Cindy Bylander


A Bio-Bibliography
Cindy Bylander

Bio-Bibliographies in Music, Number 98 Donald L. Hixon, Series Adviser Westport, Connecticut London

Library of Congress Cataloging-in-Publication Data Bylander, Cindy. Krzysztof Penderecki : a bio-bibliography / Cindy Bylander. p. cm. — (Bio-bibliographies in music, ISSN 0742–6968 ; no. 98) Includes bibliographical references and index. ISBN 0–313–25658–6 (alk. paper) 1. Penderecki, Krzysztof, 1933—Bibliography. 1. Title. II. Series. ML134.P47B95 2004 016.78'092—dc22 2004017327 British Library Cataloguing in Publication Data is available. Copyright © 2004 by Cindy Bylander All rights reserved. No portion of this book may be reproduced, by any process or technique, without the express written consent of the publisher. Library of Congress Catalog Card Number: 2004017327 ISBN: 0–313–25658–6 ISSN: 0742–6968 First published in 2004 Praeger Publishers, 88 Post Road West, Westport, CT 06881 An imprint of Greenwood Publishing Group, Inc. Printed in the United States of America

The paper used in this book complies with the Permanent Paper Standard issued by the National Information Standards Organization (Z39.48–1984). 10 9 8 7 6 5 4 3 2 1


Preface Biography Works and Performances Discography Annotated Bibliography Appendix A - Chronological List of Compositions Appendix B - Compositions by Genre Appendix C - Dissertations by Reference Number

5 7 15 49 79 279 287 293

Appendix D - Books and Monographs by Reference Number 295 Index of Works 297


In producing this volume on Krzysztof Penderecki, it would have been ideal to be able to include everything ever written by or about the composer. However, given the voluminous amount of attention paid to Penderecki since the very beginning of his career, this has proved impossible. The works list contains compositions written through 2003, and includes the early works for theater that are not often included in other such lists. The performances that are cited include the world premieres and selected presentations such as the Polish or American premieres. The discography is as complete as possible through 2003, although I expect that other information will surface after publication. The annotated bibliography is comprised of books, articles, and dissertations that were published in North America, England, Poland, Germany, and France through 1998, the year of Penderecki’s 65th birthday. This reflects the vast majority of writings about the composer. Several major works have been published since then: Krzysztof Penderecki’s Music in the Context of 20thcentury Theatre, edited by Teresa Malecka (Kraków: Akademia Muzycana, 1999); Regina Krzysztof Penderecki. Music Sacra – Musica Profana (Warsaw: Adam Mickiewicz Institute, 2003); Tomaszewski’s Penderecki (Warsaw: Adam Mickiewicz Institute, 2003); Tadeusz Zielinski’s Dramat instrumentalny Pendereckiego (Kraków: Polskie Wydawnictwo Muzyczne, 2003), and Studies in Penderecki, vol. 2 “Penderecki and the Avant-Garde,” edited by Ray Robinson and Regina and published in 2003.

6 KRZYSZTOF PENDERECKI Four appendices are included: a chronological list of Penderecki’s compositions. and a reference list of books on Penderecki. which also are interspersed throughout the annotated bibliography. I would like to express my thanks for their support to Ray Robinson. In this time of widespread Internet access. Alina Sawicka-Baird. the New York Public Library. The Ohio State University. the University of Warsaw. the University of Texas at Austin. The index itself provides references only for compositions. Czopowicz. and Trinity University. a reference list of dissertations. This project could not have been completed with the support of the following institutions: the University of Illinois. the Polish Composers Union. which are interspersed alphabetically by author in the main bibliography section. the University of California at Los Angeles (UCLA). a list by his works by genre. Regina Marek Stachowski. . the Polish Music Center at the University of Southern California (USC). OCLC. Barbara and Kazimierz Nowacki (now deceased). I must admit that much of my research in recent years has started with the invaluable online resources from RILM. At the risk of omitting the names of many important people. and FirstSearch.

These sentiments. providing a thread of unity throughout his oeuvre. . a passion for justice. have served as inspiration for many of his works. Paralleling these experiences was the pious family life his family led in a country whose people have routinely intertwined Catholicism and politics in their everyday lives. He is a man of outstanding intellect and musical genius whose music. Nevertheless. His independent musical personality has led him to compose both strikingly innovative compositions and more traditional pieces. he has moved through several apparent stylistic changes. and a deep interest in theology. Penderecki experienced both the horrors of World War II and some of the restrictions on Polish artistic life imposed by that country’s Communist government.Biography Krzysztof Penderecki is one of the most prominent composers of the twentiethcentury. which came to power in 1947. Youth The circumstances of Penderecki’s upbringing have had a profound impact on his music. perhaps inevitably. As a composer. Many of his works reflect his deep religious faith. Born in 1933 in a small town in southern Poland. has aroused controversy throughout much of his career. yet he is lauded in Poland for his interpolations of Polish hymns and patriotic songs and his willingness to create music that is relevant to the contemporary events of his native country. in turn. He does not consider himself to be a composer who responds to political events. similarities of style consistently appear in his music. This combination of forces imbued Penderecki with a strong sense of morality.

8 KRZYSZTOF PENDERECKI Penderecki’s youth was also spent surrounded by music. foreshadow the innovations of his more mature compositions. His parents and extended family were amateur musicians. These pieces—Psalms of David. Honegger. It was only in 1956. This was also the first of Penderecki’s . Indeed. Although the thaw ended for writers and graphic artists in 1958. cluster glissandos. that he was able to hear a range of compositions by such composers as Stravinsky. Emanations. Penderecki burst onto the international scene with his next piece. and composers there were not encouraged to experiment with new compositional techniques. the piece astounded the Donaueschingen Festival audience at its 1960 premiere with its quarter-tones. for a short time. and Krzysztof became proficient on the violin. In 1951 he began taking classes at University. each with a separate part. and unusual performing requirements. with the political thaw in Poland and the inception of the Warsaw Autumn International Festival of Contemporary Music. The second Festival. Even so. all entered anonymously. percussive treatment of the string instruments. his experiments there served as a major impetus for his integration of new string techniques. Berio. Performances of music by twentiethcentury Western composers occurred rarely in Poland. and Schoenberg. A Shocking Start Penderecki was catapulted to the top ranks of Poland’s musical consciousness when the three winning compositions in the 1959 Polish Composers Union’s Young Composers Competition. established in Warsaw in November 1957. and bowing between the bridge and tailpiece. and Stockhausen. Nono. introduced him to works by Webern. he entered the State Academy of Music in Kraków. repeating a note as quickly as possible. held in 1958. Scored for percussion and 42 strings. tone clusters. which include playing the highest note possible. at the same time. Boulez. lack of discernible melody. and “noise” into his nonelectronic compositions. For the next two to three years Penderecki spent time there writing music for film and theater and attempting to develop a new musical language. life in Communist Poland was never completely free of restrictive governmental policies Yet another influence on Penderecki’s early compositional career was his work at the Polish Radio Experimental Music Studio. Wiechowicz. at the same time he enrolled in Kraków’s Intermediate School of Music. Influences Penderecki’s exposure to contemporary music from Western countries was minimal during his formative years. among others. studying composition with Artur Malawski and. were found to be his submissions. the atmosphere surrounding composers remained relatively liberal. and Strophes—all use serialism to some degree and. Anaklasis. In 1954.

Before Fluorescences was premiered at the Donaueschingen Festival in October 1962. flexatone. Penderecki’s expanded interest in traditional musical elements initially was more apparent in his choral pieces than in his instrumental works. polyphony. At its premiere. finished in 1966. and typewriter—this in addition to a full orchestra using nearly all of the unconventional techniques Penderecki had developed to date. a piece from 1960 originally titled 8’ 37”. although clusters. Elements of medieval chant. and traditional tonality are cast within a rondo form. Sections are delineated by a thinning out of the sound blocks. Penderecki now entered a two-year period in which he thoroughly developed his catalog of compositional trademarks: tone clusters. durations indicated in seconds rather than in metrical notation. penny whistle. electric doorbell. non-traditional notational symbols. A Turning Point The year of 1962 was pivotal for Penderecki. and. Penderecki’s most famous work of this period. indeed. the audience demanded that the piece be encored—a rare event in modern music and a testimony to Penderecki’s ability to combine innovation with theatrical appeal. glissandos. As always for Penderecki. This composition conveys a strong sense of linear motion as it develops an interplay between sustained sounds (single pitches and clusters) in the outer sections and a pointillist. The strings are asked to perform on the bridge and tailpiece as well as behind both devices and to produce percussive effects and vibratos of various speeds. is one such work. was enormous. canonic middle section. the significance of a composer from a Communist country writing a Passion.BIOGRAPHY 9 works to feature extensive use of his new notational methods. Luke Passion. a piece that reflects a clear shift in compositional intent. Penderecki had completed Stabat Mater. with all of its religious connotations. . is Threnody. for it was then that he reached a point of no return in his search for a new musical language. noise is de-emphasized as a structural element and a more pronounced affirmation of the musical traditions of past centuries is introduced. At that each time. Many of his ultra-modern techniques are absent from the choral works written after 1962. a variety of new means of playing the string instruments. The list of instruments in Fluorescences includes siren. and—the trait least discussed by the press—a strong emphasis on traditional forms and dramatic flow. In these pieces. an increased use of percussion and/or percussive-style writing. Traditional notation is the norm rather than the exception. musical saw. The St. form is the most important part of each piece. and an interest in polyphony rather than vertical harmonies remain. and a piece that is still among his favorites.

one basic motive serves as the basis for continuous variation. all victims of torture. 1 (1976) astonished critics with its echoes of 19th-century expressiveness and post-Wagnerian harmonies. who thought it lacked dramatic and harmonic interest. even as other critics have raved about the same pieces. For Utrenia. Musically. After his First Symphony was completed in 1973. Written for an international ceremony at the Auschwitz concentration camp. Violin Concerto No. Utrenia. leading Actions in its world premiere at the Donaueschingen Festival. Gone were the graphic notational symbols. the imagery of the text is skillfully reflected in the music. Luke Passion.10 KRZYSZTOF PENDERECKI Penderecki has acknowledged that political concerns were part of the impetus for writing this piece. Penderecki continued his forays into large-scale sacred choral works with Dies Irae. allusions to Eastern Orthodox Easter music. Since then he has been in great demand. it incorporates many of the compositional ideas worked out in earlier pieces. Penderecki’s trademark sighing-motive—or movement by descending half-step—makes an appearance here as well. Traditional Trends Penderecki began his career as a conductor in October 1971. Penderecki began writing in a neo-Romantic style. These opinions have followed Penderecki for much of his career. clusters. tolling wooden bells typical of old Slavonic rituals. as well as those reflected in the Stabat Mater. lyric melodies and traditional orchestration. in a larger sense. is the second of Penderecki’s operas. Formally. In their place were clearly defined. Penderecki was branded by some as a traitor for his abandonment of his avant-garde techniques and the alleged shallowness of his new pieces. which itself became part of the Passion. and 48-part choral writing comprising the same vocal techniques as in the Passion and Dies Irae are components of this piece. the first being The Devils of . Complex polyphony. commissioned by the Chicago Lyric Opera and completed in 1978. and Magnificat. Dies Irae uses texts from a variety of sources to dramatize the plight of that camp’s victims and. He has frequently stated that a change toward a greater simplicity in his writing came about in part because of his conducting experiences. As in the St. After the Passion. Penderecki incorporated Church Slavonic language and musical traits into a concert setting of Easter Eve and Easter Day rituals in the Eastern Orthodox church. Again. Paradise Lost. conducting both his own works and those of other composers. The work was met with derision by some critics. Penderecki used the text’s dramatic implications and huge performing forces to produce a highly expressive piece. After similar criticism was leveled at Paradise Lost. and unconventional playing techniques. the dramatic setting of the text is the defining factor in the work’s success.

Although the Requiem was premiered after the lifting of martial law in July 1983. dedicated to Father Maximilian Kolbe. Song of Cherubim. Berlioz. his Agnus Dei. however. At the same time. Dramatic tension and release continue to be prominent. Martial law was declared in Poland in December 1981. Its soaring. Another quotation from a Polish melody appears. and the human roles of Adam and Eve. through its world-wide performances. This hymn of praise for soloists. two choruses. and Der . anguish-laden melody makes it one of the most memorable of Penderecki’s works. Penderecki began his Polish Requiem. evil. has become a significant contribution to the Requiem genre. Veni Creator. The Solidarity labor union emerged from the Polish underground in the latter half of 1980 and became the focal point of the nation in its struggle for freedom from Communist rule. Verdi. Lech It was premiered in December 1981 in at the unveiling of the monument to the victims of the 1970 workers’ uprising. and Britten and. are included in this momentous work. In addition to Lacrimosa. Penderecki also became more comfortable with his move toward a more traditional compositional approach. late Romantic chromatic harmonies. his dedication to his Catholic faith continues to be manifested in his music. It is not simply a Polish work. it is possible to see a correlation between Penderecki’s compositions and political events in Poland. Per Slava.BIOGRAPHY 11 Loudun. Prelude for clarinet. and orchestra incorporates a song that for the Polish nation had become a symbol of freedom from captivity. Penderecki now began composing chamber works alongside his larger. its distinct musical characterizations of God. this time from heard in the Recordare. composed in memory of Cardinal Stefan an outspoken critic of the Communist government. National Concerns – Individual Style Beginning in 1980. more contemporary structures such as tritones and three-note cells. a priest killed in Auschwitz. it is considered by the Polish people to be a strong statement of support for the cause of freedom from Communist rule. dedicated to Solidarity and its leader. and Recordare. Based on Milton’s epic work of the same name. Cadenza. and a passacaglia on the “Dies Irae” melody are featured in this dramatic portrayal of good vs. It bears references to earlier models by Mozart. Penderecki contributed to the cause at least symbolically with Lacrimosa. more grandiose pieces. To a greater extent than in previous decades. Many of his works of the 1980s and 1990s combine chromatic polyphony and tone clusters with classical motivic development and expressive melodies. Satan. The Te Deum of 1980 was dedicated to Pope John Paul II on the occasion of his ascension to the papacy.

his third. with allegro opening sections. His “synthesis” of traditional and experimental approaches. As in the symphonies. its cast of characters from various religions. In this.” and his own “Dies Irae” from the Polish Requiem) play an important role in this dance of death. Bruckner. appearing in 1996. Complex. and transparent textures. clashing harmonic structures and. Luther’s “Aus tiefer Not. they are also lighter in mood than his large-scale works. much as Mahler had done at the end of the 19th century. three choruses. These chamber pieces bear witness to his penchant for closed forms. and large orchestra. is a one-movement work. Seven Gates offers passages of simplicity and monumentality. which had begun as early as the Stabat Mater of 1962. tradition bears more weight than experimentation. Structured as an ensemble opera in one scene. Each bears the influences of Mahler. even though the fourth and fifth symphonies have just one movement.” which could convey the best of 20th-century traditions. a work for soloists. quick pacing. virtuosic instrumental parts. similar in instrumentation to Seven Gates. Seven Gates. Each is a large-scale work. and fifth symphonies were composed between 1988 and 1995. Reminiscences of classical and romantic symphonies abound. Penderecki described the symphony as his “musical ark.12 KRZYSZTOF PENDERECKI unterbrochene Gedanke all were written in the 1980s. highly emotional yet finely detailed. and transparently scored passages interspersed with fully scored sections of heightened drama. Credo. with Seven Gates of Jerusalem. quotations (of 17th-century dance music. as is now normal for the composer. here befitting the meaning of the text and the honor of the commission from the city of Jerusalem. To this end. was his personal solution to this crisis. scherzos. fourth. The Fourth Symphony’s single adagio movement evokes a mood of great grandeur and solemnity. aided by imaginative orchestration. The Ark – Symphony as Synthesis In Penderecki’s Labyrinth of Time. Its seven movements and motives of seven notes correspond to Jerusalem’s seven gates and Biblical references to the number seven. he wanted to break away from the musical and “political” traits of the Requiem. his third opera. a volume of speeches given between 1993 and 1996. the composer revealed his thoughts about what he perceived to be an artistic crisis in contemporary music in the late 20th century. The Black Mask occupies a somewhat different spot in Penderecki’s output. uses texts from the Psalms and other books of the Old Testament. and professions engage in a psychological struggle that descends into chaos. conceived as Symphony No. 7. motoric rhythms. nationalities. It speaks to the composer’s personal faith . and other romantic symphonists. In the 1990s.

Benedictus. Rossini. composing such works has allowed him to shift focus. the University of Rochester. Distinctions Despite the occasional critical reception given to Penderecki by the press. drawing on the grotesque and absurd traits of the same theme. in particular those of Mozart. Concerto Grosso for Three Cellos. Quartet for Clarinet and String Trio. Often more classical than romantic in spirit. Each of the concerti displays virtuosic soloist lines and an almost rhapsodic flow of musical thought. but are instead presented within the context of a parody. he could not bring himself to complete it due to the harsh political situation in Poland. Belgrade University of Fine Arts. though in a less rigid manner than in their models. For Penderecki. Sextet. The Baroque and Classical opposition of soloist and orchestra exists. including Georgetown University. the universities in Leuven and Bordeaux. Although brief works. Penderecki chose to compose an opera buffa. University. Based on a play by Jarry that has been characterized as a rebellion against the world. contrapuntal lines. Adalbert. Finally. Although he had started it several times. Daniel. . the premiere was held. and Piano Concerto have also emerged from the composer’s pen since 1990. the Academies of Music in Warsaw and Kraków. and other pieces. Agnus Dei for the Requiem for Reconciliation. their very existence is a statement about the composer’s desire to bear witness to his faith. Hymn to St. we see Entrata. Clarity of texture and sound are featured in the chamber works of this period. Sextet is a major work featuring rhythmically complex passages alongside those of sparse scoring and tranquil moods. Divertimento. or even to serve as a form of relaxation while simultaneously working on larger works. fragments of two Polish hymns. and even Wagner.BIOGRAPHY 13 and his belief that faith is important for humanity. Madrid Autonomous University. Its texts include the liturgical creed. he has been honored frequently and widely throughout his career. The Flute Concerto and Second Violin Concerto. in 1991. and interpolations of other Latin and German sacred melodies. Ubu Rex is the most recent of Penderecki’s operas. To this end. These models are not directly imitated. He has received honorary doctorates from many institutions. and the University of Glasgow. Smaller sacred pieces continue to appear in the 1990s: Benedicamus Domino. Lucerne Fanfare. Adam Mickiewicz University in the University of Warsaw. He purposely turned to operatic models of the 18th and 19th centuries. and clear forms. and Hymn to St. Pergolesi. they feature contrasting tempi.

Magnificat). and teacher. perhaps his most important academic position. . the Sibelius Prize (1983). Luke Passion). Not merely of academic importance. His innovative notational practices and sonorities shocked the world and made him an acclaimed composer as a young man.14 KRZYSZTOF PENDERECKI Among the many awards he has received are those from the Polish Ministry of Culture (1962). Penderecki has devoted substantial amounts of his time to teaching composition. among others. Luke Passion). Penderecki has never failed to follow his own path. He is an honorary member of the Royal Academy of Music in London. He was the artistic director of the Krakow Philharmonic from 1987-1990 and the artistic director of the Casals Festival in San Juan. In short. 4). As mentioned earlier. Grawemeyer Award for Music Composition (1992. Puerto Rico from 1992-2002. Great Art Prize of North Rhein-Westphalia (1966. Priz Italia (1967. 2). Cello Concerto No. his pieces either outrage or inspire their audiences. As a composer. he has been a composer both of his times and independent of his times. As a composer. a situation that worked favorably for the Academy and Polish music in general. He has also been the principal guest conductor of the North German Radio Orchestra (Hamburg) and the Central German Radio Symphony Orchestra (Leipzig). St. He is profoundly concerned with the condition of humanity. and a second Grammy in 2001 (Credo). and has been the musical director of Sinfonia Varsovia since 1997. Wolf Prize (1987. he made a major contribution to the avant-garde movement of the mid-twentieth century. for St. a Grammy Award (1988. conductor. the Academy of Music in Stockholm. From 1966-1968 he taught composition at the Folkwang Hochschule für Musik in Essen. Here he was able to attract the attention of the Polish government. he never completely abandoned the ideals of his early years. Although he eventually turned towards a more traditional style. Honegger Prize (1973. Penderecki has spent much of his time conducting orchestras around the world. shared with Isaac Stern). the Rector of the Academy of Music in Kraków from 1972 to 1987. Symphony No. the Beijing Conservatory. and the Tchaikovsky Conservatory in Moscow. the American Academy of Arts and Letters. He was a professor at Yale University from 1972-1978 and.

scenes 5-6) Publisher: PWM. music for puppet theatre) World premiere: 1960.) Commission: Donaueschingen Music Days festival Publisher: Schott World premiere: October 17. orchestra.) Commission: Chicago Lyric Opera (written after the premiere of Paradise Lost as an intermezzo for Act 2. About the Grinder and the Kantel's Miraculous Lute ("O mfynku sampo i cudownej lutni Kantele") (c. A. 1987. 1962. International Festival. 1971. J. Jaremowa. Z. Donaueschingen Music Days. Leningrad Philharmonic Orchestra. Adagietto from Paradise Lost (1976-78. Actions (1971. Mariss Jansons. director W3. music for puppet theater. Japan. M. 5 min. director W2. playwright) World premiere: c. Krzysztof Penderecki. International Free Jazz Orchestra. Krzysztof Penderecki. 1979. Pinocchio Theater. West Germany. conductor . Poland. Warsaw Autumn Festival. jazz ensemble.Works and Performances Wl. Osaka. Groteska Theater. 17 min. Kraków. conductor Selected performances: September 24. Wroniszewski. 1960. Achilles and the Young Ladies ("Achiles i panny") (1962. Poland. Schott World premiere: April 8. NHK Symphony Orchestra. conductor W4. Poland.

Nuremberg. Germany. Stuttgart Publisher: Schott World premiere: August 16. 4 soloists. 1994. Adventures of the Warsaw Bear ("Przygody warszawskiego misia") (1958. film director) KRZYSZTOF PENDERECKI ”) (1963.) Commission: Heinrich Strobel. W6. Boris Pergamenshikov. Adventures of the Little Screws ("Przygody ”) (1963. bass. conductor See Polish Requiem Agnus Dei for Requiem of Reconciliation (1995. 9 min. Anaklasis (1960. West Germany. Stuttgart. mixed W9. Helmut Rilling. V. Marcinek Puppet and Actors Theater. Krakøw Chamber Choir. Poland. conductor W10. S. 1963. Warsaw. conductor Selected performances: First public performance of choral version: June 21. Poland. orchestra. Arlekin Puppet Theater. Andreas Schmidt. K. Antoni Wit. alto.) Composed in memory of Cardinal Stefan Catholic Primate of Poland Publisher: PWM. Thomas Randle. 1994. Poland (funeral of Cardinal Stefan Kraków Polish Radio Chorus.) Commission: International Bach Academy. playwright) World premiere: c. music for puppet theater. Poland. Krzysztof Penderecki. choir.16 See Paradise Lost W5. Israel Philharmonic Orchestra. 7 min. arranged for string orchestra by Boris Pergamenshikov. South German Radio Choir. Donna Brown. eight-part unaccompanied mixed chorus. director W7. 1982. electronic music for puppet theater. Kraków. tenor. Moeck . 1958. conductor World premiere of version for string orchestra: December 4. soprano. Gächinger Kantorei Stuttgart. short-film music. playwright) World premiere: c. 42 strings and percussion. Wojciech Wieczorkiewicz. Agnus Dei (1981. director W8. 1981. Southwest German Radio Orchestra for the Donaueschingen Music Days festival Publisher: PWM. Sinfonietta Cracovia. Schott World premiere of choral version: May 31. Silvester. Adventure of the Frog ("Przygoda Wajser. Ingeborg Danz. 8 min. 1995.

) Publisher: Schott World premiere: April 18. 1960. 1966. 1958. National Opera Orchestra of Monte Carlo. Donaueschingen Music Days. short-film music realized at Polish Radio Experimental Music Studio. West Germany. short-film music realized at Polish Radio Experimental Music Studio. Poland. L. Warsaw. W. conductor Selected performances: Polish premiere: February 16. 1974. Serafinowicz. The Bells Are Tolling (1966. 10 min. music for puppet theatre. Hans Rosbaud. Z. 1975. Warsaw. on the 25th anniversary of his ascension to the throne Publisher: PWM. The Bird’s Milk ("Ptasie mleczko") (1958. mixed chorus. South-West German Radio Orchestra. Wajser. director W14. Marcinek Puppet and Actors Theater. Wojciechowski. playwrights. Tudorowski and Mietalnikow. 8 min.) W16. Monte Carlo. Bitterness ("Gorycz") (1962. orchestra. Brabant province. Lucerne. playwright) World premiere: c. Tilburg. Kraków. conductor Aria and Two Minuets.WORKS AND PERFORMANCES 17 World premiere: October 16.) Dedicatee: Prince Rainier II. Taverner Consort W15. Kraków Philharmonic Orchestra. Balloons ("Balony") (1961. The Awakening of Jacob (1974. Switzerland. film director) Selected performances: February 1983. Penderecki Festival in Breda. Jerzy Zitzman. See Three Pieces in Antique Style W11. film director) . The Netherlands W13. 5 men’s voices. Stefan Janik. Benedicamus Domino (1992. Poland. ‘s-Hertogenbosch and Eindhoven. 3 min. Jerzy Katlewicz. music for puppet theater. 1992. Banialuka Puppet Theater. Schott World premiere: August 14. Skrowaczewski. conductor W12. Poland W17. Benedictus (1992. director) World premiere: c.

Dondajewski. soloists: Ragnar Ulfung. scenery and costumes. adapted by Jerzy Smoter. Krzysztof Szmyt. Alfred Kirchner. stage director. Jolanta Radek. Beverly Morgan. Ewa Starowiejska. music for puppet theater. Teatr Wielki orchestra. Anna Malewicz-Madey. John Conklin.18 KRZYSZTOF PENDERECKI W18. Schott World premiere: August 15. electronic music realized at Polish Radio Experimental Music Studio. John Kuether. Warsaw Autumn Festival. scenery. radio play for reciting voice and tape. Lona Culmer-Schellbach. director. 16 min. director. conductor Polish premiere (German libretto): October 25. Józef Löwel Perl. Poland . Hans Schavernoch. playwright) World premiere: c. scenery and costumes. Ryszard Peryt. conductor Polish premiere (Polish libretto): September 18. Ateneum Silesian Puppet and Actors Theater. Marius Rintzler. New Mexico. soloists: Walter Raffeiner. Walter Hagen-Groll. Vienna Philharmonic Orchestra. Andrzej Majewski. 1987. Wanda Teresa Borowczyk. Jerzy Artysz. Jerzy Zitzman. Robert Remington. costumes. opera in one act. Mark Lundberg. Heinz Zednik. premiere. 1986. 90 min. Austria as a co-production of the Vienna State Opera and the Salzburg Festival. English translation by Michael Feingold Commission: Salzburg Festival Dedicatee: Otto Sertl Publisher: PWM. Lona CulmerSchellbach. The Black Mask (1984-1986. Josephine Barstow. stage director. 1964. Woldemar Nelsson. Martin Finke.) Libretto: Harry Kupfer and Krzysztof Penderecki. Robert Satanowski. Santa Fe Opera Festival. Judith Christin. James Ramlet. S. July 30. Warsaw. Poland. Warsaw. Aleksander Burandt. Morcinek. Gertrude Jahn. Albert André Lheureux. director W20. Jacek Parol. choir director. Moniuszko Teatr Wielki orchestra. Günter Reich. 1988. Katowice. Harry Kupfer. Timothy Nolen. adapted from play of the same name by Gerhart Hauptmann. Salzburg. January 20. soloists: Roman Wegrzyn. Joanna Kubaszewska.) Selected performances: First concert performance. scenery and costumes. The Brigade of Death (1963. Huub Claessens. Dennis Bailey. Hoff. Lisa Treger. Rainer Scholze. conductor Selected performances: U. soloists: Ewa Werka. G. Joyce Castle. 1964. Michael Lott. Reinhard Heinrich. conductor W19. Malcolm Smith. The Blacksmith ("Kowala") (1964. Hans Franzen. 1988. text by Leon Wieliczker. Marjana Lipovsek. George Manahan.

NCRV Vocal Ensemble.. 1973. 1996.) Award: Malawski Composers Competition. Teatr Polski. Michael Luig. Brothers Karamazov ("Braci Karamazów") (1963. Cadenza for Solo Viola (1984. Warsaw. Poland. Canticum Canticorum Salomonis (1970-1973.) Commission: Gulbenkian Foundation Dedicatee: Emil Breisach Publisher: PWM. Gulbenkian Foundation Orchestra. Kraków Philharmonic Orchestra and Choir. conductor W26.WORKS AND PERFORMANCES 19 W21. arranged for violin by Christiane Edinger) Publisher: PWM. Deshon World premiere: May 10. Portugal. violin W24. 16-voice choir and orchestra. Kraków. 2 mixed choirs and orchestra. Werner Andreas Albert. director) World premiere: c. Schott World premiere: June 5. Witold Rowicki. Canon (1962. Great Polish Radio Symphony Orchestra. Christiane Edinger. Poland. Strasbourg Percussion Ensemble. Landesblasorchester Südtirol. first prize Dedicatee: Jan Krenz Publisher: PWM. Lisbon. Belwin. Poland. conductor See Ubu Rex W23. music for theater adapted from Dostoevsky’s book of the same name. South Tyrol. 1964. Italy. Poland. Grigori Zhislin. Warsaw. 17 min. 16 min. 1986. Jerzy Krasowski. Katowice. 52 strings and 2 tapes of music realized at the Polish Radio Experimental Music Studio. 8 min. Burlesque Suite from Ubu Rex (1995. 1963.) Publisher: PWM. arranged for concert band by Henning Brauel. Cantata in honorem Almae Matris Universitatis Iagellonicae sescentos abhinc annos fundatae (1964. Schott World premiere: September 20. conductor W25. 8 min. Warsaw Autumn Festival. 1962. 1984. conductor . viola World premiere of version for violin: October 28. Schott World premiere of version for viola: September 10. Warsaw. 6 min.) Publisher: Schott World premiere: October 19. 1962. Poland W22. Jan Krenz.

Capriccio for Tuba Solo (1979-1980. oboe. Poland. cello Selected performances: Polish premiere. 1968. Jerzy Maksymiuk. Siegfried Palm. premiere: March 10. 1968. Wanda Wilkomirska. September 27. oboe. Kraków Philharmonic Orchestra and Choir.) Commission: Southwest German Radio Publisher: PWM. 1968. violin. Capriccio for Siegfried Palm (1968. Lucerne. September 23. 1974. Capriccio for Oboe and 11 Strings (1965. Switzerland. Jerzy Katlewicz. Jan Krenz. Piernik. 8 min.) Publisher: Schott World premiere: June 20. conductor Selected performances: Polish premiere. Festival of Contemporary Polish Music. National Philharmonic Orchestra. Poland. conductor W28.) Commissioned by and dedicated to: Siegfried Palm Publisher: PWM. conductor Selected performances: Polish premiere. S. 1967. Paul Zukovsky. tuba W30. Lucerne Festival. 1965. Moeck World premiere: August 26. Lucerne Festival Strings. director) (1963. Codes (“Szyfry”) (1966. W32. Rudolf Baumgartner. NY. cello W29. film music.20 KRZYSZTOF PENDERECKI Selected performances: Polish premiere.) Commissioned by and dedicated to: Heinz Holliger Publisher: PWM. conductor U. February 23. Wojciech Has. violin. 1980. film director) . Donaueschingen Music Days. Buffalo. short-film music. Wanda Wilkomirska. January 12. Moeck World premiere: October 22. West Germany. 5 min. violin. Heinz Holliger. Orchestra: Lukas Foss. Capriccio for Violin and Orchestra (1967. South-West German Radio Orchestra. The Coffee Grinder Jerzy Zitzman. solo cello. Pro Musica Nova 68. Heinz Holliger. Siegfried Palm. Ernest Bour. Kraków. 1976. Warsaw Autumn Festival. Buffalo Philharmonic. Bremen. 10 min. Polish Chamber Orchestra. conductor W31. 1970. Warsaw Autumn Festival. conductor W27. Schott World premiere: May 4. Warsaw. Penderecki Festival. 7 min. West Germany.

Concert at Wawel ("Koncert wawelski") (1960. January 20. Berlin Philharmonic Orchestra. Bronislav Eichenholz. Lausanne Chamber Orchestra. Concerto for Flute (or Clarinet or Violin) and Chamber Orchestra (1992. 1967. Henryk conductor World premiere of transcribed version: September 2. Krzysztof Penderecki. Jean-Pierre Rampal. Lausanne Chamber Orchestra. 1 (1966/1967. Concerto for Cello and Orchestra No. violino grande. Czechoslovakia. conductor .) Commission: Berlin Philharmonic Orchestra for its 100th anniversary Dedicatee: Mstislav Rostropovich Publisher: Schott World premiere: January 11. Mstislav Rostropovich. Great Polish Radio Symphony Orchestra. conductor. Krzysztof Penderecki. transcribed for cello 1971/1972. short-film music realized at Polish Radio Experimental Music Studio. Luke's. conductor W36. on the occasion of its 50th anniversary. West Germany. flute. 25 min. 34 min. Czech Philharmonic. 1983. Clarinet version. Mstislav Rostropovich. 2 (1982. Kraków Philharmonic Orchestra. Roger Norrington. cello.WORKS AND PERFORMANCES 21 W33. Siegfried Palm. cello. flute. Prague. 1983. Switzerland. 100th anniversary of the Czech Philharmonic Dedicatee: Jean-Pierre Rampal Publisher: Schott World premiere of version for flute: January 11. 1996. conductor W35. Krzysztof Penderecki. 1993.) Commission: Flute version. Krzysztof Penderecki. Jean-Pierre Rampal. Washington. Krzysztof Penderecki. January 17. C. Roman cello. Concerto for Violino Grande (or Cello) and Orchestra No. S. Selected performances: U. June 1. cello. Sweden. premiere: November 23. Katowice. 20 min. Warsaw. conductor Selected performances: Polish premiere. Alexander Gibson. Tadeusz conductor U. Kraków. 1972. Hans Joachim Scheitzbach. conductor World premiere of version for clarinet: March 7. Scotland. New York City. premiere. Scottish National Orchestra. conductor Selected performances: Polish premiere of transcribed version. 1993. D. Edinburgh Festival. Orchestra of St.) Commission: Eichenholz Publisher: PWM. 1974. Sharon Kam. clarinet. Berlin. cello. Moeck (transcribed version) World premiere: July 1. National Symphony Orchestra. 1983. S. film director W34.. Stockholm Symphony Orchestra. Lausanne.

conductor World premiere of version for cello. 13 solo strings and three percussionists: October 20. S. Wuppertal Symphony Orchestra. Wuppertal. Colorado Music Festival Orchestra. Giora Bernstein. Concerto for Violin (1962/1963. Peter Gülke. 1963. Minnesota Orchestra. Isaac Stern. Isaac Stern. 1979. 1978. Irena Grafenauer. 1988. American Chamber Symphony.22 KRZYSZTOF PENDERECKI Polish premiere: September 17. violin. Los Angeles. Grigori Zhislin. piano. Philadelphia Orchestra.) Commission: The government of Venezuela. Concerto for Viola (or Clarinet or Cello) and Orchestra (1983. Saulius Sondetskis. USSR. conductor Selected performances: U.) Commission: Carnegie Hall Corporation in celebration of Marie-Josée Kravis’ birthday Publisher: Schott World premiere: May 9. Moshe Atzmon.) Commission: Basel Music Society. violin. Nelson Nirenberg. viola. Kraków Philharmonic Chamber Group. New York City. Basel. 13 solo strings and three percussionists. 1985. conductor Polish premiere: March 8. flute. Concerto for Violin and Orchestra No. W38. Eduardo Rahn. West Germany. Schott World premiere: April 27. conductor Selected performances: U. clarinet. violin. cello. Andrzej Markowski W40. Tomasz Michalak. conductor W37. 1983. Milton Thomas. withdrawn after premiere) Commission: Zagreb Biennale World premiere: May 14. Konstanty Andrzej Kulka. Maracaibo Symphony. Concerto for Piano and Orchestra “Resurrection” (2002. conductor World premiere of version for clarinet: July 9. 1993. 1989. Switzerland. March 30. Grigori Zhislin’s chamber orchestra. conductor W39. Publisher: Schott World premiere of version for viola: July 21. conductor. 1986. conductor World premiere of version for viola. 1995. Zagreb. 39 min. premiere. Moscow. Katowice. viola. Boulder. Krzysztof Penderecki. Wolfgang Sawallisch. 1977. for the bicentenary of the birth of Simón Bolivar. for its centenary anniversary Dedicatee: Isaac Stern Publisher: PWM. Orit Orbach. 30 min. premiere of version for viola. rev. Colorado. January 4. 18 min. Boris Pergamenshikov. done by Boris Pergamenshikov: December 15. Basel Symphony Orchestra. S. Yugoslavia. Warsaw. violin. Venezuela. 1 (1976. Caracas. viola. 2002. Minneapolis. Sinfonia Varsovia. Zagreb Biennale. Joen Vasquez. Skrowaczewski. . Emmanuel Ax.

San Francisco Symphony. New York.) Publisher: Schott World premiere: June 22. 60 min. 2001. Nuremberg Opera Chorus. Oregon. Cosmogony (1970. October 5. Nuremberg Philharmonic Orchestra. November 9. soprano. Concerto for Violin and Orchestra No. 40 min. Kazimerz Pustelak. Nuremberg. NHK Symhony Orchestra. Krzysztof Penderecki. soprano. conductor. tenor and bass soloists. Selected performances: Polish premiere. Juliane Banse. soprano. Sonja Poot. Jerzy Katlewicz. and Truls Mork. Concerto Grosso for Three Cellos and Orchestra (2000. cello. on the occasion of its 25th anniversary Publisher: PWM. tenor. AnneSophie Mutter. Oregon Bach Festival Orchestra and Choir. Bernard bass. violin. Zubin Mehta. 1995.) Commission: Oregon Bach Festival and the International Bach Academy. 1996. Selected performances: U. 35 min. Central German Radio Orchestra. Rutgers University Choir. Julia Borchert. Rolf Romei. Credo (1998. Joanna Neal. soloists. New York City. Los Angeles Philharmonic Orchestra. Marietta Simposon. 1998. Milagro Vargas. Michael Tilson Thomas. April 8. Mariss Jansons. tenor. conductor Selected performances: Polish premiere. Schott World premiere: October 24. tenor. Kurt Moll. Bernard bass. soprano. violin. 1998. Boris Pergamenshikov. Hamburg Radio Choir. Thomas Quasthoff. Hans Gierster. 2 “Metamorphoses” (1995. Poland. conductor W43. Eugene. S.) Commission: United Nations. Helmut Rilling. Stuttgart Publisher: Schott World premiere: July 11. Kraków. boys’ choir. conductor World premiere of revised version: October 22. 5 soloists. conductor W41. mixed choir. conductor W42. Robert Nagy. Thomas . mixed choir. Karl-Heinz Thiemann. Marietta Simpson. premiere. Thomas Randle. conductor W44.WORKS AND PERFORMANCES 23 Great Polish Radio and Television Symphony Orchestra. 20 min.) Dedicatee: Anne-Sophie Mutter Publisher: Schott Commission: Central German Radio Orchestra World premiere: June 24. bass. Stefania Woytowicz. orchestra. Kraków. Anne-Sophie Mutter. 1971. orchestra. conductor. Ha-Nah Chang. Tokyo. Milagro Vargas. Charles Dutoit. Phoenix Boys Choir. 1971. West Germany. 1970. Kraków Philharmonic Choir and Orchestra.

Krzysztof Penderecki. playwrights) World premiere: c. Warsaw. 7 min. Robert Kabara. orchestra. conductor W48. 1999. Warsaw. 1959. De profundis (a transcription of part 3 of “Seven Gates of Jerusalem”) (1996. director W46. Poland. based on Erich Fried's German translation of John Whiting's The Devils. National Philharmonic Orchestra. ORTF Philharmonic Orchestra of Paris. conductor Selected performances: Polish premiere. 8 min. Andrzej Markowski. conductor Selected performances: Polish premiere: June 16. conductor. Italy. Descent to Hell (1966. libretto by Penderecki. soloists. music for puppet theater. Royan. Schott World premiere: December 3. Andrzej Markowski. conductor See Seven Gates of Jerusalem W49. 1998. 1971. film music. New York City. Salerno. De Natura Sonoris No. opera in three acts. The Netherlands. Helmut Rilling. The Devils of Loudun (1968/1969. W45.) Dedicatee: Otto Tomek Publisher: PWM. Juilliard Orchestra. 1 (1966.) Commission: Juilliard School of Music. 1967. 2 (1970. De Natura Sonoris No. 1972. string orchestra. Galewicz. January 6. Moeck World premiere: April 7. National Philharmonic Orchestra. Kraków Philharmonic Boy’s Choir. New York City Dedicatee: Zubin Mehta Publisher: PWM. M. 10 min. Kossakowski and J. orchestra. International Festival of Contemporary Art. 1966. January 12. Schott World premiere: June 20. 1998. International Bach Academy Orchestra and Chorus.) Publisher: Schott World premiere of version for string orchestra: September 10. which itself is an adaptation of Aldous Huxley's The Devils of Loudun) Commission: Hamburg State Opera Publisher: PWM. Henryk conductor W47. J. Jorge Mester.24 KRZYSZTOF PENDERECKI Quasthoff. 1969. Zbigniew director) W50. conductor Selected performances: Opole. The Crimson Dress ("Pasowa sukienka") (1959. Sinfonietta Cracovia. Galewicz. Arlekin Puppet Theater. Sinfonia Varsovia. 43rd International Society of Contemporary . 3 a cappella mixed choruses.

Leni Bauer-Escy. 1969. Teatr Wielki. for the TV film version Publisher: PWM. Diamond Dew ("Diamentowa rosa") (1958. Andrzej Majewski. Cvetka Ahlin. Krzystyna Jamroz. Helmuth Melchert. Franz-Rudolf Eckardt. West Germany. 40-voice mixed choir. Richard Cross. Dies Irae (1967. Hamburg. Poland). 1967. scenery. A. Konrad stage director. music for puppet theater. Joachim Hess. Bernard Ladysz. Santa Fe. Janos Kulka. tenor and bass soloists. Television film adapted from the Hamburg State Opera production. soloists: Urzula Andrzej Hiolski. scenery. 1969. 35mm. choir director. Warsaw. 1961. Stuttgart. stage director. W. color. Henryk conductor Selected performances: June 22. lighting. conductor W53. Ray Hickman. Krzysztof Missona.) Publisher: PWM. percussion and strings. Bogdan Paprocki. Andrzej Hiolski. Elmar Gehlen. Poland (unofficial premiere at a public rehearsal. Kurt Marschner. Ingeborg Krüger. Borodin.) Written in memory of those killed in the Auschwitz concentration camps Award: Prix Italia 1968. Carl Schutz. Lidia and Jerzy scenery and costumes. 1967. William Workman. Moeck World premiere: April 16. Horst Wilhelm. Joy Davidson. oratorio for soprano. William Workman. soloists: John Reardon. Georg Schreiber. 1975. Ragnar Ulfung. Günther Schmidt-Bohländer. West Germany. Carlos Alexander. New Mexico. premiere: August 14. 15 min.WORKS AND PERFORMANCES 25 Music Festival. Helga Thieme. conductor U. film director. soloists: Colette Lorand. director W52. Rouben Ter-Arutunian. Ochman. Kazimierz Dejmek. Karl-Heinz Gordesmann. Stanistaw Skrowaczewski. Rolf Mamero. Konrad stage director. and orchestra. Kraków Philharmonic Choir and Orchestra. Württemberg State Theater. 108 minutes. Moeck . Günther Rennert. Bernard bass. tenor. soprano. Hamburg State Opera. Ernst Wiemann. pantomime. rev. Nowakowski. Kraków. playwright) World premiere: c. Byrsek. choir master. conductor Polish premiere (revised version): June 8. soloists: Tatiana Troyanos. S. stage director. Dimensions of Time and Silence (1959/1960. Elisabeth Steiner. 22 min. Marek Janowski. conductor 1970. scenery. April 14. Pinocchio Theater. mixed choir. 1958. conductor W51. Bernard Hans Sotin. Henryk Wojnarowski. John Stewart. Delfina Ambroziak. Heinz Blakenburg. Santa Fe Opera Festival. dedication ceremony of the International Monument to the Victims of Fascism at Auschwitz-Birkenau.

Enemy in the Glass ("Szklany wróg") (1961. The King's Singers W57. conductor. International Society of Contemporary Music Festival. The King's Singers Selected performances: Polish premiere. Brabant province. short-film music. 10 min. Moeck World premiere: September 7. Warsaw Autumn Festival. Schott World premiere: August 21. 1976. engineered by Eugeniusz Rudnik and J. September 19. Listkiewicz. conductor Selected performances: Premiere of revised version. 1961. Freidrich Cerha. Michael Gielen. W. Scotland. Poland. Boris W55. Józef Bok. Penderecki Festival in Breda. Tilburg. National Philharmonic Choir. two string orchestras. 8 min. 3 min. Don Juan (1962. 8 min. Z. A. 1994. Vienna. second prize Dedicatee: Tadeusz Ochlewski Publisher: PWM. Ecloga VIII (1972. electronic music realized at the Polish Radio Experimental Studio. Darmstadt. Dukaj. conductor W54. Owidzki.) Award: Polish Composers Union Young Composers Competition. Pergamenschikov cello Germany. film director) Selected Performances: February 1983. RIAS Chamber Choir. Austria. Cologne. 's-Hertogenbosch and Eindhoven. 1972. Voita. 1972. conductor W59. 1960. Conclusion of the Opening Ceremony for the 20th Olympic Games. Jerzy Zitzman. West German Radio Orchestra. T. Stefan Janik. Press. M. June 1961. Edinburgh Festival. with the participation of the following performers: Bernard J. short-film music realized at Polish Radio Experimental Music Studio. Warsaw Autumn Festival. Zaliwski. Die Reihe.) World premiere: August 26. six male voices. West Germany W58. Kraków Philharmonic Chorus and Orchestra. Zarnecki. director) W56. West Germany. Warsaw. Ekecheiria (1972. Divertimento for Cello Solo (1994. Warsaw. Andrzej Markowski. Munich. Emanations (1958.) Commission: The King's Singers for the Edinburgh Festival Publisher: PWM. Poland.26 KRZYSZTOF PENDERECKI World premiere: September 18. April 1959. The Netherlands .) Dedicatee: Boris Pergamenschikov Publisher: Schott World premiere: December 28. Darmstadt Summer Festival.

Forms ("Formy") (c. 1969. 7 min. The Famous Story about Troilus and Cressida historia o Troilusie i Kressydzie") (1965. orchestra. Marona. director W63. Krzysztof Penderecki. West Germany. Fluorescences (1961/1962. Stefan Janik. Venice Biennale. director W66. short-film music realized at Polish Radio Experimental Music Studio. Karol Stryja. flute. Ohio. Italy. Moeck World premiere: October 21. music for theater. Warsaw. timpani. Cincinnati. adapted from a work by Shakespeare) World premiere: c.WORKS AND PERFORMANCES 27 W60. 1994. Southwest German Radio Orchestra. Kraków Philharmonic Orchestra. Warsaw. conductor W65. Poland. Fonogrammi (1961. Venice.) Commission: Southwest German Radio. music for theater. playwright) World premiere: c. West Germany for Donaueschingen Music Days Dedicatee: Southwest German Radio Orchestra Publisher: PWM. 1962. Silesian Philharmonic Symphony Orchestra. 1963. Warsaw. conductor W64. Andrzej Markowski. Bohdan Korzeniewski. 1965. Poland. 4 min. film director) . Kraków Philharmonic Chamber Orchestra. Entrata (1994. 1961. 1960. Hans Rosbaud. Cincinnati Symphony Orchestra. brass. Kraków. Teatr Polski. Teatr. Epitaph Artur Malawski in Memoriam (1958. flute and chamber orchestra. string orchestra and timpani) Written as a graduation piece for the State Higher School of Music in Kraków World premiere: June 1958. Kraków. conductor Selected performances: September 28. Baranowski. Forefathers ("Dziady") (1963.) Publisher: Moeck World premiere: September 24. 13 min. conductor W62. Warsaw Autumn Festival.) Commission: Cincinnati Symphony Orchestra Publisher: Schott World premiere: November 4. Donaueschingen Music Days. conductor W61. Adam Mickiewicz. Bohdan Korzeniewski. Baden-Baden.

winds. piano. director W73. Adalbert. voice and piano?) Written in memory of Rutkowski. playwright) World premiere: 1959. Daniel. Penderecki Festival in Breda. director W72. 15 min. Stary Teatr. percussion. director W71. Jerzy Zitzman. Orchestra and Choir of TV6 Moscow Symphony Orchestra. Funeral Song (1964. The General and the Fly ("General i mucha") (1961. Poland. 1997. Moscow. Warsaw) World premiere: c. in celebration of its 1000th anniversary World premiere: October 17. conductor Selected performances: Polish premiere: November. Warsaw. Poland. 1965. Pinocchio Theater. Brabant province. Poland. 5 min.) Commission: City of Poland. J. (1959. Warsaw. percussion. (1997. mixed chorus.28 KRZYSZTOF PENDERECKI W67. Sinfonia Varsovia. 1961. Tilburg. music for puppet Poland. Russia. adapted from a story by Ernest Hemingway) World premiere: c. Russia. Moscow. Grandfather’s Wink theater. Ryl. 1964. Byrsek. Arlekin Puppet Theater. The Netherlands W70. 's-Hertogenbosch and Eindhoven. H. Krzysztof Penderecki. conductor W74. music for theater. music for puppet theater) World premiere: 1961. in celebration of the 850th anniversary of Moscow’s founding World premiere: October 4. film director) Selected performances: January-February 1983. He Left Home z domu") (1965. Hymn to St. 1997. Morawski. Hymn to St. rector of the Kraków Higher School of Music W69. Krzysztof Penderecki. mixed chorus. Jerzy Jarocki.) Commission: Television station 6. Kraków. Jerzy director W68. How Little Hanna Came to an Agreement with the Bear ("Jak Hania z misiem ") (c. (1997. 1997. Krzysztof Penderecki. winds. conductor . short-film music realized at Polish Radio Experimental Music Studio. For Whom the Bell Tolls ("Komu bije dzwon") (1964. Kraków Philharmonic Choir. Teatr Poland. adapted from story by Tadeusz electronic music for theater realized at Polish Radio Experimental Music Studio. W.

with vocal material sung by Musici Cantanti. conductor W78. cymbals.) Publisher: Moeck W77. Schott World premiere: December 16. mixed choir. playwright) World premiere: 1960. 's-Hertogenbosch and Eindhoven. je t’aime (1968. Lacrimosa (1980. W76. Schott World premiere: November 30. Antoni Wit. In pulverum mortis from the St. Poland. gongs. Warsaw Autumn Festival. Brabant province. 1964. music for puppet theater. Intermezzo (1973. Serafinowicz and Wojciech Wieczorkiewicz. Zurich Chamber Orchestra. 1960.) Commission: Zurich Chamber Orchestra. soprano. 6 min. conductor (The performance was recorded in Kraków and broadcast via public- . Nawrocki. Z. L. director W80. Jadwiga Gadulanka. short-film music for flute. 1978. Ryl. film directors) W81. Alain Resnais. music for Theater. 3-part mixed a capella chorus. electronic realization at the Polish Radio Experimental Music Studio. and orchestra. I Come to Tell a Story theater. Zurich. harp. Arlekin Puppet Theater. feature film music.WORKS AND PERFORMANCES W75. Juggler Wearing a Crown ("Kuglarz w koronie") (c. short-film music. electronic material. 6 min. Luke Passion (1966. Polish Chamber Orchestra. 1980. Warsaw. xylophone. King Midas Midas") (1963. 7 min. The Netherlands W82. Poland. Warsaw. Kraków. The Kidnapping ("Porwanie") (1963. Poland W79. 1968. film director) World premiere: c. director 29 (1964. H. conductor Selected performances: Polish premiere: September 20. Lucjan film director) Selected performances: January-February 1983. Edmund de Stoutz. Je t’aime. twenty-four strings. Switzerland. playwright) World premiere: c. Poland. 1973.) Commission: Lech and the Solidarity Labor Union for the unveiling ceremony of the monument "To the Fallen in December 1970. Kraków Polish Radio and TV Choir and Orchestra. Jerzy Maksymiuk. Switzerland Dedicatee: Edmond de Stoutz Publisher: PWM." Poland Publisher: PWM. Tilburg. soprano. Broszkiewicz. Penderecki Festival in Breda.

Switzerland Publisher: Schott . 1980. Largo (2003. T. D. Legend of Bulandra the Miner o górniku Bulandrze") (1959. music for puppet theater. Ociepka. soprano. Banialuka Puppet Theater. Washington. director W88. Marcinek Puppet and Actors Theater. Little Tommy Tiptoe ("Tomcio paluszek") (1958. playwright) World premiere: 1960. S. for a capella boy’s and men’s choir. 1967. playwright) World premiere: c. J. S. Zaborowski. Ateneum Silesian Theater of Puppets and Actors. 's-Hertogenbosch and Eindhoven. soprano. Katowice. Lucerne Fanfare (1998. H. director. director W89. Brabant province. music for puppet theater. See Serenade W83. 8 trumpets and 4 percussionists.30 KRZYSZTOF PENDERECKI address system during the ceremony. music for puppet theater) World premiere: 1961. Januszewska. Wojutycka. The Netherlands W85. Poland W86. Little Tiger ("Tygrysek") (c. Poland. W87.) Commission: Opening of Culture and Congress Center. Kennedy Center. Antoni Wit. Marcinek Puppet and Actors Theater. Mstislav Rostropovich. 1961. music for puppet theater. Z. 6 min. Kraków. cello and orchestra) W84. Obracow and S. "Rabcio Zdrowotek" Puppet Theater.) U. playwright) World premiere: 1958.. scenery Selected performances: February 1983. premiere: January 14. 1963. Lucerne. Legend of the Five Brothers o braciach") (1967. Poland.C. Poland. conductor See Polish Requiem Larghetto. J. Jadwiga Gadulanka. Rabka. The Loitering Fox ("Lis ") (1963. conductor (An evening performance following the ceremony. director Poland. Tilburg. Washington Oratorio Society Chorus. Galina Vishnevskaya. Morcinek. G.) Selected performances: December 16. Kraków Polish Radio and TV Choir and Orchestra. Penderecki Festival in Breda. National Symphony Orchestra. Zaborowski. 1981. music for puppet theater. I. playwrights) World premiere: c.

