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He wanted a Polish classical composer for “Dracula” and approached Witold ���ܳٴDz�ł���ɲ��쾱 — who told Coppola it would take him five years to compose the amount of score required.

Esa-Pekka Salonen led a symphony by the Polish composer Witold ���ܳٴDz�ł���ɲ��쾱.

He emerged as a force in Polish modern composition alongside such figures as Witold ���ܳٴDz�ł���ɲ��쾱, Tadeusz Baird, Andrzej Dobrowolski and Henryk Mikołaj Górecki who, during the late 1950s, were all constructing pieces using clusters of notes jam-packed together, often requiring players to explore terrain that pushed beyond the conventions of their instrument.

To the proudly anti-tonal toolbox of the current Columbia style, Lunsqui adds a refreshing elasticity; the ear-catching flow of rhythm culminates in a ritualistic finale, with proud octaves that nod to Beethoven and ���ܳٴDz�ł���ɲ��쾱.

Still, Rostropovich’s chief legacy was musical: he was the catalyst for more than 200 new works for the instrument, from Shostakovich to Britten, Prokofiev, ���ܳٴDz�ł���ɲ��쾱, Gubaidulina, Pärt, Piazzolla and Dutilleux, to name but a handful.