Witold Lutosławski - Revision history

Diogooutra at 14:53, 16 June 2020

2020-06-16T14:53:14Z

Diogooutra: /* Post-war years */

2020-06-16T14:49:46Z

‎Post-war years

Diogooutra: /* Music */

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‎Music

Diogooutra at 14:46, 16 June 2020

2020-06-16T14:46:52Z

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Diogooutra: /* References */

2020-01-10T16:24:28Z

‎References

Diogooutra at 16:19, 10 January 2020

2020-01-10T16:19:54Z

Diogooutra at 16:16, 10 January 2020

2020-01-10T16:16:53Z

Diogooutra: /* Final years */

2020-01-09T19:24:24Z

‎Final years

Diogooutra at 19:12, 9 January 2020

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Diogooutra at 19:00, 9 January 2020

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 === Folk influence ===
 Lutosławski's works up until and including the Dance Preludes clearly show the influence of Polish folk music, both harmonically and melodically. Part of his art was in transforming folk music, rather than quoting it exactly. In some cases, folk music is unrecognisable as such without careful analysis, for example, in the Concerto for Orchestra.<sup>[15]</sup> As Lutosławski developed the techniques of his mature compositions, he stopped using folk material explicitly, although its influence remained as subtle features until the end. As he said, "[in those days] I could not compose as I wished, so I composed as I was able",<sup>[16]</sup> and about this change of direction he said, "I was simply not so interested in it [using folk music]". Also, Lutosławski was dissatisfied with composing in a "post-tonal" idiom: while composing the first symphony, he felt that this was for him a cul-de-sac.<sup>[17]</sup>
+<youtube>https://www.youtube.com/watch?v=-lA4kAirT9k</youtube>
 === Pitch organisation ===
 In ''Five Songs'' (1956–57) and ''Musique funèbre'' (1958) Lutosławski introduced his own brand of twelve-tone music, marking his departure from the explicit use of folk music.<sup>[18]</sup> His twelve-tone technique allowed him to build harmony and melody from specific intervals (in ''Musique funèbre'', augmented fourths and semitones). This system also gave him the means to write dense chords without resorting to tone clusters, and enabled him to build towards these dense chords (which often include all twelve notes of the chromatic scale) at climactic moments.<sup>[19]</sup> Lutosławski's twelve-note techniques were thus completely different in conception from Arnold Schoenberg's tone-row system,<sup>[20]</sup> although ''Musique funèbre''' does happen to be based on a tone row.<sup>[21]</sup> This twelve-note intervallic technique had its genesis in earlier works such as ''Symphony No. 1'', and ''Paganini Variations''.<sup>[22]</sup>

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 === Post-war years ===
-[[File:Lutoslawski witold 1952-53|thumb|Photograph of Witold Lutosławski, author unknown, taken between 1952 and 1953.]]
+[[File:Lutoslawski witold 1952-53.jpg|thumb|Photograph of Witold Lutosławski, author unknown, taken between 1952 and 1953.]]
 During the postwar years, Lutosławski worked on his first symphony—sketches of which he had salvaged from Warsaw—which he had started in 1941 and which was first performed in 1948, conducted by Fitelberg. To provide for his family, he also composed music that he termed functional, such as the Warsaw Suite (written to accompany a silent film depicting the city's reconstruction), sets of Polish Carols, and the study pieces for piano, Melodie Ludowe ("Folk Melodies").

@@ Line 66: / Line 66: @@
 == Music ==
-[[File:Witold Lutoslawski monument|thumb|Monument to Witold Lutosławski and his wife Maria Danuta in Powązki Cemetery. Photo by Mariusz Kubik]]
+[[File:Witold_Lutoslawski_monument.jpg|thumb|Monument to Witold Lutosławski and his wife Maria Danuta in Powązki Cemetery. Photo by Mariusz Kubik]]
 Lutosławski described musical composition as a search for listeners who think and feel the same way he did—he once called it "fishing for souls".<sup>[14]</sup>

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 # Stucky, Steven (1981). Lutosławski and His Music. Cambridge: Cambridge University Press. ISBN 0-521-22799-2. Contains an extensive bibliography to 1981.
 # Witold Lutosławski – Guide to Warsaw. NIFC 2013 free app with biography
 ''Text adapted from Wikipedia.''
 [[Category:Polish Profiles]]