A. Lucerne. Adamkiewicz. Vladimir Ashkenazy. seven-part male vocal ensemble. Zenon Migacz. bass solo. two 24-part mixed choruses. Peter Lagger. director W92. music for puppet theatre. Poland. J. Schott World premiere: August 17. and orchestra. Princeton. boys chorus. Kraków. Boys Chorus and Mixed Chorus. Banialuka Puppet Theater. Yale Philharmonia. Austrian Radio and Television Choir and Orchestra. Krzysztof Penderecki. conductor W94. Trinity Church Choir. Serafinowicz and Wojciech Wieczorkiewicz. adapted by G. film directors) . I. music for puppet theater. Connecticut. Princeton. conductor Selected performances: Polish premiere: February 23. Austria. Vienna Boys Choir. director) World premiere: 1959. Kazimierz film director) W93.WORKS AND PERFORMANCES 31 World premiere: August 18. playwright) World premiere: c. 1977. Boy Choir. 1974. Poland W95. text by U. Warsaw. Lublin. Jerzy Katlewicz. playwright. music for puppet theater. Krzysztof Penderecki. short-film music realized at the Polish Radio Experimental Music Studio. Rettinger. premiere: February 27.) Commission: Austrian Radio and Television for the 1200th anniversary of the Salzburg Cathedral Publisher: PWM. shortfilm music realized at Polish Radio Experimental Music Studio. Schola Cantorum. Jerzy Zitzman. Jozef Solawa. director W9l. The Magic of Circless (1965. S. 1965. The Magic Jug ("Czarodziejski garnek") (1957. soloists: Leonard Mróz. New Haven. conductor W90. The Magic Grinder ("Czarodziejski (1965. 1998. Lucerne Trumpet Ensemble. Salzburg Cathedral. conductor U. Warsaw. L. Jacek Dutka. The Master’s Children ("Dzieci pana majstra ") (1959. Banialuka Puppet Theater. Magnificat (1973/1974. Damm-Wendler. Meeting with a Monster ("Spotkanie z bazyliszkiem") (1961. Poland. Z Rogoszowny. 40 min. Afanasjev. Ignacy Andrzej Kraków State Philharmonic Orchestra. Stuttgart. Puppet and Actors Theater. bass. 1975. Switzerland. Wojutycka. Westminster Choir. Morcinek) World premiere: 1957.

Kraków. Trumpet (1960. Nehrebecki. 10 min. Alois and Alfonse Kontarsky. Brabant province.) Publisher: Moeck W100. Henryk. short-film music realized at the Polish Radio Experimental Music Studio. State Higher School of Music. Poland W103. West Germany. 's-Hertogenbosch and Eindhoven. Warsaw. 3-part mixed a capella chorus with optional junior chorus. E. Kraków. Poland. The Netherlands . music for theater. W. Tilburg. Bremen Radio. Jerzy Jarocki. Krzysztof Penderecki. Penderecki Festival in Breda. Szelburg-Zarembiny. Penderecki Festival organized by Polish Radio. playwright) World premiere: Banialuk Puppet Theater. Frankfurt. music for puppet theater. a PWM publication) World premiere: June 1960. 4 min. 1954/1955) Student work. pianos W97.32 KRZYSZTOF PENDERECKI W96. Miniatures for Flute (c. Kraków W99. Belwin Mills (also part of Polska miniatura skrzypcowa. Poland. Miniatures for Violin and Piano (1959. 1939-1964. Mother ("Matka") (1964. West Germany. flute W101. 1964. Stary Teatr. Grzegorz Olkiewicz. now lost? W98. Misterioso (?. Luke Passion (1966. director. film director) Selected performances: January-February 1983. adapted from Witkiewicz's story of the same name) World premiere: c. European Flute Festival. piano Selected performances: June 1980. Mensura sortis (1963. violin. Miserere from the St. 2 pianos) Commission: Radio Bremen World premiere: May 6.) Dedicatee: Tadeusz Ochlewski Publisher: PWM. Wojciech Wieczorkiewicz. director See The Superhero W102. Mr. The Most Valiant Knight ("Najdzielniejszy z rycerzy") (1959. 1964. flute) This is possibly an alternate title for Miniatures for Flute Selected Performances: March 1993.

Illinois. Theater. William Stone. choreography. Hanover. recorders. soloists: Ellen Shade. 1979. scenery. Milan.WORKS AND PERFORMANCES W104. Boris Carmeli. chorus director. January 21. conductor Selected performances: Italian premiere (La Scala and the Chicago Lyric Opera shared the costs of the work's premiere performances). Warsaw Philharmonic Orchestra. Michael Hurshell. music for puppet theater. sacra rappresentazione in two acts. Paul Esswood. Chicago. John Butler. 1962. set designers W109. 3 hours) Libretto: Christopher Fry and Sam Wanamaker. Susanne Riehmann. William Stone. Joy Davidson. Igal Perry. Poland. Ezio Frigerio. Chicago Lyric Opera Chorus. arranged for orchestra by Henning Brauel. Chicago Lyric Opera. stage director. Paul Esswood. Peter van Ginkel. Marimba. Joy Davidson. playwright) World premiere: 1980?. Dennis Wayne. Krystyna stage director. music for puppet theater adapted from the book Mahabharata) World premiere: c. Arlekin Puppet Theater. Twardowski ("Pan Twardowski") (1962. incidental music for a play. Barbara Engelmann. . Music from Ubu Rex (1994. W. Bruno Bartoletti. Our God's Brother ("Brat naszego Boga") (?. dancers: Nancy Thuesen. Marta Klimasara. Ryl. playwright. soloists: Ellen Shade. Carlo Zardo.) Publisher: Schott See Ubu Rex W107. Poland 33 W105. Aldo Bottion. 2000. director) World premiere: 1962. William Powers. Music for Three Recorders. Igal Perry. Robert Page. 1978. director W108. Byrsek. Alam Opie. for the bicentennial anniversary of the United States Publisher: Schott World premiere: November 29. La Scala Opera. 3) (2000. adapted from John Milton's Paradise Lost Commission: Chicago Lyric Opera. Germany. Dennis Wayne. Poland. marimba. Anna Sekula and Zubrowska. 25 min. and Anja Wetzki. Mr. Arnold Moss. Nal and Damayanti ("Nal i Damayanti") (1962. 13 min.) World premiere: June 25. Karol Wojtyla. by Shokei Kazumi Steffens and Bischof Nissho Taeuchi of the “Adagio ”from Symphony No. dancers: Nancy Thuesen. Kraków. Paradise Lost (1975-78. A. and Strings (arr. Pinocchio Puppet Theater. conductor W106. H. stage director.

34 KRZYSZTOF PENDERECKI Ezio Frigerio. Munich Philharmonic. Carlos Alexander. revised version. harp. Rochester. See Adagietto and Prelude. conductor Selected performances: February 15. Walter Hendl. Felicia Blumental. Günther Schneider-Siemssen. conductor World premiere of revised version: January 5. soloists: Bodo Brinkmann. trans. harpsichord. Warsaw. See Serenade . Munich. Andrzej conductor. Warsaw Autumn Festival. Eastman Philharmonic Orchestra. scenery. Janos Kulka. August Everding. scenery. harpsichord. Doris Soffel. Toni Krämer. Doris Soffel. 1972. on the occasion of Penderecki's acceptance of an honorary doctorate from the University of Rochester. dancers: Stuttgart Eurhythmaeum. Felicia Blumental. Carnegie Hall. Andrzej Majewski. Andrzej Markowski. Uta-Maria Flake. Günter Reich. Robert Page. Teatr Wielki. chorus director. stage director. scenery. Württemberg State Theater. Günter Reich. John Patrick Thomas. conductor West German premiere (sung in German. Stuttgart. Schott World premiere: February 11. Warsaw. Warsaw.. New York on its 50th anniversary Dedicatee: Felicia Blumental Publisher: PWM. New York City. electric guitar. Warsaw Autumn Festival. Han-An Liu. Krzysztof Penderecki. Baranczak): November 21. Eastman Philharmonic Orchestra. scenery. Hans Lengefeld. electric guitar. New York. John Butler. conductor Passacaglia. conductor Polish premiere (German translation): September 21. Matthias Weber. Günter Schneider-Siemssen. Penderecki Days. choreography. Paul Esswood. chamber orchestra. August Everding. Heinz Mende and Ulrich Eistert. 1991) Commission: Eastman School of Music. conductor Polish premiere: September 24. Felicja Blumental. 1992. Stuttgart. Uta-Maria Flake. harp. contrabass. Marek stage director. chorus directors. soloists: Bodo Brinkmann. Elzbieta Chojnacka. Paul Esswood. harpsichord. Visions and Finale W110. 20 min. Hans Wollschläger): April 28. 1972. harpsichord. double bass. 1979. bass guitar. National Philharmonic Orchestra. bass guitar. dancers: Stuttgart Eurhythmaeum. Rochester. Krzysztof Penderecki. Partita (1971/1972. soloists: Adam Kruszewski. Ryszard Morka. solo harpsichord. Janos Kulka. Siegfried Jerusalem. Emil choreography. Galka. Michael Goltz. Walter Hendl. trans. conductor Polish premiere (Polish translation. 1993. stage director. Württemberg State Opera. Stuttgart. 1979. 1972.

Passacaglia and Rondo (1988. 1962. Warsaw Autumn Festival. West Germany. Luke Passion") (1966. 6 min. West German Radio Choir. Festival of Art Prize. April 22. speaker. Banialuka Puppet Theater. 1986. Pittsburgh Overture (1967. Andrzej Hiolski. solo cello. 1966. Pinocchio ("Pinokio") (1962. Bernard Leszek Herdegen. Bernard Rudolf Jürgen Bartsch. Kraków. soprano. cello W114. 1966. 1967. 1967. September 20. soloists: Stefania Woytowicz.) Composed for the Rostropovich International Competition. Switzerland. Robert Austin Boudreau.) Commission: Robert Austin Boudreau for the American Wind Symphony Orchestra Publisher: C. Warsaw. premiere: November 2. conductor . Skrowaczewski. music for puppet theater. Schott World premiere: June 30. Henryk conductor Selected performances: Polish premiere.) Incorporates Stabat Mater Awards: Great Art Prize of North Rhein-Westphalia. Peters. and bass soloists. soloists: Stefania Woytowicz. Per Slava (1985/1986. Ivan Monighetti. Lucerne Festival Orchestra See Symphony No. Lucerne. Andrzej Hiolski. baritone. Minneapolis. Münster. speaker. conductor W113. 1967. 1966. speaker. 80 min. Pennsylvania. M. Minnesota Orchestra. Mixed Chorus and Orchestra. director W115. PWM.WORKS AND PERFORMANCES 35 W111. wind ensemble. 3 W112. Paris Dedicatee: Mstislav Rostropovich Publisher: PWM. playwright) World premiere: c. Pittsburgh. Moeck World premiere: March 30. West German Radio Symphony Orchestra. Collodi. 10 min. Henryk conductor U. Poland. S. 1967 Commission: West German Radio. Passio et mors Domini nostri Jesu Christi secundum Lucam ("St. Prix Italia. F. 1988. Tölzer Boys Choir. Schott Selected performances: Polish premiere. three mixed choirs and orchestra. Kraków Philharmonic Boys Choir. 1967. Cologne Dedicatee: Penderecka Publisher: PWM. American Wind Symphony Orchestra. boys choir. Karwat. Japan. Jean Sibelius Medal. orchestra) World premiere: August 20.

Zachos Terzakis. orchestra. Kraków Polish Radio and Television Symphony Orchestra. tenor. 1984. Stafford Dean. Hamburg. 1985. Polymorphia (1961. C. C. conductor Selected performances: Polish premiere of the incomplete version. premiere of the complete version: November 29. soloists: Phyllis Bryn-Julson. 1962. Polish Requiem (1984. Württemberg State Opera Choir. Choral Arts Society. 1963. September 26. Jerzy Krasowski. Choral Arts Society. conductor Polish premiere of the complete version: April 27. soloists. conductor World premiere of the complete version: September 28. West Germany. conductor . short-film music realized at Polish Radio Experimental Music Studio. Mstislav Rostropovich. music for theater. Polish Ballad ("Ballada polska") (1964. S. Birgitta Svendén. addition of Sanctus (1993. Warsaw. Maureen Forrester. conductor W119. Stuttgart Radio Symphony Orchestra. soloists: Jadwiga Gadulanka. Hamburg Dedicatee: Hermann Moeck Publisher: PWM. Zardo U. Dies Irae—Quid sum miser. Lacrimosa (W).) Incorporates Agnus Dei (W). The Pocketknife ("Scyzoryk") (1961. Warsaw Autumn Festival. alto. Henryk Grychnik. National Symphony Orchestra. Antoni Wit. Washington. Stafford Dean. Jadwiga Rappé. director W118. North German Radio Orchestra. 14 min. Andrzej Markowski. soloists: Galina Vishnevskaya. Henryk Grychnik. Kraków Philharmonic Orchestra. Rex tremendae. Warsaw. Washington.36 KRZYSZTOF PENDERECKI W116. film director) W117. Mstislav Rostropovich. soloists: Jadwiga Gadulanka. and Recordare (W) Publisher: Schott Commission: South German Radio. Sweden. adapted from story by Bohdan Drozdowski) World premiere: Teatr Polski. Mstislav Rostropovich. Warsaw. mixed choir and orchestra. Moeck World premiere: April 16. 90 min. Royal Stockholm Philharmonic Chorus and Orchestra. D. C. 1983. Stuttgart. conductor Selected performances: Polish premiere. West Germany.) Comission: North German Radio. Stockholm.. Andrzej Markowski. 1985. 48 strings. L. Lacrimosa): November 23. Leonard Mróz. John Gilmore. D. 1984. National Symphony Orchestra. mixed chorus. Jadwiga Rappé. 10 min. Krzysztof Penderecki. Württemberg State Theatre World premiere of the incomplete version (Agnus Dei. Warsaw Autumn Festival. Doris Soffel. Confutatis maledictus. Katowice. Recordare Jesu. Lorek. 1993. conductor World premiere of the version including Sanctus: November 11. September 22. South German Radio Choir. Ryszard Karczykowski. four soloists.

Banialuka Puppet Theater. Schott W123. Leif Segerstam. and double basses. 10 min.) Award: Polish Composers Union Young Composers Competition. 1969. Hans Vonk.) Dedicatee: Paul Patterson. Austria. keyboard. 8 min. Prelude. Austrian Radio Orchestra and Chorus. Salzburg. 1960. Sweden W127. six soloists. Stockholm. second prize Publisher: PWM. for his 40th birthday Publisher: PWM. director W125. Kraków.) Publisher: Schott World premiere: August 10. music for puppet theater. Psalmus 1961 (1961. Professor Serduczko (c. 40 min. Radio Wind Ensemble. 1961. percussion.WORKS AND PERFORMANCES 37 W120. film music) World premiere: October 28. Cinemathèque Français. conductor (an earlier radio recording had been made with the Kraków Polish Radio Choir and Orchestra.) Dedicatee: Ake Holmquist . Days of Contemporary Music. winds. Salzburg Festival. playwright) World premiere: 1960. 5 min. 1971. L. and Finale from Paradise Lost (1979. The Netherlands. Kraków Philharmonic Chorus and Orchestra. Quartet for Clarinet and String Trio (1993. keyboard. Poland. Andrzej Markowski. Paris W121. and double basses. Amsterdam. Holland Festival. 1959. 1979. Prelude for Clarinet (1987. mixed chorus. 20 min. Visions. electronic music realized at the Polish Radio Experimental Music Studio. orchestra. Serafinowicz. Portrait of a Conductor (196-. 2 min. Warsaw. Dominik. conductor) W126. Poland. percussion.) World premiere: April 10. Psalms of David (1958: mixed choir. conductor W122. Amsterdam Publisher: Schott World premiere: July 4. Prelude (1971. Fylkingen concerts. April 1959. conductor See Paradise Lost W124. Moeck World premiere: October 9. Jerzy Gert.) Commission: Dutch Radio.

8 min. Mstislav Rostropovich. Maciej Paderewski. martyred in Auschwitz Publisher: PWM. 1968-1970. Kraków Higher School of Music. cello World premiere of transcription for saxophone quartet: Dresden Contemporary Music Days.) W131. 1962. Washington. 1983. Rascher Saxophone Quartet W128. Zofïa Stachurska. Parrenin Quartet (This was the premiere of the revised version. Quartet for Strings No. performers unknown W129. alto. soloist Selected performances: June 13. Penderecki having withheld the first version from performance. tenor. Maureen Forrester. West Germany. conductor See Polish Requiem W132. Schott World premiere: November 23. John Gilmore. 1954/1955. mixed choir. 1988. Ohio. clarinet. soprano. 1 (1960. Warsaw Autumn Festival.) Dedicatee: Father Maximilian Kolbe. viola. 1956/1957) Withdrawn by the composer after the world premiere World premiere: c. Cincinnati.) Dedicatee: Julian Zarzycki Publisher: PWM. 1993. and bass solos. Germany. Schott World premiere: September 30. 1957. LaSalle Quartet W130. West Berlin. 10 min. 1962. Kim Kashkashian. Recordare (1983.) Dedicatee: Heinrich Strobel Publisher: PWM. Lübeck. and orchestra. text by World premiere: mid-1950s. violin. September 17. Kraków Higher School of Music. baritone. Choral Arts Society. voice and piano. National Symphony Orchestra. C. Request for the Joyous Islands (c. Poland. Belwin Mills World premiere: May 11. 10 min. 2 (1968. D. soloists: Galina Vishnevskaya. piano . Berlin Festival Week. Quartet for Strings (c. Quartet for Strings No. Sharon Kam. revised c. Boris Pergamenshikov.38 KRZYSZTOF PENDERECKI Publisher: Schott World premiere: August 13. Christoph Poppen. 1999. Andrzej Hiolski. Stafford Dean. 1970. LaSalle Quartet Selected performances: Polish premiere.

) Commission: City of Jerusalem. Poland. Wojciech Has. conductor Selected performances: European premiere. Kazimierz Kord. Wendy Nielsen. Philadelphia Singers Chorale. cello. premiere: July 17. conductor U. director W134. Yuri Bashment. clarinet. Jon Villars. Larghetto: August 31. Israel Philharmonic. 1997. Roland the Mad ("Roland Szalony ") (1962. Jerusalem Symphony Orchestra. speaker. New York. 65 min.WORKS AND PERFORMANCES 39 W133. for the 3000th anniversary of Jerusalem Publisher: Schott World premiere: January 9. soloists: Harasimowicz-Haas. Vienna Festival. William Stone. J. Israel. Jerusalem. orchestra.S. March 14. 1996. Sextet for Clarinet. soloists Christine Goerke. Warsaw. string orchestra) (two movements of a planned fivemovement piece: Passacaglia and Larghetto) Dedicatee: Rudolf Baumgartner World premiere: Passacaglia: August 20. Serenade (1997. 7) (1996. Gustav Holoubkiem. Sylvia Greenberg. Warsaw. Izabella Ewa Ochman. 1997. conductor W136. Switzerland. Horn. Radio Choirs from Munich. conductor See De profundis W137. Gorzycki. Wojciech Wieczorkiewicz. Vienna Publisher: Schott World premiere: June 7. National Philharmonic Orchestra and Choir. Bavarian Radio Symphony Orchestra. Evgenii Szapovalov. 5 soloists. playwright) World premiere: 1962. Stuttgart. Paul Meyer. 30 minutes) Commission: Gesellschaft der Musikfreunde. and Leipzig. Austria. viola. Reinhard Hagen. Kurt Masur. 3 mixed choirs. Lucerne. The Saragossa Manuscript znaleziony w Zaragossie") (1964. feature-film music realized at the Polish Radio Experimental Music Studio. (both premieres) Lucerne Festival. Florence Quivar. soloists Mariana Nicolesco. Seven Gates of Jerusalem (Symphony No. piano . 2000. String Trio and Piano (2000. Bavarian Radio Orchestra. Jadwiga Rappé. Boris Carmeli. Vienna. music for puppet theater. Marcinek Puppet and Actors Theater. Boris Carmeli. 1997. Rudolf Baumgartner. horn. violin. Dmitri Alexeev. Radovan Vlatkovic. Julian Rachlin. New York Philharmonic. Romuald Tesarowicz. Lucerne Festival Strings. Lorin Maazel. film director) See Three Pieces in Antique Style W135. Mstislav Rostropovich. 1998. Poland. narrator.

Donaueschingen Music Days. Martina Snell. for Donaueschingen Music Days Dedicatee: Siegfried Palm Publisher: PWM. Groteska Theater. Robert Jones. The Silver Adventure przygoda") (c. Ryl. cello. piano . Christiane Edinger. music for puppet theater. Warsaw. September 29. Poland. Poland. Warsaw. 8 min. H. Houston. 20 min. director) World premiere: c.) Commission: Southwest German Radio.) Publisher: Schott World premiere: July 13. 1 (1953. Christoph Eschenbach. conductor W142. cello. Siegfried Palm. 1964. Ernest Bour. Kraków W139. Kalmus. Ryl. director W143. violin. Siegfried Palm. David Niwa. violin. West Germany. piano W138. Ohio. January 8. Szwarec. Columbus. conductor W144. 1962. Sonata for Cello and Orchestra (1963/1964. Sinfonietta No. conductor W141. cello.) Publisher: Schott World premiere: February 17. H. Marko Kaneda. Donaueschingen. W. Kownacki. E. Warsaw Autumn Festival. 1992. 12 min. Sinfonia Varsovia.) Publisher: Schott World premiere: January 7. playwright) World premiere: c. premiere. Edition Eulenberg World premiere: October 18.S. 2 for Clarinet and Strings (transcription of Quartet for Clarinet and Strings. Arlekin Theater. 1994. clarinet. playwright) World premiere: 1960. clarinet. 10 min. director W140. Bad Kissingen. 1960. Krzysztof Penderecki. adapted from a tale by Andersen. Luis Biava. Wojciech Wieczorkiewicz. music for puppet theater. Sinfonietta No. Deshon. conductor Selected performances: Polish premiere. Texas. Paul Meyer. viola. 1990. 1994. 1 (transcription of Trio for Strings) (orchestra. Andrzej Markowski. playwright. 2002. Sonata for Violin and Piano No. Southwest German Radio Orchestra. M. Kenichiro Matsuda. music for puppet theater. Jarema. horn. Krzysztof Penderecki. The Shoemaker’s Twine ("Szewc Dratewka") (1958. Belwin Mills. Germany. 1958.40 KRZYSZTOF PENDERECKI Selected performances: U. Sinfonia Varsovia. Philharmonic Orchestra. The Snow Queen (1962. 1965. Marcinek Puppet and Actors Theater.

Wojciech Wieczorkiewicz. 9 min. reciting voice (sprechstimme).) Publisher: PWM. DammWendler. Poland. director W152. music for puppet theater adapted from a story by O. Wilde. three 16-part a capella choruses.C. 6 min. music for puppet theater. I. S. 1961. Schott World premiere: March 27. director W149. Andrzej Trzos. 1987. Sonata for Violin and Piano No. Goethe. soprano. 2 (1999. 1963. Star Child ("Dziecko gwiazda") (1963. Sport Etudes (“Etiudy sportowe”) (1965. 1962. short-film music. and ten instruments. c.) World premiere: April 29. Galewicz. Kossakowski and J. speaker. playwrights) World premiere: c. 8 min. Puppet and Actors Theater. April 1959. piano W146. violin. playwright) World premiere.) Dedicatee: Mstislav Rostropovich. Antoni conductor See Passio et mors Domini nostri Jesu Christi secundam Lucam W151. 35 min. music for puppet theater. Song of the Fox olisie") (c. Warsaw. Belwin Mills World premiere: November 27. Katowice. Washington. director) W150.) Awards: Polish Composers Union Young Composers Competition. 1961. J. London. England. U. 1959. Lublin. National Philharmonic Choir. Strophes World premiere: September 17. 2000. Marcinek Puppet and Actors Theater. W. a capella mixed chorus. first prize Dedicatee: Andrzej Markowski Publisher: PWM. playwright) World premiere. Warsaw Autumn Festival. 1959. Wojutycka. director W148. Franciszek Delekta. Ateneum Puppet and Actors Theater. Andrzej Markowski. Poland. D. Poland. Lambert Orkis. Silesian Philharmonic Chamber Orchestra. Anne-Sophie Mutter. for his 60th birthday Publisher: PWM. conductor . Stabat Mater (1962. Strophes (1959. Belwin Mills.WORKS AND PERFORMANCES 41 W145. The Spider (1959. Poland.. soprano. Poland. Zofia Stachurska. Washington Chorale W147. Song of Cherubim (1986. Warsaw. M.

revised 1981. London Symphony Orchestra. National Philharmonic Orchestra. instrumental ensemble. Penderecki Festival in Breda. Ankara. This is a revised and expanded version of “The Most Valiant of the Knights” Libretto: Krzysztof Penderecki World premiere: May 15. The Swineherd (1958. Schott World premiere: July 19. Peterborough. Turkey. International Festival for Puppet Theatre. music school students February 13. The Netherlands W155. Krzysztof Penderecki. director. premiere: January 9. Marcinek Puppet and Actors Theatre. Poland.) Commission: Perkins Engines. Peterborough Cathedral.. director W156. Ankara State Opera. conductor U. 36 min. 1973. Kemal Cáglar. Symphony No. 60 min. from a tale by Andersen) World premiere: c. children's opera with puppets adapted from Ewa Szelburg-Zarembina's fairy tale. S. England. Kazimierz director) World premiere: c. Warsaw. 2 "Christmas" (1979/1980. Witold Rowicki. conductor W158. Romania April 1990. Warsaw Autumn Festival. short-film music realized at the Polish Radio Experimental Music Studio. music for puppet theater. J. 1953/1955.) Commission: New York Philharmonic Orchestra Dedicatee: Zubin Mehta Publisher: Schott . Symphony No. 30 min. 1 (1972/1973. Philharmonic Orchestra. 1965. 60 minutes). 1975. Tilburg. Brabant province. 1965. Poland. Symphonic Scherzo (c. 1994. The Superhero ("Najdzielniejszy") (1965. orchestra) A student work. Wojciech Wieczorkiewicz. Sweet Rhythms rytmy) (1965. Los Angeles Philharmonic. September 22. now lost W157. Bucharest. 1973. 's-Hertogenbosch and Eindhoven. Wojciech Wieczorkiewicz. orchestration and elaboration by Marek Stachowski. England Publisher: PWM. conductor W154. Los Angeles. Poland Selected performances: February 1983. text adapted by J. Zubin Mehta.42 KRZYSZTOF PENDERECKI W153. 1958. director Selected performances: September 1965. conductor Selected performances: Polish premiere. Banialuka Puppet Theater.

Seoul Philharmonic Orchestra. soprano. Lorin Maazel. September 19. conductor W160. Krzysztof Penderecki. 1991. conductor Symphony No. conductor U. Pittsburgh. conductor Selected performances: U. New York City. Edinburgh. Charles Dutoit. Switzerland.WORKS AND PERFORMANCES 43 World premiere of original version: May 1. Montreal Symphony. Symphony No. Krzysztof Penderecki. Paris. 1988. August. 4 “Adagio” (1989. Gilbert Levine. Symphony No. conductor Selected performances: European premiere of original version. Zubin Mehta.) (includes Passacaglia and Rondo) Commission: Munich. 33 min. Symphony No. 35 min. 1995. Warsaw Autumn Festival. 5 “Korean” (1991/1992. Scotland. 7. two mixed choruses. New York. See Seven Gates of Jerusalem W162. Pittsburgh Symphony. Warsaw. Lucerne Festival Orchestra. as part of centennial celebration Publisher: Schott World premiere of the Passacaglia and Rondo: August 20. National Philharmonic Orchestra. Warsaw Autumn Festival.) Commission: Radio France and the French Secretary of State. 1996. orchestra. 50 min. 3 (1988/95. Germany. New York. conductor World premiere of the full symphony: December 8. 1988. tenor. Te Deum (1979/1980. April 25. New York Philharmonic Orchestra. Lucerne. Kraków Philharmonic Orchestra. premiere of the full symphony: October 26. New York Philharmonic Orchestra. Zubin Mehta. Lorin Maazel. International Music Festival Week. conductor Selected performances: Polish premiere of the Passacaglia and Rondo. 1980. Germany. Seoul. mezzo-soprano. to commemorate the 200th anniversary of the Declaration of the Rights of Man Publisher: Schott World premiere: November 26. and bass soloists. Munich Philharmonic. premiere. Munich.) Dedicatee: Pope John Paul II .S. 1980. conductor W161.) Commission: International Cultural Society of Korea Publisher: Schott World premiere: August 14. orchestra. 35 min. Krzysztof Penderecki. conductor W159. South Korea. Krzysztof Penderecki. conductor World premiere of revised version: September 27. Poland. S. 1981. 1992. 1989. Orchestre National de France.

Warsaw. 1963. Andrzej Markowski. 4 min. Italy. Kalmus World premiere: September 22. Rabka. clarinet. 1964. Rim-cim-ci! Tymoteusz Rym-cim-ci") (1963. J.. Kraków. music for puppet theater. Boris Carmel. Kansas City Philharmonic. soloists: Galina Vishnevskaya. Sacra Musicale Umbra festival. Schott World premiere: September 27. conductor) Selected performances: U. 3rd degree. 1961. third prize. excerpts used in the film “The Saragossa Manuscript ”. 9 min. Belwin. Threnody (1960. conductor W163. Poland. originally titled 8' 37") Award: Fitelberg Composers Competition. "Rabcio Zdrowotek" Puppet Theater. Assisi. Polish Radio Orchestra and Chorus. Andrzej Hiolski. D.44 KRZYSZTOF PENDERECKI Publisher: PWM. January 4. Marianna Pannova. Warsaw Autumn Festival. conductor (a radio recording had been made in May 1961 by the Great Polish Radio Symphony Orchestra. Timothy the Bear. Warsaw. Three Miniatures for Clarinet and Piano (1954. National Symphony Orchestra. S. Katowice. Hans Schwieger. Antoni Wit. conductor Selected performances: U. Schott. Ewa Ochman. 1981.) Publisher: Schott World premiere: June 11. Kansas City. Eugene Tucker. Kosieradski. Zbigniew piano W164. S. Warsaw Autumn Festival. 1988. Bernard Kraków Polish Radio Orchestra and Chorus. Poland. 1980. Three Pieces in Antique Style (also known as Aria and Two Minuets) (1963. Jan Krenz. May 1960. Washington. 6 min. Belwin Mills World premiere: November 17. Polish Composers Union concert. 52 strings. Mstislav Rostropovich. premiere: January 14. Poland. Wilkowski.) Dedicatee: Kosieradzki Publisher: PWM. Kennedy Center. premiere. director . playwright) World premiere: c. soloists: Stefania Woytowicz. Washington Oratorio Society Chorus. 1981. conductor See The Saragossa Manuscript W165. conductor W166. C. Agnieszka Duczmal. Ewa Paulos Raptis. soloists: Jadwiga Gadulanka. Kraków Polish Radio and Television Symphony Orchestra and Chorus. conductor Polish premiere: September 21. Krzysztof Penderecki. 1958. July 1962 Dedicatee: The victims of Hiroshima Publisher: PWM. Kraków Philharmonic Symphony Orchestra. Ministry of Culture and Art Award.

1955. opera based on Ubu Roi. Warsaw. Wojciech Michniewski. September 29. a play by Alfred Jarry. 2 hours) Libretto: Krzysztof Penderecki and Jerzy Jarocki Commission: Bavarian State Opera. Brabant province. France. short-film music. Krzysztof Dembowski. Trio for Strings (violin. Lucjan film director) Selected performances: January-February 1983. piano W173. Poland. Two Songs Silence The Sky at Night (“Niebo w nocy”)] (c. film director) W168. mixed chorus and orchestra. short-film music. West Germany Publisher: Schott (libretto only) World premiere: July 6. Warsaw Autumn Festival. 1991. 1960. Penderecki Festival in Breda. 12 min. The Netherlands W170. Herman Becht. Brabant province. The Netherlands W169. Deutsches Streichtrio World premiere of the complete work: November 15. Ubu Rex (1991. 1988. Maciej Paderewski. Tour of the Cosmos ("Wycieczka w kosmos") (1961. The Trap (c. Two Scenes and Finale from The Black Mask (1988. Deutsches Streichtrio W171. 1991. 's-Hertogenbosch and Eindhoven. conductor See The Black Mask W172. State Philharmonic. Krzyszt of Dembowski. Metz. 1990. Andrzej Hiolski. Bavarian State Opera. 's-Hertogenbosch and Eindhoven.) Publisher: Schott World premiere: November 6. Deutsches Streichtrio Selected performances: Polish premiere of the incomplete version. Warsaw. film director) Selected performances: January-February 1983. texts by Leopold Staff) Selected performances: June 13. 1991. viola and cello) (1990/1991. Keith . The Tower Clock (c. mezzo-soprano. Poland.) Dedicatee: Deutsches Streichtrio Publisher: Schott World premiere of the second movement: December 8. Penderecki Festival in Breda. Germany. 1960. Tilburg. 1988. soprano.WORKS AND PERFORMANCES 45 W167. baritone and piano. short-film music realized at the Polish Radio Experimental Music Studio. Soloists: Robert Tear. Munich. Doris Soffel. 30 min. baritone. Pamela Coburn. Tilburg. Poland. Kraków.

soloists Vita Nikolajenko. mezzosoprano. soloists: Stefan Woytowicz. North German Radio Choir.46 KRZYSZTOF PENDERECKI Engen. West Germany. Kraków. film director) W177. Bucharest. Roland Topor. 1993. West Germany. stage director. Jerzy Katlewicz. short-film music. 1970. Kraków. soloists: Stefan Woytowicz. Arditti Quartet W178.) Publisher: PWM. Schott World premiere: April 8. Bernard Boris Carmeli. and basso profondo soloists. conductor . Andrzej Markowski. Hamburg. Kraków Philharmonic Orchestra and Chorus. West German Radio Symphony Orchestra. incidental music for puppet theatre) World premiere: 1965. Penderecki Music Festival. Der Unterbrochene Gedanke (1988. Christian Baumgärtel. Frankfurt. June 12. Cologne. Bernard Boris Carmeli. Kraków. PWM Selected performances: Polish premiere. Stockholm Marionette Theatre Selected performances: September 1965. Ubu Roi (1964. scenery. 1965. June 26. August Everding. Stary Teatr. Antoni Wicherek. 1988. Michael Boder. International Festival for Puppet Theatre. Kreuzberg String Quartet Publisher: Schott. incidental music. conductor Selected performances: Polish premiere. conductor W174. choreography W176. Utrenia. conductor Selected performances: Polish premiere. string quartet) Dedicatee: Arno Volk World premiere: February 4. Teatr Wielki. November 6. West German Radio Choir. tenor. Andrzej Kostrzewski. Part I “The Entombment of Christ” (1970. The Uninhabited Planet ("Bezludna planeta") (1962. Krystyna Kazimierz Pustelak. Zygmunt playwright) World premiere: October 9. The Ungodly Comedy ("Nieboska komedia") (1965. 1988. Krzyszt of Dembowski. 1970. soprano. Romania See Ubu Rex W175. Krystyna Louis Devos. Konrad director. Ferry Gruber. 40 min. Poland. Altenburg. bass. two mixed choruses and orchestra.

Schott World premiere: (of the complete Utrenia). Were You But a Dream ? snem (1988. Jan film director) Selected performances: January-February 1983. Philadelphia Orchestra. West Germany. Krakow. piano W183. Chorus. Aspen Festival Orchestra. soloists: Delfina Ambroziak. Part II: “The Resurrection of Christ” (1971. May 28. conductor Selected performances: Polish premiere: April 29. Aspen. boys choir. Warsaw. playwright. conductor U. 1963) . 8-part a capella mixed chorus. 7 min. Temple University Choirs.) Dedicatee: Madrid Autonomous University. Revised version. 1960. Eugeniusz Knapik. Zwyrtala the Musician. Colorado. premiere: September 24. and Boys Chorus. June 8.) Publisher: PWM. Penderecki Festival in Breda.WORKS AND PERFORMANCES 47 U. Brabant province. Tölzer Boys Choir. Tilburg. Henryk Wojnarowski. Poland. Kraków. Cologne. conductor W180. West German Radio Choir. National Philharmonic Choir. National Philharmonic Choir. conductor Selected performances: Polish premiere of the complete Utrenia. Krzystyna Kazimierz Pustelak. Bernard Peter Lagger. Richard Dufallo. five soloists. two mixed choruses. 1970. Veni Creator (1987. conductor W179. Przerwy-Tetmajer) Dedicatee: Tomaszewski. soloists: Stefan Woytowicz. The War Is Never Over (c. Krystyna Louis Devos. West German Radio Symphony Orchestra. czyli jak góral do nieba") (1958. S. Andrzej Markowski. Jerzy baritone. Madrid. 1987. or How the Mountaineer Reached Home ("O Zwyrtale muzykancie. Philadelphia. 's-Hertogenbosch and Eindhoven. Spain. Schott World premiere: April 28. Seth McCoy. Kerstin Meyer. The Netherlands W182. International Szymanowski Music Biennale. voice and piano. premiere of Part II: July 1977. Jan Wilkowski. 1987. 1971. in thanks for receipt of an honorary doctorate Publisher: PWM. for his 60th birthday World premiere: March 26. 1988. Krzysztof Penderecki. Bernard Peter Lagger. Jerzy Katlewicz. Utrenia. soloists: Stefania Woytowicz. Kraków State Philharmonic Orchestra. Hamburg. text by K. music for puppet theater. 36 min. S. Bernard Boris Carmeli. Münster. Eugene Ormandy. orchestra. North German Radio Choir. conductor W181. short-film music for jazz ensemble and electronic sounds.

Jan Wilkowski. 1958. 1963. Puppet . director. World premiere of first version: c.48 KRZYSZTOF PENDERECKI Poland. Arlekin Puppet Theater. World premiere of revised version: c.

Krzysztof Penderecki. 1987. Wergo WER 6261 (CD. Antoni Wit. conductor D4. Mariss Jansons. Everest SDBR 3484 (LP. DDD. conductor D6. conductor Agnus Dei D5. 1987) Great Polish Radio Symphony Orchestra. Wergo 1010 (LP rec. rec. conductor . Polskie Nagrania PNCD 020 (CD. conductor D3. ADD. rel. Philips 6305 153 (LP. 2001) The New Eternal Rhythm Orchestra. rec. Intuition 3606 (CD.) Great Polish Radio Symphony Orchestra. 1971). 1971). Cambridge. Muza SX 2582 (LP rec. EMI 56439 (CD. 1988. rel. rec. 1985. FRZ 61001 (CD). rec. rel. 1995) National Philharmonic. Antoni Wit. DDD. Warsaw Autumn Festival Sound Chronicle 1987) Leningrad Philharmonic Orchestra. 1971). 1997) King’s College Choir. Muza 2494 (LP rel. rec. and rel.Discography Actions D1. rel. Krzysztof Penderecki. 4 of the Penderecki series) (a reissue on CD of D3. 1971. conductor Adagietto from Paradise Lost D2. Stephen Cleobury. Divox Radio Vaticana: Div Vat 61 001 (CD). 1989 in vol.

DDD. 1990. 1993. Helmut Rilling. 1965 by Polskie Nagrania). 1972-1973. Mace CMCS-9090 (cassette rel. DDD. 1973). Kraków Chamber Choir. Swedish Society Discofil SCD 1050 (CD. conductor D8. rel. Hännsler Classic 98. rel. 1974) National Philharmonic Orchestra. 1993. conductor Agnus Dei for Requiem of Reconciliation D13. Olaf Chorus. 1994). 1994). St. bass. Finlandia 98999 (CD. 1993 or 1994. 2001) London Symphony Orchestra. DDD. 1989) Kraków Philharmonic Orchestra. DDD. 1993 or 1994. 1980. Mace S-9090 (LP rel. Jan Yngwe. rec. conductor D11. rel. United 88021 (CD. conductor D10. 1996) BBC Singers. Andrzej Markowski. Muza SXL 0260 (LP rel. 1992) Pro Musica Chamber Choir. Wojciech Czepiel. Supraphon 1410 2734 (LP rec. Andreas Schmidt. 1985) St. rel. Gächinger Kantorei Stuttgart. 1998) Concordia Choir. EMI 1C 065 102452-1 (LP rel. conductor . rel. 1991) Choeur des XVI. Polmusic PmCD 1024 (CD. 1975.931 (CD. Artlab Preludio Productions 90-665 (CD. 1970). rec. tenor. Philips 6500 683 (LP rel. & rel. René Clausen. 1972-1973. 1995). 1981) Prague Radio Symphony Orchestra. rel. Julie Moffat. VSM C 065 102452-1 (LP). Thomas Randle. rec. soprano. DDD. rel. Wergo 60020 (LP rec. 1970). 2001) Tapiola Chamber Choir. Anaklasis D14. DDD. rec. 1995) Donna Brown. ADD. Juha Kuivanen. Wergo 0 301 (LP). EMI 65077 (CD. rel. DDD. rel. conductor D9. Concordia Recordings E-2204 (CD. Jacek Kasprzyk. Kenneth Jennings. conductor D16. rec. Finlandia 88433 (CD. EMI Electrola SHZE 393 (LP). ADD. Bo Holton. CALA 88021 (CD. Krzysztof Penderecki. live rec. rec. rel. 1973). EMI-EMD 5507 (LP rel. 1970). Olaf Records E-1256 (LP rel. Andre Ducet. mezzo-soprano.50 KRZYSZTOF PENDERECKI D7. EMI 74302 (CD. rel. Israel Philharmonic Orchestra. rec. conductor D17. conductor. conductor D15. conductor D12.

Turin. conductor D20. EMI 74302 (CD. 2001) Tapiola Chamber Choir. Antoni Wit. Muza 2494 (LP rel. 1981) Prague Radio Symphony Orchestra. Chandos CHAN 9459/60 (CD. 1972-1973. 2001) Great Polish Radio Symphony Orchestra. Jacek Kasprzyk. rel. 1987). WCAL RSST 77703 (LP titled: The St. ADD. Piero Bellugi. rec. rel. Jacek Kasprzyk. Sony SK 66284 (CD. 1993). ADD. rel. rec. 1994). Krzysztof Penderecki. 1995). in 1980. 1977) St. conductor D26. Hans Rosbaud. rel. 1960. 1989) Polish Radio National Symphony Orchestra. New England Conservatory of Music--Performances (cassette rec. 1960. 1985. rec. rec. Polskie Nagrania PNCD 020 (CD. rel. 1985) Conservatory Symphony Orchestra. Olaf College Orchestra. and rel. EMI 65077 (CD. 1982) Italian Radio Symphony Orchestra. conductor D22.DISCOGRAPHY 51 D18. DDD. Krzysztof Penderecki. 1993. Finlandia 98999 (CD. 1993. EMI-EMD-5529 (LP). ADD. conductor D23. Fonit Cetra LAR 32 (LP rel. rel. Col Legno 31899 (rec. Col Legno AU 31800 CD (CD of world premiere performance rec. rel. Finlandia 88433 (CD. 1976). rec. rec. 1995. 1972-1973. conductor Benedicamus Domino D27. Olaf College Orchestra 19761977. conductor D24. VSM C 065-02 484 (LP). conductor The Awakening of Jacob D19. Juha Kuivanen. DDD. 1993. DDD. 1987. conductor . conductor D25. rel. Henryk Wojnarowski. conductor D28. rec. 1997) Southwest German Radio Symphony Orchestra. rel. Krzysztof Penderecki. 1995) National Philharmonic Chorus. Supraphon 1410 2734 (LP rec. Krzysztof Penderecki. rec. 1996) Royal Stockholm Philharmonic Orchestra. 1975. EMI 1C 065 102484-1 (LP rel. rel. Muza SX 2578 (LP rec. conductor D21. DDD. Warsaw Autumn Festival Sound Chronicle 1987) Kraków Philharmonic Orchestra.

conductor . DDD. viola Cadenza for Solo Viola (Version for Solo Violin) D35. rel. DDD. rec. rel. rec. 1993. 1992/1993. 1997) Robert Verebes. DDD. DDD. 1995). Jan Krenz. 1994. EMI Electrola 1C 193-02 386/7 (2 LPs rec. Finlandia 98999 (CD. rel. 1970) Kraków Philharmonic Orchestra and Chorus. DDD. viola D31. viola D33. rel. Warsaw Autumn Festival Sound Chronicle 1962) Great Polish Radio Symphony Orchestra. Simax PSC 1115 (CD. Finlandia 88433 (CD. 1994) Artur Paciorkiewicz. 1997-1998. Wergo WER 6258 (CD. Dynamic CDS 61 (CD. viola D32. EMI 74852 (CD. 1972.52 KRZYSZTOF PENDERECKI Benedictus D29. 1993. 1993. and rel. 1999. conductor. Krzysztof Penderecki. rec. rec. conductor Cantata in honorem Almae Matris Universitatis Iagellonicae sescentos abhinc annos fundatae D39. rel. rel. conductor Cadenza for Solo Viola D30. Muza SX 1151 (LP. rel. 2001) Great Polish Radio Symphony Orchestra. D38. rec. rel. ADD. MDG 304 0917 (CD. violin D36. DDD. 2001) Tapiola Chamber Choir. violin Canon D37. 1991) James Creitz. 1973). Jerzy Katlewicz. Muza W-828 (LP rec. rec. 1972). rel. HMV 850 (2 LPs). Juha Kuivanen. 1995) Claude Lelong. rec. rec. 1962. viola D34. 1995) Christian Edinger. rel. world premiere recording rel. 1999) Enrique Santiago. Nimbus 5631 (CD. DDD. SNE 562 (CD. DDD. Dux 0234 (CD. Angel S-36949/50 (2 LPs rel. 2000) Daniel Hope.

rel. RCA Victor RD 60370-2-RC (CD. Denon DC-8006 (CD. VSM C 065-02 484 (LP). rec. conductor D43. oboe. 1974. 1994). 2002) Siegfried Palm. rec. DDD. Jerzy Katlewicz. 1994) Mariusz oboe. conductor Capriccio for Siegfried Palm D48. 1989) Mariusz oboe. 1975). Warsaw Autumn Festival Sound Chronicle 1976) Heinz Holliger. conductor. ADD. 1974. Great Polish Radio Symphony Orchestra. Moscow Virtuoso. 1974. 1972-1973. cello . and rel. cello D49. 1987). ADD. rel. Camerata Bern D46. rel. rel. conductor D44. Wergo 60172-50 (CD. Mum SX 1151 (LP. 1970) Kraków Philharmonic Orchestra and Chorus. 1976) Roy Christensen. conductor D47. rel. rec. 1993) Heinz Holliger. EMI 74302 (CD.DISCOGRAPHY 53 Canticum Canticorum Salomonis D40. oboe. EMI Electrola 1C 065 1024841 (LP rel. rec. EMI-EMD-5529 (LP rel 1976). DDD. Krzysztof Penderecki. Agnieszka Duczmal. Denon OX 7031 N (LP rec. Col Legno AU 31806 (CD rec. rel. oboe. RCA Victor Red Seal 60370-4-RC (cassette). oboe. 1988. D41. 1972-1973. rel. Southwest German Radio Orchestra. Denon CO 8006 (CD. Vladimir Spivakov. RMArts ID9328RADVD (DVD: Penderecki: A Celebration. 1991) Alexei Utkin. 1960) Heinz Holliger. 2001) Kraków Philharmonic Chorus. rel. rec. rel. Krzysztof Penderecki. Jerzy Maksymiuk. Grammophon 471 573 (CD. conductor D45. 1989. 1988. Ernest Bour. EMI 65077 (CD. world premiere recording rel. 1975. DDD. 1990). rec. 1976). Muza SX 1444 (LP rec. rel. conductor Capriccio for Oboe and 11 Strings D42. rec. Sinfonietta Cracovia. Polish Chamber Orchestra. Wergo 314 (LP rel. 1974. Amadeus Chamber Orchestra. ADD. Gasparo GS-102 (LP. rel. 1976.

conductor D60. Muza SX 2073 (LP rec. Summit DCD 163 (CD. 1985) Conservatory Symphony Orchestra. Buffalo Philharmonic Orchestra. Nonesuch 71201 (LP rec. 1994) Ivan Monighetti. 1996) James Gourlay. rel. Great Polish Radio Symphony Orchestra. 1993. 1997) Anna Szarek. Krzysztof Penderecki. rel. Hungaraton/White Label HCD 31642 (CD. HMV 850 (2 LPs) Wanda Wilkomirska. 1993. Crystal CD 690 (CD. 1993) Roger Bobo. Warsaw Autumn Festival Sound Chronicle 1980). violinist and conductor. rec. cello Capriccio for Tuba Solo D53. New England Conservatory of Music–Performances (cassette rec. 1984) Piernik. Wergo WER 6258 (CD. and rel. rel. 2000) Cecylia Barczyk. DDD. 1996) József Bazsinka. DDD. Doyen DOY 028 (CD. Nonesuch 32818 (LP) Paul Zukofsky. rel. DDD. Muza XW-1033 (mono LP rec. and rel. rec. 1972). cello D52. tuba Capriccio for Violin and Orchestra D58. tuba D56. violin. conductor D59. 1982. DDD. EMI Electrola 1C 193-02 386/7 2 (2 LPs rel. rel. 1973). conductor . Piero Bellugi. violin. Muza SX 1806 (LP rec. DDD. Warsaw Autumn Festival Sound Chronicle 1968). DDD). Angel S36949/50 (2 LPs rel. rel.54 KRZYSZTOF PENDERECKI D50. RCA 60370-4-RC (cassette) Vladimir Spivakov. tuba D57. DDD. cello D51. ZPR Records ZCD-026 (CD. Moscow Virtuosi D61. tuba D54. DDD. rec. 1968. rel. 1968). 1980. RCA 60370-2-RC (CD. tuba D55. 1995) Daniel Perantoni. ICR Records 12193 (Towson University) (CD. Lukas Foss.

DDD. rel. conductor Concerto for Cello and Orchestra No. 1972-1973. EMI 65416 (CD. DDD. 2001) Siegfried Palm. rel. 1972). rec. flute. violin. rel. conductor D70. rel. Krzysztof Penderecki. EMI 74302 (CD. conductor Concerto for Violino Grande (or Cello) and Orchestra No. 1999) Torleif Thedéen. Erato 45271 (CD) Mstislav Rostropovich. DDD. Krzysztof Penderecki. EMI 74302 (CD. 1 D63. 1993) Boris Pergamenschikov. conductor Concerto for Flute (or Clarinet or Violin) and Chamber Orchestra D69. 1972-1973. cello. 1972-1973?. 1972-1973. conductor D67. HMV 850 (2 LPs). Krzysztof Penderecki. Warsaw Autumn Festival Sound Chronicle 1983) Ivan Monighetti. conductor D65. Krzysztof Penderecki. Sinfonia Varsovia. rel. Estonian State Symphony Orchestra. 1995] Jean-Pierre Rampal. Polskie Nagrania PNCD 020 (CD. 1984. Erato ECD 75321 (CD and LP. EMI 65077 (CD. rec. cello. 2 D64. cello. BIS CD 937 (CD. conductor D66. Bamberg Symphony Orchestra. 1995). Philharmonia Orchestra. conductor D68. 2001) Wanda Wilkomirska. Swedish Radio Symphony Orchestra. 1993. rec. rec. DDD. 1994). 1985). rec. ADD. Leif Segerstam. Muza SX 2172 (LP rec.DISCOGRAPHY 55 D62. 1998. and rel. Great Polish Radio Symphony Orchestra. rel. cello. 1975. cello. 1973). Sony SK 66284 (CD. flute. rec. 1975. Arvo Volmer. ADD. rel. Signum X72-00 (CD. Orfeo C 285 931 A (CD. rel. Krzysztof Penderecki. 1989) Ivan Monighetti. 1983. Krzysztof Penderecki. cello. rel. Great Polish Radio Symphony Orchestra. rel. EMI S-36949/50 (2 LPs rel. ADD. rec. 1987). EMI Electrola 1C 193-02 386/7 (2 LPs rec. Muza SX 2256 (LP rec. RCA CD 30 156 QA (CD). Kraków Polish Radio and TV Orchestra. conductor . rel. Antoni Wit. 1992. London Symphony Orchestra. DDD. ADD. 1996) Jean-Claude Gerard. ADD.

Melodiya C10 16711/1 (LP) Grigori Zhislin. Krzysztof Penderecki. ADD. conductor D76. 1989 in vol. Antoni Wit. and rel. 1986. viola. 1989) Tabea Zimmermann. Sinfonia Varsovia. Great Polish Radio Symphony Orchestra. rel. 1985. 1988. rec. rec. rel. Szymon Kawalla. flute. Conifer MCFC 168 (cassette). rel. Conifer CDCF 168 (CD. National Polish Radio Symphony Orchestra (Katowice). viola. Polskie Nagrania PNCD 020 (CD.56 KRZYSZTOF PENDERECKI D71. AAD. Agnieszka Duczmal. DDD. Antoni Wit. flute. Amadeus Chamber Orchestra. rel. viola. conductor D78. Polskie Radio PRCD 040 (CD. 1987) Soloist unknown. viola. RM Arts ID9328RADVD (DVD: Penderecki: A Celebration. piano. conductor D79. Krzysztof Penderecki. rel. rel. DDD. Krzysztof Penderecki. 1990) Grigori Zhislin. conductor D75. Great Polish Radio Symphony Orchestra. conductor Concerto for Piano and Orchestra D73. DDD. 1999) Petri Alanko. 1988). rec. rel. Vienna Modern Masters VMM 3010 (CD. conductor D80. Okko Kamu. 4 of the Penderecki series) Stefan Kamasa. & rel. Wergo 60172-50 (CD. conductor Concerto for Viola (or Clarinet or Cello) and Orchestra D74. conductor D77. 1994) Irena Grafenauer. Moscow Philharmonic. viola. 2003) Barry Douglas. rec. 1987 or 1988. conductor D72. Great Polish Radio Symphony Orchestra. Antoni Wit. Krzysztof Penderecki. rec. viola. DDD. 1992) Grigori Zhislin. Warsaw Autumn Festival Sound Chronicle 1986) Grigori Zhislin. Tapiola Sinfonietta. Koch Aperto KoAp 86 422 (CD. conductor . 1997. Muza SX 2455 (LP. rec. ADD. Muza 2494 (LP rel. Kraków Polish Radio and Television Symphony Orchestra. Sinfonietta Cracovia. Naxos 8554185 (CD.

