Krzysztof penderecki music

Krzysztof penderecki biografia Utrenja , alternatively spelled as Utrenia , [ 1 ] Utrenya , or Jutrznia , and sometimes also translated as Matins , [ 2 ] is a set of two liturgical compositions [ 3 ] by Polish composer Krzysztof Penderecki. They were composed and premiered in and Following his Stabat Mater , Penderecki garnered certain fame in avant-garde circles, though, in respect to his upcoming radicalism and emotional directness in his orchestral works, this led to musicians and music lovers to turn their backs on him under accusations of him being reactionary and on disrupting musical progress. The two parts of Utrenja were conceived and written separately, even though at the time of the latter's premiere, the two parts became strongly associated and started to be performed together generally. Penderecki himself [ 5 ] and some critics [ 3 ] [ 6 ] have associated it also with St.

Biography

In the s Krzysztof Penderecki made his name as an avant-garde composer. The label, to some extent, has stuck. He is best known for exploring new sonorities and techniques in his Threnody for the Victims of Hiroshima () and in his St Luke Passion (Passio et mors Domini Nostri Jesu Christi secundum Lucam, –65).

But beyond the intensity of these creations, Penderecki’s work is remarkable for its change of style, and its evolution towards a more traditional, almost neo-Romantic tonal language.

Utrenja krzysztof penderecki biography Read more on Wikipedia. Since , the English Wikipedia page of Krzysztof Penderecki has received more than 1,, page views. His biography is available in 54 different languages on Wikipedia up from 53 in Krzysztof Penderecki is the st most popular composer up from th in , the 94th most popular biography from Poland down from 86th in and the 2nd most popular Polish Composer. Krzysztof Penderecki is most famous for his choral work, "Threnody for the Victims of Hiroshima" which he composed in

Born in Dębica, a small town in Poland between Kraków and Lviv, Penderecki studied at the State Academy of Music in Kraków from the age of 18, at the same time pursuing courses in philosophy, art history and literary history at the city’s Jagiellonian University. He began to teach at the Academy after he graduated in His first mature work, Psalms of David, from the same year, shows him embracing note composition and experimenting with a range of vocal techniques – such as reciting and whispering – that would become a feature of his later choral writing.

His imaginative ‘voice’ was quickly recognised. He won all three prizes available in the Second Warsaw Competition for Young Composers, having entered each of the works under a different pseudonym. But it was his impassioned Threnody to the Victims of Hiroshima (), scored for 52 string instruments, that secured repeat performances in concert halls all over the world and established him as a force to be reckoned with.

Originally entitled 8′37″, a reference to the composer John Cage’s 4′33″, it combined serialism and improvisation, new notation methods, aggressive glissandi, tonal clusters and innovative vocal and instrumental techniques. But it was the sheer emotive power of the piece that caught the popular imagination and drove Penderecki to find an event to which the sound might refer.

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In the s Krzysztof Penderecki made his name as an avant-garde composer. The label, to some extent, has stuck. He began to teach at the Academy after he graduated in His first mature work, Psalms of David, from the same year, shows him embracing note composition and experimenting with a range of vocal techniques — such as reciting and whispering — that would become a feature of his later choral writing. He won all three prizes available in the Second Warsaw Competition for Young Composers, having entered each of the works under a different pseudonym.

Hiroshima provided the horror. Penderecki continued to explore complex and disturbing soundworlds in his orchestral works, Polymorphia () and Fluoresences (–62), his religious pieces, the St Luke Passion, the Dies Irae (subtitled ‘Auschwitz Oratorio’, ), and two-part oratorio Utrenja (–71), and his opera, The Devils of Loudon (–69, revised and ).

Maybe it was only a matter of time before the foreboding atmospheres of Utrenja and Polymorphia found a home in the horror film genre. Director Stanley Kubrick was the first to unlock their cinematic potential, using Penderecki’s music extensively in his film, The Shining.

Krzysztof penderecki wikipedia pl His reputation quickly spread abroad, notably through perfomances of such works as Anaklasis written for the Donaueschigen Festival and Threnody for the Victims of Hiroshima. The latter piece, as well as the Passion according to St. Luke of , found an unusually wide audience for contemporary works, and Penderecki soon received important commissions from diverse organizations in Europe and the USA. He has also appeared widely as a lecturer and in began to conduct his own compositions. Apart from his own works, his conducting repertoire covers the works of composers from various epochs, with a preference for 19th-century and early 20th-century compositions.

If Penderecki’s style was destined for popularity, why did he change it? One reason was precisely because it was so recognisable. In danger of becoming trapped in his own sonic imagination, and disillusioned with the way in which the avant-garde valued novelty, he turned towards tonality and the past. The transition is plain in the Romantic lyricism of Penderecki’s Violin Concerto (–77, revised ) and in his approach to symphonic writing in his Symphony no.2, ‘Wigilijna’ (‘Christmas Symphony’, –80), which seems to hark back to the symphonies of Bruckner.

Over many years, Penderecki has amassed a sizeable body of large-scale works: four operas, eight symphonies and numerous concertos and orchestral pieces. All of them, in their own ways, acknowledge and transform the past, assuring their composer a secure place in the flow of musical history.