← Older revision		Revision as of 16:19, 10 January 2020
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	In a departure from his usually serious compositions in 1957 to 1963, Lutosławski also composed light music under the pseudonym Derwid. Mostly waltzes, tangos, foxtrots and slow-foxtrots for voice and piano, these pieces are in the genre of Polish actors' songs. Their place in Lutosławski's output may be seen as less incongruous given his own performances of cabaret music during the war, and in the light of his relationship by marriage to the famous Polish cabaret singer Kalina Jędrusik (who was his wife's sister-in-law).		In a departure from his usually serious compositions in 1957 to 1963, Lutosławski also composed light music under the pseudonym Derwid. Mostly waltzes, tangos, foxtrots and slow-foxtrots for voice and piano, these pieces are in the genre of Polish actors' songs. Their place in Lutosławski's output may be seen as less incongruous given his own performances of cabaret music during the war, and in the light of his relationship by marriage to the famous Polish cabaret singer Kalina Jędrusik (who was his wife's sister-in-law).
		+
		+	<youtube>https://www.youtube.com/watch?v=oobR6rf_dns</youtube>

	In 1963, Lutosławski fulfilled a commission for the Music Biennale Zagreb, his Trois poèmes d'Henri Michaux for chorus and orchestra. It was the first work he had written for a commission from abroad, and brought him further international acclaim. It earned him a second State Prize for music (Lutosławski was not cynical about the award this time), and Lutosławski gained an agreement for the international publication of his music with Chester Music, then part of the Hansen publishing house. His String Quartet was first performed in Stockholm in 1965, followed the same year by the first performance of his orchestral song-cycle Paroles tissées. This shortened title was suggested by the poet Jean-François Chabrun, who had published the poems as Quatre tapisseries pour la Châtelaine de Vergi. The song cycle is dedicated to the tenor Peter Pears, who first performed it at the 1965 Aldeburgh Festival with the composer conducting. The Aldeburgh Festival was founded and organised by Benjamin Britten, with whom the composer formed a lasting friendship.		In 1963, Lutosławski fulfilled a commission for the Music Biennale Zagreb, his Trois poèmes d'Henri Michaux for chorus and orchestra. It was the first work he had written for a commission from abroad, and brought him further international acclaim. It earned him a second State Prize for music (Lutosławski was not cynical about the award this time), and Lutosławski gained an agreement for the international publication of his music with Chester Music, then part of the Hansen publishing house. His String Quartet was first performed in Stockholm in 1965, followed the same year by the first performance of his orchestral song-cycle Paroles tissées. This shortened title was suggested by the poet Jean-François Chabrun, who had published the poems as Quatre tapisseries pour la Châtelaine de Vergi. The song cycle is dedicated to the tenor Peter Pears, who first performed it at the 1965 Aldeburgh Festival with the composer conducting. The Aldeburgh Festival was founded and organised by Benjamin Britten, with whom the composer formed a lasting friendship.

