymanowski, Lutosławski, Copland, Stenhammar, with most recent additions of such Scandinavian and European composers as Valborg Aulin, Elfrida Andrée, Laura Netzel, Johanna Müller-Hermann, Grażyna Bacewicz, and Alexey Stanchinsky.  Composers with whom Jablonski worked include Witold Lutosławski and Arvo Pärt, and he has had a number of works composed for, and dedicated to him, including Wojciech Kilar's Piano Concerto, for which he won the Orpheus award for the world premiere performance at the Warsaw Autumn Festival. Jablonski remains a supporter of today's composers and regularly gives world premieres of new works, together with those that have been neglected by music history. Jablonski's extensive discography includes recordings he has made for labels such as Decca, Deutsche Grammophon, Philips, Altara, Octavia, and Ondine. He received numerous accolades for his recordings, which include the Edison and the Grammophone Classical Music Award.Peter Jablonski is the recipient of the Litteris et Artibus medal for his services to culture, granted to him by the King of Sweden, Carl XVI Gustaf. He is also the winner of the prestigious prize Årets Svensk i Världen (International Swedish Personality of the Year), receiving it before ABBA and Astrid Lindgren. www.peterjablonski.comTwitter: @Jablonski_Phttps://www.ondine.net/?lid=en&cid=2.2&oid=6707

Un día como hoy, 7 de febrero. Acontecimientos: 1765, se publica El castillo de Otranto, de Horace Walpole. Nace: Tomás Moro. 1478: Tomás Moro, político, humanista y escritor inglés. 1812: Charles Dickens, escritor británico . 1864: Ricardo Castro Herrera, compositor mexicano. 1885: Sinclair Lewis, novelista estadounidense, premio nobel de literatura en 1930. Fallece: 1823: Ann Radcliffe, escritora y novelista británica. 1994: Witold Lutosławski, compositor polaco. 2003: Augusto Monterroso, escritor guatemalteco. Una producción de Sala Prisma Podcast. 2021

Un día como hoy, 25 de enero. Nacen: 1868, Juventino Rosas. 1874, W. Somerset Maugham. 1882, Virginia Woolf. 1884, Artemio de Valle Arizpe. 1886, Wilhelm Furtwängler. 1913, Witold Lutosławski. Una producción de Sala Prisma Podcast. 2021

Il 25 gennaio 1913 nasce a Varsavia Witold Lutosławski. Massimo Acanfora Torrefranca lo racconta a Wikimusic.

Recognised in 2011 for his contributions to the arts with the Medal of the Order of Australia, John Carmichael is a celebrated Australian composer and concert pianist. Discover the inspirations and relationships behind his music, as well as the influence of languages and cultures from his travels and career as a professional linguist, in this in-depth interview with 3MBS presenter Teddy Darling. Now celebrating his 90th birthday, this humble and generous musician has a wealth of life experience, advice, and exciting stories to share with 3MBS listeners. Join John and Teddy live for the musical sequel to this interview with a full-length feature broadcast on Melbourne in Concert at 6PM Sunday 11 October, only on 3MBS Fine Music Melbourne.Next episode: Hobart-based nonbinary singer and composer Quin Thomson (Sunday 18 October). ***John's music recommendations:'Bluebeard's Castle' - a one-act opera by Béla BartókAlso check out the following composers: Maurice Ravel, plus Witold Lutosławski, Henri Dutilleux, Brett Dean, and James MacMillan (added by John via email addendum). Listen to the feature broadcast live at 103.5FM, digital, or stream online at 3mbs.org.au.Or listen to it on-demand after it airs at 3mbs.org.au/programs/melbourne-in-concert***Credits:This episode was written, hosted, and produced by Teddy Darling, with support from Adrian McEniery, Frank Prain, Stewart McMillan, and other staff members from 3MBS Fine Music Melbourne. This episode features the following music with the permission of the artists:'Latin American Dances' by John Carmichael, performed by Justin Kenealy and Coady Green'Concierto Folklorico' by John Carmichael, performed by Carles and Sofia with the Orquesta Juvenil del SODRE, conducted by Ariel Britos.The Musicmakers theme music is 'Bahama Rhumba' from 'Latin American Dances' by John Carmichael, performed live on Melbourne in Concert by Justin Kenealy and Coady Green at 3MBS on 28 July 2019 in the Lady Marigold Southey Performance Studio.

