Witold Lutosławski wrote his Little Suite in 1951 (orchestral version), based on folk music motifs from the Rzeszów region. It is one of the most recognisable and popular examples of the folkloric style in twentieth-century Polish music. However, unlike Karol Szymanowski, Lutosławski proposes a folk stylisation that is much less intellectual and restrained. It is characterised by simplicity and literality, thanks to which, despite its artistic sophistication, it would be appropriate to refer to the work as naive art – in the best sense of the word.
The Piano Concerto in C major, K. 467 attests to Mozart’s incredible inventiveness and creativity. Writing this work in just one month in 1785, he was at the peak of his powers in both his art and his life. The three movements are clearly differentiated and at the same time emotionally well-balanced, oscillating between the joyfully solemn, almost fanfare-like main theme of the Allegro maestoso, the perfectly soothing yet somewhat wistful famous Andante and the unconditionally joyful, childlike Allegro vivace assai, adhering to the traditional rondo form.
The Symphony No. 6 – often referred to as Pyotr Tchaikovsky’s swan song – was completed in 1893, a few months before his death. It was considered by the composer himself to be his most perfect work, the fulfilment of the musical and, perhaps above all, spiritual vision of his own symphonism. In this context, the title ‘Pathétique’, which could refer to a sizeable proportion of the composer’s entire oeuvre, does not reflect the depth of existential tragedy that permeates this work. If pathos is characterised by energy and struggle, then the Sixth clearly transcends it, in the lamenting finale attaining silence – the eloquent end of the journey.
Robert Losiak