@@ Line 7: / Line 7: @@
 == Biography ==
-Lutosławski's parents were both born into the Polish landed nobility. His family owned estates in the area of Drozdowo. His father Józef was involved in the Polish National Democratic Party ("Endecja"), and the Lutosławski family became intimate with its founder, Roman Dmowski (Witold Lutosławski's middle name was Roman). Józef Lutosławski studied in Zürich, where in 1904 he met and married a fellow student, Maria Olszewska, who later became Lutosławski's mother. Józef pursued his studies in London, where he acted as correspondent for the National-Democratic newspaper, Goniec. He continued to be involved in National Democracy politics after returning to Warsaw in 1905, and took over the management of the family estates in 1908. Witold Roman Lutosławski, the youngest of three brothers, was born in Warsaw shortly before the outbreak of World War I. In 1915, with Russia at war with Germany, Prussian forces drove towards Warsaw. The Lutosławskis travelled east to Moscow, where Józef remained politically active, organising Polish Legions ready for any action that might liberate Poland (which was divided according to the 1815 Congress of Vienna—Warsaw was part of Tsarist Russia). Dmowski's strategy was for Russia to guarantee security for a new Polish state. However, in 1917, the February Revolution forced the Tsar to abdicate, and the October Revolution started a new Soviet government that made peace with Germany. Józef's activities were now in conflict with the Bolsheviks, who arrested him and his brother Marian. Thus, although fighting stopped on the Eastern Front in 1917, the Lutosławskis were prevented from returning home. The brothers were interned in Butyrskaya prison in central Moscow, where Witold—by then aged five—visited his father. Józef and Marian were executed by a firing squad in September 1918, some days before their scheduled trial.
+Lutosławski's parents were both born into the Polish landed nobility. His family owned estates in the area of Drozdowo. His father Józef was involved in the Polish National Democratic Party ("Endecja"), and the Lutosławski family became intimate with its founder, Roman Dmowski (Witold Lutosławski's middle name was Roman). Józef Lutosławski studied in Zürich, where in 1904 he met and married a fellow student, Maria Olszewska, who later became Lutosławski's mother. Józef pursued his studies in London, where he acted as correspondent for the National-Democratic newspaper, Goniec. He continued to be involved in National Democracy politics after returning to Warsaw in 1905, and took over the management of the family estates in 1908. Witold Roman Lutosławski, the youngest of three brothers, was born in Warsaw shortly before the outbreak of World War I. In 1915, with Russia at war with Germany, Prussian forces drove towards Warsaw. The Lutosławskis travelled east to Moscow, where Józef remained politically active. However, in 1917, the February Revolution forced the Tsar to abdicate, and the October Revolution started a new Soviet government that made peace with Germany. Józef's activities were now in conflict with the Bolsheviks, who arrested him and his brother Marian. Thus, although fighting stopped on the Eastern Front in 1917, the Lutosławskis were prevented from returning home. The brothers were interned in Butyrskaya prison in central Moscow, where Witold — by then aged five — visited his father. Józef and Marian were executed by a firing squad in September 1918, some days before their scheduled trial.
-After the war, the family returned to the newly independent Poland, only to find their estates ruined. After his father's death, other members of the family played an important part in his early life, especially Józef's half-brother Kazimierz Lutosławski – priest and politician. ''[1]''
+After the war, the family returned to the newly independent Poland, only to find their estates ruined. After his father's death, other members of the family played an important part in his early life, especially Józef's half-brother Kazimierz Lutosławski – a priest and politician. ''[1]''
 Lutosławski started piano lessons in Warsaw for two years from the age of six. After the Polish-Soviet War the family left Warsaw to return to Drozdowo, but after a few years of running the estates with limited success, his mother returned to Warsaw. She worked as a physician, and translated books for children from English. ''[1]'' In 1924 Lutosławski entered secondary school (Stefan Batory Gymnasium) while continuing piano lessons. A performance of Karol Szymanowski's Third Symphony deeply affected him. In 1925 he started violin lessons at the Warsaw Music School. ''[2]'' In 1931 he enrolled at Warsaw University to study mathematics, and in 1932 he formally joined the composition classes at the Conservatory. His only composition teacher was Witold Maliszewski, a renowned Polish composer who had been a pupil of Nikolai Rimsky-Korsakov. Lutosławski was given a strong grounding in musical structures, particularly movements in sonata form. In 1932 he gave up the violin, and in 1933 he discontinued his mathematics studies to concentrate on the piano and composition. As a student of Jerzy Lefeld, he gained a diploma for piano performance from the Conservatory in 1936, after presenting a virtuoso program including Schumann's Toccata and Beethoven's fourth piano concerto. His diploma for composition was awarded by the same institution in 1937.
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 === World War II ===
 [[File:Andrzej Panufnik Witold Lutosławski 1990.jpg|thumb|Lutosławski (right) greets his old friend [[Andrzej Panufnik]] (left) in 1990.]]
-Military service followed—Lutosławski was trained in signalling and radio operating in Zegrze near Warsaw. He completed his Symphonic Variations in 1939, and the work was premiered by the Polish Radio Symphony Orchestra conducted by Grzegorz Fitelberg, and this performance was broadcast on radio on 9 March 1939. ''[3]'' Like most young Polish composers, Lutosławski wanted to continue his education in Paris. His plans for further musical study were dashed in September 1939, when Germany invaded western Poland and Russia invaded eastern Poland. Lutosławski was mobilised with the radio unit for the Kraków Army. He was soon captured by German soldiers, but he escaped while being marched to prison camp, and walked 250 miles (400 km) back to Warsaw. Lutosławski's brother was captured by Russian soldiers and later died in a Siberian labour camp.
+Military service followed — Lutosławski was trained in signalling and radio operating in Zegrze near Warsaw. He completed his Symphonic Variations in 1939, and the work was premiered by the Polish Radio Symphony Orchestra conducted by Grzegorz Fitelberg, and this performance was broadcast on radio on 9 March 1939. ''[3]'' Like most young Polish composers, Lutosławski wanted to continue his education in Paris. His plans for further musical study were dashed in September 1939, when Germany invaded western Poland and Russia invaded eastern Poland. Lutosławski was mobilised with the radio unit for the Kraków Army. He was soon captured by German soldiers, but he escaped while being marched to prison camp, and walked 250 miles (400 km) back to Warsaw. Lutosławski's brother was captured by Russian soldiers and later died in a Siberian labour camp.