1989) Konstanty Andrzej Kulka. rel. viola. violin. Krzysztof Penderecki. 1987). 1993) Kim Kashkashian. ECM 20002 (CD. 1982) Grigori Zhislin. DDD. DDD. Gega New GD 250 (CD. Bamberg Symphony Orchestra. Orfeo C 285 931 A (CD. conductor D83. AAD. rec. rel. Skrowaczewski. 2. FSM Nu 6705 (CD). 1981). 1992. clarinet. Orchestra Giovanile Italiana. 1979). Sinfonia Varsovia. conductor Concerto for Violin and Orchestra No. rec. rec. rel. 1992. Aldo Ceccato. 1978). rec. 1987. rel. rel. Krzysztof Penderecki. conductor D86. DDD. Sony 67194 (CD) Isaac Stern. orchestra and conductor unknown D90. rel. Krzysztof Penderecki. violin. live rec. Penderecki. Melodiya C10-16711-12 (LP. conductor D88. 2002) Dimitar Penkov. conductor D89. 1978. Krzysztof Penderecki. 1979. Stuttgart Chamber Orchestra. violin. conductor D84. rel. rec. conductor D82. rel. RM Arts ID9328RADVD (DVD: Penderecki: A Celebration. DDD. rec. rec. CBS Masterworks 76739 (LP. 1993) Christiane Edinger. viola. conductor Krzysztof . rec. Minnesota Orchestra. Sony SMK 64507 (CD. rec. ECM 1506 (CD. Nuova Era 033. Dennis Russell Davies. live and rel. 1 D85. 1994) Tabea Zimmermann.6705 (CD. Great Polish Radio Symphony Orchestra. Sinfonietta Cracovia. rel. Jacek Kaspszyk. violin. 1995). North German Radio Orchestra. and rel. Warsaw Autumn 1998 (cassette tape no.DISCOGRAPHY 57 D81. 1998) Dmitri Ashkenazy. violin. Great Polish Radio Symphony Orchestra. Thorofon CTH 2017 (CD. rel. DDD. 1993). rec. 1978). 1992. 1987) Christiane Edinger. Mum SX 1840 (LP. viola. Polskie Nagrania PNCD 019 (CD. FSM Nu 675 (LP) Salvatore Accardo. rec. CBS 40-76-739 (cassette. conductor D87. 1978. Columbia M 3515O (LP. DDD. violin.

rec. Bernard bass. rel. & rel. Antoni Wit. DDD. and rel. DDD. Accord ACD 066/Universal 465 615 (CD. violin. Muza SXL 0781 (LP rel. conductor D99. cellos. Andrzej Markowski. and rel. violin. Naxos 8. Accord ACD 096 (CD. conductor Concerto Grossofor Three Cellos and Orchestra D95. DDD. rec. Kazimierz Pustelak. Krzysztof Penderecki. rec. Naxos 8.555265 (CD. 2003) Chee-Yun. Thomas Quasthoff.555265 (CD. National Philharmonic Chorus and Orchestra. tape no. Jan Krenz. 1998) Juliane Banse. Krzysztof Penderecki. Izabella sopranos. 5 (cassette. 1984). 1997) Anne-Sophie Mutter. rec.58 KRZYSZTOF PENDERECKI D91.311 (CD. National D96. 1974). Antoni Wit. mezzo-soprano. tenor. 2002) Ivan Monighetti. Kazimierz Kord. Bartosz Koziak. Ewa Marciniec. & rel. 1999) Harasimowicz-Haas. Deutsche Grammophon 435 507 (CD. Oregon Bach Festival Orchestra and Choir. Polish Radio National Symphony Orchestra. bass. Polskie Radio PRCD 040 (CD. DDD. 1970). Warsaw Boys Choir. 1996) Niziol. conductor cellos. violin. & rel. tenor. Antoni Wit. Warsaw Autumn ‘96. conductor Cosmogony D97. live rec. Philips 6500 683 (LP rel. National Philharmonic Orchestra. Helmut Rilling. Kazimierz Philharmonic Orchestra and Choir. 2003) Konstanty Kulka. soprano. 2 “Metamorphoses” D92. DDD. soprano. conductor D94. DDD. Adam Klocek. Philips 412030-4PSP (cassette) Stefania Woytowicz. rel. Piotr Nowacki. National Philharmonic Orchestra and Choir. conductor Credo D98. conductor . Philips 412030-IPSP (LP rel. Polish Radio National Symphony Orchestra. Thomas Randle. Kwiatkowski. bass. mezzo-soprano. Phoenix Boys Choir. National Polish Radio Symphony Orchestra (Katowice). 2003) Andrzej Bauer. London Symphony Orchestra. Hänssler CD 98. & rel. DDD. Adam Zdunikowski. live rec. conductor D93. Marietta Simpson and Milagro Vargas. conductor Concerto for Violin and Orchestra No. tenor. violin.

VSM C 065-02 484 (LP). Cvetka Ahlin. 1976). 1967). 1974). 1976). Philips 6500 050-051 (2 LPs rel. Philips PHS-900184 (LP rel. Bernard Hans Sotin-Rangier. conductor D107. rel. Jorge Mester. rel. Helmut Melchert. Ursula Boese. EMI 65077 (CD. 1984). 1972) Louisville Orchestra. EMI-EMD-5529 (LP rel. Muza XL 0413 (LP rel. Philips 412030-4PSP (cassette) National Philharmonic Orchestra. rel. 1973) Kraków Philharmonic Orchestra. Günther Schmidt-Bohländer. 1999) Polish Radio National Symphony Orchestra. HMV 850 (2 LPs). EMI 65077 (CD. conductor D108. rec. EMI Electrola 1C 193-02 386/7 (2 LPs rec. Philips 446 328 (CD.554491 (CD. conductor The Devils of Loudun D109. 1972-1973. rec. 1973). Krzysztof Penderecki. Krzysztof Penderecki. Helga Thieme. ADD. rel. Muza SXL 0781 (LP rel. rec. 1972). Hamburg State Orchestra and Chorus. Witold Rowicki. ADD. 1995) Soloists: Tatiana Troyanos. 1970). conductor De Natura Sonoris No. Philips 412030-IPSP (LP rel. and others. D101. Marek Janowski. 2001) Great Polish Radio Symphony Orchestra. Heinz Blankenburg. ADD. conductor . Nonesuch 32818 (LP) Buffalo Philharmonic Orchestra. Andrzej Markowski. 1 D100. Philips 6500 683 (LP rel. 1970). Lukas Foss. rel. Philips 6539 035 (LP) National Philharmonic Orchestra. EMI 74302 (CD. 1975. 2 D103. EMI 1C 065-02574Q (LP) Great Polish Radio Symphony Orchestra. 1971). Andrzej Hiolski. rel. 1970). Naxos 8. Nonesuch 71201 (LP). conductor D104. DDD. rec. Kurt Marschner. rec. stage director. Angel S-36949/50 (2 LPs rel. ADD. 1972-1973. 1975. 1998. rel. conductor. First Edition Recordings LS-722 (LP rel. 1994). Philips 3680 (LP). rec. 1972-1973. 1994). Antoni Wit. EMI Electrola 1C 065 1024841 (LP. 1973). Philips 6866 093 (LP rel. EMI 74302 (CD.DISCOGRAPHY 59 De Natura Sonoris No. 2001) London Symphony Orchestra. Krzysztof Penderecki. 1969. Henryk conductor D102. conductor D106. Philips 6500 118 (LP rel. 1972-1973. conductor D105. ADD. Philips 839-701 LY (LP rel. 1971). Philips 6700042 (2 LPs rel.

rel. rec. rel. MCFC 185 (cassette). conductor D112. soprano. cello Ecloga VIII D117. Philips 6539 035 (LP) Soloists unknown. rec. Vienna Modern Masters VMM 3015 (CD) Olga Szwajgier. Philips 3680 (LP. MMG 1142 (LP rel. Vogt Quality Recordings CSRV 2229 (CD. Andrzej Markowski.557052 (CD. 2001. baritone. tenor. Conifer CDCF 185 (CD. 1967) . Bernard bass. Kraków Polish Radio and TV Symphony Orchestra and Chorus. Naxos 8. rel. Zygmunt Jankowski. EMI 0C 061-5767 (LP). Robert Holland. Kraków Philharmonic Chorus (Janusz Przybylski. 1967. soprano. 1989) National Philharmonic Orchestra and Chorus. 2003) Arto Noras. DDD. AAD. conductor Dimensions of Time and Silence D114. live rec. Brock McElheran. tenor. 1967. National Philharmonic Orchestra. 1967. 1989) Stefania Woytowicz. rec.60 KRZYSZTOF PENDERECKI Dies Irae D110. EMI/CMG 1142 (cassette). and rel. Szymon Kawalla. Intercord 161 513 (cassette). Andrzej Markowski. 1969) Lynn Meyers. Henryk conductor D111. Philips 839 701 LY (LP rec. Muza SX 1443 (LP. Polskie Nagrania PNCD 021 (CD. 1972. bass. soprano. EMI-EMD 5521 (LP rel. rel. rec. Crane Symphony Orchestra and Chorus. Muza W-678 (LP. Muza XL 0413 (LP rec. conductor (The recording incorrectly indicates that the performers were the National Philharmonic Chamber Orchestra and Chorus) D115. 1960. Ochman. Muza SXL 0781 (LP rel. rel. rel. conductor Divertimento for Solo Cello D116. Leonard Mróz. director) and Orchestra. 1975) King's Singers . rec. Philips PHS-900184 (LP rec. tenor. Warsaw Autumn Festival Sound Chronicle 1960) Kraków Philharmonic Chamber Orchestra and Chorus. 1971). 1989. DDD. Richard Griffith. 1970). and rel. 1976. conductor D113. rec. Polskie Nagrania PNCD 017 (CD. by EMI Records in 1975). Witold Rowicki. 1967. Warsaw Autumn Festival Sound Chronicle 1976). 1990). rel. 1967). 1970). rec.

rel. ADD.DISCOGRAPHY 61 D118. Antoni Wit. Wergo 60020 (LP.554491 (CD. EMI Electrola 1C 193-02 386/7 (2 LPs rec. rel. EMI 1C 065-02574Q (LP). Clytus Gottwald. VOX STGBY 673 (LP). rec. conductor Fonogrammi D124. Warsaw Autumn ‘95. ADD. Candide VOX 36018 (LP rel. ADD. HMV 850 (2 LPs) Wanda Wilkomirska. 1970). 1973). conductor D125. and rel. Bayer CAD 800-901 (CD. 1995). rel. 1975. and rel. 1974). Mace CMCS-9090 (cassette rel. conductor Emanations D119. rec. rel. VoxBox CDX 5142 (CD. conductor Fluorescences D122. Krzysztof Penderecki. ADD. rec. 1974). EMI 65416 (CD. 1972). 1972-1973. conductor . Philips 412030-IPSP (LP rel. HMV 850 (2 LPs). Great Polish Radio Symphony Orchestra. Krzysztof Penderecki. ADD. EMI Electrola 1C 193-02 386/7 (2 LPs rec. Angel S-36949/50 (2 LPs rel. 1995) Radio Luxembourg Orchestra. Cadenza CAD 800 901 (CD. and rel. rel. rel. rec. 2001) London Symphony Orchestra. 1972-1973. conductor D120. Krzysztof Penderecki. Muza SXL 0260 (LP rel. Andrzej Markowski. rec. Candide CE 31071 (LP rel. 1999) Polish Radio National Symphony Orchestra. 1970). 3 (cassette. 1975. conductor Intermezzo D126. tape no. 1984). 1978. Warsaw Autumn Festival Sound Chronicle 1978) Polish Chamber Orchestra. 1970). Jerzy Maksymiuk. Naxos 8. 1995). conductor D123. ADD. 1973). 1972). 1994). Muza SX 1685 (LP rec. conductor D121. 1998. rel. 1972-1973. EMI 74302 (CD. Angel S-36949/50 (2 LPs rel. 1972-1973. 1972). rel. Krzysztof Penderecki. live rec. DDD. 1973). Mace S-9090 (LP rel. 2001) Great Polish Radio Symphony Orchestra. rec. 1972. Philips 6500 683 (LP rel. 1993). EMI 1C 065-02574Q (LP) Great Polish Radio Symphony Orchestra. EMI 74302 (CD. rec. ADD. Philips 4120304PSP (cassette) National Philharmonic Orchestra. rel 1994) Schola Cantorum Stuttgart. Alois Springer. Wergo 60070 (LP. violin. 1965). EMI 65077 (CD.

Angel S-37141 (LP rec. Krzysztof Penderecki. EMI CDC 7 54098 (CD. EMI/Deutsche Harmonia Mundi CDS 7 49313 2 (CD. Eric Ericson. Krzysztof Penderecki. EMI/Angel 4XS 38060 (cassette rel. Ilana Vered. 1995) National Philharmonic Chorus and Orchestra. rec. 1988. ADD. Kraków Polish Radio Chorus. 2003). 1988). rec. conductor. rel. rel. DDD. Angel DS38060 (LP rel. rec. EMI 1C 065-02 483 Q (LP rec. 1983). soprano. Kraków Polish Radio Chorus and Orchestra. 1975). violin. rec. rec. rec. 1972. 1983. rel. rel. Great Polish Radio Symphony Orchestra. 1973). Wergo WER 6261 (CD. 1991) Barbara Hendricks. 1983). 1975). soprano. Candide CE 31071 (LP rel. rel. conductor D129. and rel. Wergo 60172-50 (CD. Krzysztof Penderecki. 1995). EMI-EMD 5524 (LP). VSM 1436231 (LP). conductor Miniatures for Violin and Piano D134. conductor D133. 1993. National Philharmonic Chorus. EMI 067-7540989 (cassette). Kraków Philharmonic Children's Chorus. rel. Finlandia 88433 (CD. DDD. 1972). and rel. 1995) Jadwiga Gadulanka. soloists of the Kraków Philharmonic Chorus. Krzysztof Penderecki. 2001) Peter Lagger. 1990. members of Swedish Radio Symphony Orchestra. world premiere recording by EMI in 1983. 1983). bass. conductor D130. soprano. rel. Finlandia 98999 (CD. piano . 1993. rec. rel. 1975. 2001) Tapiola Chamber Choir. VSM C 065-02 483Q (LP). ADD. rel. 1995) Gabriel Banat. EMI 067-754 0898 (CD). conductor Magnificat D131. Sinfonia Varsovia. 2001) Jadwiga Gadulanka. Candide VOX 36018 (LP rel. rel. 1975. DDD. Sony SK 66284 (CD. rel. Divox Radio Vaticana: Div Vat 61 001 (CD). EMI 74852 (CD. ADD. FRZ 61001 (CD). 1989) Amadeus Chamber Orchestra. EMI 74852 (CD. rec. Tonpress SX-T 32 (LP. rel. ADD. 1988. VOX STGBY 673 (LP). VoxBox CDX 5142 (CD. Dux 0402 (CD. Stockholm Chamber Orchestra and Choir. EMI 1C 067 1436231 (LP rel. rec. DDD. 1983). "Sicut locutes est" from Magnificat: D132. Agnieszka Duczmal. 1993. rec. DDD. conductor Lacrimosa D128. Juha Kuivanen.62 KRZYSZTOF PENDERECKI D127.

EMI/Deutsche Harmonia Mundi ICI57 99660-661 (2 LPs rel. Southwest German Radio Symphony Orchestra. electric guitar. Warsaw Autumn ‘92 (cassette.DISCOGRAPHY D135. rel. 1973). HM 4929379 (2 LPs). rec. harpsichord. violin. 1967). rec. Krzysztof Penderecki. EMI/Deutsche Harmonia Mundi CDS 49313 (CD. Luke Passion") D142. violin. 3 Passio et mors Domini nostri Jesu Christi secundum Lucam ("St. Turnabout 34429 (LP) Gabriel Banat. rec. 1972-1973. HM SL 3101/02 (2 LPs or 2 cassettes). 1994) Konstanty Andrzej Kulka. 1987). Herta Fischer. Waldemar Malicki. Norbert Brenner. Propius 250402-009 (LP rel. 1975. 1967). 1968) Eichenholz. BASF JA 293 793 (Harmonia Mundi) (2 LPs rec. Angel S-36949/50 (2 LPS rel. DDD. EMI 1C 065-02574Q. ADD. 2001) Felicja Blumental. piano D136. See Symphony No. rel. piano 63 Partita D139. rec. HMV 850 (2 LPs). rec. in 1988) . Great Polish Radio Symphony Orchestra. piano D137. 1972-1973. DDD. RCA VICS 6015 (2 LPs rel. conductor D141. 1992. AAD. 1999) Roman Mints. RCA CD 30 156 QA (CD) Stefanska-Lukowicz. 1993. Richard Lewis. violino grande. Erato 2292-45271-2 (CD). EMI 157199 660-3 (2 LPs). Eugenia Chudinovich. ADD. harp. Wergo WER 6258 (CD. Wolfgang Bargel. 1967). ADD. rel. EMI 65416 (CD. Helga Bohnstedt. and rel. conductor D140. 1966. harpsichord. 1995). 1972). RCA VIC 6015 (2 mono LPs rel. harpsichord. Black Box Classics 1025 (CD. rel. Richard Dufallo. HM 30980 (cassette). rec. rel. 1966. double bass. 1967). bass guitar. Krzysztof Penderecki. Bolin grand piano D138. rel. Sinfonia Varsovia. conductor Passacaglia and Rondo. Annemarie Schmeisser. EMI Electrola 1C 193-02 386/7 (2 LPs rec. and rel. violin. Warsaw Autumn Festival Sound Chronicle 1992) Chojnacka. EMI 74302 (CD. Erato ECD 75321 (CD and LP.

conductor D145. National Philharmonic Orchestra and Chorus. MDG 337 0981 (CD. baritone. Stuttgart. soprano. DDD. 1999. Andrzej Hiolski. Philips 802 771/72 AY (2 LPs rec. rec. Candide Vox 36018 (LP rel. conductor "In pulverum mortis. Philips PT-2901 (tape reel rel. 1966). bass. baritone. DDD. 1989. DDD. conductor D146. Beethovenhalle Orchestra. Juha Kuivanen. Luke Passion D147. Bernard bass. Philips 3613-4 (2 LPs). narrator. and rel. AAD. Marc Soustrot. Tölzer Boys Choir.007 (2 LPs). rec. 1993. Evangelist. Jean-Philippe Courtis. Polskie Nagrania PNCD 017 (CD. rel. Bernard bass. Leszek Herdegen. rel. conductor "Miserere " only: D149. Henryk conductor D144. North German Radio Choir. Adam Kruszewski. Philips PHS-2-901 (2 LPs rel. 1967). 1995). François Le Roux. Krzysztof Penderecki. rel. Clytus Gottwald. Philips 2. 1967). DDD. rec. bass. Manfred Jung. "In pulverum mortis" and "Miserere” only Tapiola Chamber Choir. FRZ 61001. DDD. rel. rec. Cologne Radio Chorus. 1972). ADD. Naxos 8. 1972. Kurt Rydl. rec. Muza SX 0325-0326 (2 LPs rel. rel. Henryk conductor D143. Krzysztof Penderecki. 1995) Schola Cantorum. DDD. Warsaw Boys Choir. Argo 430 328 (CD. speaker. 1966 by Polskie Nagrania). West German Radio Choir. rec. Andrzej Hiolski. Philips 6700 022 (2 LPs). rel. baritone. Kraków Boys Chorus.64 KRZYSZTOF PENDERECKI Stefania Woytowicz. Finlandia 88433 (CD. Philips PHS 2601 (2 mono LPs rel. Antoni Wit. soprano. bass." "Miserere. 1966. 1973). Candide CE 31071 (LP rel. VOX STGBY 673 (LP). rec. Romuald Tesarowicz. soprano. Stephen Roberts. speaker. conductor . soprano.557149 (CD. 2002. 1990) Sigune von Osten. rel. rel. National Philharmonic Chorus. 1993. . 2003) Izabella soprano. baritone. Edward Lubaszenko. narrator. Krzysztof Kolberger. 2001). Kraków Philharmonic Boys and Mixed Choruses and Orchestra. 1967). Wergo WER 6261 (CD. Cologne Radio Symphony Orchestra. baritone. Domine" from the St. 1989) Stefania Woytowicz. Mainz Women’s Chorus." and "Ut quia. 2000) Franziska Hirzel. 1995) National Philharmonic Chorus and Orchestra. Divox Radio Vaticana: Div Vat 61 001 (CD). Finlandia 98999 (CD. 1988. VoxBox CDX 5142 (CD. conductor D148. Great Polish Radio Symphony Orchestra. Rudolf Jürgen Bartsch. rec.

1988) Tokyo Kosei Wind Orchestra. rec. 1983. DDD. Wergo WER 6258 (CD. Hilversum. Warsaw Autumn Festival Sound Chronicle 1986). cello D155. and rel. Muza SX 2319-2320 (2 LPs. rel. Henryk Grychnik. bass. Jerusalem. 1988) American Wind Symphony Orchestra. conductor D159. Kosei KOR 7907 (LP. rel. Point Park College recording series--Point KP 101 (LP rel. conductor D151. DDD. 1983). 1970) NCRV Vocal Ensemble. MDG 304 0917 (CD. Robert Austin Boudreau. Bayer Records BR 100 024 CD (CD. Great Polish Radio Symphony Orchestra. rec. Donald Hunsberger. rel. Musicaphon BM 30 SL 5100 (LP. 2000) Camerata Silesia. DDD.DISCOGRAPHY D150. convertere ad Dominum” " from the St. DDD. conductor D158. rel. conductor Polish Requiem D160. Heinz Markus Göttsche. Jadwiga Rappé. AAD. DDD. Aulos AUL 66 010 (CD. Luke Passion D153. 1973) Eastman Wind Ensemble. 1991. Kraków Philharmonic Chorus. rel. 1986. choir director 65 “O crux ave. 197?) Pfalz Evangelical Youth Chorus. Chant du Monde LDC 278 1059 (CD. tenor. soprano. rel. 1999. rel. 1985. Deutsche Grammophon 2530 063 (LP rel. 1970). 1993. Kazuyoshi Akiyama. cello D156. rec. 1999) Martin Ostertag (Ensemble Villa Musica). Carlo Zardo. rec. 1994) Ivan Monighetti. Schwan Studio 601 (LP rel. Kraków Polish Radio and TV Chorus. 1997-1998. 1989) Jadwiga Gadulanka. rec. Accord ACD 070 (CD. world premiere recording made in 1985. 1979) Performers unknown Per Slava D154. 1987). 1989) Boris Pergamenschikov. Anna Szostak. and rel. alto. rel. rec. Antoni Wit. 1991). cello Pittsburgh Overture D157. rel. rel. Kosei KOCD-3073 (CD rec. Marinus Voorberg. rec. Pelca PSR 40 607 (LP. Polskie Nagrania PNCD 021 (CD. rel. 1983. conductor . Muza SX 2456 (LP rec. conductor D152.

rec. 1996) (Includes Sanctus) Soloists: Jadwiga Gadulanka. Baverian Radio Chorus. clarinet D170. Opus Musicum OM 116-118 (3 LPs rel. 1971). BIS 652 (CD. rel. 1990) Soloists: Ingrid Haubold. North German Radio Orchestra. clarinet . Muza W-876 (LP. 1970). 1967. Foyer 1-CF 2038 (CD. 1993. Krzysztof Penderecki. 1997-1998. conductor Polymorphia D163. live in 1989. Deutsche Grammophon 429 720 (CD. Malcolm Smith. rec. Philips 900184 (LP rel. 1990). live rec. Zachos Terzakis. conductor D165. 1994. Zachos Terzakis. conductor Prelude for Clarinet D168. Elektra Nonesuch 79334-4 (cassette. Philips 6500 018 (LP rel. rel. Chandos CHAN 9459/60 (CD. Philips 6866 093 (LP rel. 1993) National Philharmonica Orchestra. Warsaw Autumn Festival Sound Chronicle 1963) Kraków Philharmonic Orchestra. FOY 502 038 (CD. rel. Philips 839 701 LY (LP rel. North German Radio Chorus. Herbert von Karajan. Leonard Slatkin. 1963. rel. rec. live rec. 1975) Performers unidentified D167. 1989) Kraków Philharmonic Orchestra. rel. Henryk conductor D166. DDD. Winogrodska. DDD. 1994) Martin Fröst. 1968. 1968) Berlin Philharmonic Orchestra. rec. Philips 3680 (LP). 1995. 1971). rel. Jadwiga Rappé. 1994) Aleksander clarinet D169. AAD. and rel. rec. conductor D162. Krzysztof Penderecki. rec. Muza SXL 0413 (LP rel. Polskie Nagrania PNCD 017 (CD.66 KRZYSZTOF PENDERECKI D161. 1999) Ulf Rodenhäuser. 1970). rel. Wergo WER 6258 (CD. conductor D164. rec. DDD. MDG 304 0917 (CD. Piotr Nowacki. Royal Stockholm Philharmonic Orchestra. rel. DDD. Andrzej Markowski. 1967). Royal Stockholm Philharmonic Orchestra and Chorus. AAD. DDD.

and rel. Warsaw Quartet for Clarinet and String Trio D180. 2001. 1995) National Philharmonic Chorus and Orchestra. Klaus Martin Ziegler. 1995) Sharon Kam. Philips 6526 006 (LP). clarinet. Harriet Simons. cello conductor . Wergo WER 6261 (CD. rec. BIS 652 (CD. Divox Radio Vaticana: Div Vat 61 001 (CD). rec. clarinet. viola. 1969) Vocal Ensemble Kassel. Camerata 491 (CD. conductor "Exaltabo te. Boris Pergamenschikov. conductor D176. Supraphon DV 6221 (LP) Realized in 1968 at the Polish Radio Experimental Music Studio.557052 (CD. Philips 6585 007 (LP). DDD. Mark Custom Records MC 5618 (LP. Wergo 60020 (LP. FRZ 61001 National Philharmonic Chorus and Orchestra. and rel. 1994. Krzysztof Penderecki. Helena Nilsson. rec.DISCOGRAPHY D171. 1965). 1998) Karl Leister. Sony SK 66284 (CD. rec. 1994) Martin Fröst. conductor Psalmus 1961 D179. rel. 1988. AAD. rec. 1970). Ingegerd Kierkegaard. violin. Mace S-9090 (LP rel. conductor D174. rec. DDD. clarinet D172. Cantate 658 225 (LP rec. Patrick Swedrup. DDD. Krzysztof Penderecki. Polskie Nagrania PNCD 017 (CD. rec. Domino" from Psalms of David D178. 1989) National Philharmonic Chorus and Orchestra. cello D181. rel. Accord CD 112 (CD. Supraphon 10951 (LP). Kim Kashkashian. 2003) Michel Lethiec. 2001) Krakowski Chór Kameralny and musicians. Supraphon 10951 (LP). DDD. Siegfried Fink Percussion Ensemble of Würzburg. DDD. and rel. rel. rel. 1970). Andrzej Markowski. violin. Muza SXL 0260 (LP rel. rel. rel. 1966. Mace CMCS-9090 (cassette rel. Naxos 8. Christoph Poppen. Philips 6740 001 (LP). 1993. members of the Kassel State Theater Orchestra. DDD. viola. rel. clarinet 67 Psalms of David D173. 1970). 1971) Oberlin College Choir. conductor D175. D177.

set of 12 LPs rel. viola. 1966. clarinet. rel. Arto Noras. arr. rel. DDD. 1969). ADD. Piotr Janosik. 1994) Sharon Kam. cello D186.68 KRZYSZTOF PENDERECKI D182. violin. 2003) Michel Lethiec. 2000. cello Quartet for Strings No. rel. DDD. Deutsche Grammophon 104 988-104 993/643 541-643 546 (2 vol. Polskie Nagrania ECD 035 (CD. Veriton ECD 035 (CD. 1972. Bruno Pasquier. rel. Candid VOX 36018 (LP rel. Deutsche Grammophon 137001 IMS (LP rec. Da Camera Magna SM 92418 (LP rec. rec. ADD. VOX STGBY 673 (LP). rec. rec. 1999) Ensemble Villa Musica D183. 1976. D165. live rec. 1966. clarinet. clarinet. violin. 1994) Wilanów Quartet D190. 1994). Veriton SXV 811-812 (LP. viola. Christoph Poppen. Boris Pergamenschikov. VoxBox CDX 5142 (CD. Boston Records BR1026 (CD.557052 (CD. DDD. 1967. Lukasz Syrnicki. ADD. 1987). 1997-1998. and rel. rel. 1973). rec. rel. violin. violin. 1994) Martin Fröst. rel. rec. and rel. 1995) Kohon Quartet D191. BIS CD-1153 (CD. Luis Biava. 2001. tape no. William Stokking. 2001. 1968). viola. Arkadiusz Kubica. 1996) Donald Montanaro. cello D187. rec. for saxophone quartet by Harry-Kinross White) Raschèr Saxophone Quartet D185. 1 D188. 1977). 1968) Performers unidentified . clarinet. viola. Kim Kashkashian. Sidney Curtiss. DDD. rel. RM Arts ID9328RADVD (DVD: Penderecki: A Celebration. mono rec. rel. Warsaw Autumn ‘94. 1 (cassette. rel. cello D184. rel. rec. Candide CE 31071 (LP). 1989) LaSalle Quartet D189. and rel. Deutsche Grammophon 423 245 (CD. Naxos 8. 1979) Warsaw String Quartet D192. Régis Pasquier. Muza XL 0282 (LP. Polskie Nagrania PNCD 017 (CD. MDG 304 0917 (CD. rec.

Accord ACD 036 (CD. Cala 88014 (CD. Gustaw Holoubek. DDD. rel. bass. 1977). rel. 1994) Tale Quartet 69 D195. DDD. narrator. Wergo WER 6258 (CD. Kazimierz Kord. United 88014 (CD. United 88014 (CD. Kazimierz Kord. DDD. DDD. DDD. conductor. 2000) Harasimowicz-Haas and Izabella sopranos. 2 D196. 2001. rec. rel. rel. rel. PWM 10190/DUX 004 (CD. DDD. tenor. DDD. rel. Polskie Nagrania ECD 035 (CD. and rel. Romuald Tesarowicz. Romuald Tesarowicz. 1993. 1993. Cala 88014 (CD. rec. rel.DISCOGRAPHY D193. Pavane ADW 7149 (LP rec. Olympia OCD 328 (CD. rec. Ochman. rel. Veriton ECD 035 (CD. Ochman. 1994. Veriton SXV 811-812 (LP rec. 1994). 1996) Penderecki Quartet D201. Jadwiga Rappé. narrator. rel 1989) Varsovia String Quartet D197. . DDD. 1999. rec. 1994). Wergo WER 6258 (CD. National Philharmonic Orchestra & Choir. 1994. tenor. Ewa alto. 1994). 1994) Tale Quartet D200. DDD. and rel. rel. 7) D202. bass. conductor. BIS 652 (CD. 1997) Harasimowicz-Haas and Izabella sopranos. DDD. Wergo WER 6647 (CD. National Philharmonic Orchestra & Choir. rel. live rec. rel. 1983). rec. rec. DDD. 1976. AAD. 1994) Silesian Quartet D194. 2001) Quartetto Dafô Seven Gates of Jerusalem (Symphony No. 1994) Wilanów Quartet D198. BIS 652 (CD. rec. rel. alto. 1996) Penderecki Quartet Quartet for Strings No. Boris Carmeli. 1994) Silesian Quartet D199. D203.

rec. 1994) Konstanty Andrzej Kulka. rel. Deutsche Grammophon 0629 027-029 031 (5 LPs rel. rec. 1992). and rel. 1991). Waldemar Malicki. piano D213. 1970). rec. 1970). rel. Philharmonic Orchestra. DDD. rel. 1972. viola. Sony SK 66284 (CD. conductor D210. Radio Luxembourg Orchestra. conductor D208. VoxBox CDX 5142 (CD. 1995) Sinfonia Varsovia. 1965. Warsaw Autumn Festival Sound Chronicle 1965). Muza XW-575 (LP. 1965). conductor Sonata for Cello and Orchestra D209. Arto Noras. 2003) Michel Lethiec. violin. Mace CMCS-9090 (cassette rel. 1970). DDD. conductor D206. rel. Markus Maskuniitty. Bruno Pasquier. ADD. Krzysztof Penderecki. DDD. rec. Wergo WER 6258 (CD. rec. Sony SK 66284 (CD. Muza XL 0260 (LP rel. rel. 1 D212. horn Sinfonietta No. piano . rel. Naxos 8. and rel. Robert Kabara. PWM Edition PWM 9784 CD 0001 (CD. violin.70 KRZYSZTOF PENDERECKI Sextet D204. Mace S-9090 (LP rel. rel. cello. 1995) Grigori Zhislin. Heliodor 2549004 (LP rel. 1998) Sinfonietta Cracovia. Candide VOX 36018 (LP rel. 1993. clarinet. 1994) Sinfonietta Cracovia. 1993. 1970) Siegfried Palm. DDD. Wergo 60020 (LP. rec. rec. Krzysztof Penderecki. rel. rel. VOX STGBY 673 (LP). Régis Pasquier. violin. 1977 with Heinreich Strobel's book Begegungen mit Komponistem unserer Zeit) Performers unidentified Sonata for Violin and Piano No. 1973). rel. 1 (transcription of Trio for Strings) D205. Andrzej Markowski. RM Arts ID9328RADVD (DVD: Penderecki: A Celebration. 1966. DDD. 1995) Thomas Blees. DDD. rec. DDD. and rel. cello. conductor D211. 1970). cello. DDD. 2001. 1993. 1993) Kraków Chamber Players D207. Candide CE 31071 (LP). Wergo 6036 (CD. Wergo 60036 (LP rec. Vienna Modern Masters VMM 3023 (CD. Alois Springer.557052 (CD. Aperto APO 86 410/1 (CD. Vladimir Viardo.

Gunnar Eriksson. rec. 1993. EMI 56439 (CD. 1965). piano Sonata for Violin and Piano No.557253 (CD. rec. violin. Juha Kuivanen. Muza XL 0260 (LP rel. conductor D222. 1995) National Philharmonic Chorus and Orchestra. rel. rel. 1995. Wergo WER 6261 (CD. conductor Stabat Mater D224. DDD.DISCOGRAPHY D214. DDD. Naxos 8. rel. rel. rel. rec. DDD. Mace CMCS-9090 (cassette rel. piano 71 Song of Cherubim D217. rec. Sony SMK 64586 (CD. rel. DDD. Harald Nickoll. Andrzej Markowski. Finlandia 98999 (CD. conductor D220. DDD. FRZ 61001. rel. Wergo 60020 (LP rec. rec. conductor D218. rel. rel. 1995) Rilke Ensemble. rec. American Choral Classics ACC 121 (CD. 1988) (reissue containing Stabat Mater from Wergo 60020). ADD. rec. violin. rel. Stephen Cleobury. Swedish Society Discofil SCD 1058 (CD. DDD. 1993. conductor D221. 1997-1998. Sony SK 66284 (CD. Boris Abalyan. 1995). DDD. 1994. MDG 304 0917 (CD. 1995) National Philharmonic Chorus. rec. 1970). 2003) Ida Bieler. 1995) Dale Warland Singers. 1970).557253 (CD. conductor . rec. Sony SK 66284 (CD. Kalle Randalu. piano (Ensemble Villa Musica) D215. Nina Tichman. DDD. 1974). 2001) Carmina Mundi Aachen. 1988. rel. Audite 97-475 (CD. 1995). 1999) Ida Bieler. 2001) Tapiola Chamber Choir. 1995). 1970). 2003) Ida Bieler. rec. Nina Tichman. DDD. Dale Warland. 1993. 1993. Naxos 8. Mace S-9090 (LP rel. rel. 1997) King’s College Choir. 1992/1993. Finlandia 88433 (CD. DDD. DDD. rel. violin. 2 D216. 1995) Chamber Choir “Lege Artis”. DDD. rel. conductor D219. Wergo WER 6261 (CD. Muza SX 1135 (LP rel. DDD. Cambridge. 1988. DDD. Wergo 0 301 (LP). Divox Radio Vaticana: Div Vat 61 001 (CD). 2000. conductor D223. rec. Krzysztof Penderecki. rel. Wergo 60200-50 (CD.



D225. Muza W-967 (mono LP rec. and rel. 1964, Warsaw Autumn Festival Sound Chronicle 1964) Kraków Philharmonic Chorus; Andrzej Markowski, conductor D226. Muza XL 530 (LP) Szczecin Polytechnical University Chorus; Jan Szyrocki D227. Mark 2144 (LP) Concordia Chorus; Paul Christiansen, conductor D228. EMI Electrola C 063-29075 (LP); EXPO NORR 5 NCB (LP); Expo Norr RIKS LP 5 (LP, rel. 1966); EMI 555 769 818-2 (CD); EMI-EMD 5506 (LP rel. 1972); EMI CDM 69818 (CD, rec. 1970/71, rel. 1989); EMI Electrola 5 65348-5 56535 Stockholm Radio Chorus; Eric Ericson, conductor D229. Erato STU 70457 (LP rel. 1968) French Radio Chorus; Marcel Couraud, conductor D230. Candide CE 31071 (LP rel. 1972); VOX STGBY 673 (LP); Candide VOX 36018 (LP rel. 1973); VoxBox CDX 5142 (CD, ADD, rec. 1972, rel. 1995) Schola Cantorum, Stuttgart; Clytus Gottwald, conductor D231. Finlandia 98999 (CD, DDD, rec. 1993, rel. 1995); Finlandia 88433 (CD, DDD, rec. 1993, rel. 2001) Tapiola Chamber Choir; Juha Kuivanen, conductor Strophes D232. Wergo 60172-50 (CD, DDD, rec. 1988, rel. 1989) Olga Szwajgier, soprano; Amadeus Chamber Orchestra; Agnieszka Duczmal, conductor D233. Muza SX 1151 (LP, world premiere recording rel. 1970) Stefania Woytowicz, soprano; Andrzej narrator; Philharmonic Chorus and Orchestra; Jerzy Katlewicz, conductor


Symphony No. 1 D234. EMI Electrola SHZE 393 (LP); EMI 1C 065 102452 (LP rel. 1973); EMI-EMD-5507 (LP rel. 1973); VSM C 065-02 452 (LP); EMI 65416 (CD, ADD, rec. 1972-1973, rel. 1995); EMI 74302 (CD, ADD, rec. 1972-1973, 1975, rel. 2001) London Symphony Orchestra; Krzysztof Penderecki, conductor

DISCOGRAPHY D235. Warsaw Autumn 1998 (cassette no. 1, live rec. 1998) Middle German Radio, Leipzig; Johannes Kalitzke, conductor D236. Naxos 8.554567 (CD, DDD, rec. and rel. 1999) Polish Radio National Symphony Orchestra; Antoni Wit, conductor


Symphony No. 2 “Christmas” D237. Pavane ADW 7100 (LP, world premiere recording made in 1981); Muza SX 2310 (LP, world premiere recording made in 1981); Olympia OCD 329 (CD, DDD, rel. 1989); Polskie Nagrania PNCD 019 (CD, AAD, rel. 1989) Great Polish Radio Symphony Orchestra; Jacek Kasprzyk, conductor D238. EMI 067 270 041-1 (LP rec. 1983, rel. 1984); VSM 270 0411 (LP); EMI 74852 (CD, ADD, rec. 1983, rel. 2001) Kraków Polish Radio Symphony Orchestra; Krzysztof Penderecki, conductor D239. Wergo WER 6270 (CD, DDD, rec. 1989, rel. 1994); Wergo WER 286 270 (CD, DDD, rec. 1989, rel. 1994) North German Radio Orchestra; Krzysztof Penderecki, conductor D240. Polmusic PmCD 1024 (CD, rel. 1989) Kraków Philharmonic; Wojciech Czepiel, conductor D241. Naxos 8.554492 (CD, DDD, rec. 1999, rel. 2000) Polish Radio National Symphony Orchestra; Krzysztof Penderecki, conductor Symphony No. 3 (includes Passacaglia and Rondo) D242. Polmusic PmCD 1024 (CD, rel. 1989) Kraków Philharmonic; Wojciech Czepiel, conductor D243. Warsaw Autumn ’96, tape no. 1 (cassette, rec. and rel. 1996); Naxos 8.554491 (CD, DDD, rec. 1998, rel. 1999) Polish Radio National Symphony Orchestra; Antoni Wit, conductor D244. Muza SX 2736 (LP rec. and rel. 1988, Warsaw Autumn Festival Sound Chronicle 1988) Kraków Philharmonic Orchestra; Gilbert Levine, conductor Symphony No. 4 “Adagio” D245. Wergo WER 6270 (CD, DDD, rec. 1989, rel. 1994); Wergo WER 286 270 (CD, DDD, rec. 1989, rel. 1994) North German Radio Orchestra; Krzysztof Penderecki, conductor



D246. Naxos 8.554492 (CD, DDD, rec. 1999, rel. 2000) Polish Radio National Symphony Orchestra; Krzysztof Penderecki, conductor Symphony No. 5 “Korean” D247. Warsaw Autumn 1997 (cassette no. 1, live rec. 1997); Naxos 8.554567 (CD, DDD, rec. and rel. 1999) Polish Radio National Symphony Orchestra; Antoni Wit, conductor Te Deum D248. Tonpress SX-T 32 (LP, rec. 1983); EMI 1C 067 1436231 (LP, rec. 1983); VSM 1436231 (LP); Angel DS 38060 (LP rel. 1983); Angel 4XS 38060 (cassette rel. 1983); EMI 74852 (CD, ADD, rec. 1983, rel. 2001) Jadwiga Gadulanka, soprano; Ewa mezzo-soprano; Ochman, tenor; Andrzej Hiolski, baritone; Kraków Polish Radio Chorus and Orchestra; Krzysztof Penderecki, conductor Three Miniatures for Clarinet and Piano D249. Solstice SOL 31 (LP rec. 1983, rel. 1984) Claude Faucomprez, clarinet; Alain Raës, piano D250. CBC Enterprises MVCD1016 (CD, DDD, rel. 1987) Joaquin Valdepenas, clarinet; Patricia Parr, piano D251. Crystal Records S-335 (LP rel. 1985) Melvin Warner, clarinet; Sylvia Reynolds, piano D252. DC BIS LP-62 (LP rel. 1970); BIS CD 62 (CD, AAD, rec. 1976, rel. 1995) Kjell-Inge Stevensson, clarinet; Eva Knardahl, piano D253. CRS 8632 (LP rel. 1986) T. J. Pasternack, clarinet; C. Sibinga, piano D254. EMI 567-749 711 (CD) Meyer, clarinet; Kontarsky, piano D255. Coronet Records LPS 3116 (LP rel. 1981); Coronet Records LPS 3123 (LP) Brian Schweickhart, clarinet; John Cobb, piano D256. Melodiya C10-06717/18 (LP rel. 1970) Lev Mekhailov, clarinet; Aleksei Ljubimov, piano

DISCOGRAPHY D257. Roncorp EMS-005 (cassette rel. 1983) Allen Sigel, clarinet; pianist unidentified D258. Terpsichore 1982 012 (LP rel. 1983) Walter Boeykens, clarinet; Robert Groslet, piano D259. Wergo WER 6258 (CD, DDD, rec. 1993, rel. 1994) Aleksander clarinet; Szábolcs Esztényi, piano


D260. Dante LYS 500 (CD, ADD, rec. 1978, rel. 1999) Clarinet Classics CC0041 (CD, ADD, rec. 1978, rel. 2002) David Weber, clarinet; Jane Hayes, piano D261. Naxos 8.557052 (CD, DDD, rec. 2001, rel. 2003) Michel Lethiec, clarinet; Juhani Lagerspetz, piano Three Pieces in Antique Style D262. Wergo 60172-50 (CD, DDD, rec. 1988, rel. 1989) Amadeus Chamber Orchestra, Agnieszka Duczmal, conductor. D263. Intim IMCD 027 (CD, DDD) Camerata Roman Threnody D264. EMI Electrola 1C 065 1024841 (LP, rel. 1976); VSM C 065 02 484 (LP); EMI EMD-5529 (LP rel. 1976); EMI 65077 (CD, ADD, rec. 1975, rel. 1994); EMI 74302 (CD, ADD, rec. 1972-1973, 1975, rel. 2001) Great Polish Radio Symphony Orchestra; Krzysztof Penderecki, conductor D265. Conifer CDCF 168 (CD, AAD, rec. 1987 or 1988, rel. 1988); MCFC 168 (cassette); Vienna Modern Masters VMM 3010 (CD, ADD, rel. 1992) Kraków Polish Radio and Television Symphony Orchestra; Szymon Kawalla, conductor. D266. D191. Philips 839260 DSY (LP); Philips A 02383 L (LP); Muza SX 2313 (LP, Warsaw Autumn Festival 1956-1981 collection, no. 3); Muza XL 0171 (mono LP rel. 1960); Muza SXL 0171 (rel. 1970); Philips 835261 AY (LP rel. 1963); Philips 500141 (mono LP rel. 1960); Philips 900141 (stereo LP rel. 1967); Philips PHS-2-901 (2 LPs); Philips PT-2901 (tape reel rel. 1967); Muza SX 1135; Philips 6539 035 (LP); Philips 412030-1 (LP rel. 1984); Philips 412030-4PSP (cassette); Polskie Nagrania PNCD 017 (CD, ADD, rec. 1963, rel. 1989) National Philharmonic Orchestra; Witold Rowicki, conductor



D267. RCA Victrola VICS-1239 (LP rel. 1967); RCA 94004 (LP); V8S-1013 (mono LP) Rome Symphony Orchestra; Bruno Maderna, conductor D268. RCA Lineatre GL 31518 (LP rel. 1980) Italian Radio and TV Symphony Orchestra; conductor unknown D269. DSB 1 012 (CD); Berlin BC 1012 (CD, ADD, rec. 1978, rel. 1992) Leipzig Radio Symphony Orchestra; Herbert Kegel, conductor D270. Custom Recording Consultants [Vox] (LP, rel. 1969) Performers unidentified D271. Naxos 8.554491 (CD, DDD, rec. 1998, rel. 1999) Polish Radio National Symphony Orchestra; Antoni Wit, conductor Trio for Strings D272. Wergo WER 6258 (CD, DDD, rec. 1993, rel. 1994) Silesian Quartet D273. BIS 652 (CD, DDD, rec. 1994, rel. 1994) Tale Olsson and Patrick Swedrup, violin; Ingegerd Kierkegaard, viola; Helena Nilsson, cello D274. MDG 304 0917 (CD, DDD, rec. 1997-1998; rel. 1999) Ensemble Villa Musica Der Unterbrochene Gedanke D275. Wergo WER 6258 (CD, DDD, rec. 1993, rel. 1994) Silesian Quartet D276. BIS 652 (CD, DDD, rec. 1994, rel. 1994) Tale Quartet D277. United 88014 (CD, DDD, rel. 1994); Cala 88014 (CD, DDD, rel. 1996); United 88088 (CD, DDD, rel. 1994) Penderecki Quartet Utrenia Part I only: D278. RCA LSC 3180 (LP, rec. 1970, rel. 1971); RCA ERPA 3180 [tape reel rel. 1971); RCA 26.41 105 AW (LP); RCA 6857 (LP)



Stefania Woytowicz, soprano; Kerstin Meyer, mezzo-soprano; Seth McCoy, tenor; Bernard bass; Peter Lagger, basso profondo; Temple University Chorus; Philadelphia Orchestra; Eugene Ormandy, conductor Parts I and II: D279. Muza SXL 889-890 (2 LPs rec. 1973), reissued as Polskie Nagrania PNCD 018 (CD, AAD, rel. 1989); Philips 6700-0065 (2 LPs rel. 1973; alternate numbers: Philips 6500 557/58) Part I: Delfina Ambroziak, soprano; Krystyna mezzo-soprano; Kazimierz Pustelak, tenor; Denysenko, bass; Boris Carmeli, basso profondo; National Philharmonic Chorus and Orchestra; Andrzej Markowski, conductor Part II: Stefania Woytowicz, soprano; Krystyna Szczepanska, mezzosoporano; Kazimierz Pustelak, tenor; Bernard bass; Peter Lagger, basso profondo; Pioneer Chorus; National Philharmonic Chorus and Orchestra; Andrzej Markowski, conductor. D280. Koch International 33788 (CD, DDD, rec. 1997, rel. 1998) Soloists: Jadwiga Gadulanka, Wita Nikolajenko, Piotr Kusiewicz, Giennadij Biezzubienkow; National Philharmonic Choir, Warsaw Boys Choir; Orchester des Mitteldeutscher Rundfunk; Krzysztof Penderecki, conductor. Veni Creator D281. Divox Radio Vaticana: Div Vat 61 001 (CD); FRZ 61001; Wergo WER 6261 (CD, DDD, rec. 1988, rel. 1995) National Philharmonic Choir; Krzysztof Penderecki, conductor D282. Polmusic mCD 1024 (CD, rel. 1989) Kraków Philharmonic; Wojciech Czepiel, conductor D283. Finlandia 98999 (CD, DDD, rec. 1993, rel. 1995); Finlandia 88433 (CD, DDD, rec. 1993, rel. 2001) Tapiola Chamber Choir; Juha Kuivanen, conductor D284. Supraphon 11 1809 (CD, DDD, rec. 1992, rel. 1993) Prague Philharmonic Choir; Pavel Kuhn, conductor


5 (1992): 33. B2. Tadeusz Zygmunt Mycielski. no.” American Record Guide 55. abridged version in Polish Perspectives 6. The author of this review lamented the problems that arose as a result of having Polish singers sing German texts . “Audycje z cyklu 'Horyzonty muzyki' nadane w latach 1959-1970. 1 (1991): 29-30. no. B4. 13. 3 (1963): 23-29. 1970. B3.” Das Orchester 39. 51-52 (1962): 3. no. Pendereckis ‘Die schwarze Maske’ als polnisches Gastspiel in der Staatsoper Unter den Linden.” Also cited are the publications used as source material for each broadcast. Stefan Kisielewski. The 1992 Grawemeyer Award for Music Composition was given to Penderecki for Adagio for orchestra. Among other things.” In Horyzonty muzyki. “Bratwurst contra Oper. This is a list of the compositions broadcast from 1959-1970 on the Polish radio series “Horizons of Music. “Brahms czy Penderecki?” Nowa kultura. edited by Józef Patkowski and Anna Kraków: Polskie Wydawnictwo Muzyczne. no. “Awards & Appointments. Witold and others discussed the differences between the reception of classical and popular music in Poland. they claimed that Penderecki's music was more popular than that of Brahms and other contemporary Polish composers.Annotated Bibliography B1. A sparse audience attended The Black Mask in Berlin.

2 (Spring 1986): 55. it “contain[ed] moments of complete unobtrusiveness followed by various hackneyed leitmotifs. He attributed the popularity of his music in both the United States and the Soviet Union to the “universal values of contemporary classical music. Tomaszewski. “Edinburgh. even though the opera’s music was less forceful than it should have been. no. no. “Doctorate for Penderecki. 1 (1984): 12. and others took place at the end of a 1975 Kraków seminar on the composer’s music. “Composers Penderecki and Crumb at Wichita State University. 1. excerpts in Clavis. who portrayed Grandier. Topics included Penderecki’s compositional process. 2 was surprised to hear the work’s romantic. The audience at the European premiere of Symphony No. “Dyskusja. 1983. 85. his ideas about clusters and sonorism (he disliked the latter term). his sketches for Psalmus 1961. 1974. given the plot's dramatic demands. 60-61. 4 (1976): 29-52. August 25. 1969.80 KRZYSZTOF PENDERECKI to a German-speaking public. his affinity for traditional forms.” Time.” Ruch muzyczny 28. This wide-ranging discussion among Penderecki. B9. “Entuzjastyczne urodzinowego koncertu Krzysztofa Pendereckiego w Kennedy Center. pp. no. B8.” Newsweek. scatology. B10. August 22. 3 (1975): 26. a correspondent with the Polish Press Agency.” Oper und Konzert 18. and ecclesiastical satire. “The Devils and Reardon. 1969. and the distinction between sounds and murmurs in his music. since it was more accustomed to Penderecki’s experimental music. He succinctly described the opera’s plot and noted the role that the orchestra played in presenting a “tension-loaded atmosphere B5. B11. nos.” Warszawy. was the focus of much of the article. 6. December 1. Streifflichter vom Edinburgh Festival 1980.” Furthermore. In this review of the Santa Fe Opera’s production of The Devils of Loudun. Penderecki served as composer-in-residence at Wichita State from November 23 to December 2. Bunt ist die Devise.” . “Muzyka w prasie. John Reardon. and open rehearsals. Penderecki received an honorary doctorate from the University of Fine Arts in Belgrade. pp. quasi-tonal style. Among the highlights of his stay was a concert on the final evening. In this conversation with Jerzy Górski. The Santa Fe Opera’s production of The Devils of Loudun was highly praised.” Pan Pipes 67.” Polish Perspectives 29. p. the reception of his works by both musicians and the public. the author criticized the opera for its “welter of sex. Penderecki mentioned that contemporary Polish music served as an “ambassador” of Polish culture. B6. no.” Muzyka 21. 7-8 (1980): 7-8. master classes.” B7. “Demons in Santa Fe.

Penderecki Musik-Festival Krakau 11. This includes an announcement about the Penderecki Festival to take place in Warsaw in honor of the composer’s 60th birthday. the opera has not been completed. “Hamburg Cheers Penderecki Work. “3. excerpts in Clavis. 12 (December 1973): 746-48. 5 (SeptemberOctober 1998): 34-35. no. 70. 4 (April 1988): 80-81. no. Katowice. 1993): 2.” Musik und Gesellschaft 23. “Festival of the Music of Krzysztof Penderecki. 209. compositions that can begin or end at any point or that consist of constant change in all parameters are written by “bad” composers. “In the News. performed at the inaugural concert of the 1973 Warsaw Autumn Festival. B16. [Note: as of 2003. “Here & There. B17. B19. Penderecki’s First Symphony. The world premiere is to occur in the early 1990s. .” Polish Music 23. Bis 17. originally published in Radar. no. September 7. The American Academy of Arts and Letter named Penderecki as a Foreign Honorary Member. and June 11-17. no. A concert version of The Black Mask will also be presented. Highlights include the Polish premiere of Paradise Lost and presentations of Ubu Rex and The Devils of Loudun. Juni 1988. no. 20 (October 3. B14. contains a variety of tone colors and is effective dramatically. The composer also discussed his dislike of pointillism and aleatorism. 1993. 10 (October 1987): 1134. This article's author summarized the plot of The Devils of Loudun and noted that applause after its world premiere had lasted 20 minutes.” Opera 38. 1969. 4 (1988): 8-11. B15. June 22. no. “Karta z Codzienne. B13.” Ruch muzyczny 37. November 14. “Goings on about the Town.BIBLIOGRAPHY 81 B12. no.” American Record Guide 61. “Internationales Musikfest ‘Warschauer Herbst’. “Krzysztof Penderecki. no.” Warsaw Voice. In Penderecki’s opinion. Penderecki's Paradise Lost will be given its Polish premiere during the 1993-1994 season at Warsaw’s Teatr Wielki.” Neue Zeitschrift für Musik 149. p. This lists the schedule of events for the Penderecki Festival to be held in Kraków. 1993. 1988. Penderecki has been commissioned by the Deutsche Oper to compose an opera based on the Dreyfus affair.” Music Forum 1 (1968/1969): 22-24. 4 (1968). “Muzyka w prasie.] B18.” New York Times. He also claimed that the score was not yet in final form and that the orchestra had resisted some of the instrumental techniques called for in the piece.

82 KRZYSZTOF PENDERECKI B20. 1985): 1.S. no. April 16. In this interview. and action. 1979. “Krzysztof Penderecki honorowym Rady Muzycznej. “Krzysztof Penderecki laureatem nagrody Fundacji Wolfa. B27. 1979): 2. Penderecki explained that his shift from a radical experimentalism to a more romantic style of composition occurred because he had begun to dislike the abstract. “Marginalia: Opera Picks Penderecki. 6 (March 25. After considering seven texts. Krzysztof Penderecki Doktorem H. “Krzysztof Penderecki laureatem nagrody im. 1983): 2. Sibeliusem. which consisted of a harmonic system based on two circles of fifths separated by the interval of a second. Ruch B25. Penderecki was a co recipient of the annual arts prize awarded by Israel's Wolf Foundation. February 26. p. B28. he chose Hauptmann’s The Black Mask because of its dramatic construction: it was in one act. He believed it was necessary for young composers both to write avant garde pieces and to study the music of the past.” muzyczny 27. 1973. B26. “Krzysztof Penderecki w Baranowie.18. 26 (1986): 20 21. News & World Report. . B21. no. p. Penderecki received an honorary doctorate from the university in Leuven. with complete uniformity of time. no.” New York Times. The 1983 Sibelius Award was awared to Penderecki. June 2. Penderecki was among those honored in Melbourne by the International Music Council. 2 (1987): 2.000 award with Isaac Stern.1979): 2. Penderecki received the “Lorenzo the Magnificent” award in Florence. place. He developed a new musical language for the opera.” Ruch muzyczny 30. 71.” Życie Warszawy 240 (October 14. Times. 1975. his own Te Deum and the Polish Requiem. Penderecki provided lengthy remarks about The Black Mask at the 1986 Baranow seminar. no. “tense” nature of his early works. “A Libretto by Fry for 'Paradise Lost'. “A Modern Composer Enjoys 'The New Realism in Music'. p. Hauptmann's use of quotations from the Old Testament and the Psalms also fascinated him. This is a brief statement about the selection of Christopher Fry as the librettist for Penderecki's new piece commissioned by the Lyric Opera. He shared the $100. 23 (November 18. B24.” Ruch muzyczny 23. B22. The Lyric Opera commissioned Penderecki to write an opera for the 1976 Bicentennial celebrations. 54. 23 (November 13.” New York. B23.C. no. Uniwersytetu w Leuven.” Ruch muzyczny 23. “Krzysztof Penderecki laureatem nagrody Akademii Medyceuszy.” Ruch muzyczny 31. Penderecki included quotes from chorales.” U.

