Quotation
So, probably the external world and our life experiences must intervene in a way in this ideal world... but it's never conscious, never wanted.
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Biographical
Lutoslawski, Witold, born at Warsaw, 25 January 19139, is died there, 7 February 1994. He studied with Maliszewski at the Warsaw Conservatory (1932-7) and soon made his mark as a pianist and composer, though few works from before 1945 have been published: those that have include the Paganini Variations for two pianos (1941). He then developed a clear, fresh tonality related to late Bartok, displayed in the Little Suite for Orchestra (1951), the Concerto for Orchestra (1954) and the Dance Preludes for clarinet and piano (1954). But that style was short-lived: in the late 1950s he was able to essay a kind of serialism (Funeral Music for strings, 1958) and to learn from Cage the possibility of aleatory textures, where synchronization between instrumental lines is not exact (Venetian Games for chamber orchestra, 1961). Most of his subsequent works were orchestral, fully chromatic, finely orchestrated in a manner suggesting Debussy and Ravel, and developed from an opposition between aleatory and metrical textures. These include his Second (1967), Third (1983) and Fourth (1993) symphonies, concertos for cello (1970) and concertos for oboe and harp (1980), and settings of French verse with chorus (Three Poems of Henri Michaux, 1963), tenor (Paroles tissees, 1965) and baritone (Les espaces du sommeil, 1975). [Adapted from Karadar]
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