Meet some of Melbourne and Australia's established and emerging musicmakers in this new fortnightly podcast series from 3MBS Fine Music Melbourne, hosted by Teddy Darling. Episode #1: John Carmichael OAMRecognised in 2011 for his contributions to the arts with the Medal of the Order of Australia, John Carmichael is a celebrated Australian composer and concert pianist. Discover the inspirations and relationships behind his music, as well as the influence of languages and cultures from his travels and career as a professional linguist, in this in-depth interview with 3MBS presenter Teddy Darling. Now celebrating his 90th birthday, this humble and generous musician has a wealth of life experience, advice, and exciting stories to share with 3MBS listeners. Join John and Teddy live for the musical sequel to this interview with a full-length feature broadcast on Melbourne in Concert at 6PM Sunday 11 October, only on 3MBS Fine Music Melbourne.Next episode: Hobart-based nonbinary singer and composer Quin Thomson (Sunday 18 October). ***John's music recommendations:'Bluebeard's Castle' - a one-act opera by Béla BartókAlso check out the following composers: Maurice Ravel, plus Witold Lutosławski, Henri Dutilleux, Brett Dean, and James MacMillan (added by John via email addendum). Listen to the feature broadcast live at 103.5FM, digital, or stream online at 3mbs.org.au.Or listen to it on-demand after it airs at 3mbs.org.au/programs/melbourne-in-concert***Credits:This episode was written, hosted, and produced by Teddy Darling, with support from Adrian McEniery, Frank Prain, Stewart McMillan, and other staff members from 3MBS Fine Music Melbourne. This episode features the following music with the permission of the artists:'Latin American Dances' by John Carmichael, performed by Justin Kenealy and Coady Green'Concierto Folklorico' by John Carmichael, performed by Carles and Sofia with the Orquesta Juvenil del SODRE, conducted by Ariel Britos.The Musicmakers theme music is 'Bahama Rhumba' from 'Latin American Dances' by John Carmichael, performed live on Melbourne in Concert by Justin Kenealy and Coady Green at 3MBS on 28 July 2019 in the Lady Marigold Southey Performance Studio.Support the show: https://3mbs.org.au/donateSee omnystudio.com/listener for privacy information.

Recognised in 2011 for his contributions to the arts with the Medal of the Order of Australia, John Carmichael is a celebrated Australian composer and concert pianist. Discover the inspirations and relationships behind his music, as well as the influence of languages and cultures from his travels and career as a professional linguist, in this in-depth interview with 3MBS presenter Teddy Darling. Now celebrating his 90th birthday, this humble and generous musician has a wealth of life experience, advice, and exciting stories to share with 3MBS listeners. Join John and Teddy live for the musical sequel to this interview with a full-length feature broadcast on Melbourne in Concert at 6PM Sunday 11 October, only on 3MBS Fine Music Melbourne.Next episode: Hobart-based nonbinary singer and composer Quin Thomson (Sunday 18 October). ***John's music recommendations:'Bluebeard's Castle' - a one-act opera by Béla BartókAlso check out the following composers: Maurice Ravel, plus Witold Lutosławski, Henri Dutilleux, Brett Dean, and James MacMillan (added by John via email addendum). Listen to the feature broadcast live at 103.5FM, digital, or stream online at 3mbs.org.au.Or listen to it on-demand after it airs at 3mbs.org.au/programs/melbourne-in-concert***Credits:This episode was written, hosted, and produced by Teddy Darling, with support from Adrian McEniery, Frank Prain, Stewart McMillan, and other staff members from 3MBS Fine Music Melbourne. This episode features the following music with the permission of the artists:'Latin American Dances' by John Carmichael, performed by Justin Kenealy and Coady Green'Concierto Folklorico' by John Carmichael, performed by Carles and Sofia with the Orquesta Juvenil del SODRE, conducted by Ariel Britos.The Musicmakers theme music is 'Bahama Rhumba' from 'Latin American Dances' by John Carmichael, performed live on Melbourne in Concert by Justin Kenealy and Coady Green at 3MBS on 28 July 2019 in the Lady Marigold Southey Performance Studio.