-To earn a living, Lutosławski joined as an arranger-pianist "Dana Ensemble", the first Polish revellers, singing in "Ziemiańska Cafe". ''[4]'' Then he formed a piano duo with friend and fellow composer Andrzej Panufnik, and they performed together in Warsaw cafés. ''[5]'' Their repertoire consisted of a wide range of music in their own arrangements, including the first incarnation of Lutosławski's Paganini Variations, a highly original transcription of the 24th Caprice for solo violin by Niccolò Paganini. Defiantly, they even sometimes played Polish music (the Nazis banned Polish music in Poland—including Chopin), and composed Resistance songs. Listening in cafés was the only way in which the Poles of German-occupied Warsaw could hear live music; putting on concerts was impossible since the Germans occupying Poland prohibited any organised gatherings. ''[6]'' In café Aria, where they played, Lutosławski met his future wife Maria Danuta Bogusławska, a sister of the writer Stanisław Dygat.
+To earn a living, Lutosławski joined as an arranger-pianist "Dana Ensemble", the first Polish revellers, singing in "Ziemiańska Cafe". ''[4]'' Then he formed a piano duo with friend and fellow composer [[Andrzej Panufnik]], and they performed together in Warsaw cafés. ''[5]'' Their repertoire consisted of a wide range of music in their own arrangements, including the first incarnation of Lutosławski's Paganini Variations, a highly original transcription of the 24th Caprice for solo violin by Niccolò Paganini. Defiantly, they even sometimes played Polish music (the Nazis banned Polish music in Poland — including Chopin), and composed Resistance songs. Listening in cafés was the only way in which the Poles of German-occupied Warsaw could hear live music; putting on concerts was impossible since the Germans occupying Poland prohibited any organized gatherings. ''[6]'' In café Aria, where they played, Lutosławski met his future wife Maria Danuta Bogusławska, a sister of the writer Stanisław Dygat.
 Lutosławski left Warsaw in July 1944 with his mother, merely a few days before the Warsaw Uprising, salvaging only a few scores and sketches—the rest of his music was lost during the complete destruction of the city by Germans after the fall of uprising, as were the family's Drozdowo estates. Of the 200 or so arrangements that Lutosławski and Panufnik had worked on for their piano duo, only Lutosławski's Paganini Variations survived. Lutosławski returned to the ruins of Warsaw after the Polish-Soviet treaty in April 1945.
@@ Line 25: / Line 25: @@
 During the postwar years, Lutosławski worked on his first symphony—sketches of which he had salvaged from Warsaw—which he had started in 1941 and which was first performed in 1948, conducted by Fitelberg. To provide for his family, he also composed music that he termed functional, such as the Warsaw Suite (written to accompany a silent film depicting the city's reconstruction), sets of Polish Carols, and the study pieces for piano, Melodie Ludowe ("Folk Melodies").
-In 1945, Lutosławski was elected as secretary and treasurer of the newly constituted Union of Polish Composers [pl] (ZKP—Związek Kompozytorów Polskich). In 1946, he married Danuta Bogusławska. The marriage was a lasting one, and Danuta's drafting skills were of great value to the composer: she became his copyist, and she solved some of the notational challenges of his later works.
+In 1945, Lutosławski was elected as secretary and treasurer of the newly constituted Union of Polish Composers(ZKP—Związek Kompozytorów Polskich). In 1946, he married Danuta Bogusławska. The marriage was a lasting one, and Danuta's drafting skills were of great value to the composer: she became his copyist, and she solved some of the notational challenges of his later works.
-In 1947, the Stalinist political climate led to the adoption and imposition by the ruling Polish United Workers' Party of the tenets of Socialist realism, and the authorities' condemnation of modern music which was deemed to be non-conformist. This artistic censorship, which ultimately came from Stalin personally, was to some degree prevalent over the whole Eastern bloc, and was reinforced by the 1948 Zhdanov decree. By 1948, the ZKP was taken over by musicians willing to follow the party line on musical matters, and Lutosławski resigned from the committee. He was implacably opposed to the ideas of Socialist realism. ''[7]'' His First Symphony was proscribed as "formalist", and he found himself shunned by the Soviet authorities, a situation that continued throughout the era of Khrushchev, Brezhnev, Andropov and Chernenko. In 1954, the climate of musical oppression drove his friend Andrzej Panufnik to defect to the United Kingdom. Against this background, Lutosławski was content to compose pieces for which there was social need, but in 1954 this earned him—much to the composer's chagrin—the Prime Minister's Prize for a set of children's songs. He commented: "[I]t was for those functional compositions of mine that the authorities decorated me .... I realised that I was not writing indifferent little pieces, only to make a living, but was carrying on an artistic creative activity in the eyes of the outside world." ''[8]''
+In 1947, the Stalinist political climate led to the adoption and imposition by the ruling Polish United Workers' Party of the tenets of Socialist realism, and the authorities' condemnation of modern music which was deemed to be non-conformist. This artistic censorship, which ultimately came from Stalin personally, was to some degree prevalent over the whole Eastern bloc, and was reinforced by the 1948 Zhdanov decree. By 1948, the ZKP was taken over by musicians willing to follow the party line on musical matters, and Lutosławski resigned from the committee. He was implacably opposed to the ideas of Socialist realism. ''[7]'' His First Symphony was proscribed as "formalist", and he found himself shunned by the Soviet authorities, a situation that continued throughout the era of Khrushchev, Brezhnev, Andropov and Chernenko. In 1954, the climate of musical oppression drove his friend Andrzej Panufnik to defect to the United Kingdom. Against this background, Lutosławski was content to compose pieces for which there was social need, but in 1954 this earned him — much to the composer's chagrin — the Prime Minister's Prize for a set of children's songs. He commented: "[I]t was for those functional compositions of mine that the authorities decorated me .... I realized that I was not writing indifferent little pieces, only to make a living, but was carrying on an artistic creative activity in the eyes of the outside world." ''[8]''
 It was his substantial and original Concerto for Orchestra of 1954 that established Lutosławski as an important composer of art music. The work, commissioned in 1950 by the conductor Witold Rowicki for the newly reconstituted Warsaw Philharmonic Orchestra, earned the composer two state prizes in the following year.