The author of this review cited the work’s various textual sources and commented that its whispers. Penderecki received an honorary doctorate from Georgetown University.immer fessselnd. “Muzyka. no. screams. “Muzyka. after composing Polymorphia. Luke Passion. p. no. 2 (1988): 62.” Polish Perspectives 31. 10 (Oictober 1987): 1134.” B30. B33.” for he had begun writing operas and religious music at a time when those genres were considered irrelevant. During the early part of his career. along with the echo of the hall.. no. December 2. Penderecki received a State Award for Paradise Lost. “New Opera by Penderecki. no. Penderecki’s Dies Irae was presented at the Musica Viva festival. and glissandos. he realized that he had exhausted all possibilities for expanding string techniques. “Muzyka. Schuller und Reimann .” Opera 38. but he did not elaborate further. p. no.” Neue Zeitschrift für Musik 131. 1988): 13. as did the “Lacrimosa” and “Agnus Dei” movements.” Literackie. “Nagrody i odznaczenia dla muzyków z okazji lecia Polski Ludowej. “Muzyki nie od Krzysztof Penderecki. 1985. 22 (1987): 8-9. September 22. 19 (May 10. he believed that he had to create something entirely different from what had been written previously. Penderecki also stated that he often felt like an “outsider. “New Operas for Berlin. 11 (March 13. B37. cries. “Muzyka. 17 (1984): 2. 1984. The Deutsche Oper in West Berlin commissioned Penderecki to write an opera about Alfred Dreyfus. The Black Mask is to be presented in Moscow and Leningrad in April during the Soviet Union's Fourth Festival of Polish Music.” Literackie.” Tygodnik kulturalny 32. He also mentioned that he had had tremendous difficulties with performances of the St. However. no. odrodzenia I 40- B36. George Whyte is to be the librettist. Penderecki answered questions about his philosophy of which he lived. “Musica Viva zwischen Penderecki. B35. B34. Penderecki was commissioned to write an opera on the Dreyfuss affair for the Deutsche Oper.” Ruch muzyczny 3 1 . A performance of Polish Requiem was mentioned..” Tygodnik kulturalny 31. . 6 (June 1970): 272-73. It is to be premiered in the early 1990s. The skillful interweaving of into the piece made a great impression on the audience. B31. 14. B32. 6.” Ruch muzyczny 28. contributed to its “mystical neonaturalism. He then attempted to develop a universal musical language that would allow him to write what he felt “without yielding to the pressure of the environment. The Kraków premiere of the Polish Requiem was presented on September 12.BIBLIOGRAPHY 83 B29. no. 1987): 13.” Te Deum and the Polish Requiem are examples of this language.

This article's anonymous author described the herculean efforts put forth by the Lyric Opera to produce this sacra rappresentazione. Section 2. “Penderecki Commemorates Moscow’s 850th. Italy. music press and other media. 2 (February 1986): 9. and announcements of the U. the success of Christopher Fry at transforming 12. “Paradise Lost. November 28. B42. B44. Cello Concerto No. no. News of the Day: Highlight 1978-1979 Season. all of which were performed during the Kraków Philharmonic's 1986 tour of the U. The world premiere of Paradise Lost was the most sensational event of the 1978-1979 concert season. and the numerous staff changes made just prior to the premiere. and The Awakening of Jacob. no. Its author also reviewed the compositional history of the Requiem. 2 (Spring 1979): 1-3. “Penderecki at Carnegie Hall. .” Chicago Tribune.” Ruch muzyczny 42.S. to be given its New York premiere on January 25. 1986. The premiere may have brought about “the greatest single confluence of opera producers.S. publishers and other professional music people ever to attend a premiere in the U.” He also discussed his Polish Requiem. the composers in attendance were poorly trained and their music “impossible to listen to.000 lines of poetry into a libretto. “The Paradoxical Composer From Poland. premiere of Seven Gates of Jerusalem in New York on July 18 and the German premiere of the same piece in Dresden on August 29. Section 4. NY).84 KRZYSZT OF PENDERECKI B38. p. In a conversation preceding performances of his music in New York. no. January B41. p. B39. This article includes several comments made by Italian music critics about the successful performance of Paradise Lost in Milan. Oregon. This short article announces the world premiere of Paradise Lost and heralds the “made in Chicago” features of the production.” Newsday (Long Island. Daniel at the Moscow Conservatory.” “' Paradise Lost' Wins Praise at La Scala. 2. 16 (August 9. January 12. B40. This article includes comments about the Polish Requiem made by Bernard Holland and Joseph McLellan. In his opinion. Penderecki described what a shock the avant-garde music at the Darmstadt summer courses had been to him. This is a brief review of the July 11 world premiere of Credo in Eugene. 14. An announcement of the world premiere performance of the Hymn to St.” New Horizon 14. directors.” Chicago Tribune. “' Paradise Lost'. 23. 1998): 3. 1978.” Polish American Journal 87 (January 1998): 16.” EAM Accents 2. “Nowe Krzysztofa Pendereckiego. B43. Lyric's Gift to the World. 1979.S. 4.

1978): 1. presented four excerpts from Psalms of David.” Das Orchester 33. 1982. conducted by Penderecki. 1979): 10. who conducted. 2 (Spring 1987): 59. B48. and recitative. “Penderecki Doktorem H. no. percussive instrumental techniques. Luke Passion.” Baltimore Sun.. Among the highlights were performances of the St. Cello Concerto No. but judged that it was “too early to tell. 3 (Summer 1986): 53. excerpts from Paradise Lost. “Penderecki Festival in London. B51. His second opera will be The Ubu King [sic]. 1 (here called “Matins” and given an incorrect date and location). 1969): 38.” PolAm Journal 67. 1. .g. no. This piece unites new and old compositional techniques. B49. April 2. B52. Mihaly Virizlay. and the world premiere of Capriccio for Tuba. Ruch B47. This brief report announces upcoming performances of Penderecki's works: the world premiere of The Devils of Loudun and the world premiere of Utrenia. “Penderecki's New Opera Bravoed by International Critics. and he has been commissioned to write a piece for the opening of the new opera house in Mexico City.BIBLIOGRAPHY 85 B45. used an amplified cello and played a cadenza reportedly written by the composer during the preceding week. Luke Passion was performed during the ‘Bach and the 20th Century’ Festival. “Penderecki Leads BSO in Un-Haydn Program. no. The Baltimore Symphony Orchestra and Chorus. Uniwersytetu w Bordeaux. soloist in the Concerto. offered slow tempos that contributed to the work’s mournful character.” Polish Perspectives 29. and Sibelius's Second Symphony. “Penderecki Commissioned. responsorial song. The author questioned whether Penderecki had defected from the avant-garde. Seven concerts were given during the Penderecki Festival at the Royal Academy of Music. Penderecki. 12 (December 18. This brief review of the world premiere of Paradise Lost included a note that radio broadcasts of the performance reached several million people in fourteen countries. e. 6 (June 1985): 585-86. 4 (July 15. Penderecki received an honorary doctorate from the University in Bordeaux. no.p.C.” B50.” Zgoda [Polish National Alliance Newsletter] (1983): n. no. Penderecki received a commission from the Bolshoi Theater to compose a ballet based on The Master and Margarita. The St. “Penderecki's Music. Pt.” muzyczny 23. followed by Lacrimosa. “Pendereckis ‘Lukas-Passion’ in Stuttgart.” Polish Perspectives 30. B46. This brief article summarized the events of the 1983 Penderecki Festival held in Kraków.” Billboard 81 (March 22. “Penderecki in Moscow.

The author of the article used quotations from the Festival's program notes and other reviewers of the Passion to describe the piece and present Penderecki's thoughts on it. and an informal public meeting with the composer. “Pope John Paul II And 'Paradise Lost'.” Musical Events 22 (July 1967): 28. April 30. “A Polish Legends Visits: Are You Ready For Penderecki Week?” Seattle Times. Oregon). 1988. He felt.” and that these questions are answered in the Bible’s book of Genesis. the source material for this piece. 1987. “Penderecki's Passion. 1086 (October 1980): 421. June 15. B58. The $150. presented “questions concerning the fundamental problems of man's existence and missions. This anonymous reviewer of the British premiere of the St. however.” Register Guard (Eugene. “Penderecki. no.” B56. 2 (Spring B59.000 1992 Grawemeyer Award for Music Composition was given to Penderecki for his Adagio for Orchestra. B55.” EAM Accents (Fall 1979): 45. B54. B57. Following the performance of the second act of Paradise Lost in Rome. no. Pope John Paul II remarked that Milton's Paradise Lost. B60. he pointed out the piece’s affinities to earlier musical models. Boris Pokrowski will be the stage director. October 9.” perhaps because his musical language was not suited to such means of expression. Dondajewski the musical director. “'Polish Requiem' in London.” The Strad 91. with Penderecki conducting. a viewing of the film The Saragossa Manuscript.86 KRZYSZT OF PENDERECKI B53. no. 1987): 61. Luke Passion'. which features two symphony concerts. . Seattle is hosting a Penderecki Week. Luke Passion. Isaac Stern declared Penderecki's Violin Concerto to be “the most important in the genre since that of Berg. “Penderecki's 'St.” Ruch muzyczny 36. The British premiere of Polish Requiem was given on January 25. Luke Passion summarized the work's musical materials and textual sources. Violin Concerto. “Plany Teatru Wielkiego w Warszawie. Penderecki conducted the BBC Symphony Orchestra and Chorus. two chamber concerts by the Marzena ensemble. that Penderecki had not met the challenges of the “profounder implications of the Passion story. 1990. The Oregon Bach Festival will feature performances of the St. and Andrzej Majewski the scenery designer. “Penderecki Wins Music Award.” New York Times.” Polish Perspectives 30. In particular. 8 (1992): 8. A new production of The Black Mask is to be premiered by the Teatr Wielki in June 1993. 1992.

1996.” Ruch muzyczny 36. for the Warsaw production of the same year. A ballet version of Polymorphia was presented by the Twentieth Century Ballet of Bonn. c. On the occasion of a seminar on Penderecki’s music held in celebration of Penderecki’s 60th birthday. and the role of dramatic expression in his compositions. p.” Ruch muzyczny 11. 1987. edited by Tomaszewski. which refers to an earlier performance in May 1991. Teatr Wielki will present The Black Mask at the ISCM Festival in Warsaw in May 1992. Penderecki.] B62. no. 14 (1991). Section 1. no. 22 (1991): 5. For the 1975 Mönchengladbach production of The Devils of Loudun.” Muzyka Krzysztofa Pendereckiego. no. “Silelius Prize to Penderecki. however. Pendereckiego. “Prawykonania.BIBLIOGRAPHY 87 B61. “‘Die Teufel von Loudun’ in Köln. Kraków: Akademia Muzyczna. Both performances were of the incomplete Trio. Poetyka i Recepcja. June 2. Kado's article in Ruch muzyczny. B64. “Stern and Penderecki Share $100. which included lewd. no. Kraków: Akademia Muzyczna. 12 (1987): 2. 11926.” Ruch muzyczny 35.000 Prize.” In The Music of Krzysztof Penderecki: Poetics and Reception. B67. used the original libretto.” New York Times. October 16. B66. 57. participants and guests gathered to meet the composer. 1995. lascivious displays. “Siódmy doktorat h. p. B65.” New York Times. 119-24. Penderecki’s received the 1983 Sibelius Prize. B63. no. . The composer conducted the world premiere of Veni Creator when he received that degree. the recent incorporation of “Sanctus” into the Polish Requiem. The String Trio is listed among the world premieres given at the Warsaw Autumn Festival. director Paul Hager inserted a wedding scene. which includes a $30. Among the principle topics of conversation were the composer’s attitude toward his chamber works vis-à-vis his operas and orchestral works. 314-15. The Israel government announced that Penderecki and Isaac Stern were the recipients of the 1987 Wolf Prizes for the arts. dla Pendereckiego. C17. edited by Tomaszewski.000 award. the main subject of this review.” Das Orchester 28 (April 1980): B68. 1983. had introduced a similar revision.” Ruch muzyczny 31. 4 (1992): 1. [See. “Konwersatorium z K. 18 (1967): 17. “The Seminar Meeting with Penderecki. Dni Muzyki 1992 w Polsce. The 1980 production in Cologne. Penderecki received an honorary doctorate from Madrid’s Autonomous University. Lothar Höfgen made his choreographic debut. baletowe.

8. with Boris Pergamenshikov as soloist. no. October 13. no. Concerning the latter topic. “Viel Staub um 'Polymorphia'. “Ein Verlangen nach reinem Dur. no. The 1993 Warsaw Autumn Festival is to include performances of Penderecki's Flute Concerto and Viola Concerto.” Neue Zürcher Zeitung. B73. when the styles of the past century must be reconsidered and synthesized. B71. this work thus signalled his public stance with the Polish Catholic Church and against Communism.” Das Orchester 16 (June 1968): 283-85. The musicians compromised by offering to tape the piece for the ballet performance. Das Bayerische Staatsorchester und Pendereckis Ballettmusik. They cited damage to their instruments as one of the main reasons for their protest. The Passion created a worldwide sensation after its premiere in the 1960s. 25 (December 11.” Przekrój (November 6. 73. w kulturze. “Warsaw Benefits by Penderecki's Changes In 'The Devils of Loudun'.88 KRZYSZTOF PENDERECKI B69.” Ruch muzyczny 37. 39-40. Ruch muzyczny 38. B70. Pendereckis ‘Lukas-Passion’ in der Zürcher Tonhalle. 1987): 144-46. B74. He also stated that he wrote the St. For the Warsaw production of The Devils of Loudun. The excerpted portion of this article contains some of the remarks Penderecki made when he received an honorary doctorate from Kraków’s Academy of Music. 2: 3. Penderecki made several changes to the score at the suggestion of stage director Kazimierz Dejmek. July 9. This insightful article includes comments made by several of the Bavarian State Opera musicians who refused to play Polymorphia for a ballet performance. 1984. . although he still used elements of that musical style in some of his compositions. p. but its Zurich performance was not perfect.” Variety. 1994). and critics deemed it preferable to a live performance. The latter will be presented in its transcription for cello and orchestra. Five performances of the St. 1994): 2. Luke Passion are scheduled for Swiss cities. Spiegel-Gespräch mit Krzysztof Penderecki. 1975. They also objected to the whistling and speaking that were called for in their parts. no. Musikalische Jugend 17 (1968).” Der Spiegel 31. pp. Luke Passion at a time when such sacred pieces could not be performed in Poland. “Warszawska '93. since the dancers were able to become accustomed to a precise tempo. This was done. B72. These remarks concerned the commercialization of the music business. This interview with Penderecki was devoted to a discussion of the composer’s relationship to Polish political events and his thoughts about contemporary music. “Eine Wiederbegegnung. 17 (1993): 1. He called the current era the “fin-de-siècle” in music. 2 (January 5. Penderecki stressed that his period of experimentation was behind him. excerpts in Clavis.

but musically the opera was “indescribably boring.BIBLIOGRAPHY 89 B75. which received the 1991 [sic] Grawemeyer Award for Music Composition.. Recent performances of Penderecki's music included the following: De Natura Sonoris No. Vilnius. St. Norrköping. no.In the 20th century we have developed the idea that music must be advanced. Baden-Baden. Adler. Krakow and Warsaw. Christchurch. Miniatures for Violin in Bollnäs. 13 (1967): 3. Dimensions of Time and Silence in San Francisco. no. “Miserere” from the St. and Donaueschingen. 17 (August 23. Andrew. 1 in London and Zagreb. and Sonata for Cello in Berlin and Prague. Threnody in Rotterdam. 15 (1967): 3. Stage director Günther Rennert worked with an outstanding cast. Sonata for Cello and Orchestra in Hamburg. The following performances of Penderecki’s music took place recently: St. Sensation and grandiosity marked the presentation. and Göteborg. This is not true. Capriccio for Oboe in Düsseldorf and Essen. Emanations in Brunswick.” American Record Guide 56. 1998): 12-13.” Oper und Konzert (March 1970): 35-36. Zagreb. B77. Strasbourg. Rotterdam. Bergen. and London. Recent foreign performances of Penderecki's music included Polymorphia in BadenBaden. B79. Capriccio for Oboe in Zagreb.] . Linköping. Sonata for Cello in Baden-Baden and Venice. K..The Stuttgart Opera’s production of The Devils of Loudun was presented twice during Munich‘s Modern Music Week in February. London. Penderecki's Adagio for Orchestra.” Ruch muzyczny 11. “Wykonania utworów Krzysztofa Pendereckiego. De Natura Sonoris No. and Capriccio for Oboe in Cologne and Zagreb. String Quartet No. Belgrad. East Berlin. Threnody in Oslo. A. was performed during the SoundCelebration II contemporary music festival. “Moderne Woche der Bayerischen Staatsoper. Malmö. The composer commented that “'I don't think there is a difference between the past and present. “‘Wratislavia Cantans’ we Ruch muzyczny 42. no. Threnody in London. 4 (1967): 7. Motala. Polymorphia in Karlsruhe. no. no.” Ruch muzyczny 11. and Rotterdam.” Ruch muzyczny 11. “Louisville's SoundCelebration II. Budapest. 1 (1993): 19-20. and Psalms of David in Cassel.'“ [Note: Penderecki received the 1992 Grawemeyer Award. and Stabat Mater in Munich. Stabat Mater in Auckland. “Wykonania zagraniczne utworów Krzysztofa Pendereckiego. 1 in Paris. Dubrovnik. Luke Passion in Venice. Paradise Lost is scheduled for presentation at the 1998 Wratislavia Cantans festival in B76.. “Wykonania utworów Krzysztofa Pendereckiego. Luke Passion in Turin. Kraków. and Basel.” B80. 1 in Buenos Aires and Lund. B78. Leningrad. and Cheltenham. 1 in Lubljana. Luke Passion in Darmstadt. De Natura Sonoris No. Nuremberg. Psalms of David in Cassel. “Miserere” from the Passion in Cologne and Darmstadt.

which was played twice due to audience demand. Dissertation. The highlight of the ISCM (International Festival of Contemporary Music) was the presentation of Threnody. was a success. “IGNM-Musikfest. On the occasion of a Montreal performance of the Polish Requiem (including the Sanctus). Andraschke claimed that both Penderecki’s Polish Requiem and Gorecki’s Symphony No. 1980. B86. 3 were written at least in part as a protest against war and dictatorship. he asserted that such productions must still be worthy of viewing. Ardoin. p. no. Peter. Penderecki's Violin Concerto was performed at the 1980 Proms by soloist Salvatore Accardo and the Royal Philharmonic Orchestra. Aprahamian. “Proms.” B83. He blamed the stage director for not creating enough interest on stage.” Kirchenmusikalisches Jahrbuch 79 (1995): 125-37. This reviewer was extremely critical of both The Black Mask and the Santa Fe Opera's decision to present the piece. Ameringen. Although he praised the company's plan to differentiate itself from other summer musical events by introducing new operas to American audiences. those who remained applauded enthusiastically. These works thus continued Poland’s tradition of politically charged musical composition. given at La Scala. texture. with the composer conducting. “An Irritating Night of Noise.90 KRZYSZTOF PENDERECKI B81. Penderecki spoke about the piece’s genesis and denied that it was either religious or political in nature.” Musica 17. B85.” La Scena Musicale 3. Felix. and form. 1988. B84. 16 (March 3. August 17. 1978. The Concerto contains both dramatic expression and masterful orchestral effects. Andris-Michalaros. August 24. which was not true of The Black Mask. 6 (April 1998).” Dallas Morning News. D. “De Natura Sonoris I and II by Krzysztof Penderecki: A Comparative Analysis. 5 (1963): 217-18.” Opera News 43. Although some of the audience left before the end. “Milan. harmonic structures. Aliki. 1979): 36-37. University of Illinois. and the composer and librettist for producing too much “noise.” Sunday Times (London). The European premiere of Paradise Lost. no. John. Anson. B82. Andraschke. Philip. Sylvia van. “Geistliche Musik als politisches Bekenntnis: Über Kompositionen von Krzysztof Penderecki und Henryk Mikolaj Górecki.” Ph. no. “Krystof [sic] Penderecki Talks about the Polish Requiem. Albers. 31. Albers analyzed instrumentation.” . and performance problems in these two compositions. Ameringen marveled at the work's “unusual but fascinating layering and manipulation of the string instruments. B87. Bradley Gene.

nos.” Opern Welt 23. 46 (Nov. The newer piece features new roles for the winds and percussion and a welcome variety of material within its sectional format. Augustyn briefly mentioned Penderecki as a composer whose “religious” music. 4 (July-August 1997): 152. or liturgical music. 8-9 (August-September 1982): 68-69. fit the description of art music rather than confessional. an air of misdirected depravity reigned on stage. Ashby considered Penderecki’s Second Violin Concerto to be much improved over his First. comments about the Second Symphony ranged from a description of its form (similar to sonata allegro) and musical style (neo-romantic) to a discourse on the reason . 1983). no. John Dew’s production of The Devils of Loudun. no. was theatrically shocking and musically irrelevant. 1622. “Santa Fé—Five Operas in Four Days.” Sunday Times (London). Asche. B93. “Penderecki: Violin Concerto 2. no 2 (1984): 12. With nuns dressed in erotic clothing and the enema scene at the beginning of the second act enacted in full view of the audience. “Mit drastischen Details. given in Kiel. B95. Espere: Flute Concerto. excerpts in Clavis. Penderecki's relationship with the Communist government in Poland was also summarized. Penderecki failed to fulfill the dramatic potential inherent in the opera's plot. “The Sweet Sequestered Life of the Zloty Millionaires. B91. Artstyp responded sarcastically to Penderecki's festivals. 4 (July/August 1998): 173-74. Sunday Times Magazine. no. “Muzyka w prasie. 11 (November 1969): 977-78. no. Penderecki: Flute Concerto. no. In his opinion. pp. no. B90. i rozrywki. Arstyp. In this review of the American premiere of The Devils of Loudun. for the most part. Aris described Penderecki's estate at and the composer's penchant for collecting antiques and artwork. B92.” Ruch muzyczny 28. Ashby. “Po czym Odra. “II Symfonii Pendereckiego w Nowym Jorku.” American Record Guide 60. September 30.” Opera 20. Rafal. Pendereckis ‘Die Teufel von Loudon’ in Kiel. Aris. He wondered why the composer did not provide grants to composers instead of holding a festival. B89. 30.” Ruch muzyczny 24. Bartók: Violin Sonata 2. Ardoin noted that the music was more appropriate to a soundtrack than an opera.” Tu i Teraz.BIBLIOGRAPHY 91 B88. and why only invited guests could attend the concerts. 5 (1992): 37-44. B94. 1980): 4.” American Record Guide 61. Ashby recommended Rampal’s Sony recording of Penderecki’s Flute Concerto rather than this one featuring flutist Jean-Claude Gérard. Arved. Gerhart. 17 (August 24. Bartók: Hungarian Peasant Suite. Stephen. 1984.

Pendereckiego wydarzeniem. He proposed that the symphony’s musical style heralds the emergence of a “third Penderecki” style. 17 (1983): 15. The world premiere recording of Seven Gates of Jerusalem (Accord ACD 036) is a live recording of the work’s European premiere. B98. B102. this piece seemed to reflect a mature compositional style. In an exaggeration of the facts. aw. 6 (November/December 1974): 304-305. 3 (March 1983): 187-88.” Musik und Kirche 44. Krzysztof. This performance allowed the work’s characteristics— many of which were typical of Penderecki’s large-scale vocalorchestral pieces—to be clearly revealed. Claus-Henning. On first hearing. “Zeitgenössische Musik in Venedig. Bachmann. awl. Its characteristic progression of rising and falling minor seconds makes the piece vaguely similar to the Violin Concerto.” Studio. B100.” Österreiche Musikzeitschrift 23.” Warszawy (January 7. who withdrew after not having enough time to become familiar with the score. however. Festliche Kirchenmusik in Salzburg: Neue Werke von Penderecki und Bresgen. The Second Cello Concerto was the primary subject of this article. August 21. “Uraufführungen der Berliner Philharmoniker. This is a brief mention of a performance of Stabat Mater at Venice’s International Music Festival. “Nowe Pendereckiego. “Uraufführungen neuer Kirchenmusik. it is quite different from that earlier work. 54 (June 1998): 28-29. B97. with clear proportions and comprehensible harmonic patterns. no.” Der Tagesspiegel (Berlin). but in its form and general mood. substituting for Herbert von Karajan. the author congratulated PAGART (the Polish Artists Agency) for producing The Black Mask in Salzburg and Vienna in 1986. 1987): 7. following the composer's earlier “expressionist-sonoristic”' and “monumental” periods. . “Penderecki: Siedem bram Jerozolimy. Klangvolles Dom-Jubiläum Penderecki-Uraüffuhrung in Salzburg. 1974.92 KRZYSZTOF PENDERECKI for the work's subtitle “Christmas Symphony” (quotations from a Polish Christmas carol). 4. Baculewski. no. He thought the piece was quite convincing.” Österreiche Musikzeitschrift 38. no. after further study it seemed rather simplistic. B99. Penderecki conducted the world premiere of his Magnificat. Mstislav Rostropovich’s skill was on display in the premiere of the Second Cello Concerto. p. B101. 10 (October 1968): 571. Bachmann’s review focused on the structure of this new sevensection piece. no. The premiere of the Magnificat was part of the 1200-year anniversary celebration of the Salzburg Cathedral. no. “Weltgeistliche Liaison.” Ruch muzyczny 27. B96.

Recently he has devoted much time to renovating his mansion outside Kraków. 2. Bandur summarized the opera’s plot and criticized its incongruity of music and drama. are in color and come from the following works: The Awakening of Jacob. St. Stabat Mater. the music of Devils serves to highlight the opera’s drama. Violin Concerto No. 7. “The Pain and Passion of Classical Music: DG’s Anne-Sophie Mutter. no. 1. August 2. B109. no. 1 (1995): 48-49. 2 was written for and dedicated to Mutter. Credo. and that of spiritual declamation. In this review of a Karlsruhe production of The Black Mask. Luke Passion. however. no. Paradise Lost. In Baier’s opinion.” Chicago Tribune. Bradley. Pendereckis Lukas-Passion in Stuttgart. Adalbert. Christian. Polish Requiem. such as those heard in Dies Irae. Bandur. B104.g. Strings Past to Present. “Rückblick auf fünf Dezennien.” Billboard 108. the Polish Requiem and Paradise Lost). 49 (December 7. “Penderecki: Die ‘Teufel von Loudun’. Quartet for Clarinet and Strings. In reality. The boldness and innovative experiments that permeate this monumental work clearly distinguish it from the composer’s later works (e. 11 (November 1988): 1138-39. Zbigniew. B107. “Penderecki: Noted Music From Poland.BIBLIOGRAPHY 93 B103. He has been criticized for not taking a strong public stand against Communism in Poland. 1984. Cosmogony. 1996): 1. no. “Von tief religiöser Art. Threnody. editor. Die diesjährigen Internationalen Musikfestwochen in Luzern. 2.. The sketches. Bantel. Utrenia. Ecloga VIII. Otto. This article is a commentary on Penderecki's recent activities. heard in Paradise Lost. The Devils of Loudun. which were included in an exhibit in Krakow during the 1998 Penderecki Festival. his . Krzysztof Pendereckis ‘Die schwarze Maske’ in Karlsruhe. Krzysztof Penderecki Itinerarium. Stuttgart was the scene of a performance of the St. Kraków: Bunkier Sztuki Galeria Sztuki 1998. 17. Luke Passion. Penderecki’s Violin Concerto No. no. Symphony No. Baran. with an artistically appealing design of text and graphics. “Geisterbahn. An excerpt from the score is included with this brief article. B106.” Musica 45. Concerto per Violono Grande. This lavish collection of Penderecki’s sketches is itself a work of art.” Das Orchester 36. Baier. Barber. Hymn to St. p. Cello Concerto No. 6 (June 1985): 433-44. B105. in favor of a more romantic style. Penderecki avoided the unusual techniques so apparent in his early works. Markus. The premiere of Passacaglia was one of the highlights of the 1988 International Music Week Festival in Lucerne. Seven Gates of Jerusalem.” Österreichische Musikzeitschrift 50. and Ubu Rex. B108. Bambarger. The Devils of Loudun stands stylistically between the era of tone clusters. Section 5.” Musik und Bildung 17. 3 (May-June 1991): 179-80. In this new work. Wystawa Szkiców Muzycznych. Canticum Canticorum Salomonis. Magnificat. Tony.

B114. ” Stuttgart. Barfuss. . Baruch. “Der Einfluss musikunterrichtlicher Lernprozesse auf Einstellungen und Werturteile 11-jahriger Haupt-.” Its choreography was compared to abstract sculpture. Pendereckis Teufel von Loudun. His newest composition. Christiane Edinger was the soloist in the latter work. B110. 30. et al. Ergebnisse einer Untersuchung im Fachpraktikum Musik am Beispiel von Pendereckis Anaklasis. 6 (1978): 524. Deutsche Erstaufführung von Pendereckis Violinkonzert. Reactions to the piece. Penderecki and other musicians offered tributes to Carl Orff. Baruch praised Penderecki’s novel use of the orchestra and the music’s strong emotional effects. he had been rebelling against his composition teacher. p. 5 (September-October 1977): 434. May 9. “Dance: Pennsylvania Ballet Makes Debut Here. Anaklasis was used as the sample piece in an experiment that involved teaching avantgarde music to a group of 11-year old children in Germany. bears many links to the nineteenth century. 5 (May 1982): 27. Clive. “Salut für Vergangenes. p. Gerth-Wolfgang. no.” Melos 4. Real. although the orgy scene was only a shadow of what Rennert had presented in the world premiere production. did not correspond to the models anticipated by the investigators. no. did an admirable job.” In Forschung in der Musikerziehung: Beiheft der Musik und Bildung. even though it is not based on major-minor harmonies. Barnes evaluated the dance portion of the ballet Ceremony. “Carl Orff zum Gedenken. 1977. Barnes. Bastian. 34. Penderecki conducted the Stuttgart Symphony in a performance of Shostakovich's Fifth Symphony and his own The Awakening of Jacob and Capriccio for Violin.94 KRZYSZTOF PENDERECKI sacred music was written partly in an attempt to continue Poland's tradition of church music despite the government’s lack of support for such music. 158-79. January 30.” New York Times. the dance was “remotely impersonal in its effect. “Von Händel bis Penderecki. Neue Zeitschrift für B111. Werner Dobbertin. B113. The composer distanced himself from various aspects of the Stuttgart Opera’s production of Paradise Lost and declared that in writing such provocative pieces as Threnody early in his career. Artur Malawski. a Violin Concerto. G. no.” Musik 143. 1979.” Melos/Neue Zeitschrift für Musik 3. Germany. Baruch was favorably impressed with the new Stuttgart Opera production of The Devils of Loudun. 1968. Given its world premiere by the Pennsylvania Ballet at the New York City Center. B115.” Stuttgarter Zeitung. choreographed by John Butler to music by Penderecki. and yet merged with the music to offer a combination of sound and music that is both revealing and stimulating. who directed in place of the recently deceased Günther Rennert. B112.und Gymnasialschuler gegenuber Avantgarde-Musik. Hans Gunther. which were diverse and complex.

Saarbrucken: Pfau.Pendereckis 3. B117. 1971 as part of the Musica Nova festival. Stern began receiving sections of the solo violin part five weeks before the performance. no.” Die Weltwoche (Zurich). enthusiastically welcomed at its world premiere performance. et al. 29. although pitch clusters were used too often for Benary’s taste. although Penderecki continued to make changes in it up to two days prior to the concert. “Wie ein Tier in Bedrängnis. Kirchner's staging was “at times inept. 5 (September/October 1971): 289. In Benary’s opinion. Klaus. 1997. “Berichte: Kreative Synthese .S. except for occasional quotations of original or quasi-original liturgical music. Symphonie in Munchen uraufgeführt. B122. B118.” Opera 39 (Autumn 1988): 111-12. even though the opera was “largely devoid of music.” Schweizerische Musikzeitung 111.BIBLIOGRAPHY 95 B116.” Neue Zeitschrift für Musik no. Stern described the violin part as having unusual virtuosity . though it was sometimes difficult to tell amid the music’s din. May 4. as a “creative synthesis” of the best symphonies of the past century. Internationale Musikfestwochen. 16 (1976-77): 16-25. Rome. The first question. functioned separately from the piece’s significant musical events. The Santa Fe Opera's production of The Black Mask was notable for its unintelligible texts and loud orchestra. “Santa Fe. “Italy. no. The Swiss premiere of Utrenia occurred on August 27.” B119. The remainder of the article dealt with other composers and issues. Behrendt. André. 3 (March 1980): 274-75. Krzysztof Penderecki und Isaac Stern in Basel. p.” Composer (U. The work’s dynamic extremes made a favorable impression. Bavicchi. no. yielded a predictable mix of opinions. 2 (MarchApril 1996): 66. J.” In Jeder nach seiner Fasson: Musikalische Neuansatze heute. Benary. Penderecki used the Orthodox liturgy only as a “foil” that.” stating that synthesis yielded new meaning to classic traditions. 1977.” B120. “Five Questions: Fifty-Five Answers. The Clarinet Quartet is related to other chamber works written by Penderecki since 1980. Luigi. B121. Belsom. Allmuth. Bellingardi. Bernhard interviewed Penderecki and Isaac Stern on the occasion of the world premiere of the Violin Concerto. Bennett.” Opera 31. Bennert characterized the Third Symphony. ‘Der unterbrochene Gedanka’? Krzysztof Pendereckis Klarinettenquartett und seine Kammermusik nach 1980. 105-19.) 7. Peter. Bernhard. “Luzern. He differentiated between “synthesis” and “eclecticism. The Devils of Loudun was presented in Rome at the beginning of the 1979-1980 season. which concerned the Lyric Opera's commissioning of Penderecki to write an opera for America's Bicentennial. John. Apparently the singers performed their parts well. Bellingardi was impressed with the production.

Trenu K. “Formalized Aspect Analysis of Sound Texture. A performance of the Polish Requiem was given a lengthy ovation. This article is extracted from Bilica’s Master’s thesis. . 1975. Bersano. “Quartette per archi (nr 1) Krzysztofa Pendereckiego. Kraków: Akademia Muzyczna w Krakówie. register. Of particular analytical interest was Bilica’s discussion of the use of three-note cells and hocket technique. 29-40.” In i tradycja w muzyce Krzysztofa Pendereckiego. this despite his awareness that the piece’s original title—8’37”—was abstract. including Penderecki's Fluorescences. B124. although Birk attributed this to the work’s political connections to the composer’s Polish homeland rather than to its musical qualities. and durations. Dissertation. the composer replied that his father. Kraków: Akademia Muzyczna. B127. Later Bilica introduced the topic of note groupings in the First String Quartet. Indiana University.” Ph. Birk. Bilica. Bersano developed computer programs to analysis the role of sound texture in five twentieth-century pieces. B125. Reinhold. Próba analizy jednego z aspektów utworu. Szkicowy projekt analizy muzykologicznej. tone colors. B128. Bilica differentiated between the use of symbols and signals in musical compositions. no. 1983. B123. dynamic levels. James Richard.96 KRZYSZTOF PENDERECKI and great drama. Krzysztof. A discussion of acoustic processes in music formed the initial basis of this discussion. activity. “Pozaekspresyjne w Kwartecie Smyczkowym /Nr. Bilica’s search for mathematical constructs in the First String Quartet led to a discussion of permutations of 3-note cells and a system of grouping notes under slur marks.” and upon questioning Penderecki about this. “Tresci Ofiarom Hiroszimy .D. Pendereckiego” In i tradycja w muzyce Krzysztofa Pendereckiego. 1983. While Bilica objected to the common perception that Threnody is a musical illustration of an atomic explosion. he did suggest that the piece might be a signal of a musical lament. edited by Regina and Krzysztof Szwajgier. completed at the University of Warsaw in 1972. At times he thought the orchestra “screamed like an afflicted animal. Kraków: Akademia Muzyczna. density. 2 (1974): 45-71. and timbre. no. edited by Regina and Krzysztof Szwajgier. with whom he was very close. “‘Ofiarom Hiroszimy—Tren’ Krzysztofa Pendereckiego. In Kwartet smyczków w polskiej muzyce 85-95. 1979. Five elements of sound texture were examined: loudness. For this essay the author chose to focus on four aspects of Threnody: its wide range of pitches.” Musik und Kirche 57. 1/. B126. the latter of which was created with tone colors rather than pitches. 72-77. 2 (March-April 1987): 100101. had died while composing this piece. “Neue Philharmonie Köln mit neue Orgel und Penderecki-Requiem.” Muzyka 19.

1 (September 1979): 55-56. bj. but felt that Penderecki's attempts at a Wagnerian-style musical idiom were not satisfactory.” Music and Musicians 27. with Peter Lagger as soloist).” was heard by a full house of political and artistic luminaries. Penderecki refused to write music for an opera on the Dreyfus affair.S. “Bloomington. Opera News 57. and Violin Concerto (No.BIBLIOGRAPHY 97 B129. 4 (July-August 1971): 211-23. . from attending the premiere. Paradise Lost (excerpts. soloist). Penderecki. 11 (July 1979): 72-73.” Music and Musicians 28. 11-12. no. The premiere of Utrenia. Links to Eastern liturgical music abound in it. while the Concerto lies between these two extremes. Penderecki conducted the Polish Radio National Symphony Orchestra at the Bordeaux Festival in a concert of his Anaklasis. production of the piece since its American premiere in 1969. 17 (June 1993): 47-48. “Opera Feud Defused. B135. The first of these songs has hints of Stabat Mater. B134.” Ruch muzyczny 33. even though the piece is not intended for performance at worship services. De Natura Sonoris No. “Chicago. Blumenfeld remarked that over the years the opera has lost whatever luster it may have once had. Harold.” New York Times. 1.” Musical Times 120. “Pendereckis ‘Utrenja’ in Münster. B130. “35-lecie Choru FN. Boas. One bright spot was its impressive solo vocal writing. For Now. no. “one of the most important large choral works of our time. no. Threnody. The Paradise Lost excerpts seem to be in a neo-romantic vein. Martin. Blumenfeld.” Opera 44. “Munich. Both pieces reflect Penderecki's “neoromantic” style. with Salvatore Accardo. Veni creator and Song of Cherubim were performed in Warsaw in March 1989. The staging of Paradise Lost by the Lyric Opera did not live up to the potential suggested by its libretto. Blindow. Blumenthal. Jost Meier. no. This article reveals an interesting situation in which the librettist tried to prevent the eventual composer. B133. 6 (June 1993): 664-665. The Stuttgart Opera's production of Paradise Lost was given at the Munich Festival in July 1979. B131. April 2.10 (1989): 17-18. Boas noted that the first two works are the most radical stylistically. no. Ralph. Section C. 1.” Musik und Kirche 41. Robert. 1996. “Bordeaux. no. B132. no. 1632 (February 1979): 146. Boas admired its musical portrayal of Adam and Eve. Paradise Lost. The Indiana University Opera Theater’s presentation of The Devils of Loudun in March 1993 marked the first U. while the second testifies to Penderecki's continuing interest in Orthodox liturgical music.

B137. expansion and consolidation (1960-1963). 1 (October-November 1991): 530-36. with almost motoric rhythms that help to evoke an anxious mood. A. The most striking aspects of the Sonata for Cello and Orchestra are its traditional elements and expressive tendencies. and Boulez. 1972). Brauneiss. Borris. In this critique of Penderecki’s contribution to postmodernism. Internationale Webern-Festival in den USA. B139.” Ruch muzyczny 9. Böhmer described the piece as a mixture of the musical styles of Webern. “Das IV. He referred to two ‘definitions’ of postmodernism. then claimed that Penderecki’s music fulfilled both of them. B142. “Pendereckis Stellung im Synkretismus der 60er Jahre. thanks (or no thanks) to movable walls. B140. Wiszniewski.” Melos 27 (November 1960): 349. Brauneiss described the composer’s use of the triad as being simple. Swedish lute virtuoso Hans Olof Hannson built the violino grande two years earlier. In its first section.” Osterreichische Musikzeitschrift 48. but not traditional. and retrograde trends (1968-1970. Helga. The Deutsche Oper’s production of The Devils of Loudun suffered from poor staging. bpj. L. Jochen. relating them to the works of Penderecki’s contemporaries. Penderecki’s Strophes was performed in Palermo as part of the First International New Music Week. 12 (1975): 609-14. B141. “Die Avantgarde faßt auch in Sizilien Fuß. The second and final section moves quickly.” Opera News (March 31. Robert.” Österreiche Musikzeitschrift 23. In this interview. a “distant relationship” with functional harmony is apparent and the soloist's melodies are reminiscent of Berg's works. 17 (1965): 12-13. 1990): 4142. Penderecki’s Concerto for Violino Grande and Orchestra was performed during the Fourth International Webern Festival. held at Dartmouth College in New Hampshire. “Sonata Krzysztofa Pendereckiego. “Düsseldorf. Böhmer. no.98 KRZYSZTOF PENDERECKI B136. He mentioned that he had composed electronic music for about thirty films. intensification and affirmation (1964-1967). Leopold. no. Breuer. The principal soloists were on stage together constantly and events that should have occurred in succession took place simultaneously. Bouma. “Kontinuität und Wandel im Werk Krzysztof Pendereckis. Penderecki reviewed his musical education and early compositions. Breiholz. “Penderecki Trinity. .” Musik und Bildung 7.” Philips Music Herald (Spring 1967): 4-7. no. no. Siegfried. Borris divided Penderecki’s career into four stylistic periods: revolutionary innovations (1957-1959). B138. He briefly discussed the compositions that belonged to each category. 10 (October 1968): 575.

” Melos 37. Hans Gerd. Although Cosmogony is not easy to comprehend due to its multiplicity of texts. “Pendereckis Zweite Symphonie in New York uraufgeführt. He did describe the work’s stage design. no.” Das Orchester 34.565 lines had been incorporated into Penderecki’s ‘sacra rappresentazione’.” Österreiche Musikzeitschrift 35.BIBLIOGRAPHY 99 B143. 1 (1979): 6-7. “Pendereckis 'Kosmogonia'.” its multilayered material was brought out skillfully in this performance. B148. Composed in a clearly defined sonata form that includes variations on “Silent Night.” Schweizerische Musikzeitung 111. A concert of Penderecki's music in Gütersloh provided the spark for this article. November 1978). 12 (December 1970): 520-21. ‘Das verlorene Paradies’. it is similar to the St. which was dominated by high towers on each side. “Chicago. (Uraufführung am 29. Breuer pointed out that only 1450 lines of John Milton’s original 10. Musically the work alludes to Wagner. B147. [Note: Although the exact wording of the two articles cited in this annotation differs. although as Breuer pointed out.” Österreiche Musikzeitschrift 34. no. although Breuer did not delve into the details of these problems. “Pendereckis tönender Kosmos in New York üraufgeführt.” B146. In this review of the world premiere of Paradise Lost. Brill.” Oper und Konzert 17. which was an intense mixture of sound and noise. had several major disputes. Penderecki and Virginio Puecher. 9 (September 1980): 482.” Neue Zeitschrift für Musik 149. Brill examined the paths that Penderecki had taken in his search for new sounds and new musical styles. 1 (January 1979): 51-53. no. “Penderecki-Oper in Chicago uraufgeführt. Penderecki also included all of his own trademark compositional techniques. C. The New York premiere of the Polish Requiem was presented in January 1986 by the Kraków Philharmonic and the Choral Arts Society of Washington. 1 (January-February 1971): 42. a Lyric Opera administrator. it is clear that Penderecki recognized his responsibility to respond to the tragic events of the twentieth century. The composer seemed to be less concerned with the intelligibility of the texts than the overall sonority of the work.. von Krzysztof Penderecki. The world premiere of the Second Symphony was met with lengthy applause. no.] B144. Prior to the premiere. Adagietto from Paradise Lost and the Violin Concerto were among the works mentioned . Breuer reviewed the world premiere of Cosmogony. The First and Second String Quartets. B145. D. the contents and main ideas are the same. Luke Passion in its “magical radiating power. no. no. With this piece. no. upon which the choir was seated. Breuer questioned how well Cosmogony would be received since it could easily be perceived as a conglomeration of noise effects. 4 (1986): 417-18. Komponistenportät Krzysztof Penderecki in Gütersloh. “Abkehr vom Experiment. “Pendereckis 'Polnisches Requiem' in New York. 6 (June 1988): 48-49.

dissertation. “Graz: Neues beim’Steirischen Herbst’. August 20. Brunner briefly described each movement. B156.” Ruch muzyczny 15. He described the manner in which the performance had come together both financially and logistically. “Ein garantiert echter Penderecki. no. no. Briner termed the piece “neither a futility nor a jewel. On the occasion of the release by Philips of a recording of The Devils of Loudun. Using a graphic method of analysis. Briner. Brooks explored the function of musical gesture in twentieth-century composition. which was noticeably lacking here.100 KRZYSZTOF PENDERECKI B149. Der Komponist dirigierte die Uraüffuhrung seines ‘Magnificat’ im Salzburger Dom.” Ph. Briner felt that the horrors of World War II could be heard at least partially in this piece. Alas. 1974: 19. 10 (May 16-31.” Both pieces were performed at the London Proms on August 12. B154. Brunner. “Zürich: Neuere Musik bei den Juni-Festwochen 1973. z Loudun' Krzysztofa Pendereckiego.” Opern Welt. no. The Austrian premiere of The Devils of Loudun was a production of a plot that encompasses brutality. no. Joanna. “Zurich: Pendereckis 'Lukas-Passion'.” B152. her adopted . no.” Schweizerische Musikzeitung 109. The Swiss premiere of Partita took place at the Zurich Festival in June. 1971): 17-18. mass hysteria.” Die Welt. including Penderecki's Anaklasis.1 (January/February 1974): 24. Bruzdowicz pondered the reception of Penderecki's music in France. The pages of Intermezzo are filled with transformations of a primary motive. and obscenity.” Schweizerische Musikzeitung 113. Brown. In comparison with Palestrina's setting of the same text. “Stabant Matres. “Structural Functions of 'Musical Gesture' As Heard in Selected Instrumental Compositions of the Twentieth-century: A Graphic Analytic Method. the result was tedious. “Zürich. 12 (1971): 39. Luke Passion. and Canticum Canticorum Salomonis.” Music and Musicians 14 (October 1965): 43. 5 (1973): 294-95. On the occasion of the Swiss premiere of the St. he examined eight pieces. Andres. In this review of the Magnificat’s world premiere performance.” Schweizerische Musikzeitung 114. Penderecki's Stabat Mater “is altogether more committed and dramatic. 5 (September-October 1969): 289-90. 1981. Richard James G. since the success of Penderecki’s opera depends on a good dose of the sensational. B151. Brooks.D. Gerhard. The work displays Penderecki’s proficiency in orchestration. which consists of chromatic quarter and third-tone motions. then remarked that its sounds were similar to those heard in the St. B153. Penderecki-Uraufführung. Bruzdowicz. Utrenia. New York University. B150. Peter. Luke Passion. B155.

B158. well-known to many Poles. B162. Warsaw Voice. Buchau was not impressed with The Black Mask. Brzostowiecka. Burde. 4 (April 1968): 146-48. Brzostowiecka suggested that Te Deum filled the role of enhancing the spiritual and patriotic life of Poland's citizens. 3 (May/June 1981): 294-95.” Opera News 53. even though he was less consistent stylistically than was. In this review of the Warsaw String Quartet’s recording of String Quartet No. Wolfgang. however.Krzysztof Pendereckis 'Lukas-Passion'. Several artists and other Warsaw Autumn Festival attendees compared the music of Penderecki and Some preferred Penderecki’s emotional appeal. Maria. “The Difference Between Giants. “Santa Fe. Penderecki. 40 (October 4. no. 1. Budweg. its theme was a universal one. B161. who were as familiar with his name as they were with Bach and the Beatles! B157. Buchau. Jahrhunderts. 1979). A performance of the St. Milton's Paradise Lost. premiere in Santa Fe. “Polnische Steichquartette des 20. Penderecki's turn away from his avant-garde style seemed to bring forth “unexpectedly fresh artistic effects. Penderecki noted that the piece represented not only the passion of Jesus Christ.” Neue Zeitschrift für Musik 142. 41 (October 14. Miroslaw. Many of his works were popular with young people. 1981). Harald. no. She also noted that the English libretto differed “significantly” from the original German version. Penderecki’s romantic compositional style fit the poem’s universal themes. “Opera i sacrum. 43 (October 28.” Kierunki. . B160. “Sukcesy muzyki polskiej. “W wielkiej tradycji. She felt that its text was incomprehensible and its melodies were concentrated too much in the upper ranges of the voices. no.” Neue Zeitschrift für Musik 129. October 24. the final portion of the “Miserere nostri” text was recited during the 1980 Solidarity strikes. Budweg noted that this piece was from the composer’s experimental phase.BIBLIOGRAPHY 101 country.” B163. For example. 5 (November 1988): 44-46.” Ekran (Warsaw). Stephanie von. 1993. “Berlin: Alban Bergs 'Lulu' -. Luke Passion in Berlin was praised for its powerful text and successful integration of text and music. no. would seem to be a poor candidate for an opera plot. 1979). were often sung or spoken on anniversaries or special occasions relating to Poland's existence as a free country. Its texts. S. no. B159. no. given its U. As evident in the Violin Concerto. Bujko.” Kierunki. created a fine libretto based on this poetry. with its philosophical treatment of the sources of good and evil and its paucity of truly dramatic moments. Christopher Fry. but also the pain and death of Auschwitz—for him.

which featured a wide range of contemporary music from Europe. performed at the Edinburgh Festival. Martine. but he was able to make up for this in part by attending the Warsaw Autumn Festivals. August 31. no. 691 (1986): 206-208.” .102 KRZYSZTOF PENDERECKI B164. This reviewer of a Denon CD (8006) remarked that Penderecki’s Capriccio for Oboe and 11 Strings was “a mock serious piece. the opera reminded him of the first act of Salomé.” Europe: Revue litteraire mensuelle 64. B170.” Sunday Times (London). it is all-powerful expressionism. Butcher. Most of this article is an interview with Penderecki about The Black Mask. Musically. Eric A. 1989. For Penderecki. “Quantitative Parameters of Spatial Dynamics in Musical Space. “Un week-end à Lucerne: Penderecki et Lutoslawski. and People. Cadieu.. David. “Opera: a Case for Enterprise. the source of his libretto. Cynthia E. “The Artistry of Heinz Holliger. Cadieu noted that “the common denominator of Polish music is emotion.” B167. Penderecki’s works were used as examples in Butcher’s exploration of metaphorical expressions. Structures. The article's concluding paragraph includes a reference to a performance of the Polish Requiem at the Saint-Eustache church in Paris. B166. no.” He also mentioned that the Magnificat was reminiscent of The Devils of Loudun and Utrenia.” Fanfare 11. Programs. dissertation. The repression of the socialist realist years in Poland delayed Penderecki's musical education. Georges.” Revue musicale de Suisse Romande 33. 3 (January/February 1988): 268-69.D. 1 (1997): 1-24. 1980. richly scored and devoid of memorable ideas.” Ph. B165. Cadieu described this piece as a synthesis of Catholic liturgy and German Protestant traditions. “L'automne à Varsovie. C. 1975): 15. B169. Penderecki's Second Symphony. since he deemed the work too long to enjoy without such a device. G. “De Salzbourg à Paris. B168. the Soviet Union. 1956-1961: Its Goals. no. brooding neo-Romantic effusion. was characterized as “a dark. 3.” Les Nouvelles Littéraires (October 6. The Ohio State University. The composer admitted that he was fascinated with the dance of death in Hauptmann's play. The Festival also provided him with an international audience for the performance of several of his own compositions. and the United States. Caille developed a plot to accompany Penderecki's Violin Concerto. Cairns. Caille. 4 (September 1980): 180-81.” Indiana Theory Review 18. no. Rencontre avec Krzysztof Penderecki. Bylander. which he translated into numerical measurements. “The Warsaw Autumn International Festival of Contemporary Music. p.

pp. Penderecki revealed that he had begun using a more traditional musical sound in the mid-1970s as a result of his experiences as an orchestral conductor and his burgeoning interest in 19th-century music.” Muzyka Krzysztofa Pendereckiego. 1986. Carter. “Warsaw. Carter expressed his alienation towards both methods of composition. edited by Tomaszewski. In his discourse on aleatoric and total serialist music. “has everything." B175. 13134.BIBLIOGRAPHY 103 B171. describing it as a dramatic realization of the score. B176. Canby. Luke Passion a favorable review. Luke Passion (RCA VICS 6015). January 19. “Letter from Europe. “Penderecki et la France: Le chemin de l’Espérance. John. The resident ballet troupe at Warsaw's Teatr Wielki danced to a recorded version of Polymorphia. B173. Poetyka i Recepcja. yet he also noted that stylistically it marked a “dead end.” Canby described it as a “significant” work.” B174.” Los Angeles Times. Edward Tatnall. Scott. Elliott. Daniel. The effect of the piece on the audience was both “touching” and “deeply disturbing. “Penderecki. Droga nadziei.” Music and Musicians 20 (May 1972): 64. Kraków: Akademia Muzyczna. edited by Tomaszewski. glissandi. Luke. 1977. Section 6. Of particular interest in this article are the selected list of French performances of Penderecki’s works and Castanet’s assertion that Penderecki and Messiaen were the two most inspired composers of the twentieth century. He briefly discussed Threnody as a piece that explores ”new possibilities of sound. Kraków: Akademia Muzyczna. Casken. 1995. 1996.” American Choral Review 10. reprinted in The Writings of Elliott Carter. 219-30. The St. no. Other tidbits of information concern Penderecki’s first conducting experience in France and his opinion about the Darmstadt school of composers. According to Casken. 1. In a conversation with Cantrell. March 31.” B172. “Penderecki Conducts 'Passion'. Cariega gave the Los Angeles Philharmonic's presentation of the St. the dancers had difficulty synchronizing their steps with the music. Cariaga. an astonishing sound and a feat in performance. “Penderecki i Francja.” In The Music of Krzysztof Penderecki: Poetics and Reception. . 1986. Bloomington: Indiana University Press. 4. edited by Else Stone and Kurt Stone. Castanet. Pierre Albert.” Albany (NY) Times Union.” Perspectives of New Music (Spring 1963): 202-205. Cantrell. 134-36. 2 (1968): 88-89. including serial patterns and vast quantities of quarter-tones. “Recent Records: Penderecki: Passion According to St.