A reviewer suggested that we mentioned John Cage in this podcast as a "cheap marketing ploy." That made use think about taste: highbrow, lowbrow, and unibrow. We reflect on whether we are really the "Renaissance men of music." Help support The Next Track by making regular donations via Patreon. We're ad-free and self-sustaining so your support is what keeps us going. Thanks! Support The Next Track (https://www.patreon.com/thenexttrack). Show notes: John Cage Trust (https://johncage.org) Episode #186 - Harpsichordist Mahan Esfahani (https://www.thenexttrack.com/189) Episode #7 – Music and Genres (https://www.thenexttrack.com/8) Brotherhood (https://en.wikipedia.org/wiki/Brotherhood_(American_TV_series)) The Murder Capital live from the Guinness Storehouse (https://www.rte.ie/culture/2020/0629/1150272-other-voices-courage-watch-lankum-in-concert/) Episode #187 - Live Performances during Covid-19, and After (https://www.thenexttrack.com/190) - Springsteen on Broadway (https://www.netflix.com/gb/title/80232329) Our next tracks: John Cage, Witold Lutosławski - LaSalle-Quartett, String Quartets (https://www.discogs.com/John-Cage-Witold-Lutosławski-LaSalle-Quartett-Streichquartette-String-Quartets/release/1184912) Jack Bruce: Harmony Row (https://amzn.to/2Dlo7qF) If you like the show, please subscribe in iTunes (https://itunes.apple.com/podcast/the-next-track/id1116242606) or your favorite podcast app, and please rate the podcast.

Marjolaine Fournier and Jean-Jacques van Vlasselaer talk about two Concertos for orchestra: one by Béla Bartók and the other by Witold Lutosławski. They take a moment to explain the format of a concerto for orchestra (what do you mean, a concerto without a soloist?), and the dialog that develops within the orchestra performing it. Bartók and Lutosławski, who lived concurrently but in different contexts, composed two completely different and marvellous works.

Witold Lutos?awski 105

Witold Lutos?awski 105

Witold Lutosławski was one of the great cultural figures of 20th century Poland, and his Concerto for Orchestra– based on a simple folk tune –was one of his first great successes; perhaps because his personal history mirrored that of his native land.

We had the fantastic opportunity to travel to Wrocław, Poland to attend the storied World Music Days festival, where we met a wealth of Polish composers who are part of the living legacy of this vibrant cultural mecca. Hosted by Seth Boustead Produced by Jesse McQuarters Krzysztof Penderecki: Violin Concerto No. 2, Metamorphosen, V (excerpt) London Symphony Orchestra/Penderecki; Anne-Sophie Mutter, v. Witold Lutosławski, arr. Marta Ptaszynska: Paganini Variations Safru Duo and Slovak Piano Duo Hanna Kulenty: Breathe for String Orchestra Wrocław Leopoldinum Chamber Orchestra/Ernst Kovacic Mateusz Ryczek: 28 Days of Moon Ensemble Kwartludium Marta Ptaszynska: La Novella d'Inverno (Winter's Tale) for Strings Polish Chamber Orchestra/Jerzy Maksymiuk Zygmunt Krause: Fête galante et Pastorale (excerpt) Polish Radio Symphony Orchestra/Jacek Rogala; Music Workshop Generous sponsorship of these episodes has been provided by LOT Polish Airlines and the Adam Mickiewicz Institute.

In this feature-length biopic, Series Advisor Steven Stucky and Principal Conductor and Philharmonia Orchestra Artistic Advisor Esa-Pekka Salonen travel to Poland to the explore the life and works of Polish composer Witold Lutosławski, from his early life, his struggle for survival in Warsaw during the Second World War, the Stalinist period, and finally into his latter and most mature works. This film was released as part of the Philharmonia Orchestra's series Woven Words - "Music begins where words end". Explore the series’ digital resources at philharmonia.co.uk/lutoslawski.

