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Lutosławski stosuje więc w odniesieniu do kolejnych Preludiów oznaczenia jedynie temp oraz słowne dookreślenia dotyczące (szczególnie w wersji orkiestrowej) typu artykulacji, dynamiki, smyczkowania, też charakteru wyrazowego, jak marcato, energico, forte ma dolce, poco sforzato, ritardando, perdendo, tranquillo, sostenuto e poi precipitando itp.
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The term ‘prelude' suggests the form of a piece that is an introduction to... the fugue, as in Bach; it suggests an etude-like sketch to a composition which develops its content in a more elaborated form, as in Chopin or Debussy. Alternately, it makes us think of a prolegomenon, or simply a musical illustration depicting a literary program as in Liszt. Since Lutosławski's cycle of miniatures contains ‘dance preludes', these can be understood as a folkloristic preludes to village dances, or an abbreviated sketch of such dances. Here, both types of reasoning can find their arguments. Although the provenance of this dance outline is evidently folkloristic, it is not easy to localize its origins in, for example, in particular quoted material or unequivocal models. The melodies in the Preludes are not derived from Oskar Kolberg's arrangements or any other songbook editions; they are rather generalized impressions revolving around the theme of folk-dance convention (while this intuitive remark could have been challenged by the composer himself, he did not do so; but a truly erudite and thoroughly competent ethnomusicologist could). In the successive preludes Lutosławski provides markings for only the tempos, and gives other additional word-based indications (especially in the orchestral version) regarding the desired types of articulation, dynamics, violinistic technique, and general expression, such as marcato, energico, forte ma dolce, poco sforzato, ritardando, perdendo, tranquillo, sostenuto e poi precipitando, etc.
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