He described the roles of the orchestra and soloist as being “like fire and air (the first would not exist without the other. “In a Hall of Mirrors. B182.” Opera 30 (April 1979): 376-77. Andrzej. Kraków: Akademia Muzyczna. “Krzysztof Penderecki. Gesichter der Postmoderne: Kompositorische Positionen in mittel.” Ruch muzyczny 23. viewed the Violin Concerto as the best of Penderecki's instrumental works. In his opinion. Donald. then stated that the Concerto is essentially tonal and uses conventional notation much of the time.” MLA Notes 38.” In The Music of Krzysztof Penderecki: Poetics and Reception. no.Joseph Castaldo. Castagnino gave a lukewarm review of the European premiere of Paradise Lost. Poetyka i Recepcja. or Ubu in Penderecki’s Opera. edited by Tomaszewski.und östeuropaischer Musik – Ein Seminarbericht. Concerto per violino ed orchestra.” Muzyka Krzysztofa Pendereckiego. 1996. Chittum reviewed the piece’s scoring and the details of its commissioning. “the music is distinguished but seldom stimulating. 1991. for him. Mainz: Schott. noting the cutting or modifying of scenes and changes in instrumentation. 18 (1979): 3-5. included Penderecki's music in his discussion of postmodernism in Central and Eastern Europe since 1960.” John Butler's choreography was warmly received. and tragic spirituality. Chlopecki wrote insightfully about the historical background of Penderecki’s Ubu Rex. . B178. no. B179. obsession. He alluded to the importance of religious music as one reason for composers' turning toward traditional musical styles. 22 (1975): 3. Chlopecki.104 KRZYSZTOF PENDERECKI B177. B180. a deeply expressive. “Penderecki at La Scala.. 8-9. the second would lose its sense of existence without the first). Chittum. “W gabinecie krzywych luster czyli Ubu w operze Penderecki. “Koncert skrzypcowy Krzysztofa Pendereckiego. “Nad z Loudun'. Finally. B181. then provided an intriguing interpretation of the composer’s choice of musical styles and dramatic emphases in the opera. edited by Tomaszewski. 1 (September 1981): 163-64. 21-28. He also included a synopsis of each scene of the opera.” Hearing this piece was. 2128. He also gave a detailed account of the differences between the original score and the opera's Warsaw version. Kraków: Akademia Muzyczna. Schott's publication of the score to Penderecki's Violin Concerto prompted this review. almost metaphysical experience. He proposed that Devils was a humanistic opera dealing with three levels of intrique: political.” Ruch muzyczny 19. Lacrimosa II for string orchestra. 1995. Castagnino. Sergio. he discussed the opera's musical style and orchestration. based his extensive comments about The Devils of Loudun on the opera's score and his viewing of its Warsaw production..

“Penderecki i film. 4. began this article by briefly summarizing the published literature on and Penderecki. Penderecki returned a humanistic perspective to composition. preventing its performance. On Witold and Krzysztof Penderecki's Works. described Penderecki as an “anarchist” and a “postmodernist oxymoron. The impact of the St. String quartets were featured. “Oaza: 1980. noting in particular that Penderecki's compositions form “a logical consistency” in development. After commenting on the history of the estate and the hospitality of its current owners. He then compared the musical styles of the two composers. 22 (1980): 45. a Quartet for Four Violins. and the significance of the B-A-C-H motive in the second row. turned to the mini-festival held there this year. 12 (1974): 24-30. As a result. 4 (1975): 3-5. discussed in the latter part of the article. “Profanum patafizycznie UBUstwione. B187. Luke Passion's text and musical structure is essential to the work's expressiveness. 4 (1988): 12-17. Electronic music played a bigger role in these pieces than in his concert works. no.” B188. Luke Passion's emphasis on certain pitches to medieval organum.” In the second part of the review. Penderecki commissioned such pieces from several Polish composers. 261-66. Penderecki turned for inspiration not to the West. B186.BIBLIOGRAPHY 105 B183. but he lost the only copy of the manuscript. no. The Passion differed from other contemporary compositions in that its subject matter was considered more important than its compositional technique and style. Performances of the work in the Soviet Union enabled audiences there to hear a “Russian Mass. Penderecki had also written a piece for the occasion. which was written during the early years of his career. 16 (1991): 1. the stage director for the world premiere. no. but to the East. calling it a “realistic play turned upside-down.” Polish Music 23. no. B184. B185. In Utrenia. “'Pasja' Pendereckiego jako znak. had created a setting in which “parody and black humor were changed into comedy. no. “The Structure of a Crystal' and 'All for Sale'. he noted that August Everding. He also discussed the importance of the pitch 'g' as the central pitch of the Passion's first twelve-tone row (actually a thirteen-note row). no. the Pendereckis. even though foreign critics have often stated that certain pieces represent a major change in style.” Ruch muzyczny 24. 17 (1991): 1. Luke Passion on Penderecki's career and on contemporary music was discussed in the first half of this article. discussed the absurdist aspects of its storyline. He related the St.” Ruch muzyczny 35. In this two-part review of Ubu Rex. includes compositions for 30 short and six feature films.” Among other references. “The Paschal Triptych.” Polish Art Studies 3 (1982): . 5. thesis is that the symbolism contained in the St.” Ruch muzyczny 19.” a rare event for them in this century.” Kino 9. Penderecki’s film music.

and realization in Penderecki's compositions”—was held in Kraków on January 28. Penderecki is not afraid to refuse to participate in current musical trends.” Studio (March opened a series of commentaries on Penderecki’s works by declaring that these compositions possess a strength of conviction and confidence that is rarely evident in the musical world. A seminar on Penderecki's music—”Conception. B190. “X na Pendereckiego (3): odmowy. B193. .106 KRZYSZTOF PENDERECKI B189.” B191. and the relationship between his music and humanistic and Christian values. unconventional vocal writing. “Teoretycy o Pendereckim. hierarchy of formal structures. B195. Bruckner. no.” Studio (May 1998): 7.” for his conscience decisions to compose sacred music (Stabat Mater and Psalms of David) at a time when that was not popular. “X na Pendereckiego: twórcza. Penderecki is “one of the most popular and most musically eloquent composers in the world. Dark. and Messiaen. described Penderecki as the “first dissident. Shostakovich. Sibelius. treatment of pointillist textures. pessimistic.” Studio (April 1998): 7.” Studio (July 1998): 7. “X na Pendereckiego (2): wyboru. For example. cites Christianity and Polish 20th-century history as factors that must be considered. This is due in part to the huge instrumental and vocal forces used for some pieces and in part to his use of clusters and sonoristic techniques. B194. This is a short discussion of composers from the past influenced who had Penderecki. Brahms. notation.” Studio (August 1998): 7. He also stated that Fluorescences and Polymorphia were shocking even for a time in which shock was considered the standard. His decision to compose sacred music can also be interpreted as a refusal to go along with the abstract. Mozart. In his opinion. secular trends of the times.” Ruch muzyczny 19. with no extra-musical associations attached to it. Stravinsky. and even demonic moods are more prevalent than lighthearted expressions. 6 (1975): 2. Mahler. “X na Pendereckiego (4): tradycji. Specifically mentioned were Bach. 1998): 7. “X na Pendereckiego (6): perswazji.” Studio (June 1998): 7. 1975. B192. he refused compose serialist music. Among the topics discussed were Penderecki's notational innovations. Although Penderecki often insists that his music should be heard simply as music. the opposite must often be considered. “X na Pendereckiego (5): ekspresji. Penderecki is well known for the strength of expression heard in his music.

prayer and aggressiveness. . Ekspresjonistyczna wizja In Krakówska szkola kompozytorska 1888-1988. ogólnopolskiej Konferencji Muzykologicznej 1-3 1993. For Penderecki. Penderecki has maintained his focus on musical architecture and color. who believed that symphonies were among the epitomes of musical creativity. Elements of the requiems written by many other composers (from Ockeghem to Stravinsky) could be heard in the Polish Requiem. “X na Pendereckiego (9): kantaty. and the characteristics of expressionistic and mystical theater. B199. 227-64. Among these are the dramatic traditions of the oratorio and recitativearia pairings.” Music Theory: Explorations and Applications (Duquesne University School of Music) 3 (Fall 1994): 23-26. including the juxtaposition of good and evil. “X na Pendereckiego (7): dramatu. “Krzysztof Penderecki’s ‘The Polish Requiem’. As one of the greatest composers of works for voices and orchestra. the analogies between Grandier’s actions in Act 3 and those of Christ in the days before his crucifixion. but stylistically each also reflects the dimensions of good vs. “Czarna maska Krzysztofa Pendereckiego. B197. summarized the similarities and differences among Penderecki’s four operas. explored the musical and extra-musical influences that are embedded in The Devils of Loudun. The symbolic meaning of the Polish Requiem was discussed against the background of the historical requiem and contemporary events in Poland. In the earlier work. Penderecki is one of a long line of symphonic composers.” Studio (October 1998): 7. “X na Pendereckiego (8): symfonii. edited by Teresa Malecka. B198. Kraków: Akademia Muzyczna. the symphony serves as an expression of man’s confrontation with the world and with God. In opinion. and lyric monologue and grotesque actions. the composer enhanced the expressionistic features of Hauptmann’s play through his incorporation of many musical contrasts. “Inspiracja literacka w teatrze muzycznym K. 1993. Warsaw: Kompozytorów Polskich. 112-19. Mahler.” Penderecki’s B200.” In Inspiracja w muzyce XX wieku: filozoficzno-literackie.” Studio (September 1998): 7. profane. B201. 1992. religijne. and Shostakovich. evil and/or sacred vs. his early works such as Psalms of David and Dimensions of Time and Silence clearly led to his more recent Seven Gates of Jerusalem and Credo. although transformed into “modern equivalents. The Black Mask and Król Ubu (Ubu Rex) differ from Penderecki’s earlier operas and oratorios in their presentation of a world without faith or hope. Pendereckiego na opery Diably z Loudun. folklorem. Each differs from the others.” Studio (November 1998): 7.BIBLIOGRAPHY 107 B196. Regina. Bruckner. including Beethoven.

and texture.. The dramatic focus of his sacred pieces is “on the choice of values created from the standpoint of a person seeking an answer to the question concerning the meaning of life and the world. 19 (1985): 3-4. “Polish Requiem. 1992. 1995. edited by Irène Marnczarz. edited by Tomaszewski.” Thus he “presented a sacred subject with theatrical means. Paris: Presses Universitaires de France. Poetyka i Recepcja.” In Problèmes. 1996.. and literature (especially from antiquity and the Bible). B202.asking the question about the sense of his existence. edited by Tomaszewski. While Milton had emphasized the worlds of God and Satan. that the composer chose to provide it with a sense of closure.” Ruch muzyczny 32. B205. among other things.” She discussed Penderecki's evolving musical language and his means of creating drama in his compositions. 1985. expression. 20315. “’Le masque noir’ de Penderecki. she elaborated upon the differences between his work and Penderecki’s version of the returning to their common source.” Polish Music 21..” In Les premiers opéras en Europe et les formes dramatiques apparentées. “Polskie Requiem. Tension is often created by establishing two opposing “worlds” differentiated by musical material.. Next. an abridged version appeared as “'Polish Requiem' by Krzysztof Penderecki. Interférences des Genres au Théâtre et les Fêtes en Europe.” Muzyka Krzysztofa Pendereckiego. In opinion. Penderecki chose to focus on mankind's search for truth. whereas Hauptmann’s original had no such feeling of conclusion. Kraków: Akademia Muzyczna. opened her essay by comparing Milton's Paradise Lost and Penderecki’a sacra rappresentazione on the same text. reviewed both the historical context and musical content of The Black Mask. B203. Paris: Klincksieck. no.” “personal experience.” Musical examples are included. painting. Kraków: Akademia Muzyczna.” She provided the premiere .” and “Polish national character. Penderecki is depicted as a composer inspired by architecture. Its main points of dramatic emphasis are “horror theatre. then placed the libretto’s source—Hauptmann’s drama of the same name—within the writer’s career. 1-2 (1986): 3-10.” “sacred mystery. “Polskie Requiem. Sacra Rappresentazione de Krzysztof Penderecki. 29-43. First she discussed how the concept of death has changed since ancient times. edited by Irène Mamczarz. 2943. and using the characters of God and Satan “only as points of reference. B204. noting. “Le 'Paradis Perdu'.” Much of the Requiem’s musical narration points toward the expressionism of The Black Mask. She asserted that Penderecki wished “to revive the genres of opera and oratorio.” next addressed the issue of whether Paradise Lost was really a sacra rappresentazione.” In The Music of Krzysztof Penderecki: Poetics and Reception.108 KRZYSZTOF PENDERECKI Requiem focuses on the “attitude of man towards death. considered the opera’s music to be more important than its text. no. 203-16.. elements of the requiem tradition reaching as far back as Ockeghem can be heard in Penderecki’s Polish Requiem.

BIBLIOGRAPHY 109 dates of the Requiem’s individual movements and briefly discussed the mood and musical contents of each part. Christ has no features of greatness or strength. In Penderecki’s version of the text.” (Quotes are taken from the English translation in Polish Music. Kraków: Akademia Muzyczna. In The Black Mask. 1983. In the latter two works. Milton’s Christ is a hero and someone who stands apart from man. a sense of chaos and. Christ. the opening section presents the essential musical elements of the composition. Tomaszewskiemu w 70 rocznice edited by Anna Oberc. 113-34. also illuminated differences between the individual works. explored the close link between text and music in the Magnificat. sens. with the passacaglia and fugue in evidence here. Next. The role of Christ also differed in the two works. The relationship of man to God. 1983. and Satan is central to Paradise Lost. in Ubu Rex particularly. . but the chaos of her world eventually overwhelmed her. Kraków: Akademia Muzyczna w Krakówie. all ethical values were negated in a world of absurdity. she discussed the musical and expressive means heard in each of the work’s seven sections. Kraków: Akademia Muzyczna w Krakówie. “Raj utracony – koncepcja tekstu a muzyczny. man’s actions lead to his own condemnation. with Grandier’s death eventually becoming a “symbol of goodness” that overcomes evil. As is typical in Penderecki’s music. a loss of ethical values prevail. “Problem dobra i w Krzysztofa Pendereckiego.” In i tradycja w muzyce Krzysztofa Pendereckiego. She reviewed the harmonic systems of Penderecki's largescale sacred works. B208.“ In i tradycja w muzyce Krzysztofa Pendereckiego. w Magnificat. and described those of the Polish Requiem as “a combination of quasi-tonal and twelve-tone thinking achieved by the first as if from the standpoint of the second. edited by Regina and Krzysztof Szwajgier. the heroine Benigna understood the difference between good and bad. 187-205. God and Satan are the primary characters. man takes center stage and undergoes a transformation as he faces both God and Satan. In Ubu Rex. edited by Regina and Krzysztof Szwajgier.) B206. In analyzing the presentation of good and bad in Penderecki’s operas. In Penderecki’s work. 233-45. focused on the text of Paradise Lost. The remaining sections bear witness to his predilection towards traditional forms. in which the hope of redemption is always present. 1994. B207. She first reviewed the text’s Biblical origins and its relationship to liturgical and Old Testament traditions. while in The Devils of Loudun. Instead he offers the gift of life and love to man. In this article. symbolizing good and evil.” In Muzyka. The first two present the extremes of good and bad against a background of religious faith. In Milton’s poem. contrasted his first two works in this genre—The Devils of Loudun and Paradise Lost— with his most recent two—Black Mask and Ubu Rex. Latin and Polish translations are given at the end of the article. which served as the basis of the libretto.

edited by Regina and Krzysztof Szwajgier. “Theme of Death in Penderecki’s Musical Theatre. edited by Teresa and Regina 40-49. but are outside of an accompanying sound block. B211. thesis is that while the central theme of each of Penderecki’s stage works (Paradise Lost. 7. first reviewed the history of the Passion. “Tradycja gatunkowa w Pasji wg sw.. complement or conclude the consecutive stages” of his career. individual lines within a block of a sound. Kraków: Akademia Muzyczna w Krakówie. the operas and oratorios —Penderecki created a “cohesive musical language” that served to delineate a specific stylistic phase. intervals.” Studies in Penderecki 1 (1998): 51-64. sound blocks accompanied by a single voice or voices outside of that block. Krzystofa Pendereckiego.” In Tomaszewskiemu w 60-lecie edited by Teresa Malecka.110 KRZYSZTOF PENDERECKI B209. The Devils of Loudun. mentioning the various ways in which Penderecki shortened the traditional Passion text.” In Spotkanie muzyczne w Baranowie 1977. For each of these pieces—specifically.) differing according to the composer’s interest at the time.” In Penderecki. with the particular element being altered (sound. 119-38. each piece presents this theme in varying ways. Kraków: Polskie Wydawnictwo Muzyczne. B210. Contemporary Dance of Death from Idea to Performance. 1983. The Black Mask. Kraków: Centrum Kultury: 1998. 182-213. . 1980. Luke Passion. texture.” “Domine. then discussed each of the seven stylistic periods that she perceived in Penderecki’s output. B212. and Ubu Rex) is death. “Technika polifoniczna w Magnificat. while the instrumental works written at approximately the same time as each of these larger works acted “to anticipate. edited by Teresa Malecka and Leszek Polony. The Black Mask. Muzyka w muzyce. and individual lines that are related to one another. 1984. Zeszyt Naukowy Nr. Penderecki set certain words (e. Next. Krzysztof. she turned to the St.g.“ In tradycja w muzyce Krzysztofa Pendereckiego. w liturgia w 'Jutrzni' Krzysztofa Pendereckiego. also observed that Penderecki’s attitude towards form has remained basically stable during his career. It is contention that Penderecki’s large-scale vocal-instrumental works form the nucleus of his output. Kraków: Akademia Muzyczna. “Stylistic Phases in the Work of Krzysztof Penderecki.” and “Gloria”) apart from these textures in order to emphasize their role as literary symbols. etc. She also discussed some of the traditional ways in which Penderecki set the music for the main characters. but maintained and even heightened its sense of drama. She discussed each piece separately in the latter portion of the article. examined four types of polyphony present in the Magnificat: individual blocks of sound treated as a single ‘voice’. “Magnificat. B213. 206-20. beginning with those from the medieval era. while other aspects of his music have undergone change.

and Baroque periods. 1968. and Beethoven's Ninth Symphony. 1 and this liturgy. touching specifically upon the devil. 3 (1975). incorporating “quasi-quotations” into the music. 1983. the piece's structural similarities to organum. Kraków: Polskie Wydawnictwo Muzyczne. 1984. edited by Teresa and Regina 12-23. Renaissance motets. musically reflecting the deep expressiveness of the text. Krzysztof. and atmosphere. Studia o polsce Edited by Stefan Warsaw: Wydawnictwo Naukowe. Contemporary Dance of Death from Idea to Performance. Kraków: Centrum Kultury: 1998. Renaissance. A Polish translation of the text is given. Numerous musical examples are included. Formy muzyczny 5.” Muzyka 20. recordings. Kraków: Akademia Muzyczna. the dance of death and the final judgment. Barbara. B214. Brief references to Penderecki's compositions are given throughout this volume on Polish music and musical life from 1945-1965. “Ekloga VIII. and noted the distinctions between those eras in Poland and other parts of Europe. Józef and Krystyna “Synteza i tradycji. In this lengthy essay on Ecloga VIII. Chrzanowski. then discussed the numerous links Penderecki made between Utrenia. B215. and publication. text-setting. B216. Latin and Polish translations were also given. 45886. Cisowska. Penderecki’s pieces have featured many new sounds for string instruments. as is information about the work's premiere. 114-48. The Black Mask. Pt. These connections include using the bass voice for recitation of litanies. no. “Teologia grozy.” In i tradycja w muzyce Krzysztofa Pendereckiego. Muzyka polski ludowej. constructing certain passages in a dialog format.BIBLIOGRAPHY 111 began with an outline of the Orthodox liturgy for Holy Saturday Matins. B217. and the musical style of its arias. B218. Tadeusz. A short bibliography is also provided. most importantly. Luke Passion. .: 16-27. edited by Regina and Krzysztof Szwajgier. He turned for source material to materials from the Medieval. the work’s pitch structure. Among the topics they examined were the specific texts chosen by Penderecki. “Przemiany techniki kompozytorskiej w trzydziestoleciu PRL. which includes two twelve-tone rows and the B-A-C-H motive. The authors devoted their discussion of the synthesis of modernity and tradition in Passions to one piece: Penderecki's St. texture. Cisowska focused on its form. Chrzanowski explored the iconography of death. A chronology of premieres and other important musical events is given at the end.” In Wielkie formy wokalne. its employment of sonoristic elements.” In Penderecki. and.

more than 150 critics were invited to attend the dress rehearsal of Paradise Lost. Collin. she discussed how Penderecki's music seems to have been inspired by the texts. 1. 2. S. Penderecki was the composer-in-residence for the 1977 Conference on Contemporary Music in Aspen. II. November 26. In a departure from tradition. 15. 12 (1977): MA35. pastoral poem. Cisowska divided her article on Canticum Canticorum Salomonis into three sections.” B225. Luke'. B222.” Chicago Tribune. and unusual string techniques. Cohn briefly discussed Threnody in this review of an RCA recording (VICS-1239). In the first. 8 (April 1968): 624-26.112 KRZYSZTOF PENDERECKI B219.S. “Subject Inverted.” American Record Guide 34.” In Tomaszewskiemu w 60-lecie edited by Teresa Malecka. 3. 4 (December 1967): 288-89. Eastern European church modes. The composition features diatonic-sounding quarter-tones. Section 1. November 28. Alan G. complete with Penderecki pacing the aisles and the Opera's general manager giving lastminute directions. Capriccio for Siegfried Palm. “Really New New Music from RCA Victrola. “Critics Converge to Cover the Birth of a Classic. Clark. yet so slow moving that it “tortures” the listener. Cohn defended Penderecki against accusations made in the press that he had reverted unnecessarily to more traditional musical means with this statement: “absorption of [unusual intrumental and vocal techniques] into Gregorian chant allusions. she reviewed the historical interpretations of “Song of Songs” texts. Dorothy. Penderecki's Threnody is the masterpiece alluded to in Cohn’s title. Among the featured works were his Capriccio for Oboe. “W 'Canticum Canticorum'. wide pitch ranges. “Two Recordings of the Penderecki 'Passion According to St. Cohn. Cohen. “Four Works from Poland.” American Record Guide 34. B223. 1978. The two recordings in question are RCA VICS 6015 and Philips PHS 2-901 (which also includes Threnody). String Quartet No. and the U. 1984. premiere of Utrenia. B221. B224. Kraków: Akademia Muzyczna. and serial cuttings is the very opposite of retrogression. In the second related Penderecki’s text to the genres of epithalamion. no. Pt. no. B220. pp.” American Record Guide 34. In his opinion. 1981. no. p. “The Aspen Experience. Capriccio for Violin.” The Times (London). This article gives an anecdotal description of that event. Arthur. .” High Fidelity/Musical America 27. the piece is frenzied. In the final section. 158-202. Cohen questioned whether Paradise Lost should be described as avantgarde or orthodox. and psalm. In an editorial letter responding to a November 24 article in the same newspaper (by Paul Griffiths). no. One of Them a Masterpiece. 1 (September 1967): 26-27.

no. p. Commanday claimed that Paradise Lost was unsuccessful for two reasons: the poor quality of its music and the inadequate production staged by the Chicago Lyric Opera. 42. Poetics and Reception.. “Vienna Modern Plus. “Incompatibility In 'Paradise'. “La recezione dell’opera di Penderecki in Italia. contrast entirely insufficient. and music education in Poland. continuity was uneven. edited by Tomaszewski..” Music Journal 25. Cook. Eugene.than the curious visual effect of the production. Partita.” . Kraków: Akademia Muzyczna.and Others.. 1995. Poetyka i Recepcja. Penderecki explained that he began conducting because he was dissatisfied with how other conductors were presenting his music. 1978. the Italian press has differing opinions about the value and meaning of Penderecki’s works.” The composition “is an atonal.” B231. 4 (July-August 1993): 187. can be summarized by quoting its final sentence: “Penderecki’s music will appeal most to people familiar with the more extreme works of Ligeti. December 10. Cello Concerto. Penderecki was assailed for his inability to blend his “Wagnerian” chromaticism with his avant-garde vocal and instrumental techniques. This was far more disappointing. 2 (1977): 8-10. a re-release of a 1973 recording. extremely dissonant work employing notated pitches and precise quarter-tones mixed in with sounds of indeterminate pitch. Gubaidulina. “Penderecki: the Polish Question. He talked at some length about rehearsing his compositions. Symphony. 1996. The quality of this recording of Penderecki's Dies Irae (VMM 3015) is “sumptuous. B227. He was also criticized for not working more closely with the opera's directors during the production planning period. no.” The staging was described as a “modern store rotunda--not much of a paradise to lose. edited by Tomaszewski.” B229.. 1978. Some topics of discussion concerned the appropriateness of the composer’s turn toward tradition and whether he wrote religious music to show his opposition to Poland’s Communist government.” In The Music of Krzysztof Penderecki. “the score was rhythmically weak. Robert. The world premiere performance of Paradise Lost was reviewed here. Unlike the Polish press.. 137-53. 6 (November/December 1995): 170. 70-71.” San Francisco Chronicle. Kraków: Akademia Muzyczna. In Commanday's opinion. B230. Cook. Colombati explored the wide range of opinions on Penderecki’s music that had been offered in the Italian press. “Penderecki: Emanationen.” San Francisco Chronicle. Colombati. 38..BIBLIOGRAPHY 113 B226.. B228. Paul. “Recepcja Pendereckiego we Muzyka Krzysztofa Pendereckiego. Commanday. Schnittke. December 2. Shchedrin. 13552. pp. “Paradise Loses in Chicago's New Opera. Claudia. no. the new sonorities audible in his recent works.” American Record Guide 58.” American Record Guide 56. This review of EMI 65416. World section. and most of the living Scandinavian composers.

Cooklis compared Penderecki's conducting style to his compositions: “Grand emotional sweeps” seemed to be of more concern than intricate details. the world premiere of The Black Mask was a success..114 KRZYSZTOF PENDERECKI B232. Acording to Heinrich Schiff.. “Cellist to play 'new music' with CSO. his expressions of concern for human life. Penderecki compositions are characterized as frequently inspired by literature and religion. Peter. Ray. “Uraufführungen von Penderecki. D-3. “Political Vigor in 'Finlandia'. Zender. B236. 1981. p. The music contained a number of stylistic references. 1989. supported Ezra Laderman and Donal Henahan's criticism of Penderecki's receipt of a Bicentennial commission from the Lyric Opera.” .” Critique 40. p. “Why Did Chicago Pick Penderecki?” New York Times. April 15. The results were authoritative. A performance of the Second Cello Concerto with soloist Heinrich Schiff and the Cincinnati Symphony Orchestra was dramatic and tightly controlled. 2 in New York City was “predictable. “A l'écoute de la musique polonaise contemporaine. In a letter to the editor. D-3. In Cossé’s opinion. and the opera’s different characters were portrayed on stage with effectiveness and skill. Jean-Paul.” Österreichische Musikzeitschrift 41.” Cincinnati Enquirer. Cooper. Eder. They also reflect the composer's interest in new sonorities. 440 (1984): 111-19. B238. no. although it received a mixed reaction from the audience. no.” Music Journal 30. La musique polonais et Witold Paris: Stock Plus. Couchoud. p. Cossé. Cooper's primary argument was that the Lyric Opera missed a good opportunity to bring forth a major piece by an American composer. but perhaps not pleasing to everyone. 2 (February 1972): 58. Couchoud's consideration of Penderecki's career emphasized the composer's literary inspirations. no. this piece is contemporary in musical language but romantic in design and expression. and his experiments with varying sound sources. “The Juilliard School. Cox. 10 (October 1986): 517-20. 5. 1973. Section 2. B233.[and] static. executive director of the American Composers Alliance. 1989. Müllenbach. B234. B235. Cooper.” Cincinnati Enquirer. Cooklis. soloist in upcoming Cincinnati Symphony Orchestra performances of Penderecki's Second Cello Concerto. A performance of De Natura Sonoris No. B237. August 12. Stranz und Durko bei den Salzburger Festspielen. April 15. David S.

“Penderecki—'St. 4. Although the libretto was intriguing. 1968. After reviewing the politico-cultural background of post-war Poland. The four works to be performed— Psalms of David. It also contains numerous quotes from Penderecki and his Polish colleagues. Somewhat suspect. yet unique in sound. David. February 14. “Portugal.” Opera 27.” Church Music (London) 2. “Polish Composer Conducts Symphony This Weekend. Luke Passion'.” Christian Science Monitor. Penderecki also discussed the significance of St. Cunningham. and Jacek Ziarno. and the Violin Concerto were featured topics. 8 (August 1976): 766. “Hamburg. Warsaw: Polska Oficyna Wydawnicza “BGW. Richard. p. Anaklasis.BIBLIOGRAPHY 115 B239. Cunningham was not impressed with the Santa Fe Opera's production of The Black Mask. January 22. On the occasion of Penderecki's appearance with the Houston Symphony. Stabat Mater. 1988. John.” B243. Crabtree declared that the piece “sounds like a 'masterpiece'. is the accuracy of the information given in the discography and works list. and Lacrimosa. In his review of the Philips and RCA recordings of the St. the music failed to sustain Cox's interest. He compared the piece favorably to Bach's Passions and noted the various ways in which traditional and modern musical techniques are blended in Penderecki's piece. but that the orchestra and chorus were too “subdued. Pasja o Krzysztofie Pendereckim. Crowther. “Sheer Ardor Proves Main Asset. B245. Luke Passion. Luke Passion. 1981. Luke Passion. “The 'Passion' of Penderecki. In his brief statement about a Lisbon presentation of The Devils of Loudun by the Polish National Opera.” It is eclectic in style. B240. B241. Cox. Crabtree. Cox turned to a description of the St. August 5.” Houston Post. which he judged to be a crystallization of Penderecki's compositional ideas. however. The Devils' Bowdlerized.” 1993. The Hamburg State Opera gave a performance of The Devils of Loudun as part of the ISCM Festival. B244. Much of the text was unintelligible since it was delivered in “rapid-fire dialogue” over an energetic and dissonant orchestral accompaniment.” Musical Times 110. 28 (1968): 8-9. . no. no. Crowther noted that the performance was met with enthusiastic applause. This full-length biography of Penderecki is replete with photographs of the composer from his professional and personal life. 1520 (October 1969): 1064. B242. Carl. Adagietto from Paradise Lost. and his current interest in late-Romantic musical traditions.” Houston Post. no. Downfall for 'The Black Mask'. It even contains a list of the trees and other plants in the composer’s garden. Cunningham talked with him about his compositional career.

Berio und Penderecki in Münchens Musica Viva.116 KRZYSZTOF PENDERECKI B246. “Iwakis grosser Auftritt. 1 (1975): 14. no. Danler briefly mentioned Penderecki’s modernist musical language and Polish connections. In Danler’s opinion. no. since the composer was able to incorporate stylistic models of the past into the piece. and glissandos. Hiroyuki Iwaki conducted the Bavarian Radio Symphony Orchestra in a performance of Penderecki’s First Symphony. B247. He felt that writing for theater of the absurd was appropriate for Penderecki.” B248.” Das Orchester 23. Although he conceded that Penderecki's most recent compositions were more “musical. S. Dale scorned Penderecki's music because it did not contain counterpoint and lyrical melodies. B249.” he cited the Cello Sonata as proof that “the composer is forced to abdicate intelligence and rely on useless general statements. but a negative opinion about the production presented by the Bavarian State Opera. so Penderecki changed his mind and agreed to complete them.” Teatr. 1036 (August 1976): 277-89. XLIII: Korngold and Penderecki. S. Kazimierz Dejmek. Danler offered positive comments about Penderecki. In this review of the world premiere of Ubu Rex.” Das Orchester 28 (July-August 1980): 601. “Penderecki o sobie. i Dejmku. He said that he had originally intended to compose two additional scenes for the Devils. Penderecki discussed the relationships between text and music in several of his pieces and described the changes he made in The Devils of Loudun for its Warsaw premiere. B251. pizzicati. this complex piece is characteristic of the composer’s earlier works in its use of harmonics.” The Strad 87. Münchens Musica Viva mit Acker. no. “Penderecki dirigiert Penderecki. A stunning performance of Dies Irae in its Germany premiere was the impetus for this review.” Das Orchester 39. Penderecki conducted his own Violin Concerto and Shostakovich’s Sixth Symphony in a Bavarian Radio Symphony Orchestra concert. Dale. he reorchestrated three scenes in Act I. he thought that the opera as it was staged in Munich emphasized entertainment at the expense of “the dimension of the demonic.” Das Orchester 18 (April 1970): 167-68. he was unable to penetrate through the thickness of the orchestral sound. Bohdan. “Contemporary Cello Concerti. suggested that the opera would be improved if these scenes were included. Pendereckis ‘König Ubu’ in Luxusausgabe. He and Dejmek also agreed to combine two scenes and eliminate another one.” B250. In addition. Karl-Robert. . On the other hand. The stage director of the Warsaw production. Danler. Penderecki also displayed his inexperience at the conducting podium during the Shostakovich Symphony. “Absurdes zum Festspielauftakt in München. but had decided they were unnecessary. The second half of this article is devoted to a discussion of Penderecki's musical style. 10 (1991): 1116-7. Although soloist Konstanty Kulka mastered the many technical demands of his part. “Deutsche Erstaufführung einer Messa in scena. Cybulski. Ishil und Penderecki. no. 6 (1973): 4-5. Münchens Musica Viva unter der Leitung des Komponisten.

most of the composer's large-scale compositions. Penderecki's choral works written between 1962 and 1974 differ in their treatment of vertical textures and sonorities and in their vocal and instrumental timbres. New York: Schott. 11 (1986): 1178-79. Ecloga VIII. The Vienna Philharmonic proved to be surprisingly adept at handling this complex score. Davis thought Penderecki’s First String Quartet was interesting but not “satisfying emotionally. University of Cincinnati. for his excellent work. The Philadelpha String Quartet's concert of Polish pieces included compositions by Bacewicz. 17-29. The Devils of Loudun. Dies Irae. 1985. Davies. B255. Winton. laughing. no. edited by Ekkehard Jost. Szymanowski. Peter G. seen at the Sadler’s Wells Opera. “Compositional Techniques and Use of the Chorus in Five Selected Choral Works of Krzysztof Penderecki. no.” B257.” In Davies’ opinion. Delisi . This version of the opera. Sechs Kongreßbeiträge und drei Seminarberichte. Danuser named Penderecki as one of the composers who had reached a “critical turning point” in their work. B254.” Musical Opinion 84 (September 1961): 737-39. was reduced to two acts from the original three. “Pendereckis ‘Die schwarze Maske uraufgeführt. thesis. 4 (April 1966): 150. Dean. Anaklasis is “a fascinating experiment in sound. B258. and muttering. Danuser.” he belittled the Polish Requiem and.” D. Davis.” New York (February 10. Penderecki failed to create the two things necessary for a successful opera: “convincing characterization and interesting music. no. Hermann. In The Devils of Loudun.” Das Orchester 34. Although Davis acknowledged that Penderecki belonged on “any short list of prominent living composers. Margaret E.A. He thought the Second Symphony was reminiscent of Bruckner’s music in its dark emotional language and chromatically enriched harmonies. B256. Harry Kupfers Regietriumph in Salzburg. Daniel.M. In his analysis of Stabat Mater. 1986): 64-65.” Musical Times 114. “A Review of the Paris Season. and Lacrimosa.BIBLIOGRAPHY 117 B252. and Penderecki. Baird. “Philadelphia String Quartet. the piece sounds much like electronic music. 1570 (December 1973): 1251. Te Deum. indeed. the orchestral music was better suited for a television documentary. “Opera. B253.” In Dean’s opinion. “Innerlichkeit und Äußerlichkeit in der Musikästhetik der Gegenwart. while the voices were preoccupied with screaming. Harry Kupfer. “Masterpiece Theater. Danler described the scenario of The Black Mask in some detail and congratulated its Salzburg director. 1990. he questioned the lack of authenticity in both this work and Penderecki’s move towards tradition. However.” High Fidelity/Musical America 16.” In Die Musik der achtziger Jahre. Delisi.

The premiere of Anaklasis at the Donaueschingen Music Days in 1960 caused a minor uproar. Part I a genuine Eastern Orthodox flavor. Dibelius.” American Choral Review 30. articulation.” B259. no. the work’s success comes from its gradations and development of dynamics. Some Notes on Texture and Form. “Philharmonic Orchestra: Penderecki Premiere. 6 (June 1977): MA33. 1 (January 1971): MA20. Ulrich. He then noted the different portions of the Roman Catholic requiem that Penderecki had included. Evoking both the “pathos” of Bruckner and the “fervour” of Berlioz. Dibelius focused in part on Penderecki’s Te Deum and its links to 19th-century musical styles. DeR. 2 (February 1989): 4-9. Dézsy. Thomas. “Polnische Avantgarde. no. while others spoke of its bold breakthroughs and “new humaneness. “Penderecki's Polish Requiem. no.118 KRZYSZTOF PENDERECKI demonstrated that each piece exhibits “a balance between the innovations and the use of traditional musical elements. some in attendance predicted the end of music. .” Österreiche Musikzeitschrift 44. no. Penderecki missed an opportunity to give Utrenia. the Te Deum can also be associated with musical styles from Gregorian chant to sprechstimme. Also published in Das Orchester 15 (April 1967): 147-54. Delisi discussed several ways in which Penderecki achieved formal and textural unity in the Requiem. The Passacaglia contains the ostinatos and percussion solos that have become trademarks of Penderecki’s recent compositions. Polymorphia and the Capriccio for Violin. did not warrant similar praise. 1 (Winter 1988): 14-16. In DeRhen’s opinion. Delisi began by reviewing Penderecki's compositional career. In this essay on postmodernism in music.” High Fidelity/Musical America 21. however. Finally. no.” as occurred in When Jacob Awoke [sic] and the “Fecit potentiam” from the Magnificat.” Neue Zeitschrift für Musik 150.” High Fidelity/Musical America 27. The author asserted that Penderecki's music is “at its best [when] it conjures up the spirit of something timeless and elemental. Penderecki used an international “modernist” style B261. Penderecki conducted the Polish National Radio Symphony Orchestra in performances of his Passacaglia and Viola Concerto. B263. A Yale Philharmonia Orchestra concert conducted by Penderecki is the subject of this review. “Yale Philharmonia: Penderecki. After hearing this piece. “Postmoderne in der Musik. or added to in his Polish Requiem. emphasizing his works for chorus and orchestra. and tone color. und Penderecki dirigieren eigene Werke im Konzerthaus. 5 (May 1989): 251-52.” In Diblius’ opinion. B264. B262. omitted. in particular a careful control of form. [DeRhen]. B260. Instead.” Melos 34 (January 1967): 7-16. A.

B269. The performance of Utrenia at the Warsaw Autumn Festival was a “national event and a clear.. no.” Threnody did not even evoke “human responses. B268. “Polish Music Today. Included in the Cheltenham Festival were Penderecki's Miniatures for Violin and Piano and Threnody.” He characterized the St. no.symbol of the the fifteenth Warsaw Autumn.” Neue Zeitschrift für Musik 144.” Music and Musicians 16. Dörr.” Musical Times 108. 23 (1971): 11-12. no. 42 (October 18.” In this work and in Te Deum. “Cheltenham polonaise. The St. In a discussion of Poland's music of the post-1956 era.” but “seem[ed] to enter that emptiness of intergalactic space. 43. Dobrowolski. Luke Passion.” Neue Zeitschrift für Musik 127. “Wrzawa w Katedrze.” Oper und Konzert 17. Dommett. Dickinson. According to Dommett. 1981): 10. B267. During the course of the work.” B271. no. “Srebrne wesele Warszawskiej Jesieni. confirmed the tediousness of Penderecki's creation. the work's second.BIBLIOGRAPHY 119 B265. This production. 11 (November 1966): 455. Kenneth. presented at the 1966 Warsaw Autumn Festival. B270. “Der zehnte Warschauer Herbst. 1493 (July 1967): 596-98.” Kierunki. A month after the premiere of the Second Cello Concerto in Berlin.” B266. Rostropovich played as if this piece were an old friend instead of a newcomer to his repertoire. 6 (June 1983): 36.” Ruch muzyczny 15. Penderecki und Rostropowitsch in Paris. wonderfully lyric solo passages are heard in opposition to furious orchestral episodes. Luke Passion as a good example of eclecticism combined with religious connotations.. (September 1967): 24-25. . Peter. Wrazenia z XV 'Warszawskiej Jesieni. Dickinson described Penderecki's Threnody as “probably the most popular work using textural devices alone. no. “Ein lyrischer Bogen. Gerhard. Janusz. represents an alienation of the traditional Baroque Passion. the Miniatures' “brevity and content scarcely merited so much climbing in and out of the piano by the two performers. “Staatsoper Stuttgart. Rostropovich and Penderecki presented the same work in Paris. Penderecki asserted himself as a composer of “true brilliance. 6 (1979): 30-31. Doucelin. he “rehabilitated” the art of counterpoint and melodic expression. no. a kind of natural sound without reference to traditional melody or rhythm. The West German premiere of Paradise Lost was presented by the Stuttgart Opera. Jacques. With his Second Symphony.

Dallas. Droba described the formal aspects of Polymorphia in terms of its rhythms and articulations. Drew attempted to relate the music and ideas of Webern and Ives to post-1950 compositions. no. at least in some passages. In particular. no. Douglas. this Festival reaffirmed the high quality of Penderecki's music. In his opinion.120 KRZYSZTOF PENDERECKI B272. p. Coordinating entrances in the work's aleatoric sections may call for the four choirs to memorize the music. An impressive amount of music was heard by surprisingly large audiences at the Penderecki Festival held in Kraków in June 1980. and a New Time-Dialetic. “Hierarchia czynników formalnych w Krzyszofa Pendereckiego (na Polymorfii). Droba. 1 (1968): 98-99. the meaning of the references to God made in each piece.” American Choral Review 12. 2 (1970): 120-23. from the unusual sonorities and instrumental techniques of Threnody and Polymorphia to the “relative straightforwardness of idiom” in the Second Symphony and Violin Concerto. B277. and The Black Mask. B273. she discussed the boundaries between good and evil. they must be determined by interval recognition. B276. Driver. Paul. “Raport z Wilna. B275. Luke Passion. January 21. Douglass offered solutions for the performance problems encountered in the St. “Choral Performances. Droba traced Penderecki's musical styles through the pieces offered. no. . 17 (August 24. Droba reported on a paper about Ubu Rex given by Regina at the LithuanianPolish Musicology Conference.” Muzyka 21. Driver reviewed the four-volume set of Penderecki's compositions released on compact disc by Polskie Nagrania. “Multi-Lingual Voice of Modern Poland.” Ruch muzyczny 35. 1980): 3-4.” B274. Drew. The pieces included on these discs encompass a full range of styles. III Litewsko-Polska Konferencja Muzykologiczna.” Sunday Times (London). The Awakening of Jacob. and the “lost sense of hope” for the existence of man and the world apparent in The Black Mask and Ubu Rex. 4 (1976): 22-28. no.” Journal of Music Theory 12.” Ruch muzyczny 24. and this in turn allows all levels of projected information to be more readily perceived. Robert. Of Threnody. James. he said that “the overall motionlessness of this kind of composition now brings sufficient attention to the space in which all of its information is constantly being revealed. “Information. no. Since the desired pitch cannot always be heard prior to a particular entrance. Paradise Lost. E8. Of particular interest to Droba were those works in which elements of more than one “style” could be traced—for example. beginning with the neoclassicism of the clarinet Miniatures and progressing through the composer's “sonoristic” period to the more recent neo-romantic Violin Concerto. 26 (1991): 5. which are arranged in both simple and complex textures. 1990. Krzysztof. Texas. She compared the moral signals sent in this opera to those evident in The Devils of Loudun. “Festiwal Pendereckiego. Space.

Penderecki conducted the Kraków Philharmonic in Jan 'David' Symphony and Tchaikovsky's Rococo Variations in November 1989. through the nightmarish experiences of the hero and its secretive atmosphere. quasi-sonata form. The Capriccio for Oboe and Strings. Drobig. Dümling. 1980). B283. The piece also has a certain romantic quality that will appeal to listeners not accustomed to contemporary music. reflects a world disappearing under the weight of social conflict. Luke Passion. no.1996). ds [Dorota Szwarcman]. B284. was both shocking and humorous. Penderecki conducted Shostakovich’s Symphony No. This contains a brief mention of a performance of the St. Dufallo's lengthy interview with Penderecki. no. 2 mit Rostropowitsch und den Berliner Philharmonikern. New York: Oxford University Press.BIBLIOGRAPHY 121 B278.” Ruch muzyczny 33. 1988): 3.-1. who becomes entangled in the moral and social conflicts that are threatening the disintegration of his world.” literackie 38. and another in Polish by Warsaw's Teatr Wielki. 42 (October 16. Dybowski. 117 (October 1996): 9-10. first seen in the Violin Concerto. no. conducted in February 1987.8. The interpretation focused on the main hero. Dümling described the Second Cello Concerto as having a three-part. Druey. performed at the Lucerne Festival. electronic and serial music. no. “Geistliche Höhenflüge: Festivaljubiläum in La Chaise-Dieu (20.9. 26 (1989): 11-12.” Concerto 13. Composers Speak with Richard Dufallo.” Schweizerische Musikzeitung 105. . B279. “'David' i inni. Dzieduszycki. “'Musica nova' in Luzern. The Warsaw production presented a “powerful. B282. Richard. Trackings. “Pomost muzycznej Jesieni. “'Warszawska na powszechne. The Capriccio for Tuba demonstrates the many technical possibilities inherent in this solo instrument. Paul. 1989. “Routinierte Synthese. no. Albrecht. 207 (September 25. B280. the difficulties the composer has experienced in getting performances of his compositions. Wojciech. and the stylistic features of these same pieces. Bernhard.” Neue Zeitschrift für Musik 144. The piece marked a continuation of Penderecki’s neo-romantic style. no. Dufallo. 5 (September-October 1965): 291-92. thrilling drama” that. revolved around several topics: the Darmstadt festivals of the early 1960s. 14 on the same concert as this world premiere performance of the Cello Concerto. 4 (April 1983): 29-30. Uraufführung von Pendereckis Violoncellokonzert Nr. B281. Two productions of The Black Mask were presented during the 1988 Warsaw Autumn Festival: one in German by Teatr Wielki.

B289. In an adjacent column under the same title is an interview with Penderecki by Eckert. with its triumpant final chord in D major. Stabat Mater was performed at the Festival of Contemporary Polish Music in The piece is based on a Gregorian melody. “Musikfestival in Wroclaw. Penderecki received a Polish government award. pp. with its dedication to Pope John Paul II. was dramatically effective. E. “Verzuckertes Grauen der Welt. The dignified roots of Te Deum. 41. On the occasion of his 50th birthday.” High Fidelity/Musical America 28. which was reminiscent of Mahler’s Fifth Symphony. B290. R. 23. 39. however. the author balanced his overall praise for the piece with the caveat that it was too long for the musical ideas used in it. 1981. p. an experiment in the border area between sound and noise. 5. and the Adagietto from Paradise Lost. but said that he would not discuss Nono's music because of the latter's sympathies towards Communism. Included were Threnody. no. 1983. e. 1983. Thor. he did conceive of his music as being a symbol of hope for the Polish people.” Christian Science Monitor.” Frankfurter Allgemeine Zeitung. November 20. “In a Time of Tension. 5 (May 1978): MA21-22.” Musik und Gesellschaft 16 (November 1966): 758-60. Pendereckis Tedeum in Berlin.” Die Presse. He commented favorably on Ligeti and Berio. Soloist Isaac Stern could not always be heard against the luxuriant string backdrop. Eberle. In this talk with Eckert. B286. Deutsche Allgemeine Sonntagsblatt. The Awakening of Jacob was not successful. though difficult vocally. Penderecki's music. Traude. Krzysztof Penderecki verteidigt sich gegen westliche Kritik. This was promptly misinterpreted by some Western critics as a sign of his co-operation with Poland’s Communist government. pp. Penderecki asserted that. was rather weak. 1983. Penderecki considered The Black Mask to be his best work to date. were obscured by the poor quality of its music. p. Stabat Mater. 19-20.. Ebert-Obermeier. 5. . Polish Composer Penderecki Celebrates Hope. Gottfried.122 KRZYSZTOF PENDERECKI B285. The 100th concert of West Berlin’s Musik der Gegenwart festival series was devoted to music by Penderecki. February 16.f. p. December 27. “Penderecki Establishes Operatic Mastery. Penderecki defended himself with statements alluding to his sacred compositions and to his position as a rector of a Polish music school [in Kraków]. B288. B287. “Minnesota Orchestra: Penderecki Premiere.” Christian Science Monitor. November 23.. 1988. although he did not consider himself to be a political activist. August 19. The libretto. Eckert Jr. in which he uses his own fame for the good of the school. although Eberle spoke of its horn calls and ethereal sounds of the ocarines. “Bekenntnis und Markt.. Eckert reviewed the Santa Fe Opera's premiere of The Black Mask in a positive light. Polyphony and hocket technique contribute to its archaic character. On the occasion of the American premiere of Penderecki's Violin Concerto.

no. “Dimensionen der Zeit und der Stille (Hermann Moeck Verlag. Eimert. Luke Passion and the Polish Requiem were composed in response to the repression imposed by the Communist Party in Poland. The piece called for completely outlandish sounds. no. its transfer of electronic effects to traditional instruments and voice. but this music works in a fascinatingly fresh manner. then discussed the Stuttgart State Theater's version. ek. 1979). “Owacyjne 'Raju utraconego' K. B297.” Neue Zeitschrift für Musik 126. Eckert called Penderecki “music's leading example of a creative artist living in the midst of an oppressive political system. 10 (October 1965): 401-402. B294.” Ruch muzyczny 30. B295. B292. pp. In Eimert's opinion. Ehinger. performed at Lucerne’s Musica Nova festival.” Christian Science Monitor. 213 (September 22-23. Pendereckiego. This presentation was more like an opera than the world premiere had been. nie ostateczny. 1986. Janusz.BIBLIOGRAPHY 123 B291. the Second Cello Concerto. 29 (December 1962): 411. Celle). Ekiert reminded his readers that Wagner's operas were originally thought to have been influenced by Berlioz . Eckert approved of the first of these pieces. In the second half.” B296. The attempt by critics to link Paradise Lost to Wagner's music seems to be based on certain obscure and trivial elements of the latter's compositions. conducting The Awakening of Jacob. He considered the piece to be a “synthesis of Penderecki's compositions to date. and its notation. but felt that the Concerto favored virtuosity at the expense of an organized musical statement. and the Polish Requiem. B293. Hans. The Psalms of David and Stabat Mater helped to free contemporary music from stagnation. 23-24. Penderecki is touring the United States with the Kraków Philharmonic. Ekiert. which was performed to great applause at the Warsaw Autumn Festival. Heinz Holliger was the soloist in the Capriccio for Oboe and Strings.” Melos 31 (February 1964): 65. he described the opera’s musical elements. 224 (October 57.” Express Wieczorny. “Polish Composer Penderecki and Cracow on Tour in US. 1979): 1-2.” a comment intended to be taken in a positive light.” Express wieczorny. which served as the basis of the opera. The reviewer described Dimensions of Time and Silence as a piece reflecting “macabre violence.” Melos 4. no. Ekiert reviewed the dates of the previous productions of Paradise Lost. but the performers were not quite as good as those in the premiere production. Currently. “Czarna Maska Krzysztofa Pendereckiego. Eckiert explored the surrealistic aspects of Hauptmann's play. “2 Uraufführungen und 3 Erstaufführungen in Köln. no. January 24. no. In the first half of this review. “Luzern: Musica Nova. Penderecki is the boldest and most imaginative composer in presentday Europe. 20 (1986): 14-15. He mentioned the work’s unorthodox treatment of the choir. Herbert.” Both the St.

Concerto for Viola and Orchestra. but that comparison was now considered to be inconsequential. 21 (1990): Teatr Wielki presented The Black Mask in Dresden and West Berlin in September and early October 1990.” Ruch muzyczny 32. 2. for Narrator. for String Orchestra. and Ten Instruments. in his rebuttal. “a tightly knit. Capriccio for Oboe and Eleven Strings. ep. for Orchestra. 27 (1989): 2. 4 (March/April 1991): 410-11. . West Germany between November 12 and 17. B303. no.” Fanfare 13. for Orchestra and Chorus. in the role of Eve. B299. no. Ekiert asserted that the logic behind the finale was “faultless. Intermezzo for Twenty-four Strings. Pendereckis: Dies Irae—Oratorio in Memory of the Victims of Auschwitz. 1 for Violin and Orchestra. brutal musical depiction of unimaginable horror. no.” and that both the libretto and the concept of a sacra rappresentazione originated in the Baroque era. Penderecki's case is similar. Katyn. North briefly described Dies Irae as a “wrenching closer. he did not consider the music to be masterful. 1989. when ideas about the beauty of human figures were different. no. “ zagraniczni w Polsce.” Fanfare 12. This is a list of the foreign performers involved in the Penderecki Festival in Kraków in June 1988. Schoenberg: A Survivor from Warsaw. B298. Stephen. no.124 KRZYSZTOF PENDERECKI and other French composers. 15 (1988): 2. 5 (May/June 1989): 266-67. should be thinner if she was going to wear nearly transparent clothing. Male Chorus. Strophes for Soprano. Van de Vate: Chernobyl.” Fanfare 14. and Orchestra. “Penderecki: Concerto for Viola and Orchestra. 6 (July/August 1990): 221. Ellis’s response to this CD of Penderecki’s music was luke-warm.” B301. Three Pieces in Antique Style. Ellis.” and the Viola Concerto. “ polscy za Ruch muzyczny 33. However. “Van de Vate: Cracow Concerto for Percussion and Orchestra. “a truly searing. “ polscy za Ruch muzyczny 34. Teatr Wielki gave performances of The Black Mask in Sindenfingen and Friedrichshafen. rather morose affair. B302. “Penderecki: Threnody for the Victims of Hiroshima. no. B300. One of the complaints frequently expressed about the Stuttgart production (as seen in Warsaw) was that Uta Maria Flake. Recordings of Threnody.” were reviewed here (Conifer 168). In this CD review (Conifer 185). Speaking Voice. Another criticism was that the “brutal realism” of the finale's film projections unnecessarily shocked many audience members. Although the performances and sound quality were fine. Concerto No.

These changes. Erhardt shed light on the disagreements between Penderecki and Kazimierz Dejmek. depriving the spectacle of all genre and literal quotation. B308. Added to the work were an encounter between de Condé and de Laubardemont and the wedding scene. no. no. no.” . szatan. however. approved by Penderecki..the music is first-class.a search for.each word. 8-9. Penderecki became the artistic director of the Kraków Philharmonic effective with the 1987-1988 season. and the application of.” Ruch muzyczny 31.” Ruch muzyczny 19.. Pendereckiego w Warszawie..23 (1987): 2.BIBLIOGRAPHY 125 B304. 2 (1979): 14-15.” In Penderecki's view. Penderecki received the honorary title for “Meritorious Service for National Culture” from the People's State Council. In the first part. “Bóg. B305.. each gesture had meaning.. Penderecki is “unquestionably the most original artistic personality in the experimentalists' group” in Poland. B306. Dejmek initially had suggested several changes in an effort to strengthen the opera's political intriques and its psychological profile of Urbain Grandier. “Penderecki szefem Filharmonii Krakowskiej. set in the Polish town of is being prepared by the Warsaw Documentary and Feature Film Producers. 1966. In this article. The final part is a discussion of the work's place within Penderecki's oeuvre. “Muzycy dla kultury narodowej.11 (1989): 12-13. Paradise Lost is the subject of this three-part article. no. Contemporary Music in Poland. which resulted in a departure “from the realistic dramatic form proposed by the author.. he gave a detailed history of the opera and sampled the foreign press reviews from the premiere performances. Ludwik. Warsaw: Polonia. as can best bring out and intensify the expressive intent of his music. Later. His “innovations mean. included deleting the provocative bathtub scene featuring Grandier and Ninon and the dramatic portraits of Cerisay and Ninon. Dejmek made further changes. no. Erhardt described the differences between Milton's Paradise Lost and the libretto and reviewed the actual plot of the opera. 3 (1979): 12-13. 1 (1979): 3-5. 16 (1975): 2-3. Erhardt. no.” Ruch muzyczny 31. He deemed the Warsaw production an “unusually beautiful operatic entertainment. the opera's style and character were thus altered against his wishes. Translated by Eugenia Tarska. Erhardt reminded his readers that these backstage quarrels must be forgotten when viewing the opera. 22 (1987): 9.” Ruch muzyczny 33. “Z kraju. In the second part. no.” B309. This discord eventually prompted Penderecki to withdraw his approval of the production. the stage director of the Teatr Wielki's production of The Devils of Loudun. A film version of The Black Mask. B307. i Ruch muzyczny 23. such new media.