@@ Line 56: / Line 56: @@
 Through the mid-1980s, Lutosławski composed three pieces called Łańcuch ("Chain"), which refers to the way the music is constructed from contrasting strands which overlap like the links of a chain. Chain 2 was written for Anne-Sophie Mutter (commissioned by Paul Sacher), and for Mutter he also orchestrated his slightly earlier Partita for violin and piano, providing a new linking Interlude, so that when played together the Partita, Interlude and Chain 2 form his longest work.
-The Third Symphony earned Lutosławski the first Grawemeyer Prize from the University of Louisville, Kentucky, awarded in 1985.[12] The significance of the prize lay not just in its prestige—other eminent nominations have included Elliott Carter and Michael Tippett—but in the size of its financial award (then US$150,000). The intention of the award is to remove recipients' financial concerns for a period to allow them to concentrate on serious composition. In a gesture of altruism, Lutosławski announced that he would use the fund to set up a scholarship to enable young Polish composers to study abroad; Lutosławski also directed that his fee from the San Francisco Symphony Orchestra for Chain 3 should go to this scholarship fund.
+The Third Symphony earned Lutosławski the first Grawemeyer Prize from the University of Louisville, Kentucky, awarded in 1985. ''[12]'' The significance of the prize lay not just in its prestige—other eminent nominations have included Elliott Carter and Michael Tippett—but in the size of its financial award (then US$150,000). The intention of the award is to remove recipients' financial concerns for a period to allow them to concentrate on serious composition. In a gesture of altruism, Lutosławski announced that he would use the fund to set up a scholarship to enable young Polish composers to study abroad; Lutosławski also directed that his fee from the San Francisco Symphony Orchestra for Chain 3 should go to this scholarship fund.
 In 1987 Lutosławski was presented (by Michael Tippett) with the rarely awarded Royal Philharmonic Society's Gold Medal during a concert in which Lutosławski conducted his Third Symphony; also that year a major celebration of his work was made at the Huddersfield Contemporary Music Festival. In addition, he was awarded honorary doctorates at several universities worldwide, including Cambridge. ''[13]''

