Corinna Simon - Witold Lutoslawski: Complete Piano Works (2016) [Hi-Res]

Tracklist
-----------
01. Bukoliki: I. Allegro Vivace
02. Bukoliki: II. Allegro sostenuto
03. Bukoliki: III. Allegro molto
04. Bukoliki: IV. Andantino
05. Bukoliki: V. Allegro marciale
06. Two Studies for Piano: I. Allegro
07. Two Studies for Piano: II. Non troppo allegro
08. Melodie Ludowe: I. Ach, mój Jasieńko
09. Melodie Ludowe: II. Hej, od Krakowa jadę
10. Melodie Ludowe: Iiii. Jest Drożyna, Jest
11. Melodie Ludowe: IV. Pastereczka
12. Melodie Ludowe: V. Na jabloni jablko wisi
13. Melodie Ludowe: VI. Od Sieradza plynie rzeka
14. Melodie Ludowe: VII. Panie Michale
15. Melodie Ludowe: VIII. W Polu Lipeńka
16. Melodie Ludowe: IX. Zalotny
17. Melodie Ludowe: X. Gaik
18. Melodie Ludowe: XI. Gąsior
19. Melodie Ludowe: XII. Rektor
20. 3 Utwory dia mlodzieźy: I. Czteropalcówka
21. 3 Utwory dia mlodzieźy: II. Melodia
22. 3 Utwory dia mlodzieźy: III. Marsz
23. Inwencja
24. Zaslyszana melodyjka
25. Sonata for Piano: I. Allegro
26. Sonata for Piano: II. Adagio ma non troppo
27. Sonata for Piano: III. Andante


Corinna Simon: Witold Lutosławski was one of the greatest composers of the 20th century. His well-known Variations on a Theme by Paganini for two pianos are in the repertoire of almost every respectable piano duo. Unfortunately, apart from the short piece An Overheard Tune, featured here, Lutosławski left no other work for two pianists to posterity. During the Second World War, Lutosławski played many of his own compositions in cafés, in duo with Andrzej Panufnik, in order to make a living. In July 1944 he had to flee from Warsaw, his home town, just a few days before the Uprising, and was only able to save a small number of his scores from extinction. He didn’t return to Warsaw until April of the following year. Among all the solo piano works Lutosławski must have composed up to the end of World War II, only the Sonata (1934) and the Two Etudes (1940/41) are still preserved today. Lutosławski was an excellent pianist, but after the war he only wrote a very small number of pieces for the instrument. They all pertain to his early post-war period, before he turned to twelve-tone pitch organisation and aleatory technique. What most impresses and thrills me in Lutosławski’s piano output is his immense degree of creativity while heeding every detail with painstaking attention; his wonderful way of associating traditional forms with innovative, bold sonorities and structures, while managing to preserve a great degree of independence that makes this music sound effortless and lively.

DOWNLOAD ALBUM [flac]

DOWNLOAD ALBUM [Hi-Res]