14 (July 6. In The Awakening of Jacob. Erhardt paraphrased Paul Moor's article about the Hamburg and Stuttgart productions of The Devils of Loudun (Financial Times. He quoted Moor's disparaging remarks about the Hamburg stage director's interpretations and summarized his positive comments about the Stuttgart director. is the composer's finest work to date. It does not yield to “superficial charm or to the fashions of the day. Penderecki conducted the Sinfonia Varsovia in the world premiere of his Sinfonietta for Strings No.terseness of form” in favor of a more refined style.” Ruch muzyczny 13. “Dwa wieczory z ” Ruch muzyczny 36. “Et facta est immensi copia mundi. B314. he criticized the poor flow of scene changes. Erhardt discussed Penderecki's reasons for selecting each text and commented on the seeming disparity between the importance of the texts themselves and their incomprehensibility in performance. Its simplicity and conciseness should be appreciated by listeners. 12. the St. 1975): 1. 17 (1969): 6-8. After hearing a live performance of Dies Irae. no. Erhardt then described the various interpretations of the work's final measures. 41 (October 12. Although Erhardt reported that the production was received very well by the public and many critics. .” Kultura (Warsaw).” but in Stuttgart.. Cosmogony was commissioned by the United Nations to celebrate the United Nations' 25th anniversary. Aperion). B311. no. “ bogatych dni. B315. 1. 21 (1967): 714. 6 (1992): 3. “ szybko i powierzchownie. no. the piece represents a renewal of a tradition that had been neglected in Polish music since the compositions of Michal Spisak and Bacewicz.126 KRZYSZTOF PENDERECKI B310. According to Erhardt. In particular. and Dies Irae. July 2.” and that Penderecki's gift for composition has been matched by only a few other composers in history. “Dwie opinie o dwóch przestawieniach. 1969). performed at the 1975 Warsaw Autumn Festival. “ w Dolnej Nadrenii. the scenery itself. no.” Ruch muzyczny 11. Luke Passion. he did not find it satisfactory. 1975): 16-18. the meaning of the titles of the two main sections (Arché. B313. and the musical material employed by the composer. no. 15 (1973): 5-6. Erhardt changed his formerly negative opinion about the piece. Moor judged the Hamburg production to have “better singers.” but reaches for the same emotions felt in the works of Bach and Stravinsky. no. He now feels that it is “an excellent work.. there were “better performers. The Devils of Loudun was presented in Mönchengladbach in May 1975. one can hear that Penderecki has gradually eliminated “aggressive sound effects and.” Erhardt then offered his own views about the similarities between Devils. presented on the same concert. Penderecki eventually selected excerpts from texts in five languages.” Ruch muzyczny 19. B312. and the “conventionality” of the finale's staging.” Ruch muzyczny 17. The Magnificat.

At the time.BIBLIOGRAPHY 127 B316. but accepted it without changes five years later. In this comprehensive discussion of Polish composers. “Konkurs na libretto?” Dialog 13. ewolucji. The poet “picked the translation to pieces.” Most criticism was directed towards the fact that a British firm. Erhardt was able to complete a scenario for The Devils of Loudun.” the other unknown to Erhardt. “A Glance at Contemporary Music in Poland. East German. Erhardt briefly described the Symphony’s form and pitch structure. Polish. “Jeden z bardziej niewygodnych ” Ruch muzyczny 33. disgust.. [to] moderate praise. no. had commissioned a piece from a Polish composer rather than from a British one–a foreshadowing of the controversy that erupted in the United States over the commissioning of Paradise Lost. Penderecki was busy finishing his St. and British premieres of Penderecki's First Symphony. 12 (December 1968): 6063. ranging from “contempt. A few years later. He then noted that critics had greeted the symphony with a full range of opinions. [and] . B317. 1-2 (1979): 17-27. one a “Famous Poet. 7 (1989): 5-6. B318. and then presenting it around the world. when Penderecki no longer had plans to perform the work in Poland. entitled “To Sing in Polish or in the Original Language” (“ po polsku czy w oryginale”). This article is Erhardt's response to Jan Marynowski's essay in the previous issue of Ruch muzyczny. Erhardt related the story of what had happened to his Polish translation of Paradise Lost. The anonymous reader's principal complaint was that the insertion of the “Dies Irae” between Milton's verses was a case of “extreme poetic license. Erhardt described Penderecki as a musician who has made “a challenging contribution to a discussion on the meaning and aim of contemporary art.” He also raised the question of why Penderecki was now perceived to be outside the circle of avant-garde composers to which he had once belonged. Penderecki showed Erhardt a libretto that he had constructed himself by “cutting and pasting” sections from the German translation of Whiting's The Devils. Luke Passion. which had to be submitted to the Ministry of Culture and Art for its approval before being used in performance.” Ruch muzyczny 17.” except that the resulting lyrics did not fit with the music. to praise and enthusiasm. .” The Ministry rejected the libretto. nos. Erhardt related his story about attempting to prepare an opera libretto at Penderecki's request.” making many changes that were “very beautiful. no. but discovered that he could not write the actual libretto without working in close collaboration with the composer. B319.” Polish Music 14. In one section of this article. “I Symfonia. then commented that this piece exhibited less emotionalism and more intellectualism than the composer’s previous works had. The libretto was reviewed by two people. no. 23 (1973): 5-6.. Perkins Engines. Erhardt began by providing information about the world.

August Everding. 14 (July 7. The Stuttgart production of Paradise Lost shown at the Warsaw Autumn Festival was marred by overly theatrical staging and cuts in both music and drama. B322. but the June event was the first time that he conducted publicly in Poland. B324. Translated by Jan Aleksandrowicz. Erhardt argued that the relative lack of success that met Penderecki’s last three operas (Paradise Lost. Penderecki paid more attention to overall form than to details. Edited by Wanda Michalek. Erhardt noted that the Concerto was “written” in 1972 for Siegfried Palm [Note: it actually was revised for Palm that year from the original version for violino grande. that is. completed in 1967]. eliminated the dancers that in the Chicago production had served as the alter egos of Adam and Eve. 1975. although his tempos and dynamic contrasts were appropriate. even without any serial arrangement. no. As a conductor. B323. abridged version in “Krzysztof Penderecki. they did not need the assistance of music to bring them to life. and Ubu Rex) was due to the composer’s predilection to select librettos that were complete in themselves. 4 (1979): 18-22. B325. “ a teatr. Erhardt lamented the fact that this staging did not reflect the wishes of either the librettist or the composer.) Stravinsky's Firebird Suite and his own Cello Concerto No. translated. According to Erhardt.” Polish Perspectives 11.] B321.” Penderecki's primary innovations in this field have been the development of non-traditional uses for string instruments and the expansion of vocal sonorities and articulations. The Black Mask. shortened the work by more than a half hour. [Quote is from Polish Perspectives. Penderecki's compositions are mentioned throughout this book. 8-9 (1968): 44-46. 4 (1980): 18-22. presented at the 1979 Warsaw Autumn Festival by the Stuttgart State Theater. Discographies at the end of each chapter list a few pertinent recordings. 1974 in Katowice. no. 1 and First Symphony were on the program. Erhardt. the stage director.” Ruch muzyczny 18.128 KRZYSZTOF PENDERECKI B320. the originality of Penderecki's music stemmed from the composer's treatment of sound. 23 (1979): 3-4. 1993): 1. 1974): 6. (He had earlier participated in the making of a recording in that city. 23 (November 14. no. In this review of Paradise Lost. twórcy kultury polskiej. Ludwik. Warsaw: Interpress Publishers. English translation as “Penderecki's 'Paradise Lost' at Warsaw Autumn 1979. which has been used “without its traditional melodic and harmonic props. “Krzysztof Penderecki dyryguje w Katowicach. 4. no. “Operowe Krzysztofa Pendereckiego. and altered the characterization of Raphael. no. Music in Poland. “Penderecki’s ‘Paradise Lost’ at Warsaw Autumn 1979. Correspondingly. Penderecki’s music for these works served only to illustrate the drama rather than to enrich it.” Ruch muzyczny 23. 20 (1967): 3. no.” Tygodnik Kulturalny 11. “Krzysztof Penderecki. Among the cuts .” Polish Music 14. Penderecki's conducting debut in Poland was on June 1.” Polish Music 14.” Ruch muzyczny 37. nos.

The scheduled presentation of The Devils of Loudun at the 1973 Warsaw Autumn Festival was cancelled. and detailed information about world premieres are interwoven throughout the biography. “' Die schwarze Maske' in Polish Music 23. he recalled that the piece's original title had been Violin Concerto. Warsaw: Wydawnictwa Artystyczne i Filmowe. concise. In particular. 1968. original article in Kultura (Warsaw). no. “Po siedemnastu latach. Spotkania z Krzysztofem Pendereckim. “Warszawska 1973. While Erhardt made no attempt to decide who was telling the truth. The composer disagreed with that assertion. Erhardt’s biography of Penderecki.” Kultura (Warsaw). but that Penderecki had changed the name because he wished to avoid the traditional associations with the concerto genre.BIBLIOGRAPHY 129 were the Archangel Raphael’s part and the roles of the dancers who interpreted the roles of Adam and Eve. 1 (1988): 33-35. A list of Penderecki's works completed between 1956 and 1963 is given. Penderecki's main source of experimentation is the string instruments. Kraków: Polskie Wydawnictwo Muzyczne. Perhaps most valuable–because of its rarity–is the information Erhardt provided about Penderecki’s numerous works for puppet theater and short films from the early 1960s. the first to appear in any language. with which he uses new articulations to create new sounds. The Polish premiere of The Black Mask was given by the Grand Theater in Erhardt summarized the opera's plot. B330. covers the composer’s career through 1973. B327. 6-7. Erhardt's comments on the Polish premiere of the Capriccio for Violin took the form of recollections of Penderecki's work on the manuscript. he did question why the opera had not yet been presented in Poland. and extensive endnotes are included. 1973): 1. Added bonuses are the many photos scattered throughout and the facsimile excerpts from Capriccio for Siegfried Palm. The use of a film to display the plagues overpowered the music. and Utrenia. De Natura Sonoris No. 2. Citations from published reviews. B328. 1975. 40 (October 7. January 28. 166-72. no. Penderecki conceded that this production was superior to the world premiere production . B329. yet insightful analyses of each work. . discography. 1967. 1970. In Muzyka polska informator. A list of published works. Edited by Stefan Kraków: Polskie Wydawnictwo Muzyczne. declaring that all changes had been made early enough to permit the performance to take place. then discussed its musical styles.” In Papierowe nosy. The management of Warsaw's Teatr Wielki claimed that the work could have been performed had Penderecki not taken so long to make revisions. when it had been seen in West Germany and Santa Fe and was soon to be offered in London and Berlin. B326.

“Donaueschingen. 2 (1968): 42-43. the hectic. Ericson summarized the opera’s plot.” while described it as “colorful. B335. the soloist's pyrotechnics were sometimes lost within the sound of the orchestra.” Fabian’s only complaint regarded the continual movement on stage B336..” New York Times. seems to be a misleading characterization. 6 (June 1979): 19-20. B334. and expressively discreet. June 6. 15. and ) offered comments about Canticum Canticorum Salomonis and other Polish compositions heard at the 1974 Warsaw Autumn Festival. subtle. the Politics Gives Way to Music. Pisarenko. no.” B333. 1971. October 18. then declared that its music “is always striking.. no. Penderecki's Capriccio for Violin.130 KRZYSZTOF PENDERECKI B331. no. Both Erhardt and Pisarenko felt that the specific performance of this piece was below par. Malinowski. the abundant and apparently diverging stylistic means of the quotation. which will include the world premiere of Cosmogony and be telecast on a delayed basis in Canada. Fabian. Pendereckis ‘Die schwarze Maske’ wurde aus bei den Salzburger Festspielen uraufgeführt. Erhardt. Raymond. in Fabian’s opinion.” New York Times. and possibly Latin America. was quite harsh. They had differing opinions about the value of Penderecki's work. p... August Everding. stating that he expected something that was “more dynamic”—more expressive of the Song of Songs texts. Penderecki has been deemed a traitor by modernist composers. 1970. elegant. Unfortunately. and its images “mesmerizing.” Opern Welt 20. The West German premiere of Paradise Lost contained several composer-instigated cuts made since its world premiere performance. A Philips recording of The Devils of Loudun was given a positive review. 23 (1974): 3-12. the piece remained more of a commentary on the text than a dramatic portrayal of it. “Deutsche Erstaufführung: Pendereckis ‘Verlorenes Paradies’ in Stuttgart. In his review of the world premiere of The Black Mask. Ludwik et al. John. pp.the treatment of the voice from recitative to arioso. Poe. . “Als wär's ein Stück von E.” B332. attempted to enliven the action.. Europe. Ericson. Although the stage director. Section 2. Ericson discussed the upcoming United Nations Day Concert. Japan. performed at the 1967 Donaueschingen Festival is a spirited piece of music.” Ruch muzyczny 18. somewhat in the style of a traditional capriccio. “Whatever the Crises. 24. figurative parlando [and].” its style eclectic in the best sense of the word. Fabian praised the piece as having “the maturity of a championship.” Opern Journal 27 (October 1986): 10-11. Evarts.. Malinowski called the piece “one of the best of Penderecki's works. “O muzyce polskiej na festiwalu. “'The Devils': A Cynical Witch Hunt.” He noted its “masterly orchestra treatment. which. Imre. A.. Five Polish music critics (Erhardt. 21.” World of Music 10. Section 2.

155-57. Farida. no. Kraków: Akademia Muzyczna. At the beginning of his conversation with Fabian. komentarze i muzycznego. 1995. 153-54. however. edited by Tomaszewski. B338. In comments about the work's premiere. while skillfully written. Fabian began this review by suggesting that Alfred Jarry’s Ubu Roi represented the provocative side of modern theater in the early 20th century. 1 (January 1979): 12-15. “Musik in Chicago. Soviet music festivals played a prominent role in disseminating knowledge of European contemporary music.” Opern Welt 20. Mascagnis ‘Cavalleria rusticana’. As an on-air employee of Gostelradio and later Radio Ostankino. B339. was “too thin” to function successfully as a comic opera. Leoncavallos ‘Bajazzo’. he stated that he forced the Chicago Lyric Opera to replace the stage director. Die Uraufführung von Pendereckis ‘Paradise Lost’. Poetyka i Recepcja. His music. Russia. Penderecki discussed the genesis of Paradise Lost. Gespräch mit dem Komponisten Krzyszt of Penderecki. “Meine Musik hat barocke Züge. “Penderecki in Russia.” In The Music of Krzysztof Penderecki: Poetics and Reception. Satan by brass instruments. B340. no. and Satan is given tritones. Donizettis’ Don Pasquale’ and der Lyric Opera. Reception by the Public and the Professionals. Kraków: Akademia Muzyczna. no. he gave different music to each character: God has unisons and octaves. God is accompanied by organ and strings. reakcje. Eve has minor thirds. Fachmi. edited by Tomaszewski. Krzysztof Pendereckis ‘Ubu Rex’ wurde im Münchner Nationaltheater uraufgeführt. Musically the piece displayed a mature style. including the works of Penderecki and inside the Soviet Union.” Opern Welt 20. “Schule der Geläufigkeit oder Ein Fest für Roland Topor. Penderecki enjoyed critical success in the Soviet Union during his visits there in the 1980s. the angels sing fifths and fourths. Virginio Puecher. . Penderecki. with Igal Perry because he disagreed with Puecher's concept of the production as a kind of “Broadway show. 1996.” Musically. Fachmi was an observer of contemporary musical life in the Soviet Union and its successor nation.” Muzyka Krzysztofa Pendereckiego. and so forth.BIBLIOGRAPHY 131 B337. The world premiere on American soil of an opera by a European composer attracted about 200 critics and theatrical VIPs.” Opern Welt 32. 1 (January 1979): 1617. Roland Topor’s scenery in the premiere production reduced the opera to a series of optical images and fantasies. 8 (August 1991): 18-19. The production itself was marred by poor staging (even taking into consideration its nomenclature as a sacra rappresentazione). “Penderecki w Rosji. had chosen to highlight the play’s buffa side.

” Revue musicale de Suisse Romande 18. orchestra. In this review of De Natura Sonoris No. 20.” In Rezeptionsästhetik und Rezeptionsgeschichte in der Musikwissenschaft. Germany: Laaber. 1982. Fischer. Jacques. Penderecki had a rich imagination.” B344. “An Interview with Krzysztof Penderecki. 1 (January/February 1970): 31-32. and Penderecki. he was concerned with expanding the vocabulary of contemporary music. and Mark Schneider. 57-74. he regained an interest in traditional orchestral sounds. Wiesbaden: Steiner. The release of two recordings of the St. He asserted that music critics’ attitude were conditioned by their own and their nation’s political perceptions and prejudices. John Whiting. For example. B346. Fischer also discussed Polish contemporary music against the background of Polish-Germanic relations.” In his opinion. no. B345. He divided his output into three periods. Fierz thought the Polish recording (released by Philips) had a more spontaneous feel to it. vol. but a different narrator. He devoted the remainder .” The Composer 11 (1977): 8-20. he developed his own compositional language. “Akteure. Luke Passion (Harmonia Mundi 3101/3012 and Philips 802771/2) prompted this article. 5 (September-October 1967): 299-300. “Die Lukaspassion von Krzysztof Penderecki. 317-36. Ein Vergleich zweier Aufnahmen. German critics were very interested in Penderecki’s experimental music of the early and mid-1960s. Each of the recordings featured the same soloists and conductor. Gerold. no. they were able to offer more unbiased opinions about Polish music. 1. Later. with Heinz Holliger as soloist. Feschotte. Fierz. This includes a brief mention of the world premiere of Capriccio for Oboe. From 1962-1973. Erik. but their attention shifted to the music and art of Czechoslovakia after 1968. Penderecki und Bartók. The piece was “a brilliant and lively divertissement. and repetition. Max. “Bern. Edited by Hermann Danuser and Friedhlem Krummacher.” Schweizerische Musikzeitung 110. Favre. “Das neue musikalische Repertoire und seine integrierenden Funktionen. Of utmost importance to him are the ideas of tension and release in a composition. Laaber. He discussed the historical events depicted in the opera and the manner in which they were depicted by Aldous Huxley. no. B343. Prior to 1962. “Lucerne. In addition to providing a look at the reception history in Germany of the music of Penderecki and other composers. Felder. Penderecki reflected on his compositional career in this conversation with Felder and Schneider.” In Zur Problematik der Opernstruktur. Fischer selected The Devils of Loudun as an example of a modern opera that integrated music and theater rather than presenting them in opposition to one another. beginning in 1974.” Schweizerische Musikzeitung 107. Topoi und Innovationen in musikalischen Rezeptionsgeschichten. B342.132 KRZYSZTOF PENDERECKI B341. Favre stated that the development and form of the piece are distinguishable through “modified or contrasting sound phenomena. pitch. 1991. Then. and choruses. Beihefte zum Archiv für Musik-Wissenschaft. 4 (1965): 17. David.

: Webern. edited by Wulf Konold. Both the libretto and the music failed to maintain the audience's interest. Shirley. Floyd. 5. a dichotomy in the reception of his audiences and music critics developed in the 1970s.” Baltimore Sun. “Hanover. 1985. in der 129-45. praised that piece as being “engagingly transparent. He was currently searching for a new way of composing for theater. an opera buffa for the Munich Opera) and his work-in-progress. Penderecki mentioned that Paradise would be labeled a “rappresentazione” because of its static subject matter. song. it has five strings that cover the range of both violin and viola. N. Fischer presented the idea that although a relative agreement on the Penderecki’s music existed in the 1960s. The U. & a New Violin. 1987.” Schweizerische Musikzeitung 119. B351.” High Fidelity/Musical America 25 (December 1975): MA6-7. S.” B352. In a conversation with Fleming. “New York Philharmonic: Penderecki Symphony No. which reminded him of the St. Flechtner. value of music by B348. no. premiere of the Polish Requiem was an overwhelming success. The solo instrument was developed at the request of violinist Eichenholz by a Swedish research scientist/luthier.” American Record Guide 61 (January-February. Michel R. Luke Passion. a Requiem. 5 did not wait around to hear the latter work. Jerry.” High Fidelity/Musical America 18. no. The Swiss premiere of The Devils of Loudun was presented in Geneva by the Stuttgart Opera. 10 (October 1968): MA23. Viol-shaped. 1998): 49.” . Penderecki's Concerto for Violino Grande was heard during the Dartmouth Congregation of the Arts series in the summer of 1968. “Dozens” of New York Philharmonic audience members at the performance of Penderecki’s Threnody and Symphony No. H. the high quality of the staging and the performers helped to create a positive impression overall. “Krzysztof Penderecki: Musician of the Month. Floyd called it “one of the most important classical music compositions of the 1980s. a concerto for Isaac Stern. December 2. 31. Munich: Emil Katzbichler. Krenek. B349. Fleming. Paradise Lost. Penderecki discussed his plans for the future (a Christmas Oratorio. and instrumentation were interrelated in this work. B350. In Deutsch-polnische Musikbeziehungen.BIBLIOGRAPHY 133 of the article to a discussion of the ways in which speech. “Tendenzen der Penderecki-Rezeption Bundesrepublik Deutschland. “'Polish Requiem' Gets Stunning Debut. dynamics. then turned to the music itself. 2 (1979): 92-93. B347. Flechtner summarized the plot. However. “Geneve: Kristof Penderecki: 'Les diables de Loudun'. Fleming. Fleming found it a fascinating piece. however.

B357. instrumentation. Elizabeth. The reviewer erroneously called this performance a world premiere. 1 and presented detailed comments on other relevant works. Karl. Christine H.” . Forbes. He offered extensive analyses of the Capriccio for Violin and Symphony No. B358.” Schweizerische Musikzeitung 102. 1994. Joseph. “Wiener Staatsoper--Salzburger Festspiele: ‘Die Schwarze Maske’ von K. 1960-73. The newly revised version of Cosmogony. Frankenstein. no. Peabody Conservatory of Music. 5 (1962): 306-307. Foesel. “Passion according to St. the composition fell prey to a lack of “stylistic continuity. Luke—Penderecki.Review. and dramatic action.” Choral Journal 13. fm. Its staging and performers were praised. Flummerfelt. Forster declared that its presentation of “a clear reality within a supernatural reality” was a primary reason for its success. One can be ambivalent about the opera. Foesel thought the piece was similar to but more decorative than the St. Penderecki’s String Quartet No.” Musikerziehung 40 (December 1986): 79. 1 (Spring 1974): 26.M.” Melos 39. Foy chose a rather ambitious project: to analyze compositions previously criticized as being “unanalysable”—namely. The Black Mask. Sadler's Wells (London). B356. “British Isles. heard in a Darmstadt concert. Flummerfelt devoted much of this article to providing performing hints for the choral portions of the St. However.134 KRZYSZTOF PENDERECKI B353. “Tage für Neue Musik des Hessischen Rundfunks.” D. Luke Passion was given an outstanding performance in its New York premiere.” High Fidelity/Musical America 19 (May 1969): MA 21-22. Alfred. Forster. 1. Foy coined the term “texture style” to describe Penderecki’s treatment of his musical material in these pieces. but must still admit that it is much better than anything seen in previous seasons. “Die letzten beiden Kompositionsaufträge des Nürnberger Dürerjahres 1971. no. B354. B355. Foy.A. With Penderecki’s newest opera. features expanded choral parts and reduced solo roles as well as a reworking of tempo and proportion. but the music and libretto were criticized—the former for its lack of drama and the latter for its failure to “arouse pity” in the audience. Penderecki . presented in Nuremberg.. The St. contemporary music theater has achieved a new height. 8 (1973): 7-12. Penderecki’s instrumental works written from 1960 to 1973. Luke Passion. was described as an “unfruitful” work by a composer who specialized in making noise on string instruments. Luke Passion. no. B359. The British premiere of The Devils of Loudun was given a mixed review. Randolph M.” Opera Canada 15. Luke Passion. no 1 (January-February 1972): 4748. “Penderecki: St. He preceded these comments with brief remarks about the piece's overall form. “Textural Transformations: The Instrumental Music of Krzysztof Penderecki.

Penderecki offered his opinions about the state of musical composition in the world today." Ruch muzyczny 24.BIBLIOGRAPHY 135 B360. in his opinion.” Opera News 50. B366. The St. “gripping. B364. 18 (1980): 11. French. but they are stylistically conventional compared to the composer's earlier works. no. projected to be the comic opera Krol Ubu [Ubu Rex]. “Deutsche Staatsoper Berlin. heard in its world premiere. Frydrychowicz. 15 (1963): 5-7. Freeman.” Neue Musikzeitung 26. alternately. performed at the Proms. and a choreographed version of the First Symphony. A January production of The Devils of Loudun at the Berlin State Opera made an even greater impression on Fritzsche than did the original East German premiere of this work. as “an attempt at combining the traditional form of a concerto with avant-garde techniques.” B362. no. this experiment did not yield successful results. or sublime. he believed that much of the music written today is poor—only about 3% is acceptable. At that time he had planned to use a large orchestra and choir. B363. Peter. Luke Passion. excerpts in Clavis. Fryc. the West German premiere of the Violin Concerto. 3 (1982): 2. Penderecki commented that his next work. but currently he is planning to score it for for chamber ensemble. Fuhrmann. Die Teufel von Loudun von Krzysztof Pendereck. “ przede ” no. “The London Concert Scene. Adam. 1980). Although Penderecki praised the fact that the commissioning of pieces has increased in the past twenty years. “Gegen den kleinen Kreis von Kennern. was praised by French for its various dramatic effects. “Ein endgültig verlorenes Paradies. or fascinating. The West German premiere of Paradise Lost was given during a festival of Penderecki's music in Stuttgart. These effects were. Dietmar. would be different than any of his earlier compositions. In this interview. He had begun this piece in 1967 as a commission from the Munich Opera. no. also presented at the Berlin Opera and directed by Erhard Fischer. "Muzyka w prasie. B365. Fritzsche. 3 (1979): 4. These are definitely twentieth-century pieces.” Unfortunately. The two authors described Penderecki’s unnumbered Violin Concerto. Substantial cuts were made in the production of Paradise. no. In general he was displeased with the attitude and training of many composers. 20th Century Liturgical Works. 29 (July 20. no. 4 (1977): 3. or stunning. 1080 (September 1967): 671-72. Borys and Tadeusz “Muzicki Biennale Zagreb (II). John W. Peter. 16 1986): 49.” Neue Musikzeitung 28. Recent recordings of Te Deum and Lacrimosa are mentioned briefly. no. . no. especially in West Germany.” Ruch muzyczny 7. “Records.” Musical Opinion 90. The festival also included a production of The Devils of Loudun. B361.” Theater der Zeit.

” Neue Musikzeitung 28. dissertation. “Density in Twentieth-Century Music.. Fuks. Gann claimed that Penderecki's music appealed to the American cultural establishment because of its “generic quality” of chromaticism. Organisationswunder bei der Musikbiennale in Zagreb: ProgrammKontroversen. March 3. In this review of the world premiere of The Black Mask. On the occasion of the U. Fuhrmann acknowledged the opera’s public success and excellent performances.” . Canticum Canticorum Salomonis was greeted with mild applause at the 1974 Warsaw Autumn Festival. “Contoured Sheets.the dullest concerto. Penderecki's String Quartet No. mushy. no. Gann. J.. 1 (February/March 1979): 2. Fuks described its musical style as “luke-warm. Indiana University. Gallaher's dissertation focused on the interaction of vertical and horizantal densities in contemporary music.” and other such devices. 4 (April 1981): 100.. He called the Viola Concerto “one of the most predictable atonal works ever written and. B368. glissandos. Following the Italian premiere of Paradise Lost in Milan.” Stereo Review 46. Kyle. B372. “Przekora i Po 'Warszawskiej Jesieni 1974. Zur Auffuuhrung von Pendereckis ‘Paradise Lost’ in Chikago und Mailand. D. S. Marian. A concert of Penderecki's music at the 1985 Zagreb Biennale included his Second Symphony.” B371. 235 (October 5-6. B374. Christopher Summers. “Das Unmögliche in der Realität umgesetzt. Fuhrmann wondered how any successful three-hour piece could be based on “organ points. G.ever heard. and De Natura Sonoris No. 1975. and his distaste for much of contemporary music. 5 (1975): 517-30. 1974). no. He criticized the music for its rather arbitrary mixing of tradition and innovation. Fuhrmann noted that Penderecki never felt obligated to apologize for his position in the musical avant-garde. B369.. Fuhrmann criticized the work for its “yawning boredom” and lack of adherence to John Milton’s original concepts. “Classical Music Briefs.” Neue Musikzeitung 34 (June-July 1985): 46. his predilection for religious themes. Gallaher.. Pendereckis Die Schwarze Maske in Salzburg uraufgeführt. no.” Ph.” Village Voice. “Percepcja muzyczna a poziom w grupach treningowych.” Neue Musikzeitung 35.136 KRZYSZTOF PENDERECKI B367. Penderecki’s music was chosen as one of the samples in a study of anxiety levels experienced while listening to music. premiere of Te Deum. viscous-sounding layers of sound. no. B373. Penderecki discussed his early interest in composing for strings. 5 (October/November 1986): 4. no. B370. 1987: 75. Second Cello Concerto. “Totentanz mit Musikzitaten. “Das verlorene Paradies eines Komponisten. the high quality of American musicians.” Psychiatria polska 9. 2. 1 was among the pieces analyzed.” Trybuna mazowiecka.

Kraków: Akademia Muzyczna. given in Stuttgart. tonendes Weltgericht. no.” while the soloists sang their difficult parts with precision and expression. B381. A Space Odyssey.” Die Welt. January 13.” Das Orchester 27. 23. p. The German premiere of Paradise Lost. nos. and De Natura Sonoris No. This work. which can be sung in Polish or Latin. was superior to Chicago’s world premiere. Her primary focus was Tomaszewski’s paper concerning the role of tradition in the composer’s music.” Revue du cinema. Klaus. 362 (1981): 13639. 7-8 (July/August 1979): 543-44. B376. This article contains a brief discussion about the compositions by Penderecki that were used in the film “2001. 1988: 200-202. February 5. was the first piece based on a religious theme to be composed by a Polish composer following the end of that country’s socialist realist period in 1956. Stage director August Everding “moved his players intelligently. “Klagendes. Ein Höllensturm auf den Himmel. 15.” Die Welt. B379. Feburary 1. 1994): 1-2. “Krzysztof Pendereckis ‘Verlorenes Paradies’ . A. no. This piece is squarely rooted in 19th-century church . melancholy.Psalmy Dawida na chór mieszany i ” In i tradycja w muzyce Krzysztofa Pendereckiego. Geitel was impressed both with the performance and the opera.BIBLIOGRAPHY 137 B375. B380. Penderecki . edited by Regina and Krzysztof Szwajgier. The Awakening of Jacob. 1981. “K. p. “Dni Krzysztofa Pendereckiego w Krakowie – suplement. and virtuosity. 2. 11-28. “Vertrieben aus kunstlichen Paradiesen.” Ruch muzyczny 39. reviewed the December 1993 symposium on Penderecki’s music. 5 (March 6. The Opera presented its German-language production of The Black Mask in Berlin. 1983. The German premiere of Te Deum took place during the 100th concert of Berlin’s “Musik der Gegenwart” series. B378. B377. delineated the changes that Penderecki made to Kochanowski’s poems and expounded on the strong link of the words to their musical setting. 1983. Innovation co-exists with traditional means of expression in the Psalms of David.Deutsche Erstaufführung in Stuttgart. Penderecki in Berlin. The piece features passages of tenderness. Garel.” Die Welt. “Elegien in den Oasen des Friedens. Geitel.” Approximately two-thirds of the film’s score is made from excerpts from Utrenia. Rostropovich demonstrated “flashing superiority” as the soloist for the world premiere of Penderecki’s Second Cello Concerto (here called the Cello Concerto). Penderecki in Berlin. “Musique de film. which is a departure from the oratorio style that Penderecki had been using for some time. Berlin: Uraufführung von Pendereckis Cellokonzert mit Rostropowitsch.

In this essay on the current state of classical musical culture in Poland. 230 (October 1. noted connections between the two pieces. Gilbert Levine. 6 (1968): 20. “Xenakis. 1984): 17. 1998): 22. no. Roland. Seven Gates of Jerusalem and Hymn to St. .” High Fidelity/Musical America 18.S. no.S. no. with the most prevalent being the common use of texts from Psalm 47. Wojciech) were performed in on December 22. 3 (May 1991): 36. Ein Kriegerdenkmal in Tonen: Krzysztof Pendereckis ‘Polnsiches Requiem’ in Stuttgart uraufgeführt. B384. A clear example of this is the Polish Requiem. “Die Zeit als ein beitragendes Element zur Werkdetermination in der Neuen Musik: Ansatz zu einem Aspekt der musikalischen Chronemik. 1 (1997): 19-36. However. Bogdan. Nonesuch's recording sessions for Penderecki's Capriccio for Violin and Orchestra and De Natura Sonoris No.” Ruch muzyczny 42. Indeed. “Penderecki na rzecz dzieci. Richard S. Penderecki brought in an American. B387. B385. 22. mentioned the difficulties facing the Kraków Philharmonic. premiere of the Capriccio took place just prior to them. “Volltönende Erinnerung an Polens jüngste Opfer. Ginell described the piece as “a fairly minor work for a composer who likes to think on a grand scale. 1 are decribed here. As artistic director of the ensemble. Gligo discussed the semiotic function of musical time in Threnody and Dimensions of Time and Silence. Niksa.” Die Welt no. to be the orchestra's principle conductor beginning in 1987. 22. B383. no. Geitel described Penderecki as an unabashedly patriotic composer.” B386. “Los Angeles.” High Fidelity/Musical America 36. Ginell. premiere of the version of the Viola Concerto for 13 solo strings and percussion. Geitel stated that the Penderecki of today is quite different from the Penderecki of yesterday.138 KRZYSZTOF PENDERECKI music tradition. 37-38. Los Angeles was the site of the U. Penderecki--and Buffalo. Gelatt. Gligo. no. 1997. “'Polish Culture Is Dying!'“ Musical America 111. during Buffalo's Festival of the Arts Today. The U. in 1990 the orchestra's musicians began clamoring for a certain unnamed German conductor to replace Levine. 3 (February 8. 8 (August 1986): MA20.” International Review of the Aesthetics and Sociology of Music 28. which includes several movements written to commemorate Polish events. Penderecki's response was to resign as artistic director. Penderecki’s use of the “ ” melody is further proof of his Polish patriotism. B382. Adalbert (here called St.

Goertz. and briefly described the importance of Catholicism and Western culture in Polish musical composition since 1956.” Frankfurter Allgemeine Zeitung. “Von Szymanowski bis Schäffer. Gojowy. Harald. “Krzysztof Penderecki: Te Deum—Lacrimosa. Biennalen Neuer Musik in Krakau und Zagreb. no. no.” Neue Zeitschrift für Musik 148. 1 (1976): 2. This article is a review of EMI's release of Penderecki's Te Deum and Lacrimosa (EMI1C-067-1436231). Gojowy explained the historical reasons for dedicating these pieces to John Paul II and the Solidarity labor union.” Neue Zeitschrift für Musik 145. In his review of the 1979 Warsaw Autumn Festival.” Österreichische Musikzeitschrift 46.1 (1980): 52-54. “Darmstadt is dead!” This declaration by Goertz summarized his description of Ubu Rex. The first work. B389. 10 (1991): 561-62. theatrical effects almost overwhelmed the music B390. which features “catchy choirs.” Ruch muzyczny 20.” Musica 34. Penderecki conducted the Southwest German Radio Orchestra in performances of his The Awakening of Jacob and First Cello Concerto. Goertz noted that the source of some of the musical material was Penderecki’s earlier work of the same name for puppet theater [Ubu Roi].BIBLIOGRAPHY 139 B388. B394. The three compositions presented by the Southwest German Radio Orchestra (the First Violin Concerto. The latter. Krzysztof Penderecki in Bonn. “Pendereckis erste Oper 'Die Teufel von Loudon'. . 8 (August 1969): 469-70. This review mentions the world premiere performance of ty snem (“Were You But a Dream? “) at the Szymanowski International Musik Biennale in Kraków. B392. no. and Rossini-inspired passages. nevertheless. Detlef. “Diese erstaunlichen Polen. no.” but their logic and clarity were welcomed. B391. respectively. November 21. Penderecki's music was applauded heartily. 1. 1975. In the Hamburg production of The Devils of Loudun. B393. was described by Gojowy as bearing the influences of Wagner and Shostakovich. receiving its German premiere. Neues von Penderecki und Trojahn.” mysterious wind chords. “Münchener Opernfestspiele. 23. performed by the Stuttgart State Opera. Symphony No. 9 (September 1984): 47. and the West German premiere of The Awakening of Jacob) did not “fulfill the emotional expectations of the German audience. Gojowy noted that two pieces by Penderecki were presented: the Violin Concerto and Paradise Lost. “Warschauer Herbst 1979. was described as being stylistically reminiscent of Skriabin and his contemporaries. no. no.” Österreichische Musikzeitschrift 24. “Penderecki dyryguje w Bonn. p. 6 (June 1987): 38-41.

was not suitably prepared. 1. no. Joanna Bruzdowicz: Streichquartett Nr. Among other things. and other works. B397. Utrenia. Golea. but also has an Italian bel canto quality to it.. the composer noted that it would be impossible. and contrabasses is extracted.” Musica (Chaix) no. “Zeit zum Ordnen. July 26. B396. leaving none of the traditional charm of these instruments. to compose a piece in buffa style. “Les caprices d'Euterpe. Im Gesprach: K. performed at the 1981 Warsaw Autumn Festival. no. violas. 168 (April 1968): 20.. Luke Passion.” Neue Zeitschrift für Musik 143. its performance in the Saint-Séverin church bothered him. Penderecki. ” Journal de musique francais. ‘La Vita’.” Journal de musical français musica disques. cellos. 1986. He also noted that the “sound-textile” heard in Threnody and other works was developed by Penderecki without his knowledge of similar experimentation done by Ligeti. In his review of the Warsaw Quartet’s recording of these three pieces (Pavane ADW 7149). p. Antoine. “Witold Streichquartett.” Neue Zeitschrift für Musik 147. He went on to say that string quartets had been rarely written in Poland until after World War II. However. 3 (March 1982): 50-53. 2.” Die Welt. The piece is stylistically within the East European tradition.” no direct quotes by Penderecki appear in this article.” B399. After hearing its world premiere and subsequent recordings. . Rather. 166 (1968): 33-34. 106 (January 1963): 42-45. Paradise Lost. “Warschauer Herbst 1981. 5 (May 1986): 65.Et les 'Plaintes à la Memoire des Victimes d'Hiroshima' de Penderecki. B400. no. Luke Passion. A performance of Threnody by the Orchestre de Paris prompted Golea to declare that Penderecki had discarded all that was beautiful about the sound of string instruments.. no.140 KRZYSZTOF PENDERECKI B395. Krzysztof Penderecki: Streichquartett Nr. Gojowy asserted that the composer was famous because of the support he has received from the West in terms of commissions for the St. Golea called this piece “a study of timbres and dynamics in which everything that the fertile and almost mournfully sadistic imagination of a young composer could extract from violins. “. The Polish Radio National Orchestra performed Threnody during the Semaines Musicales Internationales in France. This is a brief mention of Te Deum.. Gojowy included remarks made by Penderecki to several Belgrade students. Golea acquired a favorable impression of the St. “'La Passion selon Saint Luc' de Krzystof Penderecki. Charles Bruck. The conductor. given the recent historical experiences of Poland. Although subtitled “In Conversation.. 2. B398. and his numerous late cues contributed to the poor performance.

3. no. B407. Golea questioned whether Penderecki was truly interested in this piece. Good. NY). He praised much of it. B408. De Geneve à Hambourg. Penderecki surprised his critics and his audience with his abandonment of sonoristic experiments and his resulting turn to a more classical approach to sound and other musical structures. “The Cracow Plays At Carnegie.” Musica (Chaix).” Journal de musique francais. Goodman. 129 (December 1964): 14-16. Golianek. including the Clarinet Quartet. 184-85 (September-October 1969):43-45. 2. 1998): 31-32. particularly that of Urbain Grandier. Threnody. and Golianek even suggested that it could be called an “anti-opera. B404.” Newsday (Long Island. and Symphony No. “ festiwal muzyki Krzysztofa Pendereckiego. nos. no. Michael.” Journal of Band Research 19. The Polish Requiem received its New York premiere in January 1986.” Journal de musique francais. no. no.” Neue Zeitschrift für Musik 127. Peter. Goodman gave it a mixed review. A four-day festival of Penderecki’s music was held in Fourteen works were presented. B403. Musically. Three items pertaining to the Pittsburgh Overture are listed in Good's bibliography. Golea thought the piece was richly inventive and extraordinarily difficult.” Ruch muzyczny 42. In this review of the Hamburg production of The Devils of Loudun. “Spalic ” Ruch muzyczny 42. The Sonata for Cello and Orchestra was premiered at the 1964 Donaueschingen Festival. “A Selected Bibliography of Original Concert-Band Music.” . Ryszard Daniel. B402. The premiere of De Natura Sonoris No. The Capriccio for Violin received its world premiere at the Donaueschingen Festival.BIBLIOGRAPHY 141 B401. A new production of The Devils of Loudun was premiered in in May. even though it had “a distressing degree of banality. January 27. “Vu et entendu. the First Violin Concerto. 26 (December 27. De Natura Sonoris No. “Vu et entendu. no. “Vu et entendu. In this piece. and a ballet performed to music from the Viola Concerto. 1986.” B406. no. Golea criticized Penderecki for his failure to create suitable depictions of the characters. it was less successful than The Black Mask. 165 (January 1968): 19-23. “Ein zeitgenössisches Musikfest. 1998): 26. Artistically it was a success. 6 (June 1966): 242. 13 (June 28. since his music was more appropriate for film than for the dramatic rigors of opera. 1 was given such a “noisy” reception that it was repeated immediately. B405. 1 (1983): 26-51. The Devils of Loudun.

Latvia and Estonia. Gorzelany. no. “K. B413. no. Luke Passion was given in Trieste.” Opera 31. 1996. should be accessible to many listeners. Kraków: Akademia Muzyczna. Lithuanians did not really understand the experimental nature of this quartet. He provided a brief plot synopsis and a description of the set. 1995. Lotwie i w Estoniee. 221 (October 2. A group of mimes performed in the center. Görtz discussed the world premiere performance of The Black Mask. Lithuania. “Penderecki 'Passion' Staged. This work. here called King Ubu. The setting consisted of choir stalls on either side of the stage. Gorzelany briefly reviewed the staging of Paradise Lost in its Stuttgart Theater production. This interview with Penderecki touched upon such topics as his newest opera venture. Farce Gone Wrong. Gori.” In The Music of Krzysztof Penderecki: Poetics and Reception.” B410. edited by Tomaszewski. In this review of the 1986 Salzburg Festival. which lasted until about 1975.” Musik und Gesellschaft 36. Musically. 1979). Goodwin. 1990): 42-44. Gianni. “Trieste. . During the first. England. 5 (May 1974): 436-37. Goodwin questioned the wisdom of producing The Black Mask with “a Polish cast singing in German to an English audience. with an ornate replica of a Baroque altar at the back. B412. Poetyka i Recepcja. April 5. A staged version of the St. B415.” Opera (Annual Festival Issue. The Italian premiere of The Devils of Loudun. the composer’s music was heard primarily during the Warsaw Autumn Festival and in a recording of String Quartet No. B411. 1 that reached Lithuania in 1969. no. “Salzburger Festspiele mit Uraufführung von Pendereckis Oper 'Die schwarze Maske'. the fate of symphonies in the 20th century.” Kurier no.142 KRZYSZTOF PENDERECKI B409. was praised. Noël. “Ich gehe nicht mit den Moden in der Musik . edited by Tomaszewski. 1989: 4.” B414. “Brighton. Gostautiene divided the history of Penderecki’s reception in Latvia. Gunter. Görtz. 7 (1980): 591-92.” as occurred in Brighton. 11 (November 1986): 603-604. 5 (November 1990): 59. and the reasons for his apparent shift of musical styles during his career. the opera contains quotations from Penderecki's earlier works and alternating passages of luxurious writing and noises “of a dramatically functional nature. “The Reception of Penderecki’s Music in Lithuania. Kraków: Akademia Muzyczna. which was repeated during the Warsaw Autumn Festival. given in Trieste. 155-56. Jan.ich mache welche.” Neues Deutschland. and Estonia into three stages.” Opera News 55. Pendereckiego 'Raj utracony'. “Brighton. He claimed the music lacked a “cogency of style to enhance the words. “Recepcja muzyki Pendereckiego na Litwie. Ruta.” Muzyka Krzysztofa Pendereckiego. 157-59. no. with its humanitarian overtones.” Opera 25. Gostautiene.

1998. p. given the poor quality of the music. Gradenwitz also alluded to the composer’s use of Eastern and Western musical and liturgical practices in the piece. Green. Since then. 184-96. Baltic composers seemed to lose interest in Penderecki as they sought their own compositional paths. January 19.” Musica Germany 49. Penderecki’s reasoning for this partial use of the melody is that he intended the quote to be nostalgic.” Frankfurter Allgemeine Zeitung. “London: A Church Transformed. Salzburg: Seike. Lanham. felt that they were essential to the conception of the work. Channing . This volume contains reference material on Canticum Canticorum Salomonis—its instrumentation. Penderecki discussed his strong interest in writing religious music. textual sources. 1970. and his need to remain in “immediate contact” with his music through his conducting. The London premiere of Symphony No. Part II: The Music of Rachmaninov through Penderecki. discography. “Nostalgie und Virklichkeit: Zur heutigen Rezeption ‘schoner’Weihnachtsmusik.” Providence Journal. Although it is quoted three times in the piece. and bibliography. Conductor’s Guide to Choral-Orchestral Woks. Krzysztof Pendereckis ‘Lukas-Passion’ im Salzburger Dom. Luke Passion were somewhat disconcerting. Gray. 1994. B416. B420. Penderecki’s Second Symphony and its use of a quotation from “Silent Night” were discussed. Gratzer reviewed Penderecki’s early career as an avant-garde composer. Greenfield questioned whether the Company's sparkling performance was worth the effort. 6 (1974): MA38-39. August 27. B418. however. 6 (NovemberDecember 1995): 393-400. MD: Scarecrow Press. no. B417. Twentieth Century. Peter. Schoenberg & Penderecki Reviewed. “Aus gleichem Geist. 1986. his desire to change the musical style of his composition from time to time. they have come to consider Penderecki as one of the great composers of the twentieth century. In a phone interview. “Polish Composer Penderecki Honors Pain of His Homeland. edited by Thomas Hochradner and Gerhard Walterskirchen. 13. Gradenwitz. Jonathan. Greenfield. but that for him. Christmas as both a youth and adult also brought pain in the forms of war and Communist governmental constraints. 1 occurred the same week as the Sadler's Wells Company's production of The Devils of Loudun. availability of performing materials. . the carol is never heard in its entirety. editions. no. Gratzer. Wolfgang. B419. Penderecki.BIBLIOGRAPHY 143 For the next ten years. B421. “Zur gegenwärtigen Rezeption von ‘Stille Nacht! Heilige Nacht!’” In 175 Jahre ‘Stille Nacht! Heilige Nacht!’ Symposiumbericht. then discussed his Second Symphony.” High Fidelity/Musical America 24. performance issues. Gradenwitz thought the prolonged echoes heard in a Salzburg Cathedral performance of the St. E.

This Chandos release (9459) is “one of the year’s best” recordings. Song of Cherubim. 6 (November/December 1996): 178.. Veni Creator Spiritus. November 24. Benedicamus Domino. Benedictus. no. “New Music. “Penderecki: Polish Requiem. Sicut Locutus Est. “Penderecki: Psalms of David. “Penderecki: Stabat Mater. Agnus Dei. 1984. Fragments of the Polish Requiem and the entire Violin Concerto were presented at the Brighton Festival.” The Times (London). Bartholemew's. Greenfield. Greenfield especially liked the Polish Requiem.” B423. Dream of Jacob. Greenfield praised this recording (Wergo 6261). Griffiths hears the same raw emotions in all of Penderecki's music.” B426.” Musical Times 116. Stabat Mater & Choruses from St Luke Passion. p. 5 (July/August 1996): 168. Penderecki's trip to Great Britain was the occasion for performances of Canticum Canticorum Salomonis and Partita in Edinburgh and The Awakening of Jacob in London Canticum contains incomprehensible text and “Boulezian” percussion devices. B425. 5 (September/October 1995): 190. Miserere. which shows “Penderecki in all his glory. stating that it is a Polish “national monument. lamenting only its lack of translations and the difficulty of listening to so much of Penderecki’s music at once. “Music to Match the New Mood of Poland. Song of Cherubim.” American Record Guide 59. Griffiths discussed the impact of Penderecki's career on contemporary music in general and on the country of Poland specifically. Brighton.” and as such should not be subjected to critical comments. especially those made by non-Polish citizens. B427. 1981. Philip. no.144 KRZYSZTOF PENDERECKI B422. 13. The stream of religious music produced by Penderecki was seen by Griffiths as a reaction by the composer against the Polish government's repressive policies. Paul. Griffiths. no. Veni Creator. The author did note wryly that “the triad remains the surprise. Partita is the “most formally and texturally involved” of Penderecki's works to date. B424. Greenfield thought this Finlandia recording (98999) was better than a similar Wergo release.” American Record Guide 59. Sicut Locutus est..” American Record Guide 58.” The Times (London): May 16. Agnus Dei.only because the harmonic reach is so tiny and the existence of three notes at the same time is so stunning an achievement. The ascending and descending chromatic scales in The Awakening of Jacob reminded the author of Jacobian ladders. 1585 (March 1975): 263-64. no. . Griffiths was reluctant to offer a detailed analysis of the Requiem. p. Although the composer has often been criticized for both this extreme avant-gardism of the early 1960s and his subsequent turn to a more traditional style. 10. “Cracow RSO/Penderecki. St.

” Das Orchester 19. Gruhn examined the work’s novel string techniques. and formal structure. 1 (January 1971): 5-8. The British premiere of the Violin Concerto occurred at the Proms concerts.” Nowy Dziennik. 10 (1971): 409-11. “Krzysztof Penderecki. “Awangarda w odwrocie. Warszawska 79. “RPO/Penderecki.BIBLIOGRAPHY 145 B428. the lighting and performers were singled out for praise. Violin Concerto. The performers were applauded. 1570 (December 1973): 1255. a quicker tempo. 40 (October 7. no. in the Stuttgart presentation. 1. no. p. no. The latter generally consisted of sections of clusters alternating with passages of canonic writing. Wilfried. B432. Musik und Bildung 2. Differences between the Stuttgart Theater production of Paradise Lost and the Chicago Lyric Opera/La Scala world premiere version include. Gross. Penderecki’s innovative instrumental effects are integrated logically into his music. no. “Avantgarde—auf der Suche nach einer neuen Form. no. Nevertheless. there were many positive aspects to the Stuttgart production. However. Gross lamented the lack of the “charm and beauty” that can be heard in the output of the masters. Albert Hall/Radio 3. 9. January 30. ideological. Requiem Polskie. The Polish Requiem bears witness to Penderecki’s rich compositional experience in its orchestration and its harmonic and melodic writing. “Penderecki. These changes proved to be harmful for the musical. with the composer conducting. and theatrical aspects of the work. he questioned whether the work “expresses anything new and important enough to justify its scale and its confident claims for itself. Griffiths reviewed this piece in its recorded version (CBS-76739).” Melos 38. but the music was described as “ponderous” and “almost unendurable. Gruhn juxtaposed the works of Ligeti and Penderecki in this essay about new ways of creating musical form. 1649 (July 1980): 567. notation. in particular. the elimination of the dancers interpreting the roles of Adam and Eve.” Musical Times 114. 1986. Grzenkowicz. In Gruhn’s opinion. B434. 10 (October 1970): 481-84. “Strukturen und Klangmodelle in Pendereckis 'Threnos'. and other musical cuts. In his analysis of Threnody.” Kultura (Warsaw). Izabella.” Musical Times 121. pp. A slightly revised version of Symphony No. B433.” B430. August 11. Griffiths criticized the piece for its failure to fulfill the promises of its title: it was either overly simple or “bewilderingly complex. 1980. Zygmunt. .” B431. Griffiths called this performance a “thoroughly dramatic reading. Gruhn.” B429.” The Times (London).” However. 1979). 1 was performed by the London Symphony. no. 16. “Penderecki.

4: 10-14. Penderecki discussed his views about the Darmstadt school of composers. asserting that much of the criticism directed towards it was unfounded. 1977): 3-4. B438. She included citations by critics from three London papers: the Guardian. B439. and religion as sources of inspiration. He did not believe it was proper to use the same compositional style or techniques in every piece. Penderecki asserted that form was the most important aspect of a composition.146 KRZYSZTOF PENDERECKI B435. 28 (July 13. and more recently.” Ruch muzyczny 25. but that. “Festiwal Pendereckiego.” Ruch muzyczny 30. and his ideas about musical form. 24 (1986): 3-4. 1981): 1. He also said that the opera’s harmonic system was based on seconds. an opera that he was now attempting to write for . The primary topic of this interview was The Black Mask and Penderecki’s other operatic projects. no. 5 (1981): 12. 3 (1977): 24-30. 9 (1974): 5-7. no. In this interview with Grzenkowicz. 6 (February 8. more generally. “Conversations with Krzysztof Penderecki. no. excerpts in Clavis. no. no. his personal need to modify the musical style of his own works from time to time. and ninths. sevenths. drama. Next. He believed that his own music was strongly grounded in the traditions of the Renaissance. Among them was his use of literature. poetry.” Kultura (Warsaw). however. the 19th century. “'I Symfonia' i 'Diably' Pendereckiego w Londynie. B440. Penderecki confirmed that many of his ideas about composing had changed since the early part of his career. Luke Passion and. no. she turned to The Devils of Loudun. Penderecki touched upon many subjects in this interview with Grzenkowicz. The composer emphasized that rhythmic structures in The Black Mask were created as a network of leitmotives. and the Daily Telegraph. “Muzyka w prasie. At the same time. In conclusion. “O 'Czarnej masce' bez maski. The author applauded the London Symphony's performance of the First Symphony. 12. Penderecki claimed that he did not attempt to link political matters in contemporary Poland with his music. In the first part of this interview. Penderecki also thought that Poland's place at the crossroads of eastern and western culture may have influenced the musical language of the St. B437. “Nagle przychodzi ” Kultura (July 24. his interest in human suffering and beliefs. Baroque. no. He delineated the three stylistic periods that have evolved in his own compositions.” Polish Music 12. He thought this this same language might be appropriate for King Ubu (Ubu Rex). the Times. he admitted that the impulse for writing Lacrimosa came from the 1980 workers' strikes in B436. Grzenkowicz praised Polish Radio and Television for their direct broadcast of some of the events to foreign countries. “Bogactwo ” Kultura (Warsaw). there were no universally accepted forms. today.” Ruch muzyczny 18. The Penderecki Festival held in June brought the composer's music to the attention of people in Poland and abroad. 1980).