@@ Line 1: / Line 1: @@
 Witold Roman Lutosławski (Polish: [ˈvitɔld lutɔsˈwafski]; 25 January 1913 – 7 February 1994) was a [[:Category: Poland|Polish]] composer and orchestral conductor. He was one of the major European composers of the 20th century, and one of the preeminent Polish musicians during his last three decades. He earned many international awards and prizes. His compositions (of which he was a notable conductor) include four symphonies, a Concerto for Orchestra, a string quartet, instrumental works, concertos, and orchestral song cycles.
@@ Line 13: / Line 14: @@
 === World War II ===
+[[File:Andrzej Panufnik Witold Lutosławski 1990.jpg|thumb|Lutosławski (right) greets his old friend [[Andrzej Panufnik]] (left) in 1990.]]
 Military service followed—Lutosławski was trained in signalling and radio operating in Zegrze near Warsaw. He completed his Symphonic Variations in 1939, and the work was premiered by the Polish Radio Symphony Orchestra conducted by Grzegorz Fitelberg, and this performance was broadcast on radio on 9 March 1939. ''[3]'' Like most young Polish composers, Lutosławski wanted to continue his education in Paris. His plans for further musical study were dashed in September 1939, when Germany invaded western Poland and Russia invaded eastern Poland. Lutosławski was mobilised with the radio unit for the Kraków Army. He was soon captured by German soldiers, but he escaped while being marched to prison camp, and walked 250 miles (400 km) back to Warsaw. Lutosławski's brother was captured by Russian soldiers and later died in a Siberian labour camp.
@@ Line 21: / Line 22: @@
 === Post-war years ===
+[[File:Lutoslawski witold 1952-53.jpg|thumb|Witold Lutosławski at the piano]]
 During the postwar years, Lutosławski worked on his first symphony—sketches of which he had salvaged from Warsaw—which he had started in 1941 and which was first performed in 1948, conducted by Fitelberg. To provide for his family, he also composed music that he termed functional, such as the Warsaw Suite (written to accompany a silent film depicting the city's reconstruction), sets of Polish Carols, and the study pieces for piano, Melodie Ludowe ("Folk Melodies").
@@ Line 41: / Line 42: @@
 === International renown ===
 The Second Symphony, and Livre pour orchestre and the Cello Concerto which followed, were composed during a particularly traumatic period in Lutosławski's life. His mother died in 1967, and in 1967–70 there was a great deal of unrest in Poland. This sprang first from the suppression of the theatre production Dziady, which sparked a summer of protests; later, in 1968, the use of Polish troops to suppress the liberal reforms in Czechoslovakia's Prague Spring, and the Gdańsk Shipyards strike of 1970—which led to a violent clampdown by the authorities, both caused significant political and social tension in Poland. Lutosławski did not support the Soviet regime, and these events have been postulated as reasons for the increase in antagonistic effects in his work, particularly the Cello Concerto of 1968–70 for Rostropovich and the Royal Philharmonic Society. Indeed, Rostropovich's own opposition to the Soviet regime in Russia was just coming to a head (he shortly afterwards declared his support for the dissident Aleksandr Solzhenitsyn). Lutosławski himself did not hold the view that such influences had a direct effect on his music, although he acknowledged that they impinged on his creative world to some degree. In any case, the Cello Concerto was a great success, earning both Lutosławski and Rostropovich accolades. At the work's première with the Bournemouth Symphony Orchestra, Arthur Bliss presented Rostropovich with the Royal Philharmonic Society's gold medal.
@@ Line 51: / Line 53: @@
 === Final years ===
 Through the mid-1980s, Lutosławski composed three pieces called Łańcuch ("Chain"), which refers to the way the music is constructed from contrasting strands which overlap like the links of a chain. Chain 2 was written for Anne-Sophie Mutter (commissioned by Paul Sacher), and for Mutter he also orchestrated his slightly earlier Partita for violin and piano, providing a new linking Interlude, so that when played together the Partita, Interlude and Chain 2 form his longest work.
@@ Line 94: / Line 97: @@
 == Awards and honours ==
+[[File:Popiersie Witold Lutosławski ssj 20060914.jpg|thumb|Bust of Witold Lutosławski in Celebrity Alley in Kielce (Poland)  Sculptor: Arkadiusz Latos Photographer: Paweł Cieśla ]]
 * Bust of Witold Lutosławski, Kielce, Poland
 * Order of Polonia Restituta, 1953
@@ Line 136: / Line 139: @@
 # Stucky, Steven (1981). Lutosławski and His Music. Cambridge: Cambridge University Press. ISBN 0-521-22799-2. Contains an extensive bibliography to 1981.
 # Witold Lutosławski – Guide to Warsaw. NIFC 2013 free app with biography
 [[Category:Polish Profiles]]