In this feature-length biopic, Series Advisor Steven Stucky and Principal Conductor and Philharmonia Orchestra Artistic Advisor Esa-Pekka Salonen travel to Poland to the explore the life and works of Polish composer Witold Lutosławski, from his early life, his struggle for survival in Warsaw during the Second World War, the Stalinist period, and finally into his latter and most mature works. This film was released as part of the Philharmonia Orchestra's series Woven Words - "Music begins where words end". Explore the series’ digital resources at philharmonia.co.uk/lutoslawski.

Violinist Jennifer Koh talks about her relationship with Witold Lutosławski's Chain 2: Dialogue for Violin and Orchestra (1984–85), which she will perform with the Philharmonia Orchestra on 21 March 2013 at the Royal Festival Hall in London."The thing that satisfies me now - in every respect – is Chain 2." - Witold Lutosławski. Part of the Philharmonia Orchestra's series Woven Words: "Music begins where words end". Explore the series’ digital resources at www.philharmonia.co.uk/lutoslawski

Violinist Jennifer Koh talks about her relationship with Witold Lutosławski's Chain 2: Dialogue for Violin and Orchestra (1984–85), which she will perform with the Philharmonia Orchestra on 21 March 2013 at the Royal Festival Hall in London."The thing that satisfies me now - in every respect – is Chain 2." - Witold Lutosławski. Part of the Philharmonia Orchestra's series Woven Words: "Music begins where words end". Explore the series’ digital resources at www.philharmonia.co.uk/lutoslawski

Commissioned by the Royal Philharmonic Society, Witold Lutosławski's Cello Concerto was written for and premièred by the great cellist Mstislav Rostropovich at the Royal Festival Hall in London in 1970. Tom Hutchinson of the Royal Philharmonic Society tells us more. Part of the Philharmonia Orchestra's series Woven Words: "Music begins where words end". Explore the series’ digital resources at http://www.philharmonia.co.uk/lutoslawski

Commissioned by the Royal Philharmonic Society, Witold Lutosławski's Cello Concerto was written for and premièred by the great cellist Mstislav Rostropovich at the Royal Festival Hall in London in 1970. Tom Hutchinson of the Royal Philharmonic Society tells us more. Part of the Philharmonia Orchestra's series Woven Words: "Music begins where words end". Explore the series’ digital resources at http://www.philharmonia.co.uk/lutoslawski

Series Advisor Steven Stucky talks with Philharmonia Orchestra members Samuel Coles (Joint Principal Flute) and Mark van de Wiel (Joint Principal Clarinet) about Witold Lutosławski's use of chance in his compositions, an approach called "controlled aleatorism." They work through a short passage of Lutosławski's Jeux venitiens (Venetian Games), illustrating how each performance is unique. Part of the Philharmonia Orchestra's series Woven Words: "Music begins where words end". Explore the series’ digital resources at http://www.philharmonia.co.uk/lutoslawski, or visit www.woven-words.co.uk/game to explore Lutosławski's compositional techniques in a game!

Series Advisor Steven Stucky talks with Philharmonia Orchestra members Samuel Coles (Joint Principal Flute) and Mark van de Wiel (Joint Principal Clarinet) about Witold Lutosławski's use of chance in his compositions, an approach called "controlled aleatorism." They work through a short passage of Lutosławski's Jeux venitiens (Venetian Games), illustrating how each performance is unique. Part of the Philharmonia Orchestra's series Woven Words: "Music begins where words end". Explore the series’ digital resources at http://www.philharmonia.co.uk/lutoslawski, or visit www.woven-words.co.uk/game to explore Lutosławski's compositional techniques in a game!

Fourth in a series of four biographical films on the Polish composer, Witold Lutosławski. Series Advisor, Steven Stucky and Philharmonia Orchestra Principal Conductor and Artistic Advisor, Esa-Pekka Salonen visit the Filharmonia Narodowa (National Concert Hall) in Warsaw and talk about the composer's later life. In his later years, Lutosławski flourished and finally found his distinctive musical voice. Part of the Philharmonia Orchestra's series Woven Words: "Music begins where words end".

Fourth in a series of four biographical films on the Polish composer, Witold Lutosławski. Series Advisor, Steven Stucky and Philharmonia Orchestra Principal Conductor and Artistic Advisor, Esa-Pekka Salonen visit the Filharmonia Narodowa (National Concert Hall) in Warsaw and talk about the composer's later life. In his later years, Lutosławski flourished and finally found his distinctive musical voice. Part of the Philharmonia Orchestra's series Woven Words: "Music begins where words end".