” Günther Rennert’s directing emphasized the cruelty and horror of the story. the Polish Requiem having signalled the close of his “romantic” era. this reviewer stated that this “background music is not the best that we have heard from Penderecki. In this review of the Hännsler recording of Credo. Gurewitsch. ” Ruch muzyczny 41. 22 (November 1997): 4-5. especially after the singers of the initial performances were replaced. “Muzyka w prasie. The author of this review preferred a Munich performance of the St. “Die Teufel von Loudun. no. B444.10 (October 1987): 2-11. H. Z Krzysztofem Pendereckim polskim kompozytorem rozmawia Andrzej Haegenbarth. presented by the Stuttgart Opera as part of Munich’s Modern Music Week. and a second time in 1981. Haegenbarth. “Salzburger Festspiele.” Oper und Konzert (March 1970): 35-36. B445. 1999.” Ruch muzyczny 31. excerpts in Clavis. Penderecki reviewed the preparation of the libretto and mentioned the opera's primary themes of intolerance and death. the Violin Concerto. This reviewer was somewhat appalled at the amount of nudity that was used in a Munich production of Paradise Lost.. H. B446. He also did not plan to present Paradise Lost in Poland for the time being because no Polish singers could handle the piece's Wagnerian-like lines. H. In his view. Among other topics.” Nurt. Commenting on the music of The Devils of Loudun. 24 (1987): 10. no. “Rok Krzysztofa Pendereckiego. and Paradise Lost. “ w swój czas. Paradise Lost. Andrzej. Luke Passion to the one he heard in the Salzburg Cathedral.” New York Times. In his comments about The Black Mask. “A Search for Spirituality is the Stuff of New Disks.” Oper und Konzert 17. this opera marked a turning point in his compositional style. Matthew. but he lent an air of derision to his descriptions of the musical events. Other stylistically pivotal works in his career were the St.BIBLIOGRAPHY 147 the third time. Penderecki mentioned his working habits. B443.” Oper und Konzert 8 (September 1970): 8-9. Luke Passion. no. Gurewitsch alluded to the composer’s ability to create a dramatic rendition of the text. B442.” despite the fact that it “suggests the most extreme dramatic situations and conditions with unprecedented power. no. February 28. 9 (1979): 7-8. when Poland was experiencing serious political problems. He had set it aside in 1974 in order to compose Paradise Lost. gsp. Krystof Penderecki: Passionsmusik nach Lukas Dom. “Gärtnertheater.. Nationaltheater. This includes a review of plans for the Penderecki Festival to be held in Kraków in 1998. Penderecki discussed a wide range of topics in this interview. He usually has the overall form of a piece in . B441. Penderecki he did not think that The Devils of Loudun had been performed successfully in Warsaw. H. Utrenia.

Albin. He noted that this division occurred in part because of the “ghetto” created by the establishment of new music festivals. The “tasteful” production could not rescue the nearly complete lack of musical interest in the score. Penderecki was named “the best-known member of the burgeoning Eastern European avant-garde.” Melos 32. B449. the staging was fairly reserved and the score was given a precise reading.Unumstrittene Weltgeltung. 10 (1996): 20-23. May 12. “Umstrittende Popularität . 1989. 9 (1968): 55. B451. B447.” Opern Welt 18. no. Peter Michael. Haesenroth did not like the Cologne presentation of The Devils of Loudun. the Puppet Theater’s director. The Stockholm Puppet Theater was the scene of the premiere of Ubu Roi. “Some Newer Figures in Europe. Penderecki touched upon many topics in this interview with the Haffners. he admitted that these same events were valuable to young composers as a place where they could have their works performed. FM 94-95. “Cologne. Gabor. “Modernes Musiktheater in Stockholm. Hähnel. However. tradition-oriented outlook of his later works. while the others are taped. no.” Das Orchester 44. with music by Penderecki. p. Folke. B452. The main character speaks his lines live. Hamel’s concern here is Penderecki’s apparent stylistic change from the avant-garde sound-world of his early pieces to his more melodic. replaced the traditional puppets with actors wrapped in cardboard and plaster (a photo is included with the article). 8 (August 1980): 808809. Halasz. and newly composed parodies for piccolo and other instruments. “Warurn machen Sie keine Experiment mehr?” Frankfurter Allgemeine Zeitung. David.” High Fidelity/Musical America 18. Hamilton. Ingrid and Herbert. A successful production of The Devils of Loudun was heard at Mannheim’s National Theater. no. B448. B450. . Haenseroth. “Auf hohem Niveau--Pendereckis 'Teufel von Loudun' in Mannheim. thus creating a sense of alienation. quotations from Beethoven’s Fifth Symphony.” His use of unusual textures and playing techniques was mentioned briefly. Michael Meschke.148 KRZYSZTOF PENDERECKI mind beforehand and then fills in various sections. Hamel. It includes a short overture of electronic music. no. 2 (February 1965): 59-60. He regretted the division that has been created in the 20th-century between contemporary music and older classical music. without working sequentially from beginning to end. 8 (1977): 33-34. Haffner. Overall. no. He quoted frequently from Wolfram Schwinger’s book on the composer when he discussed the works of the 1990s. Stilfragen bei Krzysztof Penderecki.” Opera 31. military marches.

BIBLIOGRAPHY 149 B453. 1980. David. 3. Göteborg. B454. “'Musiktheater' in Hamburg.” In Crosscurrent and Counterpoint. Hans. Engebretsen and Bo Alphonce. Häusler. and a monotonous style of arioso sometimes intrudes on the drama. B455. no. Heinsheimer. B459. Nora A. Heinz-Albert. Hamilton expressed his displeasure with the opera. 4 (April 1970): 152-53. 6 (June 1971): 69-70. Harley discussed Penderecki and his sonoristic works.” Die Weltwoche.” High Fidelity/Musical America 21. no. Der polnische Komponist Penderecki in Luzern. then devoted much of the rest of the article to discussing the work’s musical highlights and characteristics. and Threnody is regarded as a prime example of sonorism. 1 (January 1979): 47-48. . Górecki actually deserves that honor. Jahrhundert. [Note: Harley has since reverted to her original name. Häsler also listed several of the honors and awards granted to Penderecki. “Pendereckis Neufassung der 'Teufel von Loudun' in Wuppertal. Broman. A new production of The Devils of Loudun presented in Wuppertal was laden with religious and sexual overtones. with his Epitafium.” Neue Zeitschrift für Musik 140.] B456. 1969. 1998. A list of these works is also given. stating that the drama was superbly enhanced by the music. Musik im 20. “Neuerer mit Tradition. August 29. Maja Trochimczyk. “The Tragedy of Father Urbain. Penderecki conducted his own Violin Concerto and Shostakovich’s Symphony No. Hamilton. Harley. Sweden: University of Gothenburg. 9 (September 1969): 775-77. 62-77. “The Polish School of Sonorism and its European Context. Häsler.” Melos 37. The section on Penderecki is a fairly detailed discussion of the treatment of instruments and musical materials in Penderecki’s compositions. considered to be the leader of the Polish sonoristic school. Offerings in Honor of Bengt Hambraeus at 70. On the occasion of the release of The Devils of Loudun on a Philips recording. Josef. Although he is thought by many to have written the first sonoristic compositions (Strophes and Dimensions of Time and Silence). however. Penderecki revised the final act for this production. Harewood endorsed the world premiere production of The Devils of Loudun. Heindrichs. Von Schönberg zu Penderecki. edited by Per F. Lord. Häsler described the composer’s experimental style and briefly mentioned the romanticism that had pervaded his music in the last ten years. Harewood. 5 during Lucerne’s International Music Festival. Penderecki is. B458. He summarized his feelings by stating that “Penderecki has given theater with music. no. no.” He noted that the libretto supplied with the recording was barely legible. Maria. “Endlich: ‘Paradise Lost’ in Chicago. where musical instruments and voices are used to make sound effects. Bremen: Carl Schünemann. p. Alfred A.” Opera 20. B457. Heinsheimer first mentioned the directorial shift that occurred before the world premiere of Paradise Lost.

no. creating music that is “not only expressive. written prior to the world premiere of Paradise Lost.” Nevertheless. . No. were influenced by Christianity. Helm wondered if the continued use of this style of music would lead to the “impoverishment of art. B463. “ISCM Festival.” It was repeated in response to boos from the audience. 4 (November 1960): 329-31. The composer incorporated new and unusual treatment of the string instruments into this piece. 6 (November-December 1978) In this article. Helm also said that Penderecki's Anaklasis “provoked the only nearriot of the festival. “Paradies: verloren. Neue Zeitschrift für Musik 122. Helman.[Paradise] is a very lyric piece.” Melos/Neue Zeitschrift fur Musik 4. 11 (1961): 467-68..” Music Review 21. H[elm]. “Donaueschingen. Among the quotes scattered throughout the article were these words by Penderecki: “music should speak for itself and should go straight to the heart and mind of the listener. No new musical techniques or styles were presented at the 1960 Donaueschingen Festival. performed at the 1961 Warsaw Autumn Festival. “consists of a series of contrasting segments producing various coloristic effects.. including those by Penderecki. As I composed it. I seemed to be discovering a new style. no. wiedergefunden. Everett. Heinsheimer described the massive preparations being made for that production. Some works performed in the early years of the Warsaw Autumn Festival.” In Warschauer Herbst und neue polnische Musik: Rückblicke— Ausblick. 29-40. The author listed some of the unusual playing techniques used in the piece.” B461. “Philadelphia Orchestra (Ormandy).” Musical America 81. Threnody is replete with avant-garde sonorities that have been merged into a satisfactory whole. 11 (1961): 23-24. E[verett]. This phenomenon represented an alternative direction in avant-garde Polish music.” High Fidelity/Musical America 19. Penderecki has “thrown overboard” all of the musical traditions of past centuries. no. Essen: Blaue Euele. abridged article as “Donaueschingen 1960. “Alte Musik als Inspirationsquelle neuer polnischer Musik. no. 1998.150 KRZYSZTOF PENDERECKI B460. but also impressive.” Musical Times 101. He related the history of the composition and summarized the events that were to be depicted on stage. 1414 (December 1960): 772.It is music of a very special kind. The exhilarating reception accorded to Threnody (“a rather terrifying work”) at the ISCM Festival in Amsterdam compelled the orchestra to repeat the work. 4 (April 1969): MA22. “Warschauer Herbst 1961—Die neue polnische Schule”. However. B464.. verschoben.” Music Review 24. something very beautiful. Helm. 3 (1963): 253-54.” B466.. Threnody.. no. no.” Opera News 43 (November 1978): 4855. B462. “Paradise Regained. With Threnody. “Autumn Music. Zofia.” B465.

12 (1966): 848-50. Luke Passion on the London Festival Hall's acoustics. Donal. 9. For the sake of argument. Henken.” B474. p. Section 6. Politically?” New York Times. B471. Robert. The English premiere of the St. 19-20. 1491 (1967): 422. Luke Passion'. pp. Henderson placed the composition within Penderecki's compositional oeuvre. performed in Los Angeles by its dedicatee. B469.” Los Angeles Times. The Capriccio for Siegfried Palm.” Musical Times 108. pp. 1973. “Penderecki. Luke Passion occurred in May 1967. John. “Chamber Symphony Opens with Cellist. August 2. Henderson. 1969. “American Composers: The Insulted and The Injured?” New York Times. “Murder. Luke Passion was one of the highlights of the 1966 Warsaw Autumn Festival. He also questioned whether Penderecki's attempt to compose a large-scale work using radical compositional techniques had appealed to the public. no. is a convincing display of the cello's technical and timbral possibilities. 1493 (1967): 624. B472.” Musik und Gesellschaft 16. April 1.” New York Times. The effect of the piece was described by Henken as one of “fitful neurosis. B473. B468. 1988.BIBLIOGRAPHY 151 B467. Suicide and the Black Plague. Hempel. February 23. . Section 6. October 14. no. Penderecki discussed Polish musical life and his own thoughts about contemporary music. a Free Spirit. July 22. In his review of the American premiere of The Black Mask. B470. Milton Thomas gave a somewhat restrained rendition of the solo part.” Los Angeles Times. “Warschauer Herbst 1966. Section 2. C17. In the North American premiere of the Viola Concerto. Gunter. Henahan. “Chamber Symphony Opens Its Fifth Season. 1986. 1982. “Religiously. p. 4. Henderson placed part of the blame for a flat performance of the St.” Musical Times 108. Hempel briefly described how Penderecki created a sense of drama in this music. A performance of the St. Section 2. no. Henahan lamented that Penderecki did not seem to be able to write successfully for opera. Henahan summarized the plot in a sarcastic manner. In this interview with Henahan. “Penderecki's 'St. 1-2. then described its links to Bach and the Holy Week rites of the Catholic Church. Henahan stated that the commissioning of Penderecki by Chicago's Lyric Opera was a mistake of nationalist proportions. p. he tried to defend the Opera's choice by reasoning that Penderecki had already composed a reasonable opera (The Devils of Loudun) and that Polish citizens had fought for the United States.

while the work’s sharp dissonances make intonation a potential performance problem. p. given at the Wiesbaden May Festival. and serialism. Luke Passion. Paul.152 KRZYSZTOF PENDERECKI B475.” New York Times. including. 470 (September 1986): 28. In her review of the world premiere of The Black Mask. 1988. The powerful music of the St. “The Composer Behind The Black Mask'. 1969. Luke Passion has made the greatest impact of any work written in recent years by an Eastern European composer. which opened almost immediately after the world premiere. Bernhard. 52. In general. B476. “'St Luke' is Given London Premiere .” Quinzaine Litteraire no. no. 22. “À Salzbourg. Luke Passion and a skillful rendition by the Berlin Philharmonic contributed to its stunning reception by a sold-out audience. Henry summarized the plot. “Klänge und Klagen. Heyworth. Hermann praised the Teatr Wielki's production of The Black Mask. the composer had not created any masterpieces since the St. Hertelendy. Die Zeit. August 21. Musically. The St.” Das Orchester 16 (April 1968): 185. Classical harmonies and counterpoint. 9 (September 1988): 904-911. 1968. Pendereckis ‘LukasPassion’ in der Berliner Philharmonie. Henry. Heyworth noted that his opinions have been echoed by others. B481. at the same time. “Krzysztof Penderecki: Aus den Psalmen Davids. in part. Penderecki's libretto contains too many details and. Herrmann. Marginalien zu den diesjährigen Wiesbadener Maifestspielen.” New York Times. Hanns.” Melos 29. B480. The Devils of Loudun did not live up to Heyworth's expectations. Ruth. does not give enough emphasis to the main characters. Herbort. The choir sings everything from vocalises to whispers. B477. This reviewer challenged the view that Penderecki's music was worthy of international acclaim. 13. 4 (April 1962): 127. In his opinion. he favored the musical aspects of the opera over its staging. The production's success was assured by the “hallucinatory images” created by the large mirror on stage and the dramatic portrayals of its six principal characters. Herrmann stated that the piece used the rhythm of its spoken text as a structural starting point. Hermann. the composer himself. the composer was unable to render any sense of cohesiveness and drama.” San Jose Mercury News. Handke et Penderecki. July 6. no. drawing upon plainsong. Section 2.” Das Orchester 36. Upon Moeck’s publication of the Psalms of David. among . then stated that Penderecki's understanding of the story as a surrealist one was a mistake. Peter. “'Devils' Without Fire. Stockhausen-like devices. B478. Heinz Josef. Penderecki shortened the production by fortyfive minutes for its second performance in Hamburg and was heard to prefer the Stuttgart version of the opera. “Der grosse Flop im Mai. pp. 1967. The piece is eclectic. Horst Dietrich. May 26. Fe 23. B479.

no. instead favoring the element of compassion. Hiementz. Hinz was unimpressed with the piece. was that people would eventually tire of the admittedly riveting sounds in both works and begin to wonder why its musical ideas do not flow together more effectively.” New York Times. “Pendereckis ‘Polnisches Requiem’ in Stuttgart. 1968. Of concern. 2 (1980): 38. “Concert: Penderecki and Cracow Ensemble.” Ruch muzyczny 13. 1986.” Opera Canada 21. however.” New York Times. Overall. 25. on December 22. Carl H. The Warsaw Teatr Wielki’s presentation of The Devils of Loudun at Wiesbaden's International May Festival was staged more like an oratorio than its previous incarnations had been. “Cologne City Opera.” High Fidelity/Musical America 22. Bernard. All cast members were on stage throughout. Penderecki avoided a sense of tragedy in this work. hjm. B484. 11 (November 1984): 609. Holden provided a synopsis of the film’s plot. Hinz. heard in its world premiere performance [of the complete version]. 4 (February 15-28. It was more faithful to Penderecki's original wishes than the premiere production in Hamburg had been. Luke Passion in Warsaw. 1969): 11. B483. Eastern Promise. “Adrift Between Dream and Fairy Tale. A performance of the St. “Passio Domini Nostri Secundum Lucam. On the occasion of a screening of the full-length version of The Saragossa Manuscript at the New York Film Festival.BIBLIOGRAPHY 153 other devices. A new production of The Devils of Loudun at the Cologne Opera was praised by Hiller. was given a standing ovation. but admitted that it is a fascinating work. Holland. Jack. Section 3. represents a musical meeting of the 19th and 20th centuries. 1997. The Kraków Philharmonic's performances of the Second Cello Concerto and The Awakening of Jacob were reviewed favorably. B486. . September 27. Holden.” Österreichische Musikzeitschrift: 39. Klaus-Michael. Penderecki was given an honorary doctorate by the University of Rochester. 5 (May 1972): MA 18. “Eastman Philharmonic (Hendl). Hiller. “Wiesbaden. B485.” Opera 31 (Autumn 1980): 97100. Heyworth was skeptical about the long-term fame of the piece. B482. no. The Polish Requiem. Partita was performed at the ceremony. B488. B487. p. rising from their chairs only when involved in the action. no. January 20.

“Recepcja muzyki polskiej w Niemczech.154 KRZYSZTOF PENDERECKI B489. January 23. “From Penderecki.” B490.” 87. Its five movements are “largely bereft of engaging ideas and. November 9. boring. 1996. January 12.” Conductor Kurt Masur spent his time trying to make sure that everyone came in as scheduled.” New York Times.” New York Times. with a virtuosic solo part. 17. pp. 1998. 233-60. heard in New York. Kraków: Musica Iagellonica. The United States premiere of Symphony No. Martina. “Reichlich Theorie und Wissenschaft: Polnische Musik und In Deutsch-polnische Ansichten zur Literatur und Kultur. “Penderecki Again Tries a Style He Overthrew. C15-16. Holland elicited comments about the composer's reasons for pursuing a conducting career.” In Dziedzictwo europejskie a polska kultura muzyczna w dobie przemian. B494. 3 was presented at Carnegie Hall by the Montreal Symphony and Charles Dutoit. is not enough to overcome its “poverty of invention. in a word.” New York Times. 28. and 20th-century musical styles. In Holland’s opinion. it was “correct and dull. he did not think it was successful overall. p. B491. Penderecki's Flute Concerto. Darmstadt: Performances of music. “Penderecki Is Retrogressing Now—On Purpose. 1989. Homma. “sounded suspiciously” like the type of strictly organized music that the composer had disdained earlier in his career. 1993. Penderecki’s works are included in Homma’s discussion of Polish . Musiktheorie. including the Polish Requiem and The Black Mask. the Darmstadt Summer Courses. and his Polish heritage. Section 2. “Seven Gates of Jerusalem: A Grand Gesture for 3. 280Deutsches Polen-Institut. The American premiere of Penderecki’s Second Violin Concerto was presented at Carnegie Hall. Holland described the piece as easily comprehensible. 1986. The reception of the music of Penderecki and in Germany was discussed within the context of the Warsaw Autumn Festival. 1996. Oct.” New York Times. 1995. Penderecki noted that he could notate only 60 percent of what he wanted to hear—the remainder he produced when conducting his works B493. July 20. 21.000 Years of History. However. Among other provocative statements. 25. “One Way to Control the Chaos in Ives. pp. A Mob That Howls or Whispers. In a wide-ranging interview with Penderecki. his most recent compositions. B495.” B492.” New York Times. The “almost intimidating number” of performers required for Seven Gates of Jerusalem. heard in its American premiere.

Luke Passion. Musiktage 1964. B498. to finish the Magnificat for the 1974 Salzburg Festival.” The College Choir was aided by a backstage piano in this “a capella” work. 5 (May 1974): 36. Kurt. 15. B497. The final section. The composer's most immediate plans were to write an opera (Ubu Rex) to be presented in Munich. “Music: Philadelphians. with the first notated for strings alone in durations marked off in seconds. Das Orchester 19 (May 1971): 239-43. Friedrich.” Music and Musicians 13 (April 1965): 50. Huber presented an almost measure-by-measure analysis of Anaklasis. 9 (1969): 799-800. The Stuttgart version of The Devils of Loudun was deemed a much better production than the one seen in Hamburg. Gespräch mit Krzysztof Penderecki. uses a somewhat more traditional idea of metric notation. 12 (1964): 548-49. for both strings and percussion. Penderecki led the Philadelphia Orchestra in a performance of Te Deum. but introduces a tremendous amount of rhythmic complexity. no. “Die Zukunft: 'normale Oper. Howard asserted that Penderecki's commitment to Catholicism must be accepted as fact in order to understand his compositions. “Arresting Penderecki. so much so that the second part of the work was repeated. .” Neue Zeitschrift für Musik. 1 (Autumn 1991): 9-27. Utrenia. In this “interview. The dark emotions depicted in compositions such as Paradise Lost and the Requiem reflected the bleakness and suffering of the lives of the Polish people. Huber. Hughes described the piece as an “essentially Romantic musical setting” that ultimately failed. “Stuttgart. Howard.” Melos 38. December 9. Penderecki had created a “thrilling piece of contemporary musical theatre. Hommel.BIBLIOGRAPHY 155 B496.” Opera 20. “Von Zeit zu Zeit etwas Gültiges. 3 (March 1971): 87-91. and to revise The Devils of Loudun for upcoming productions in Warsaw and East Berlin. Hughes. The world premiere of the Sonata for Cello and Orchestra was enthusiastically received. Penderecki expressed the concept of “death in the midst of life” in Threnody.” The Midwest Quarterly 33. Section 3. The work is in three large sections. and The Black Mask. synthesizes the two notational systems and the musical material introduced in the first two sections. B501. The Devils of Loudun. 125. the St. 1983. Paradise Lost. Alfred. for percussion. The Devils of Loudun. “Pendereckis ‘Anaklasis’ für Streicher und Schlagzeuggruppen. no. p.” Opern Welt 15. Llifon.” B499.” Honolka paraphrased most of Penderecki's comments instead of quoting them directly. B500. Wendell. Hughes-Jones. no. B502. Honolka. no. The middle section. and other works.” New York Times. Polish Requiem. A performance of Stabat Mater at Morely College was “commendable. Allen. à la Rossini'. no. H. “A Matter of Life and Death. Howard also named pieces that were unrelentingly oppressive in mood: Paradise Lost.

the sets inhibited the flow of movement that was called for in both the libretto and the score. 2 (1969): 95. 1 is reminiscent of electroacoustic music and Luigi Nono's “post-serial” compositions. 1. B505. Washington Post. “La Passion selon Saint Luc de Krzysztof Penderecki..” Schweizerische Musikzeitung 119. but otherwise suggested that Penderecki was out of touch with both his audiences and current compositional ventures. B509. orchestration. In his view. “An American Bicentennial Opera Written by a Foreign Composer?” Washington Post. “The Divine Works of Penderecki. no. . 1974. December 10. Penderecki’s The Devils of Loudun had been only marginally successful. 1. H3. In the Santa Fe Opera's presentation. E8. Hugli. he discussed its harmonic structure. “Magic in Santa Fe. Hume longed to see a “more fluid production” of The Devils of Loudun. The Polish Radio and Television National Symphony Orchestra performed Anaklasis. p. The Awakening of Jacob. and De Natura Sonoris No. The American premieres of The Awakening of Jacob and the First Cello Concerto were presented in a performance that also included Threnody.. and the role of its choruses.” Schweizerische Musikzeitung 109. September 7. September 23. “Le douzieme diorama de la musique contemporaine. 2 (November 1969): 39. 2 (March 1967): 14-15. Hugli listed the sources of its texts and described its compositional style. 1973. and Schuman. Hume offered some praise for De Natura Sonoris No. Hume praised the composition's “tonal imagery.” Washington Post. no. B504. Penderecki discussed his reasons for using six male voices for the role of God in Paradise Lost and his views on the overall musical style of the piece. “Penderecki a 1'OSR. 4 (1979): 222-22. no.156 KRZYSZTOF PENDERECKI B503. Rorem. “First Appearance of Penderecki.” American Musical Digest 1.” B508. B7. Paul.” Washington Post.[and] the imaginative choral writing. p. 1978. p. Hume castigated the Chicago Opera for its commissioning of Penderecki to celebrate America's Bicentennial. Bernstein. 1969. B507. Hume named several composers who would have been better choices for the commission. Copland.” Revue musicale de Suisse Romande 20. 2. occasional use of medieval and polyphonic musical language. Luke Passion. Crumb. no. Rhythmically and sonorically. A two-concert retrospective of Penderecki's works was given in Geneva as part of Switzerland's Diorama of Contemporary Music. Pierre. and De Natura Sonoris No. De Natura Sonoris No. including Barber. B506. In particular. De Natura Sonoris No. Hume. overall dramatic effect. the Violin Concerto. Hugli thought the piece deserved a better performance than was given by the Suisse Romande Orchestra. November 23. 1. In this essay on the St.



B510. “Opera 'The Devils of Loudun' Released.” Washington Post, August 8, 1971, p. 124. Hume compared the performers on this recording (Philips 6700042) to those who sang in the American premiere of the opera in Santa Fe. He favored Santa Fe’s soloists and the recording's chorus. B511. “' Paradise Lost': The World Premiere.” Washington Post, December 1, 1978, pp. C l , C5. The premiere of Paradise Lost was deemed a critical success by Hume. The integral role of the dancers was especially pleasing, as were the choral efforts in parts that including shouting, humming, and hissing. B512. “Penderecki Conducts.” Washington Post, September 2, 1973, Books Section, p. 11. Hume reviewed the recent Angel recordings of Penderecki's music (Angel 3694936950). He gave all of the pieces and their performers a high rating and mentioned in particular Capriccio for Violin, Partita, Emanations, Canon, and Cello Concerto No. 1. B513. Hummel, Franz. “Heile, Heile Öperchen.” Der Spiegel 45, no. 28 (July 8, 1991): 182. In this review of Ubu Rex, Hummel gave moderate praise to director August Everding, but denounced Penderecki’s score for its shallowness and meaningless instrumentation. B514. Humphrey, Mary Lou. “Paradise Lost: Penderecki's Operatic Enigma.” Music Journal 37, no. 1 (January 1979): 11-13. Humphrey provided a detailed account of the compositional history of Paradise Lost. She then turned to a critique of the premiere, admitting that there were successful moments both dramatically and musically, but judging that overall the production was a failure. B515. Hunziker, Andre. “Switzerland: All-Round Excellence.” Opera 30 (October 1979): 995-98. The Swiss premiere of The Devils of Loudun, presented in Geneva by the Stuttgart Opera, was of “high quality.” B516. Hutcheson, Robert Joseph, Jr. “Twentieth century Passion settings: An analytical study of Max Baumann’s ‘Passion, Op. 63’; Frank Martins’ ‘Golgotha’; Krzysztof Penderecki’s ‘St. Luke Passion’; and Ernst Pepping’s ‘Passionsbericht des Matthaus’.” Ph.D. dissertation, Washington University, St. Louis, Missouri, 1976. The four works named in the dissertation title, all settings of the Biblical Passion story, were compared by Hutcheson. Of central importance in the study was the relationship of God to man in each work. An analysis of the music was also included.



B517. Hutton, Mary Ellen. “Indiana University Opera Theater: Penderecki: The Devils of Loudun.” American Record Guide 56, no. 4 (July-August 1993): 33. The Devils of Loudun received its first American performances since 1969. The Indiana University Opera Theater's production focused on the conflict between church and state rather than on its more sensationalist aspects of sex and torture. Hutton called it a “powerful music event.” B518. Hyatt. “Los Angeles.” Music Journal 33, no. 3 (1975): 53. Symphony No. 1, heard in its U. S. premiere, “attempts to explore the very nature of sound emanating from conventional instruments played in unconventional ways.” B519. Ignatowicz, Anna. “Co z tej Jesieni.” Ruch muzyczny 37, no. 33 (October 22, 1993): 1, 4-5. Penderecki’s 60th birthday was celebrated at the Warsaw Autumn Festival with the Polish premieres of his Flute Concerto and the Viola Concerto in its transcription for cello solo. Both this article and the 1993 Warsaw Autumn Festival program book rather confusingly called the latter piece a Cello Concerto, not distinguishing it from the two concertos originally written for cello and orchestra. B520. Ivashkin, Aleksandr. Kshishtof Penderektskifi: ocherk. Moscow: Vses. Izd-vo ‘Sov. Kompozitor,’ 1983. This biography of Penderecki includes a discography. monograficheskifi

B521. Leonia. “ Boga czy czarta?” Teatr 20, no. 23 (December 1-15, 1965): 3-5.This is a review of the performance of The Ungodly Comedy (“Nieboska komedia”) at the Stary Teatr in Kraków. Penderecki’s music received scant attention from the reviewer. B522. Jack, Adrian. “The Autumn in Warsaw.” Music and Musicians 21 (December 1972): 34. Penderecki was singled out as “one of Poland's glossiest exports.” However, Jack described the Partita, given its Polish premiere at the 1972 Warsaw Autumn Festival, as “an angrily inflamed sore.” B523. Jackson, David. “The Student Speaks : Choral Potential Post 1950 (sic).” Music Journal 28, no. 9A (November 1970): 36, 65. The St. Luke Passion is a good example of new and effective new choral techniques. Jackson noted that these methods were not offensive in this work, perhaps due to the softness with which they were scored and their surrounding musical events. B524. Jacobi, Peter P. “Penderecki's Paradise.” Opera 30 (February 1979): 129-32. Jacobi predicted that Paradise Lost would become an important part of the operatic repertory. The orchestra is asked to “grind and soar and whisper and roar and screech and moan,” all of which “makes not only musical sense but also dramatic sense.” Similarly, the chorus' “almost impossible vocal acrobatics” serve “appropriate emotional and dramatic purposes.”



B525. Jacobs, Arthur. “The Devils of Loudun.” Opera 24, no. 12 (December 1973): 1126-29. In his review of the Sadler's Wells Opera production of Devils, Jacobs focused on Penderecki's text setting, in which both song and speech were used. Jacobs found the piece to be “an extraordinarily compelling form of musical theatre.” B526. Jacobson, Bernard. “And We Quote...” High Fidelity/Musical America 18, no. 1 (1968): MA20. Penderecki attempted to explain why Polish audiences were much more receptive to contemporary music than those in the United States. B527. “Going Dutch.” Music and Musicians 11 (August 1963): 35. Threnody was the concluding work on the 37th ISCM Festival. In Jacobson's view, its “proportions are perfect, and the work builds up to a wonderful sense of emotional release.” B528. “Penderecki—A Mighty Voice From Poland.” High Fidelity/Musical America 17, no. 4 (1967): 74-75. Jacobson was impressed with the St. Luke Passion, newly recorded on Muza (XL 0325/0326). He described it as “a work of shattering dramatic impact and powerfully individual inspiration.” B529. A Polish Renaissance. London: Phaedon, 1996. Jacobson devoted this volume to commentary on four Polish composers—Panufnik, Górecki, and Penderecki. The chapter on Penderecki is an excellent review of the composer’s career, with the critical reception of his music being a frequent point of discussion. A later chapter briefly compared the music of Penderecki and Górecki. A selected works list, bibliography and discography complete the book. B530. Jacobson, Robert. “Chicago.” Opera News 43, no. 13 (February 3, 1979): 32. The world premiere of Paradise Lost revealed its many musical and dramatic problems. The libretto and music are too complex, Penderecki failed to adequately differentiate between characters, and the stage director created “a stylized ritual,” even though the libretto called for something much more exciting. B531. Janicka“Apetyt na historie.” Studio (August 1998): 7. Stabat Mater and Te Deum were performed in Kraków as part of the 6th World Conference of Historical Cities. Janickanoted that Penderecki selected from his wide knowledge of history only those aspects that suited his individual musical style. B532. “From the New Sacred Songs: Song of Cherubim.” In The Music of Krzysztof Penderecki: Poetics and Reception, edited by Tomaszewski, 81-90. Kraków: Akademia Muzyczna, 1995; “Z nowych sakralnych: Cherubinów.” Muzyka Krzysztofa Pendereckiego. Poetyka i Recepcja, edited by Tomaszewski, 79-88. Kraków: Akademia Muzyczna, 1996.



Using numerous musical examples, Janickadiscussed the structures found in the Song of Cherubim. In particular, she emphasized the work’s tonal relationships, chordal preferences, and textual symbolism. “Od do wyznania wiary. Rozmowa z Regina ” Studio no. 10 (October 1998): 7. This interview included brief discussions of The Black Mask, the inaugural volumes of the Studies in Penderecki journal, the world premiere of Credo and its relationship to the Seven Gates of Jerusalem, and the Penderecki Festival held in Kraków in 1998. B534. “Penderecki: Passacaglia i Rondo, II Symfonia ‘Wigilijna’, Tren Ofiarom Hiroszimy, Anaklasis. Orkiestra Filharmonii Krakówskiej, dyr. Wojciech Czepiel. Polmusic PmCD 1-1989-1024.” Studio no. 6(1994): 46. In this review of a CD issued by Polmusic (a Polish firm), Janickafocused on the similarities and differences among the recorded works. The obvious stylistic differences between the “sonorism” of Threnody and Anaklasis and the “postromanticism” of the Christmas Symphony (No. 2) and the Passacaglia and Rondo from Symphony No. 3 were cited. Common elements were the strengths of contrast, expression, and the “dramaturgy of form.” B535. “Pod znakiem Credo. Festiwal Krzysztofa Pendereckiego. Kraków 18 – 10 1998.” Studio (November 1998): 7. Highlights of the 1998 Penderecki Festival included the European premiere of Credo, productions of The Black Mask and the St. Luke Passion, presentations of all three versions of the Viola Concerto (for viola, cello, or clarinet), and the exhibit of some of the composer’s colorful sketches. B536. “Rok Krzysztofa Penderecki.” Studio (March 1998): 7. Some of the highlights of the Penderecki Festival scheduled for September-October 1998 are noted, as are those planned for April as part of the Kraków 2000 Festival. B537. “Wyzwanie z dyrektorem artystycznym Roku Krzysztofa Pendereckiego.” Studio (July, 1998): 7. Among the varied topics touched upon in this brief article was a note that the European premiere of Credo would be the culmination of the Penderecki Festival to be held later in 1998. B538. “Zaproszenie do ” Studio, no. 57 (September 1998): 7. This mentions the highlights of the Penderecki Festival, which is to take place in Kraków, as well as a preliminary schedule of festival concerts. B539. Janzen, Wes. “Performing Krzysztof Penderecki’s ‘Passio et mors Domini nostri Jesu Christs secundum Lucam’: A Conductor’s Preparation.” D.M.A. thesis, University of Cincinnati, 1994. Penderecki authorized the finished version of this thesis. Janzen examined sketches, manuscripts, and conducting scores of the Passion as he developed conclusions about B533.



tempi, pronunciations, performance practices, and other issues of importance to any conductor of this piece. B540. Stefan. “Polish Music After World War II.” Musical Quarterly 51, no. 1 (1965): 244-58. Penderecki's music is briefly described as having extraordinary timbral effects, with emphases on articulation, dynamic, and polyphonic techniques. A excerpt from the score to Dimensions of Time and Silence is included. B541. Jaroszewicz, Jerzy. “Róg Po 'Warszawskiej Jesieni'.” no. 231 (September 27, 1979). The highlight of this year's Warsaw Autumn Festival was the Stuttgart State Theater's presentation of Paradise Lost. Jaroszewicz considered this piece to be Penderecki's best work since the St. Luke Passion. B542. Alicja. “Sonorystyczne wyrazu muzycznego w kwartetach XX wieku.” Muzyka 26, nos. 3-4 (1981): 47-64. As part of her essay on sonorism in twentieth-century string quartets, described the various ways in which Penderecki treated timbre as the primary element of a composition. In particular, she mentioned the variety of percussive effects and shimmering atmospheres heard in the First String Quartet and the quarter-tone melodic movement present in the Second String Quartet. B543. Danuta. “Stabat Mater.” In i tradycja w muzyce Krzysztofa Pendereckiego, edited by Regina and Krzysztof Szwajgier, 52-71. Kraków: Akademia Muzyczna w Krakówie, 1983. After briefly reviewing the history of the sequence, turned to Penderecki’s Stabat Mater, describing its test setting and the musical construction of each section. B544. Olgierd. “Krzysztof Penderecki: ” Gazeta Krakowska, no. 248 (October 23, 1986). Effective with the 1986-1987 season, Penderecki became the artistic director of the Kraków Philharmonic. Much of the article was devoted to reminiscences of earlier performances of Penderecki's music, particularly those that occurred in Rome, the Soviet Union, East Germany, and France. B545. “Uciec przed ” literackie 38, no. 26 (June 26, 1988): 3. This review of the Penderecki Festival listed the compositions and performances given at that event. Among the highlights were performances of the St. Luke Passion, and both parts of Utrenia. For the first time ever, these compositions were presented together at one setting, as the composer had intended. B546. jk. “Henryk i Gimpel.” Ruch muzyczny 11, no. 5 (March 1-15, 1967): 15. success in leading the National Philharmonic in the Polish premiere of De Natura Sonoris No. 1 was acknowledged in this review. The composer's “inventiveness” in the field of timbre, as seen in this piece, was thought to be “almost unlimited.”



B547. jk. “'Jutrznia' po raz drugi.” Ruch muzyczny 16, no. 8 (April 16-30, 1972): 14. One of the highlights of the National Philharmonic's season was the presentation of the complete Utrenia. Andrzej Markowsk, its conductor, was praised for his ability to create dramatic tension and expressive strength. B548. Joachim, Heinz and Hans Oesch. “Fünf Stimmen über Donaueschingen 1962: Krzysztof Penderecki. Fluorescences pour orchestre.” Melos 29, no. 12 (December 1962): 397.” These two authors commented briefly on the world premiere performance of Fluorescences. Joachim discussed Penderecki’s use of the “extreme possibilities” of traditional instruments and his incorporation of such mechanical sound sources as electric bells and typewriter. Oesch considered the piece a mistake. With its “repulsive noises,” it made an “unfavorable impression” on him. B549. Joachim, Heinz. “Sind Geigen überholt?” Melos 35 (April 1968): 166-67; Die Welt, March 23, 1968. Bavarian State Opera musicians balked at playing Polymorphia because of the piece’s unorthodox playing techniques. As a compromise, the orchestra made a tape of the work to be used for the scheduled choreographed performances. Joachim urged musicians and others to be open-minded about the question of sound vs. noise in music, and suggested that composers must be allowed to use their creative imaginations if Western music is to survive. B550. Jones, Lesley Shrigley. “The Cello in the 20th Century.” The Strad 91, no. 1081 (1980): 40-42. The Capriccio per Siegfried Palm “is a veritable bag of tricks,” a few of which Jones described in his brief summary of the piece. B551. Jungheinrich, Hans-Klaus. “Es nölt. Ein ‘Polnisches Requiem’ von Penderecki uraufgeführt.” Frankfurter Rundschau, October 8, 1984, p. 17. The premiere of the Polish Requiem was filled with political connotations. The fervent nature of Polish Catholicism and the Solidarity union, each of whom opposed Poland’s Communist authorities, was seen by Jungheinrich as a motivating factor behind the Requiem’s existence. However, although Penderecki strove diligently to create a unified whole, he was unable to give it a personal stamp, as Britten had done so skillfully in his War Requiem. B552. K., “Deutsche Oper, Berlin: von Beethoven bis Pendereckis.” Oper und Konzert 26 (March 1988): 11-12. Poznan's Teatr Wielki gave a performance of The Black Mask in Berlin. The play is not one of Hauptmann's best, but Penderecki's music gave it “dramatic thrust and fascination.”

B555. Unfortunately. K. Weltuntergang. this reviewer remarked that “at first glance. “Wielki Polski Koncert. In her detailed analysis of the opening chorus of the St. Tadeusz. After describing the plot of The Black Mask. Penderecki is to conduct the British premiere of his Polish Requiem as part of the celebration of Artur Rubinstein's 100th birthday. Versuch einer Interpretation des Eröffnungschores der Lukaspassion. Acoustical conditions in Warsaw's St. one does not recognize . no. nol 9 (1974): 13-18. no.. 12 (June 13-26... excerpts in Clavis.. K. B556. KA. not only for the head..for the heart. 1971): opera.” Ruch muzyczny 15. no. Indian ragas. Luke Passion. only ten percent of the text could be understood. virtuos. and the tone rows of Stravinsky and Hindemith. no. no. B559. Leif Segerstam and the ORF orchestra accompanied soloist Christiane Edinger in a performance of Penderecki’s Violin Concerto. Kaack focused on the transformation and development of the piece’s two 12-tone rows.BIBLIOGRAPHY 163 B553. “Do 'Kosmogonii' Pendereckiego dobieranie klucza. äußerlich. “Pendereckis Zwölftonreihe. 1 (January-February 1975): 9-15.” Oper und Konzert 24.” Nowy Dziennik 16. Penderecki employed tonality instead of experimental sounds.” Oper und Konzert 12..” Przekrój. Stage director Harry Kupfer successfully portrayed the intricacies of the plot and managed to avoid any extravangances.” The reviewer concluded that “Penderecki is one of the few composers who have something to say. 1987): 4. 1384 (1971): 6-7. The most surprising aspect of the work is the freedom with which Penderecki linked the rituals of the Orthodox Church to modern compositional means. then why did the composer also request that the text be inserted into the written program? Was it a compromise intended to appease his commissioning agency. and also related them to the B-A-C-H motive. “Neue Werke--junge Musikzeitschrift 34.” B558. If the text was intended to be unintelligible in performance. John Cathedral were perfect for a performance of Utrenia. 9 (1986): 20-21. 4048 (January 24-25. Künstler. R. Kaack.monotonously destructive crescendo.” At the world premiere performance discussed here.. 16 (1971): 2.” Musica 29. She discussed the use of these rows within the context of a sonata form movement. Brunhilde. this “reasonable regression” was not combined with a satisfactory use of form. no.. 11 (November 1979): 570-71. “Salzburger Festspiele 1974. T. B557. the United Nations? ..” no. “Po XV Festiwalu 'Warszawska '. pondered the relationship between text and music in Cosmogony. K. The Magnificat contains “moving passages. as Penderecki himself admitted. “Salzburger Festspiele. L.” Österreichische B554. but a hectic. “Muzyka w prasie..

17 (September 1-15. Catherine's Church in Kraków. treatment of tone clusters. described the unusual positioning of the choir. B562. The Warsaw Autumn Festival’s presentation of The Awakening of Jacob and Magnificat attracted a large audience. Other works presented were The Awakening of Jacob. and rationalized the work’s static dramatic action. despite the incoherence of its texts. 42 (October 18. and thick textures as being the result of a “freedom of the religious topic. He admired Penderecki's orchestration. B563. Messaien remarked that he owned scores for almost all of Penderecki's compositions and had used some of them in his Paris Conservatory classes. “'Jutrznia' Pendereckiego w Krakówie. no. 1981): 15-16. In opinion. and tendency to use his music as a protest against the injustices of this world. 1 (January 11.” B561.” Ruch muzyczny 14. 23 (1968): 6-8. 1975): 10. no. The Capriccio for Violin was the only work performed at the ISCM Festival in Warsaw in September that displayed an “element of humor. “Jeszcze Polska nie ” Literatura. nie Sztandar Mlodych. no. 1970): 6-8. 1979). “Od zewnatrz i od Warszawska 1979. . the actual “character” of the work was lost. Francis in Assisi in September 1980. no. the work deserved a warmer welcome. B565. Pt. no. Despite. 18-19 (1978): 3-4. A concert of Penderecki's music that included the world premiere of Te Deum was presented in the basilica of St.164 B560. “Pocztówki z ” Ruch muzyczny 25. B564. or perhaps because of the richness of its many theatrical and film effects. B566. no. The scene of the Polish premiere of Utrenia.” as well as a natural consequence of Penderecki's musical development. the Adagietto from Paradise Lost. including Cardinal The Magnificat was “free of any sort of foreign influences. indistinct forms. KRZYSZTOF PENDERECKI “Festiwal Towarzystwa Muzyki 1968.” Ruch muzyczny 22.” while The Awakening of Jacob was the only symphonic poem that combined originality with a clear means of communication. According to the Stuttgart Theater's production of Paradise Lost contained several shortcomings. no. The production did not reveal the tragedy of Adam and Eve convincingly and the worlds of Satan and God were not clearly differentiated. Canticum Canticorum Salomonis was given a chilly reception at the Warsaw Autumn Festival. 42 (October 16. “Olivier Messaien o swojej 'Tranfiguracji' i o muzyce polskiej.” Ruch muzyczny 12. In this interview. and Stabat Mater. I was St.” Literatura. 1974). 227 (September 23.

The piece had “clear articulations in its polyphonic sections” and was “striking in its expression and dramaturgy.” Ruch muzyczny 35.” Ruch muzyczny 15. B571. 1981): 13. however. no. 11. Alberta. Of the five major compositions written by Penderecki between 1960 and 1962. Wallek-Walewski then stated that Penderecki's selection of texts was immoral. Ruch muzyczny. and Wallek-Walewski debated the value of Cosmogony. Wallek-Walewski felt that this piece was better than Utrenia. The selection of texts about “man's intellectual and material control of the world” was appropriate. “Kwartet w Kanadzie. Cosmogony was one such piece. to choose a theme connected to the United Nations' mission. felt that this piece could be interpreted as either a purely abstract work or a “quasi-programmatic” one. and Marian Wallek-Walewski. no. He discussed the composer’s innovations in several works: Anaklasis is written in a “new style” of “strong and contrasting . The Silesian Quartet performed Penderecki's String Trio in Edmonton. Kado. Its musicalmaterial was treated in a more “artistically mature manner” than had been the case in his earlier works. 14 (1991): 5. Tadeusz. while Cosmogony was intended by its composer to be more dynamic. The Second Symphony and Te Deum were presented at the 1981 Warsaw Autumn Festival. B569. no. “Polimorfia Krzysztofa Pendereckiego. 10. no. “Krzysztof Penderecki and His Contribution to Modern Musical Notation. gave a brief analysis of Polymorphia's form. Kaluzny. 1 (1972): 9- responded to Mycielski's questions about the role of texts in Cosmogony (see and Wallek-Walewski. since Utrenia was a contemplative work. Jan A. “Kosmogonia Krzysztofa Pendereckiego. Jacek. 1971). 1-2 (January 1968): 6-13. saying that Penderecki was obligated morally. which for him was extremely boring. B570. Dies Irae is representative of Penderecki’s modernist musical style. 3 (1963): 86-95. 1971 and Mycielski. Polymorphia is the finest. no.BIBLIOGRAPHY 165 B567. B572. “Spór czy qui pro quo?” Ruch muzyczny 16. “Stale inna i zawsze ta sama.” Polish Review 8. 18. XXV Warszawska ” Literatura (October 22. 22 (1963): 17-18. Ruch muzyczny.” Ruch muzyczny 7. felt. no. refuted that idea. B568.” B573. nos. Kaluzny took as his premise the idea that modern composition had outgrown the limitations of the conventional notational system and that Penderecki was one composer who had succeeded in reforming the system. “Polnische Avantgarde am Scheideweg. that such a comparison was invalid. no. 11 (1971): 3-5.” Melos 35. if not contractually. He noted that the texts of many compositions from the second half of the 20th century were treated phonetically rather than semantically.

” Ruch muzyczny 23.” Ruch muzyczny 34. the choir is as important as the instruments. B578. “Europejska premiera 'Raju Utraconego'. 24 (1988): 7-8.” Trybuna ludu (September 21.” Ruch muzyczny 32.” B580. as a piece that attempted to achieve electronic sound effects by using live instruments. 17 (1990): 1-2. “Poland. “ z Loudun'. 1960). In this most recent version. and in Dimensions of Time and Silence. B574.” Ruch muzyczny 38. no. “Bydgoski Festiwal Operowy. Threnody displays a new concern for timbral possibilities. B576. presented by Warsaw's Teatr Wielki. Józef. no. Moral Problems. 5 (1979): 2. no. no. 19 (October 1990): 1243. Lurid Phantasmagoria. described Dimensions of Time and Silence. The European premiere of Paradise Lost at La Scala was the first performance of an opera by a Polish composer in the theater's history. mentioned the Opera’s presentation of Ubu Rex at the Bydgoszcz Opera Festival. The Warsaw Great Theatre's production of The Black Mask was quite different from the one staged by the Opera a year earlier. gave his impressions about the back-to-back productions of The Black Mask given during the Warsaw Autumn Festival by the and Warsaw opera houses.166 KRZYSZTOF PENDERECKI contours” and has an increased role for the percussion section. and said that the Italian production had been greeted enthusiastically by both audiences and critics. no. although the first one.” Opera 40. and succeeded in mounting a performance “full of Baroque exuberance and richness of ideas. 2 (February 1989): 223-24. . has remained in the repertory. Penderecki approved of the Teatr Wielki’s production of The Devils of Loudun. 11 (May 29. “Poland. performed at the 1960 Warsaw Autumn Festival. B577. no. B579. producer Albert-André Lheureux went back to the original story by Hauptmann for inspiration. He declined to offer a preference for one or the other. This season's production at the Teatr Wielki is only the second to be given in Poland. 1994): 2.” Opera 41. “Pierwsze imprezy 'Warszawskiej Jesieni'. “Dwie 'Maski'. . B575. Almost thirty productions of The Devils of Loudun have been given in its twenty-one years of existence. saying that they were so different from one another that they seemed to be two different operas. listed the personnel changes made since the opera’s world premiere in Chicago.

and The Black Mask was presented only as a concert work. all but one of the composer’s stage works were presented at Warsaw’s Teatr Wielki. The Devils of Loudun was not performed due to financial difficulties. poor advertising limited the size of the audience. Przewodnik operowy. 1994): 3. 4. Kraków: Polskie Wydawnictwo Muzyczne. 12 (1988): Wielki Teatr presented the Moscow premiere of The Black Mask during the Fourth Festival of Polish Music. noted that the production had been more like an oratorio than an opera. Unfortunately. 4 (1992): 1.” B585. no. A choreographed version of the Polish Requiem is scheduled for spring 1992 at the Teatr Wielki in Warsaw. Penderecki in Perspective. while the Opera’s presentation of The Devils of Loudun did not take place and The Black Mask received only a concert performance. 1 (January 9. To celebrate Penderecki’s 60th birthday. . no. “Polska Opera w Moskwie. “Szukanie prawdziwych Refleksje po 'Warszawskiej Trybuna ludu (October 5. B587.BIBLIOGRAPHY 167 B581. To celebrate Penderecki’s 60th birthday.” Opera 27. 1973.” Ruch muzyczny 38. B583. B586.” Opera 45. Ubu Rex was offered by the Kraków Opera. no. Pendereckim.” Opera 39 (February 1988): 228-89. no. In this short review of the Polish premiere of The Devils of Loudun. “Poland. Circumstances dictated that only Paradise Lost was performed by the Warsaw troupe.” Ruch muzyczny 32. Some audience members “reacted enthusiastically. The Polish premiere of Paradise Lost is to be given at the beginning of 1993 at the same theater. dyrektor Teatru Wielkiego w Warszawie. B582. described Penderecki's changes of compositional style during his career as being related to the greater simplicity that was also appearing elsewhere in contemporary music. Penderecki Reaches Home. The Great Theatre's production of The Black Mask received a fifteen-minute ovation. B588. 3 (March 1994): 353-54. expanded edition of Kanski’s opera handbook. This new. “Teatr to nie tylko mury i pieniacze—mówi Pietras. originally published in 1964. includes a discussion of Penderecki’s The Devils of Loudun. 7. B584. no. Penderecki deemed the performance equal to that given in Salzburg. “Poland. the Teatr Wielki in Warsaw had planned to present all four of the composer’s operas. 2 (February 1976): 166. “Poland: Roving Report. 1984): 5.” while others “seemed rather disoriented by the action and character of the work. Fragments of the Polish Requiem were presented at the Warsaw Autumn Festival.” Ruch muzyczny 36.

Warsaw’s Teatr Wielki. B593. 41 (1962): 8.” Its group scenes. “Penderecki Project w Brabancji. Also featured were several films for which Penderecki had composed electronic music. 2 [premiere]. Karaskiewicz pondered the relevance of Penderecki's recent compositions. Kastendieck discussed the work’s sonoristic innovations and their effect on the work’s overall success. “Montreal Symphony: Penderecki Violin Concert No. and Brigade of Death. Among the pieces performed were Adagietto from Paradise Lost. were particularly impressive. Sinfonietta. (A similar event had been held in Rotterdam in 1980. This performance of the St.” Christian Science Monitor. Lacrimosa.” B592. 7 (April 3. “Urodziny Pendereckiego i jego Raj. no. 1993): 1. 6.168 B589. 7 (1983): 22.. B591. 1994): considered Ubu Rex to be “one of the finest comic operas since Verdi’s Falstaff. was held in the Brabant province of the Netherlands. Psalmus 1961. 3 (May-June 1996): 59. 5.” Christian Science Monitor. B594. no.” Ruch muzyczny 37.. Luke Passion. In this review of Utrenia (Part I). 2 “elicited admiration for its expert integration of styles but not much affection for its content. 2. the Violin Concerto. and the first performance of Paradise Lost by a Polish theater.. B590. Flute Concerto. and Canon as pieces that propel our thoughts into the future. 26 (December 26. March 14. He cited Dimensions of Time and Silence. B595.” It was too long and “too reliant. The Penderecki “Project.on the repetition of simple melodic cells. Arthur. no. 1970. no. no. . Symphony No. Luke Passion by the Minnesota Orchestra and conductor Skrowaczewski proved to have a mesmerizing effect on its Carnegie Hall audience.” Nowa kultura 13. Sonata for Violin and Piano. “Raj Utracony. Norbert. 4. 1. p. “ Ubu Rex w KRZYSZTOF PENDERECKI Ruch muzyczny 38.). Kastendieck.” Ruch muzyczny 27. Karaskiewicz.. Threnody. and Clarinet Quartet. The North American premiere of Violin Concerto No.” a series of concerts dedicated to the composer’s music. as was its overall vocal writing. reviewed two events – a concert consisting of Penderecki’s Cello Concerto No. and thus serve as a means of escape from both the past and the present. 5. “Philadelphians Play Penderecki. Benedicamus Domino. The piece was not as fascinating as the St. October 7. American Record Guide 59. 1969. “Penderecki's 'Passion' in New York Premiere. reminiscent of those in Rossini’s operas. p. Song of Cherubim. due to Penderecki’s seeming preoccupation with sound at the expense of true expressiveness. 2. Kaptainis. Miles.

