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Lutoslawski, Witold. (1913–1994). Double Concerto - Autograph Musical Quotation.

Autograph musical quotation from the important Polish composer and conductor, who has penned four measures for harp from the second movement of his Double Concerto for oboe, harp and chamber orchestra (1980). Below, he has written "(Double concerto)/ For John Christopher Allen/ with all good wishes/ W. Lutosławski/ Warsaw, 28th March, 1981) 8.25 x 5.75 inches (21 x 15 cm.), pair of vertical creases, top edge rough, else fine.

Composed between 1979 and 1980, the Concerto was first performed by Heinz and Ursula Holliger and the Collegium Musicum Zürich under the direction of Paul Sacher in Lucerne on August 24, 1980. Writing for Gramophone, Arnold Whittall wrote that "The Double Concerto which Lutosawski composed for Heinz and Ursula Holliger is a fine example of his ability to use immediately accessible materials in imaginative and far from conventional ways, and there are few better instances of genuine comedy in 20th-century music than the concerto's finale, which perfectly complements the dirge-like atmosphere of the middle movement."

Lutoslawski, Witold. (1913–1994) Double Concerto - Autograph Musical Quotation

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Lutoslawski, Witold. (1913–1994). Double Concerto - Autograph Musical Quotation.

Autograph musical quotation from the important Polish composer and conductor, who has penned four measures for harp from the second movement of his Double Concerto for oboe, harp and chamber orchestra (1980). Below, he has written "(Double concerto)/ For John Christopher Allen/ with all good wishes/ W. Lutosławski/ Warsaw, 28th March, 1981) 8.25 x 5.75 inches (21 x 15 cm.), pair of vertical creases, top edge rough, else fine.

Composed between 1979 and 1980, the Concerto was first performed by Heinz and Ursula Holliger and the Collegium Musicum Zürich under the direction of Paul Sacher in Lucerne on August 24, 1980. Writing for Gramophone, Arnold Whittall wrote that "The Double Concerto which Lutosawski composed for Heinz and Ursula Holliger is a fine example of his ability to use immediately accessible materials in imaginative and far from conventional ways, and there are few better instances of genuine comedy in 20th-century music than the concerto's finale, which perfectly complements the dirge-like atmosphere of the middle movement."