Third in a series of four biographical films on the Polish composer, Witold Lutosławski. Series Advisor, Steven Stucky and Philharmonia Orchestra Principal Conductor and Artistic Advisor, Esa-Pekka Salonen visited Polska Radio in Warsaw to talk about Lutosławski's work during Soviet rule. They view manuscripts of his compositions for radio and also pop music, which he composed under the pseudonym, Derwid. Part of the Philharmonia Orchestra's series Woven Words: "Music begins where words end".

Third in a series of four biographical films on the Polish composer, Witold Lutosławski. Series Advisor, Steven Stucky and Philharmonia Orchestra Principal Conductor and Artistic Advisor, Esa-Pekka Salonen visited Polska Radio in Warsaw to talk about Lutosławski's work during Soviet rule. They view manuscripts of his compositions for radio and also pop music, which he composed under the pseudonym, Derwid. Part of the Philharmonia Orchestra's series Woven Words: "Music begins where words end".

Series Advisor, Steven Stucky and Philharmonia Orchestra Principal Conductor and Artistic Advisor, Esa-Pekka Salonen both knew the Polish composer, Witold Lutosławski well. In this film, the two composers reminisce about their friend and mentor and discuss his work. Part of the Philharmonia Orchestra's series Woven Words: "Music begins where words end".

Series Advisor, Steven Stucky and Philharmonia Orchestra Principal Conductor and Artistic Advisor, Esa-Pekka Salonen both knew the Polish composer, Witold Lutosławski well. In this film, the two composers reminisce about their friend and mentor and discuss his work. Part of the Philharmonia Orchestra's series Woven Words: "Music begins where words end".

Second in a series of four biographical films on the Polish composer, Witold Lutosławski. This film focuses on the composer's struggle for survival in Warsaw during World War II. Series Advisor, Steven Stucky and Philharmonia Orchestra Principal Conductor and Artistic Advisor, Esa-Pekka Salonen traveled to Poland to find out more. Lutosławski expert Charles Bodman Rae also helps bring this terrifying moment in history to life. Part of the Philharmonia Orchestra's series Woven Words: "Music begins where words end".

Second in a series of four biographical films on the Polish composer, Witold Lutosławski. This film focuses on the composer's struggle for survival in Warsaw during World War II. Series Advisor, Steven Stucky and Philharmonia Orchestra Principal Conductor and Artistic Advisor, Esa-Pekka Salonen traveled to Poland to find out more. Lutosławski expert Charles Bodman Rae also helps bring this terrifying moment in history to life. Part of the Philharmonia Orchestra's series Woven Words: "Music begins where words end".

First in a series of four biographical films on the Polish composer, Witold Lutosławski. This film focuses on the composer's early life and beginnings in music. Series Advisor, Steven Stucky and Philharmonia Orchestra Principal Conductor and Artistic Advisor, Esa-Pekka Salonen traveled to Poland to discover how tragic and traumatic events in Lutosławski's early life shaped his compositions and personality. Part of the Philharmonia Orchestra's series Woven Words: "Music begins where words end".

First in a series of four biographical films on the Polish composer, Witold Lutosławski. This film focuses on the composer's early life and beginnings in music. Series Advisor, Steven Stucky and Philharmonia Orchestra Principal Conductor and Artistic Advisor, Esa-Pekka Salonen traveled to Poland to discover how tragic and traumatic events in Lutosławski's early life shaped his compositions and personality. Part of the Philharmonia Orchestra's series Woven Words: "Music begins where words end".

Pianist Peter Jablonski talks us through Witold Lutosławski's Piano Concerto (1987-88), which will be performed by Krystian Zimerman on 30 January at the Royal Festival Hall in London. This concert marks the opening of the Philharmonia Orchestra's series Woven Words: "Music begins where words end".

Pianist Peter Jablonski talks us through Witold Lutosławski's Piano Concerto (1987-88), which will be performed by Krystian Zimerman on 30 January at the Royal Festival Hall in London. This concert marks the opening of the Philharmonia Orchestra's series Woven Words: "Music begins where words end".