B601.” Opera 30 (Autumn 1979): 81-85. Nicolas. He began to experiment with different musical styles when others began to write in a manner similar to his. Kayser did not think Ubu Rex. dramatic changes of texture and dynamics. 82.. since it had “double stops a la Paganini” and difficult cadenzas. Hans. . 1998): 3. Capriccio for Violin. 17 (August 23. “Siedem bram Jerozolimy w Nowym Jorku. Robert Ward's The Crucible. Anaklasis. Penderecki revealed his reasons both for changing his musical styles and for continuing to reside in Poland rather than the West. B598. heard in its world premiere. The Passacaglia suffered in comparison to Threnody.” its drama contained little or no character development. Beate. and Penderecki's The Devils of Loudun.. Kayser. B599. Kenyon. “Munich: The New Penderecki. and its sets overwhelmed the action on stage. The first two pieces exhibited Penderecki's basic treatment of musical material: “layers of sound. “Denver. and The Awakening of Jacob were performed by the Denver Symphony Orchestra with the composer conducting. B597. In Kellner’s opinion. B600. August Everding's production of Paradise Lost. Kellner. “Devils and Angels: A Study of the Demonic in Three Twentieth-Century Operas. no. “'In Gdansk the People Stood and Listened. created for the Stuttgart Opera and given a guest performance in Munich. p.” Ruch muzyczny 33. Penderecki wanted the opera's audiences to observe the historical events depicted on stage objectively and unemotionally. In The Devils of Loudun. Kellner took as his primary objects for discussion Prokofiev's The Flaming Angel. 1983.” Music and Man 2 (1978): 255-72. In this interview.” The Times (London). Its music lacked “a distinctive personal sound.” Music Journal 35 (July 1977): 80. He also asserted that Penderecki had the Soviet “show trials” in mind when he selected the subject matter of this opera. no.BIBLIOGRAPHY 169 B596.” Opera 42 (1991 annual festival issue): 85-87. “WOSPRiT w formie.It Is Important'. 9. was a particularly convincing work. 7 (1989): 15-16. “Munich: A Mixed Bag. and exotic timbres. Keats. Passacaglia and Rondo and Threnody were performed by the Great Polish Radio and Television Orchestra. B602.” Keats wondered if Penderecki had intended the Capriccio to be a parody of nineteenth-century violin concertos. compositional devices such as indeterminate pitches and rhythms and unusual vocal and instrumental techniques are used for expressive rather than structural purposes. omitted lengthy segments that had been in the original Lyric Opera version. July 30. Contributing to the work's failure was the fact that the performers did not receive their final parts until a week before the premiere. kbu [Karol Bula].” Ruch muzyczny 42. The American premiere of Seven Gates of Jerusalem was given a standing ovation by the standing-room-only audience.

” Village Voice. or read anything new. it was because the Passion story is familiar to Polish Catholics. Giovanna. Leighton. it was because Penderecki incorporated such known stylistic idioms as Gregorian chant and Bachian arias. Klaus. Fred. Klaus).” Die Presse. 3 (March 1979): 31. Andrzej. . Penderecki presented the world premiere of Actions at the 1971 Donauschingen Music Days. Some of his other pieces have been viewed as symbols for the nation in its opposition to Communism. B609. In Khittl’s opinion. For instance. the St. Although stylistically familiar to those who have heard other compositions by Penderecki. Minnesota give 'Passion' Top Reading. contemporary audiences have no desire to see. “Skrowaczewski. “Fünfzig Jahre danach. no. “Music: Give 'Em Skelter. Luke Passion was the first religious composition performed in a church in post-war Poland. B608. Luke Passion received so warmly at its Warsaw premiere? In part. no. it presented difficulties for the International Free Jazz Orchestra. Kerner. his music and his actions have made a difference in the social and cultural life of that country. hear. “Próby czytane: 'Pasji' Pendereckiego. June 3. Kenyon reviewed Penderecki's career and wondered whether the composer's shift to a more romantic style resulted from his desire to write longer pieces.” Dialog 12.” Opern Welt 20. Given this attitude. “Unter der Leitung des Komponisten. September 1. In Kijowski's opinion.” New Yorker (May 19. the work belongs more to the 19th-century symphonic tradition than it does to 20th-century music. B605. Kirby.” Billboard 81 (March 22. no. which was given its New York premiere on March 6. Kirby praised the Minnesota Orchestra's performance of the St. khi (Khittl.170 KRZYSZTOF PENDERECKI Penderecki has remained a resident of Poland because. Pendereckis ‘Paradise Lost’ an der Mailänder Scala. Kessler. 1981: 72-73. 1969): 38. “Musical Events: Sound and Fury. Kessler echoed some Chicago critics in stating that that the opera should be shortened. He then dismissed the Second Symphony as “a characterless echo of the past. He also felt that its scenery and staging could be less ostentatious. Penderecki's Dies Irae and Lacrimosa were mentioned briefly in this review of recent concerts by the New York Philharmonic. 1 (1967): 112-15. B606. 1980: 4. 8 (1971): 353-54.” B604. Salzburg: Pendereckis 2. B607. Penderecki conducted the European premiere of Paradise Lost at La Scala. In part. B603.” Musikhandel 22. Kirchberg. The New York Philharmonic brought Penderecki’s Second Symphony to Vienna. Symphonie unter Zubin Mehta. why was Penderecki's St. Luke Passion. Kijowski. 1980): 124-29. “Zuruck zum Fin de siecle. in his opinion. Donaueschinger Musiktage wollen junge talente förden.

” B613. B611.BIBLIOGRAPHY 171 B610. no. “Penderecki-Oper in Graz. with the St. Kisielewski suggested that Penderecki had made a conscious decision to create this synthesis so that his works would be accepted by a wider circle of people. his ideas about religious expression in music. in Klein’s opinion. .” Regina discussed musical ethics in The Devils of Loudun.” Österreiche Musikzeitschrift. “O Krzysztofie Pendereckim. 2) (Da Camera Magna SM 92418). “Neue Musik in vielen Gestalten. Luke Passion. 23. Penderecki achieved a synthesis of new and traditional styles. 1974. even though. 1993: 3. Rudolf. 11 (November 1968): 630-31. 232 (September 30. “Inspiracje w muzyce. B612. Stefan. and his treatment of texts. A performance of Threnody was one of the highlights of the Warsaw Autumn Festival. 1). the public should be enthralled with contemporary opera. Kisielewski. 1961): 3. Threnody. no.” Ruch muzyczny 37. “Penderecki z Ruch muzyczny 19. no. Anna. “Musik beim Premio Italia. 167-75. A German television production of a choreographed Dies Irae received first prize in the television category of the Premio Italia prizes. The second performance in Graz of The Devils of Loudun was greeted by a half-empty hall. “Muzyka atomowa i Warszawy. no. At a Polish symposium on “Inspiration in 20th Century Music. no. Kirchberg commented that Penderecki’s First String Quartet proved that the innovators of 1960 could also play the game of virtuosity with good effect. and Szymanowski (No.” In Muzyka i Mózg.” Musica 35. no. In these comments about Ludwik Erhardt's Spotkania z Krzysztofem Pendereckim. Kraków: Polskie Wydawnictwo Muzyczne. B615. Kisielewski concentrated on the four areas in which Erhardt presented new information: Penderecki's musical education. In this review of a recording of string quartets by Penderecki (No. 24 (November 18. Anaklasis. B614. Kisielewski described the piece as “atomic music” that could be compared to earlier music in the same way that a nuclear weapon could be compared to “a traditional army saluting as it marches four abreast in a drill. his relationship to the avant garde.” Österreiche Musikzeitschrift 26. and Fluorescences placed Penderecki within the avant-garde circle early in his career. Kirkillo-Stacewicz. 11 (November 1971): 655-56. Klein. 3 (May-June 1981): 286. B616. 20 (1975): 8-11. Polymorphia. However. Bizarre costumes and surrealistic conception contrasted sharply to the work’s dedicatory image of the Auschwitz concentration camp.

Klekot. although not enthusiastic review.production” formed the basis of Klein’s highly negative evaluation. Klein felt that the opera took an anti-Catholic stand. Section 2. “Gewaltiger Jammer. “Über den gegenwärtigen Stand der Dummheit in der Neuen Musik. “Mehta's Mystique: Baton in Hand. 1970. 4 (April 1973): 198. This essay focused on the dissonance that exists in the very concept of presenting a exhibit of musical scores. Its “unusual quality” and “crassness of. Utrenia can be easily understood on an emotional level by listeners. thus treating the scores as artistic works in and of themselves? Or should this exhibit be a presentation of musical works. Koch described Penderecki’s work as one in which romantic musical traditions were incorporated into the Lacrimosa and the Agnus Dei. in this case Penderecki’s scores. To support his opinion. “Dysonans koncepcji. October 4.” B622. no. 1972): 60-61. Mehta described Penderecki as “kind of a neo-Debussy. Werner. Wystawa partytur Pendereckiego oczyma historyka sztuki. Kluppelholz extracted several quotes from a “nauseating” interview with Penderecki that was published in Der Spiegel (see Klaus Umbach. The Graz production of The Devils of Loudun received a positive.” MusikTexte 21 (October 1987): 3-7. no. Kluppelholz. Danish and Spanish radio networks. no. p. “Stuttgarter Oper gastierte mit Penderecki. 15.” Opern Welt (Yearbook. Ewa.172 KRZYSZTOF PENDERECKI B617. Foot in Mouth?” New York Times. B623. “Pendereckis 'Utrenia' im Konzerthaus.” Frankfurter Allgemeine Zeitung. The world premiere of the Polish Requiem was broadcast by French. 1984. B618. while more atonal language was used in the remaining sections. in which the initiated would be able to understand the secrets of the notes? B621. “Mit Gloria und Glykol”). 24 (November 29.. October 18. Judy. Klemesrud. Pendereckis ‘Polnisches Requiem’ in Stuttgart.” Öesterreiche Musikzeitschrift 28. although at the same time he acknowledged that its ending displayed “psychologically well-founded behavior. 1998): 18-19. Gerhard R.” B619. Should such an event be considered an art exhibit. 7 (1971): 395-96. Koch.. Günther Rennert’s production of The Devils of Loudun was presented at the Stuttgart Opera.” Öesterreichische Musikzeitschrift 26.” Ruch muzyczny 42. Penderecki was belittled as a example of what has gone wrong in contemporary music. B620. despite its passages of clusters and its lack of clear tonality. . “Penderecki ‘Teufel von Loudun’ in Graz.

Koegler. “Linien im Geräusch. “Düsseldorf. The Wiesbaden production of The Devils of Loudun did nothing to dispel the opera’s previously acknowledged weaknesses. p. Luke Passion. no. B625. mass gymnastics and expressionist contortions. “Pendereckis 'Lukas-Passion' szenisch. B626. In particular.” Opera News 51. no. Nevertheless. 6 (1971): 2. This production was trimmed from three to two and a quarter hours. At the same time.” Neue Musikzeitung 21. “Salzburg. Berlioz and Verdi. 8. Penderecki relied too heavily on the melodramatic qualities of the libretto. “Pendereckis 'Partita'. he decried the chorus’s “completely indigestible mixture of eurhythmics. Although the text was difficult to understand.” Opera News 33. He also contended that it followed in the line of the great 19th-century requiems—including those by Mozart. it also used film projections.” Stuttgarter Zeitung. 5 (September-October 1972): 461-62. “Wiesbaden: Auf der Folter zu singen. 1986): 34. Neue B627. Koegler asserted that this work demonstrated the vitality of Polish music. 1969): 25. “Sinfonie Orchester in einer gewandelten Welt. 7-8 (August-September 1972): 21. This contains a brief mention of Actions. Koegler was dissatisfied with both the theatrical and musical aspects of the Deutsche Oper am Rhein's stage presentation of the St. 4 (July/August 1969): 366. 7 (December 20. no. no. the eclecticism and eerie sounds of the music were dramatically appropriate.” Musica 26. B629. B630. Following a review of the compositional history of the Polish Requiem and the differences between it and a strictly liturgical requiem. allusions to the composer’s own Actions and his Capriccios for various instruments are audible. and the score leaves an impression of being only a decoration. Pendereckis ‘Partita’ in Hersfeld. Cherubini.” B628. “Traditionals als Widerstand. harp. 27 (June 14. 8 (August 1970): 43-44. no.” Opera News 44. 2 (August 1979): 33. and contrabass) was similar to that heard in Ligeti’s Chamber Concerto and Globokar’s Concerto grosso.” Musica 23. Horst. elecric bass guitar. “Stuttgart. 1984. Its collective approach to the soloists (cembalo. Pendereckis ‘Polnisches Requiem’ uraufgeführt. no. nos. October 1. The world premiere of The Black Mask was a success. Gerd Albrecht directed the Frankfurt Radio Orchestra in the European premiere of Partita. The Stuttgart Opera's version of Paradise Lost was further proof that many problems exist in its score. guitar. expanded version.” Opern Welt. .BIBLIOGRAPHY 173 B624. Opera 20 (June 1969): 525-56. no. Koegler was not convinced that it was of high quality. however.” Musikzeitung 20.

In a conversation with Kolodin. 21 (October 17. In another departure from previous productions. December 18. p.” B637. 33.” Stuttgarter Zeitung.” it “achieves a dark. no. is “a skillfully crafted work. and a leanness not linked to 'religious' music. p.” Musical Quarterly 49. 1971. Kolodin. “A fascinating and intense work of an expert craftsman. and seconds also are used frequently. Kohn. “Music to my Ears. Intervals of a seventh. ninth. . “Die Teufel von Loudun. February 24. no. timeless mysteriousness. “Was taugt der Theaterkomponist für die Oper? Ein notwendiges Nachwort zur konzertierten Stuttgarter Penderecki-Aktion. 25. B633. “Wuppertal. Te Deum was one of the highlights of the 1993 Wratislavia Cantans festival. B634. An excerpt from the score is included with this article. projections of texts by Aldous Huxley were shown during scene changes. extending the kind of tonal imagery Penderecki deployed in his Threnody. 1993): 1.” Saturday Review. 1969: 68-69. an austerity. March 22. 1970): 29.” Opera News 34. Among other changes. “Los Angeles. Opera 21 (May 1970): 418. B632. Irving. 79.174 KRZYSZTOF PENDERECKI B631. 1968: 63-65. 26 (May 16. no. given its world premiere by the Juilliard Orchestra. no. 1979. Karl.” B636. De Natura Sonoris No. The Wuppertal production of The Devils of Loudun marked the premiere of the revised version of the score.” Musica 24. Luke Passion. Kofin. “Music to My Ears. Strophes contains “extended 'triadic'” chords and a heterophonic texture. B635.” Ruch muzyczny 37. Penderecki affirmed that he used overtones as an integral part of Dies Irae.” Saturday Review. Penderecki strengthened its choral writing by adding to the finale. 3. “The Passions of Penderecki. He also discussed electronic music. Ewa. 3 (1963): 36069. The Minnesota Orchestra under Skrowaczewski gave the New York premiere of the St. Stuttgart Opera director Wolfram Schwinger should be pleased: He has finished his new book on Penderecki and the Stuttgart public enthusiastically applauded his production of The Devils of Loudun. fourth. May 10. 2. serialism and Renaissance polyphony. “’Wratislavia’ ma sie dobrze.” Saturday Review. 3 (May/June 1970): 266-67.

11 (1979): 131-41. In this review of a Santa Fe Opera production of The Devils of Loudun. “Santa Fe's Operatic Oasis. “Penderecki w teatrze. B641. 7 (1979): 3-4. Penderecki's music to The Ungodly Comedy. August 28. no. “'Raj utracony' Pendereckiego w La Scali. In the third section. and Brothers Karamazov. is one of the finest examples of theatrical music of Poland's postwar period. In this article. Komorowska provided valuable information that is unavailable elsewhere.” Pnekrój. Its “tangle of live and .52. the Ungodly Comedy. p.. the Famous Story about Troilus and Cressida. “W masce Melpomeny. 1969: 39-42. Komorowska cited examples from For Whom the Bell Tolls.. Kolodin thought the opera was faulty. a play by Konrad Swinarski. 1980). August 30. Paradise Lost. Luke Passion. 185 (October 26. B642. 43. with even speech and “mere noise” outranking it in importance. 25 (1991): 2. She also suggested similarities between these works and certain scenes and characters in The Devils of Loudun and the St. The European premiere of Paradise Lost at La Scala is reviewed here.of sound effects” and the mannered style of the text setting resulted in his unfavorable rating of the composition. no. Mother.BIBLIOGRAPHY 175 B638. Komorowska. no. The first of its four parts is a discussion of both the dramatic elements of Penderecki's non-vocal compositions and the theatrical aspects of his sacred vocal works. B643. the subject of the fourth part. “Polskie na studenckim konkursie.” Dialog 26. A reproduction of the handbill for the production is included. The second section is a discussion of Penderecki's compositions for both puppet and live theater. 1 (1967): 1314. “XXIV 'Warszawska czyli niemoc awangardy. B640.” Ruch muzyczny 11.” Teatr. 1971. Kolodin appraised a recent recording of The Devils of Loudun (Philips 6700 042) by concluding that the piece “was made for an electronic medium. no. No further details were provided in this article. giving a summary of its plot and describing the differences in staging and critical reception among several of its productions.” Ruch muzyczny 35. Penderecki withdrew his Second Symphony and Te Deum from the Warsaw Autumn Festival's program for reasons connected to the country's recent political events. Komorowska focused on The Devils of Loudun. has “action” music fused with “atmosphere” music.” The orchestra's role as a “source. Its drama was weak and its music was subordinate to the dramatic action. “A Second Chance for Penderecki's 'Devils'. B639. Penderecki's “Niebo w nocy” (one of his Two Songs to texts by Staff) was sung at the Polish Art Song Student Performers' Competition in November 1991.” Saturday Review. B644.” Saturday Review. no.

24 (November 25. Korn. Luke Passion. “Quartet's Performance Energetic. Sinfonietta for Strings. 1979). St..” Ruch muzyczny 13. He was pleasantly surprised by the dramatic effectiveness of the first part of the piece. May 8. Warum ist der polnische Komponist Krzysztof Penderecki eigentlich so berühmt?” Die Welt. p. Kondracki. It is possible. Grzegorz Olkiewicz opowiada o I Europejskim Festiwalu Fletowym we Frankfurcie n. a student work. no. which took place in Frankfurt.] B651. and Threnody and cited several reviewers' comments about these pieces. he cut sections that were musically substantive. Director August Everding provided a clear presentation of the dramatic action. while Der Unterbrochene Gedanke was a snapshot of a musical soul beset with modernist heebie-jeebies. “Raj dla flecistów. Teatr. February 22. no.” B645. “Auferstehung mit Gebrüll. Olkiewicz performed a flute piece by Penderecki entitled Misterioso at the European Flute Festival. Luke Passion. “The Entombment of Christ.176 KRZYSZTOF PENDERECKI mechanical music. “'Jesienne' Ruch muzyczny 15. although unlikely.” but perceived the second half. 1993): 10.[is an] excellent counterpoint to the whirling contents of Krasinski's poetry. 1993. “Penderecki we Ruch muzyczny 51 (November 16. . B646. “The Resurrection of Christ. B648. no. 15 (1969): 18. Section B. Kondracki gave Utrenia only a mixed review after hearing it at the Warsaw Autumn Festival. Jim. The subtitle of this article describes much of its content: “Why is Polish composer Krzysztof Penderecki so famous?” Korn’s response to his own question is that Penderecki was overrated. B650. Menem. “List z USA.” Atlanta Journal/Atlanta Constitution.. 3. B647. 22 (1971): 9-11. The opening concert of Wroclaw’s fall season was dedicated to Penderecki’s Flute Concerto. The Second String Quartet was compared to a beehive. 1997): 30. The Penderecki Quartet performed two works by its namesake composer in Atlanta. Komorowska devoted much of her discussion of Paradise Lost to details of its staging and acting in the Stuttgart Opera production presented during the 1979 Warsaw Autumn Festival. In his article on recent performances of Polish music in the United States.” as a return to the musical style of the St. p. and the Viola Concerto in its version for clarinet solo. no. but to do this. Compelling. Kazimierz.” Ruch muzyczny 37. 10 (May 16. .” B649. Germany March 11-14. Stabat Mater. Kopp. Peter Jona. Kondracki mentioned Penderecki's Capriccio for Violin. 1975. [Note: No other information about this piece is available. 1989. that it is part of Penderecki's Miniatures for Flute. GW4. despite the obvious skill that he has displayed as a composer.

” New York Times. 1981. Papst und Polen.. Penderecki conducted his own music for the 100th concert of the “Music der Gegenwart” series. Allan. Roman. Included were Threnody. “Actions for Free Jazz Orchestra. Susan Chaffins.” Wprost. 177 Kostrzewska.” New York Times. After defining and reviewing the history of sonorism. “Penderecki. Kozinn asserted that when Penderecki abandoned his experimental avant-garde musical style. 12.BIBLIOGRAPHY B652. and the final outcome as it was recorded. Stabat Mater. Kovalenko suggested that a new genre—the secular requiem—had emerged in the twentieth century.” . October 31. January 19. “Zagadnienie sonoryzmu na kompozytorów polskich. The First New York International Festival of the Arts included presentations of Strophes. 1992. He described himself as a citizen of Europe. Kovalenko. This genre encompasses works that make a “meaningful statement about death” and that often deal with social and moral issues as well as with death. but with Eastern roots. Partita. 105-13. 1983. “Has Baton Will Travel. This insightful article about Penderecki’s jazz work. B656. tone clusters. Penderecki's Dies Irae is one of the works that Kovalenko discussed at length. In this interview. The Awakening of Jacob. Penderecki commented on how well the New York Philharmonic and a group of soloists had prepared his pieces for upcoming concerts.” Stuttgarter Zeitung. 4 (1992): 2. B654. “Muzyka w prasie. and innovative rhythms. Protestant z Galicji. 1971. Penderecki's works were cited for their extended instrumental and vocal techniques. Actions. his music regrettably “lost its sense of urgency.” Ph.” Ruch muzyczny 36. D. and Te Deum. 1997.” In i tradycja w muzyce Krzysztofa Pendereckiego. B658.” Muzyka 36. p. 1 (1991): 83-93. B655. includes information about the European free jazz movement of the 1960s and 1970s. excerpts in Clavis. B657. He therefore thought it was natural for him to write a Catholic Passion and an Orthodoxinspired Utrenia. Kozinn. Hellmut. Has Hour. Kowal. Kot. and the Viola Concerto. June 21. p. ‘Musik der Gegenwart’ beim SFB in Berlin. Penderecki talked with Kot about his genealogical background and about the Catholic Church in Poland. no. extreme dynamic effects. Capriccio for Oboe and 11 Strings. B653. Kraków: Akademia Muzyczna w Krakówie. “A Journey From Spiky To Suave. 1988. Hanna. Kotschenreuther. “The Twentieth-Century Requiem: an Emerging Concept. Will Compose. the composer’s preliminary outline of the work. 68. p. edited by Regina and Krzysztof Szwajgier. C17. Washington University. Kostrzewska provided a compendium of the sonoristic techniques that have appeared in Polish compositions from 1956 to 1980. no. February 12. Adagietto from Paradise Lost.

no. Dieter Einfeldt stated that Penderecki was a fashionable. when in fact it occurred in Münster. 1972. 6 (December 1971/January 1972): 21. 1984. no. Maciej. This was due to its non-provocative stage directions and the banality of its music. 33 (August 19. B665. in part. his impetus for writing the St. 148-50. wielkiej sztuki. B664. and religion.” Ruch muzyczny 17. Ein Quellen-Lesebuch. though not modern composer. 5 (January 1986): 18. performed Penderecki's music so well that others often imitated her interpretations. Ochman. 5. B661. 1973). 11 (November 1971): 494. Two sets of comments about Penderecki are provided here: Norbert Linke suggested that Penderecki owed much to the music of Schaffer. Il mio tesoro. Wilhelmshaven: Heinrichshofen’s Verlag. December 24. particularly with regard to his notation and use of form. The Devils of Loudun was given a disappointing production in Graz.178 KRZYSZTOF PENDERECKI B659. Krzysztof Penderecki. Penderecki talked about the reasons for Poland's recent successes in modern music.. 19 (1973): 2.. The piece is musically attractive. Penderecki acknowledged that the declaration of martial law in Poland had. “Muzyka w prasie. “Krzysztof Penderecki. he stated that Polish music was better known abroad than in Poland and that he read Latin texts in the original language. 12 (1973): 54-58. Kraemer. no. “Auch in Wienschoß Boulez den Vogel a” Melos 38.” Carnegie Hall/Stagebill 8. 4 (December 1992-January 1993): 5-6.” Polish Perspectives 16. Viel Beifall für eine enttäuschende Aufführung. Zur Wiener Erstaufführung des ‘Polnischen Requiem’ im Konzerthaus.” Kultura. Z Ochmanem rozmawia Dorota Studio 1. no. his own interests in classical antiquity. no. “Pendereckis zugängliche Musik. compelled him to write the Polish Requiem. Kramer. a soprano. with its fascinating treatment of clusters combined with the sounds of old Slavic church music. p. abridged version in “A Conversation with Krzysztof Penderecki. “A Talk with. Characterized by a “linguistic pluralism. no.” the music is based on a polyphonic . his opinions about contemporary classical and pop music. Kozlowski. B662. Uwe.” In Uwe Kraemer. Kramer claimed that the world premiere of the complete Utrenia took place in Vienna. Kramer was impressed with both the performers and the quality of the Polish Requiem. B663. 22.” Neue Musikzeitung 20. a leading Polish tenor. mentioned in this interview that Penderecki's music was not difficult to sing. and his work as a teacher. Gerhard. B660. excerpts in Clavis. Dorota. Luke Passion. no. Among his more interesting remarks. Komponisten uber Komponisten.” Die Presse. Stefania Woytowicz. literature. “Pendereckis 'Teufel' in Graz.

“Ein musikalisches Nachtgebet. Krause. not the previously announced Maria Laach Abbey Church. 12 (December 1975): 38 The Deutsche State Opera performance of The Devils of Loudun omitted or glossed over some of its more suggestive scenes. “Totentanz einer Gesellschaft. 3 (May/June 1970): 183. Pendereckis 'Auferstehung Christi'.” Neue Musikzeitung 19. wealth. 1.” Theater der Zeit 41.BIBLIOGRAPHY 179 chromaticism that allows the use of both tonal harmonies and clusters without endangering its integrity. 5 (May 1982): 50-51. Krellman described the piece as an “evening prayer from the Greek Orthodox Church. Pendereckis 'Grablegung Christi' uraufgeführt. Dessau und Penderecki wieder im Repertoire der Deutschen Staatsoper Berlin (DDR). the opera contains many of the compositional techniques heard in the St. B668. no. “Schnell geschaltet. no. B670. Krieg. Prior to the performance. 11 (1986): 48-49. He also compared the piece to Berg’s Lulu and Strauss’s Salome.” B672.” Opern Welt 23. “Altenberg. It was not a great success because the music did not lend itself to this type of production. Uraufführung an der Düsseldorfer Oper unter Henryk Czyz. Pendereckis ‘Schwarze Maske’ uraufgeführt. and that the opinions of critics did not concern him. Joann. Ernst. director Hans Schavernoch created a “fascinating theatrical vision” of this 17th-century story of intrigue. the premiere of Part I of Utrenia took place in 1970. to be the finest to date. In this review of the world premiere of Utrenia. no. Krause considered the Deutsche Staatsoper production of The Devils of Loudun. Hanspeter. Present and . After a year’s delay. “Penderecki in der Lindenoper. and crime. The St. Ernst. Penderecki stated in a radio interview that with this work he had finally found his own musical style. The Past. 2 (1969): 2. not Henryk with whom Penderecki had been at odds since the Hamburg production of The Devils of Loudun. Pt. For the world premiere production of The Black Mask. 3 (1970): 4. Krellmann. no.” Neue Musikzeitung 28. which corresponds to Matins in the Roman Catholic liturgy. Krause. no. Dieter. “Münster. B67l. 4 (July/August 1971): 241-42.” In Opera and the Golden West. B673. no. In Kranz’s opinion. The conductor was Andrzej Markowski. no. The premiere of the complete Utrenia took place in Münster. B666. The location was the Altenberg cathedral. “Pendereckis 'Lukas-Passion' szenisch.” Opern Welt 16. B667. Luke Passion was given a staged performance at the Düsseldorf Opera. B669.” Schweizerische Musikzeitung 111. Kranz. “Adam in Wonderland: Krzysztof Penderecki and the American Bicentennial. Luke Passion and The Devils of Loudun.” Schweizerische Musikzeitung 110. first presented in 1975.

” Ruch muzyczny 28. at its premiere in Auschwitz. 257-64. p. Stabat Mater. “Jazz und Avantgarde. She discussed American and international reactions to that commission. “Jestem ciekaw nie nieobecnym. H.” Musik und Kirche 67. which was “a musical summing-up of my experiences. Kriegsman. his view that composition should be taught in public schools. that he had maintained the flavor of jazz while notating all the pitches and rhythms. Krieg offered an illuminating essay on the reasons why Penderecki was given the Lyric Opera’s bicentennial commission. 1994. B17. The composer stated. B675.S. H. 9. since Penderecki notated all of its pitches and rhythms. B679. “Große Namen gut. Zbigniew. .” Polish Perspectives 27 (Spring 1984): 54-56. Pendereckis ‘Te Deum’ und Anmerkungen zu einem Jubiläum. that if he had granted such freedoms to the musicians.180 KRZYSZTOF PENDERECKI Future of Opera in the U. February 24. Penderecki explained. B674. no. his regret that most people in Poland did not attend concerts of contemporary music. because it seemed a bit “exhibitionistic” to reproduce in concert settings.” Jazz Podium 23 (August 1974): 17. B678. “Text und Struktur in Pendereckis Psalmen Davids. no. Kumpf. 10 (October 1977): 521-25. He was working on the Polish Requiem. “Muzyka w prasie. and his desire to help young composers and musicians.” Washington Post. Michael. “Interview with Krzysztof Penderecki. 1981.” Gazeta Krakowska. große Entdeckungen besser. 273 (November 19-20. Alan. edited by John L. Sirefman. p.A. Kube.] “Interview. Kuhn. and Lacrimosa. The German premiere of Te Deum took place during the 100th concert of Berlin’s “Musik der Gegenwart” series. Toronto: Associated University Presses. however. excerpts in Clavis. which resulted in Paradise Lost. 6 (November-December 1997): 381-87. then it wouldn't have been his piece. The musicians who performed Actions missed their usual freedom to improvise. however. DiGaetani and Josef P. Also on the concert were Threnody. Jazz musicians criticized the lack of opportunities for improvisation in Penderecki’s Actions. January 24. B677. it was a neoromantic work. Hans. In the excerpted part of this interview. no. Stylistically. Penderecki used new compositional techniques in the Psalms of David. 29. Penderecki stated that he intended Dies Irae to be performed only once.” Musik und Bildung 9. [H. Kumpf. Penderecki discussed his plans to write more symphonies and opera. Penderecki discussed his musical upbringing. no.” Frankfurt Rundschau. Krzysztyniak. 1974. Georg-Friedrich. in part through his festivals. B680. 2 (1984): 12..” B676. 1983). “'Dies Irae': A Holocaust Through the Eyes of a Composer. In this brief interview.

” with two choruses in the side balconies and percussion and brass in the back of the hall. A19. Laine. “Density Veils Power of Santa Fe Opera's 'The Black Mask'.. “Letters to the Editor. Herbert. B683. 40. 1973.” Washington Post. Kupferberg. “Muzyczna jest potrzebna!” Przekroj.BIBLIOGRAPHY 181 B681. July 14. These two works differ stylistically from Threnody or Strophes.” Dancemagazine 54. whistles and hisses. The American premiere of Seven Gates of Jerusalem featured “surround sound. B682. treated percussively.” American Record Guide 61. He noted that most of the libretto could not be understood because several characters were singing different lines simultaneously over a loud orchestra. president of the American Music Center. B688. 1988. August 7. B685. the same letter appears as “Reverse Chauvinism.” Przekroj (February 16.. Its 40-voice choir. Lucjan. 1986): 8-9. 1973. Penderecki's Second Cello Concerto and The Awakening of Jacob and Shostakovich's Sixth Symphony formed one concert program. no.” Kansas City Star. 808 (October 2. B686. Ezra. B687. portraying Adam and Eve. The world premiere of the complete Requiem was broadcast live in West Germany. “Z Krzysztofem Pendereckim: Rozmowa w Stuttgarcie.” Przekrój. lamented the naming of a nonAmerican composer to composer an opera in honor of the Bicentennial. no. John Butler's choreography in Paradise Lost created a unity of music and dance. Kenneth. “Penderecki w Carnegie Hall (i gdzie indziej. LaFave. B684. 43 (October 21. Large crowds thronged to the Warsaw Autumn Festival performances of Te Deum and the Second Symphony. no. Laderman.. Penderecki used a notational system for Dimensions of Time and Silence that was based on clock-time rather than traditional measures and bar lines. Laderman. no. France.. p. “O XXV Warszawskiej Jesieni Muzycznej: daleko od brzegu. 1960): 7.” Literackie. “New York Philharmonic: Penderecki Seven Gates of Jerusalem [US premiere].). Denmark. The dancers.” New York Times. “Opera Ballet: Taming the Two-Headed Monster. sometimes interacted with the vocalists playing those . 1984): 3. 1905 (October 11. no. while the Polish Requiem was presented in New York and Boston only. July 11.Opera Commission. p. Barry. 1981). the audience was so moved that during Lacrimosa it stood and then began to shed tears. The world premiere of The Black Mask was given a relatively favorable review by LaFave. 2 (1980): 84-89. This report about the Kraków Philharmonic's tour of the United States focused on Penderecki's reception as both conductor and composer. and was to be heard later in more than 30 countries. calling it a case of “reverse chauvinism. and Spain. 6 (November/December 1998): 69. In Boston.

Its ponderous stage actions were attributed both to the composer's desire to create a sacra rappresentazione rather than a fullfledged opera.. at times. Trzy Miniatury na skrzypce i fortepian. Lange lambasted the music of Paradise Lost. casual in purpose. “Krzyszt of Penderecki. was premiered at the same Edinburgh Festival. Larner. 128 (March 1979): 34-35. Karola Szymanowskiego. B692. 1990. “Possenhaft entschärft. Alfred Jarry’s Ubu Roi is often considered to be a signature work of absurdist theater. “Summer Music. “Krzysztof Penderecki. 10 (October 1991): 15-16. B694. Lasocki.” The Concerto for Violino Grande.. the music for Penderecki’s operatic version was flat and.” In Uwagi o pracy nad utworem skrzypcowym na wybranych muzyki polskiej w latach ostatnich. the Passacaglia was the most interesting.” Both the Viola Concerto and the Second Symphony were “dull. Lawniczak. 38. He questioned some of the minor changes between Milton's text and the libretto assembled by Fry. was summarized as “an agreeable study in textures. Katowice: Wydawnictwo Akademii Muzycznej im. Lawniczak defended Paradise Lost against its many critics. and wondered why Penderecki had characterized the piece as a rappresentazione.” Theater der Zeit 46. Richard. Of the three works performed on a Glasgow concert.” Music & Musicians 21 (November 1972): 77-78. “Cracow Philharmonic.” Polish Heritage 32 (Spring 1981): 6-7.” . Art.” Tempo. Ecloga VIII is a “a delightfully coloured study in witchcraft. the composer has “at last restored a function to sound independent of its harmonic associations. 2028. Roman.” B693. performed at the South Bank Summer Music festival. In Lange’s opinion. sometimes were on stage alone. In this work. Donald A. since its music did not fit the style of that late 16th-century genre. and to the last-minute shift of stage directors. Lasocki emphasized the role of dynamics and articulations in creating imagery and form. no. “Penderecki's 'Paradise Lost'. Lawrence. Lange. B691. The Second String Quartet. 1985. which resulted in many changes in stage movements. Gerald. John Milton and 'Paradise Lost'. Wolfgang. 1556 (October 1972): 998.” Musical Times 113. and at other times danced apart from the singers.resourcefully scored for unaccompanied voices. B690. B689. no. In his analysis of the Miniatures for Violin and Piano. March 20. B695. “Concerts. p.” The Guardian. presented in its new transcription for cello. Lange.182 KRZYSZTOF PENDERECKI same two roles. no.



B696. Lawton, David. “Krzysztof Penderecki: De Natura Sonoris no. 2 (1971).” MLA Notes 30, no. 4 (June 1974): 865-66. Lawton pointed out several of the features that make De Natura Sonoris No. 2 a successful work. For example, the piece's unusual timbres were not there merely for the sake of creating noise, but instead had an important musical function. B697. Layng, Judith. “Interview: Joy Davidson.” Opera Journal 3, no. 2 (1970): 19-22. Joy Davidson, who sang the role of Sister Jeanne in the U. S. premiere of The Devils of Loudun, stated that Penderecki's music aptly supported the dramatic action. She was fascinated by both the character and vocal part of Sister Jeanne. B698. le [Ludwig Erhardt]. “Kulka gra 'Koncert' Pendereckiego.” Ruch muzyczny 23, no. 8 (April 22, 1979): 12. The author briefly described the works performed a a Katowice concert: Violin Concerto, Anaklasis, De Natura Sonoris No. 1 and The Awakening of Jacob. B699. “Nagroda Grammy dla Pendereckiego.” Ruch muzyczny 32, no. 8 (1988): 2. Penderecki received a Grammy award for his Second Cello Concerto. B700. “Penderecki z Ruch muzyczny 20, no. 15 (July 4, 1976): 12. On the occasion of Penderecki's conducting debut at the National Philharmonic, Erhardt stated that this composer was also an excellent, though not flamboyant, conductor. Penderecki led the Philharmonic in his own Canticum Canticorum, The Awakening of Jacob, and Symphony No. 1. B701. “Przed 'Raju utraconego'.” Ruch muzyczny 22,no. 24 (1978): 2. The world premiere of Paradise Lost was announced and its performers named. The work is to be presented in Milan in February 1979 and later in Stuttgart, Düsseldorf, and Warsaw. B702. Ledee, Mikel Andrew. “An Analysis on the ‘First String Quartet’ of Krzysztof Penderecki and an Original Composition, Symphony II.” D.M.A. thesis, Louisiana State University, 1996. In this analysis of the First String Quartet, Ledee went beyond the surface details of non-metric notation and unusual timbres to examine the work’s rhythm, pitch organization, and form. B703. Lee, Douglas. “Penderecki and Crumb at Wichita State.” Musical Quarterly 61, no. 4 (1975): 584-88. A December 1974 concert of Penderecki's works, with the composer conducting, provided evidence that his music could be understood more easily than many other pieces written in the past decade. The pieces performed were Stabat Mater, Psalms of David, Threnody, and De Natura Sonoris No. 1.



B704. Lehman, Mark L. “Penderecki: Violin Sonata; Clarinet Quartet; Sinfonietta; Flute Concerto; Benedicamus Domino; Song of Cherubim; Lacrimosa.” American Record Guide 58, no. 5 (September/October 1995): 190. Lehman offered positive comments on each of the works on this Sony recording (66284). He mentioned the “crucial influence” of Shostakovich on Penderecki and the latter’s propensity to juxtapose lyrical sections with those of more dissonance. B705. Lemery, Denys. “Les present conjugues.” Jazz Magazine no. 16 (1969): 34-37, 45-48. As Lemery explored the similarities between jazz and contemporary classical music, he cited Threnody, Polymorphia, and De Natura Sonoris No. 1 as examples of works that extend the range of timbral possibilities. He also referred to Threnody and Dies Irae in his discussion of pieces that express the problems of humanity. B706. Lesle, Lutz. “Feuerfarben und Wassertöne. Polnische Novitäten beim Schleswig-Holstein Musik Festival.” Das Orchester 41, no. 11 (November 1993): 1195-1196. The Clarinet Quartet, heard in its world premiere, was inspired by Schubert’s String Quintet. The Quartet was played twice due to audience demand. On the same concert were performances of the Capriccio per Siegfried Palm, the Miniatures for Violin and Piano, and the Three Miniatures for Clarinet and Piano. B707. “’Ich brauche dieses Das Orchester wie meine Musik’. Geburtstagsgespräch mit Krzysztof Penderecki.” Das Orchester 42, no. 4 (1994): 27-28. Penderecki talked with Lesle on the occasion of his 60th birthday celebration. Among the topics were the continuity of style in his music, the difficulties that he once had in convincing orchestras to play such pieces as Threnody and Polymorphia, his relationship to German orchestras, and the effect that the success of the St. Luke Passion had on the Polish government’s eventual willingness to permit conceit performances of sacred music. B708. Lesle, Lutz. “Krzysztof Penderecki 50. So oder so.” Deutsches Allgemeines Sonntagsblatt, November 20, 1983, p. 21. In Lesle’s opinion, Penderecki’s music is among “the most fascinating phenomena of contemporary music.” He reviewed the composer’s career in this brief article. B709. “Penderecki: Grenzgänge zwischen Klang und Geräusch.” Musicalia 1, no. 2 (1970): 65. Before commenting on the premiere performance of Utrenia, Lesle briefly reviewed the innovative techniques used by Penderecki in his earlier scores. In the St. Luke Passion, Penderecki combined these new techniques with older means such as the B-A-C-H motive and Gregorian melismas. The Devils of Loudun lacked the theatrical vitality necessary to convey the scandalousness of the libretto. Finally, Utrenia features a musical language similar to that of the St. Luke Passion and Dies Irae.



B710. Lewinski, Wolf-Eberhard von. “Festspiel auf die Wiesbadener Maifestspiele 1988. Pendereckis 'Schwarze Maske'.” Opern Welt 29, no. 7 (July 1988): 64. Lewinski preferred the production of The Black Mask, which he saw at the Wiesbaden May Festival, to the Stuttgart version. B711. “Frauenschicksale von vorgestern. Gäste aus dem Osten bei den Wiesbadener Maifestspielen.” Opern Welt 21, no. 7 (July 1980): 15. The Warsaw Opera presented The Devils of Loudun during Wiesbaden’s May Festival. This production was marred by its rather dull staging and the deletion of certain scenes. B712. “Germany.” Musical Quarterly 54,no. 1 (January 1968): 103110. The Violin Capriccio proved to be “reminiscen[t] of Ravel and Paganini...and a cheerfulness unknown to modern music.” Lewinski wondered if it might foreshadow the next wave of new music. B713. “Heitere und düstere neue Klänge.” Musica 18, no. 6 (November/December 1964): 305. The biggest success of the 1964 Donaueschingen Music Days was the world premiere of Penderecki’s Sonata for Cello and Orchestra. Displaying shades of Mendelssohn and Tchaikovsky, the work was “musically brilliant and [included] witty parody.” B714. “Musik mit Geräuschen.” Musica 14, (December 1960): 79697. Boisterous disagreements were heard following the performance of Anaklasis at the 1960 Donaueschingen Music Days. According to Lewinski, the piece had “an astonishing uniformity and fascinating power.” B715. “Neue Werke von Ligeti und Penderecki.” Musica 22, no. 1 (1968): 10. Paganini-like virtuosity and Straussian humor characterize the Capriccio for Violin and Orchestra. B716. “Das Orchester als Eckpfeiler und Säulen zugleich.” Das Orchester 44, no. 10 (1996): 39. According to Lewinski, the world premiere of the Viola Concerto in its transcription for clarinet and orchestra was heard at the Rheingau Music Festival. [Note: Schott Music gives Boulder, Colorado as the site of the 1995 premiere.] B717. “Ein wichtiger Test: Pendereckis Teufel von Loudun in Köln.” Opern Welt 21, no. 3 (March 1980): 27-28. After seeing the Cologne production of The Devils of Loudun, Lewinski wondered if this opera really deserved to remain in the repertoire.



B718. Libbey, Jr., Theodore W. “Washington, D. C.: Ponelle and Penderecki.” Ovation 4 (February 1984): 17, 26. After hearing the U. S. premiere of the Second Cello Concerto and the world premiere of the incomplete version of the Polish Requiem, Libbey deemed the Concerto to be “a vivid work of enormous difficulty for the soloist” and praised the Requiem for its “emotional impact.” B719. “National Symphony: Penderecki Te Deum [U. S. premiere].” High Fidelity/Musical America 31 (June 1981): MA35-36. The American premiere of Te Deum was an emotional occasion, due both to the intense performance led by Rostropovich and to the fact that on the same day Solidarity leader Lech Walesa made his first Western trip, to meet with Pope John Paul II in Rome. B720. Lichtenfeld, Monika. “Neue Musik und ein Jubilaeum in Köln.” Melos 36, no. 1 (January 1969): 31-32. Siegfried Palm received such great applause in a performance of the Capriccio for Siegfried Palm that he was compelled to repeat the piece. B721. “Pendereckis 'Auferstehung Christi' in Münster uraufgeführt.” Melos 38, no. 9 (September 1971): 372-73. The world premiere of the complete Utrenia was given in the same cathedral in which Part I of that work had first been heard in 1970. Part II, “The Resurrection,” was described by Lichtenfeld as a joyful, lively movement that contrasted to the dark, mysterious mood of Part I, “The Entombment of Christ.” Lichtenfeld briefly reviewed the relationship of Utrenia to the liturgy of the Russian Orthodox Church, stating that Penderecki placed specific Orthodox verses, songs, and anthems in a different order than was normally used. B722. “Pendereckis 'Grablegung Christi' in der Altenberger Abteikirche.” Melos 37, no. 9 (September 1970): 351-52. The world premiere of Part I of Utrenia, “The Entombment of Christ” was noteworthy for several reasons. Penderecki’s musical style displays a trend towards economy of means, although its predominant technique was a familiar one, the tone cluster. An aura of understatement was evident throughout, as its dynamics typically ranged from an extreme pianissimo to mezzopiano, its tone colors were dark and “shadowy” “and its solo, choral and orchestral sounds flowed smoothly from one to another. B723. Liedtke, Ulrike. “Gedanken über die Oper. Gespräch mit Krzysztof Penderecki.” Musik und Gesellschaft 37, no. 6 (June 1987): 303-305. Penderecki considers his operas to be among the most important pieces of his career. For instance, The Devils of Loudun and the St. Luke Passion form the high point of his expermental period, while Paradise Lost is one of the best works in his romantic style. The Black Mask is different yet—a dance of death that is more similar to the Passion than to the intervening works from the 1970s. Penderecki acknowledged that being able to understand the text of an opera was not a top priority for him; in his opinion, the audience should read the synopsis and text of an opera before the performance.



B724. Limmert, Erich. “Der Triumph der Christiane Edinger. Penderecki als Gastdirigen im Opernhaus Hannover.” Das Orchester 32, no. 1 (January 1984): 25-26. As part of the New Music in Poland festivities in Hannover, Penderecki led performances of Anaklasis, his own Violin Concerto, and Szymanowski's Violin Concerto No. 1. According to Limmert, Penderecki shocked the musical world with Anaklasis's new vitality and its emphasis on tone colors and noise. The stylistic changes made by the composer in Paradise Lost could be heard equally clearly in the Violin Concerto. B725. Linthicum, David Howell. “Penderecki's Notation: A Critical Evaluation.” Choral Journal 15, no. 4 (1974): 32. This article summarizes Linthicum's doctoral dissertation, granted at the University of Illinois in 1972 (same title as this article). The author evaluated Penderecki's aleatoric notation in such scores as String Quartet No. 1, Sonata for Cello and Orchestra, St. Luke Passion, and Polymorphia, and concluded that these scores lacked “notational clarity and intent.” This problem was particularly acute in the orchestral pieces. B726. Lisicki, Krzysztof. “Raz do roku futurologicznie.” Kierunki (January 3, 1971); excerpts in Clavis. “Muzyka w prasie.” Ruch muzyczny 15, no. 5 (1971): 2. The excerpted part of this article includes a brief description of Penderecki as the founder of a new school of composition—one based on new sonorities and techniques. B727. Szkice o Krzysztofie Pendereckim. Warszawa: Instytut Wydawniczy 'PAX', 1973. This book is, as the author stated in his preface, more a collection of sketches about Penderecki's music than a detailed biography of the composer. After summarizing both the composer's youthful years and the history of twentieth-century music, Lisicki concentrated on Penderecki's compositions, giving general descriptions of his major works and quoting from program notes and concert reviews. Polish translations to the texts of the St. Luke Passion, Dies Irae, Utrenia, and Cosmogony are provided, as are a discography and a list of works and premieres through 1971. Lisicki is one of few authors to note that the title Threnody was not the original name of that piece, but an afterthought. B728. Lissa, Zofia. nurty stylistyczne w muzyce polskiej 19441974.” Muzyka 20, no. 3 (1975): 5-15. Lissa described Penderecki as one of the leaders of Polish contemporary music after 1956. She briefly discussed Penderecki's novel treatments of sound and alluded to his interests in religious music and musical traditions. B729. Löhlein, Heinz-Harald. “Von der Eitelkeit der Welt. Pendereckis ‘Schwarze Maske’ beim Gastspiel der Staatsoper Posen in Wiesbaden.” Neue Zeitschrift für Musik 149, nos. 7/8 (July-August 1988): 49-50. The Black Mask, presented in Wiesbaden by the Opera, represents a fusion of Penderecki’s avantgarde and neotonal practices. Motivically terse and almost uniformly



tense, this is an amalgam of complex polyphony, intricate rhythms, and a melodic style reminiscent of the composer’s Violin Concerto. B730. Lohmüller, Helmut. “In Donaueschingen mußte Penderecki wiederholt werden.” Melos 27, no. 11 (November 1960): 340-43. In this review of the Donaueschingen Music Days, Lohmüller noted the thunderous applause that followed the performance of Anaklasis. He spoke of the wealth of ideas and the creative imagination reflected in this piece. B731. “Münchner Ballettabend mit unvermuteten Hindernissen.” Melos 35, no. 4 (April 1968): 157. A choreographed version of Polymorphia presented by the Munich Ballet was greeted with tremendous applause. Lothar Höfgen was the choreographer. B732. Loney, Glenn. “Poland Takes its Wagner Straight.” Musical America 109, no. 6 (November 1989): 30-32. In this article about Warsaw’s Wielki Teatr and its music director, Robert Satanowski, Loney mentioned that The Black Mask was already in the theater's repertoire, and that Penderecki was “preparing a new edition” of The Devils of Loudun to be given there. B733. Lösker, Dieter. “Wilanow-Quartett mit Penderecki, Lutoslawski und Meyer.” Musik und Gesellschaft 29, no. 1 (January 1979): 20-21. The Wilanow Quartet's concert in Leipzig was one of the best performances of the Music Days festival. Penderecki's First String Quartet was described as a “sensational composition.” B734. Loveland, Kenneth. “Salzburg.” Musical Times 120, no. 1640 (October 1979): 847-48. This is a brief mention of the world premiere of a suite from Paradise Lost, performed by the Austrian Radio Chorus and Symphony. [Note: This is the Prelude, Visions, and Finale from Paradise Lost.] B735. “Salzburg.” Musical Times 127, no. 1726 (November 1986): 634. The world premiere production of The Black Mask was endorsed by Loveland for its set design and its music, in which Penderecki blended the sounds of his early career with his more recent conservative style. B736. lp [Leszek Polony]. “'Carmina burana' pod Pendereckiego.” Ruch muzyczny 33, no. 6 (1989): 15-16. Penderecki conducted Kraków's Polish Radio and Television Orchestra and Choir in a presentation of Orff's Carmina burana on January 27 and 28, 1989. B737. “Krzysztof Penderecki w 'Requiem' Verdiego.” Ruch muzyczny 32, no. 9 (1988): 11. Penderecki conducted Verdi's Requiem in Kraków. The reviewer noted the following similarities between the two composers: their “explosive temperaments,...the role of tragedy, and the obsession with death that emerges here and there in their compositions.”

nevertheless.” Melos/Neue Zeitschrift für Musik 42. In this review of a recording of Penderecki’s Second Cello Concerto and Partita (Erato 75321). Heinz. . no. B742. no. Pendereckis 'Teufel von Loudun' in Krefeld-Mönchengladbach. 7 (July 1971): 382-83. 2.” B739. Ludwig. Radzynski considered Penderecki to be an excellent teacher who devoted much time to his students. glissandos. 3 (1990): 2-3. “Münster: Ekstase im Ikonenglanz: Die Uraufführung von Pendereckis ‘Auferstehung' im Dom. This was a semi-staged presentation. stupendous. state. Musically the opera avoided almost all traditional elements. The stage was divided into three sections. no. with stage director Paul Hager and conductor Robert Satanowski. 2 (February 1988): 59. and church. Marta and Dorota Szwarcman. Heinrich von. instead employing clusters.. “Po latach. 1-2 (1990): 4. symbolically representing city. in which the performers wore street clothes.. Ein mißlungenes Experiment.. B743.” Neue Zeitschrift für Musik 130. B740. The fiftieth performance of the St. B741. emotionally moving piece.” The entire evening resonated with the spirit of the Russian Orthodox liturgy. Hartmut. who had studied with Penderecki during the latter’s tenure at Yale University. Luke Passion was given in Buenos Aires at the beginning of May 1969. Lüttwitz thought that the music lacked its expected power.” The audience gave the performance tremendous applause.” Neue Zeitschrif für Musik 149. 5 (May 1969): 216-18. Kontrabaß und Das Orchester. Harfe. The premiere of Pt. “Mönchengladbach: Pendereckis Priester-Passion. 9 175 (September 1975): 46-47. Lugowska. The Mönchengladbach production of The Devils of Loudun was successful until the third act. “Krzysztof Penderecki. heard in the context of a large-scale. Lüttwitz.szenisch. no. Satanowski’s direction yielded a “perfect result” after “only” eight orchestral rehearsals. 2 of Utrenia was preceded by a performance of Pt. Lück described soloist Mstislav Rostropovich as having “undiminished. Partita für Cembalo. Baßgitarre. E-Gitarre. “The Entombment of Christ.” and the Concerto itself as “a compendium of modern virtuosic skills. no. “Die Anatomie eines Verbrechens.” Ruch muzyczny 34. Violoncellokonzert. 1. technical perfection. Lugowska and Szwarcman talked with Jan Radzynski.[and] full-bodied expressive sounds. “Lukaspassion .” and film projections were shown in the background and on the ceiling. when it seemed as if the imaginations of both the conductor (Satanowski) and director (Kupfer) “fell asleep. no. 4 (July-August 1975): 300-301. floodlights were used in several “scenes. and other unusual playing techniques. Lück. nos.” Opern Welt 16.BIBLIOGRAPHY 189 B738.” Neue Zeitschrift fur Musik 132. The Devils of Loudun was presented by the Krefeld and Mönchengladbach Theaters.Although the performances were technically accurate.

B. Maciejewski. focusing more on “the agonies of the characters” than on eroticism. Throughout. Luke Passion. and was recorded by its commissioning body. Although many performances of the St. Penderecki should have rewritten the entire third act. B748. In Lüttwitz’s opinion. B747. “'Teufel von Loudun' in Wuppertal.” Neue Zeitschrift für Musik 131. the production seemed to leave an impression of undue deliberateness. Lüttwitz predicted that this work would have a great future.” Opera 41. no. Luys.” Neue Zeitschrift für Musik 127. “Düsseldorf.” Neue Zeitschrift für Musik 131 (April 1970): 18889. London: Allegro Press. Günter Krämer’s production of The Devils of Loudun in Düsseldorf was somewhat restrained. 5 (May 1970): 226. Utrenia. amateur choirs were used in this piece for the first time in a recent presentation at Bochum University. Maciejewski's chapter on Penderecki is in the form of a biography of the composer's professional life. he felt that this production assuaged the criticisms directed at the opera as a result of its Hamburg and Stuttgart stagings. not just the music of the finale. B746. no. Janos Kulka conducted the third German production of The Devils of Loudun. The premiere of Utrenia was an evening of “meditative engrossment. Luke Passion have been given around the world. West German Radio. whose newly composed version was heard in this production. no. The world premiere of the St. Nevertheless. B745. the staging of the inquisition and orgy was so deliberate that the mass scenes seemed “like ostentatious baroque paintings. “Penderecki-Passion in sechs Städten. Unfortunately. presented in Wuppertal. (May 1966): 186-87. Thomas. “Uraufführung des WDR im Dom.” Das Orchester 18 (May 1970): 23839. and The Devils of Loudun. The middle section of the Stabat Mater was omitted because of performance difficulties. 3 (March 1990): 344-45. “Streng katholische 'Teufel'. Maciejewski relied on quotations made by other critics. he incorporated the aura of this music throughout the piece. According to Lüttwitz.190 KRZYSZTOF PENDERECKI B744. With staging by Hanna Jordan and Kurt Horres as director. Twelve Polish Composers. with special attention being paid to descriptions of the large-scale works: the St. B749. “Pendereckis Karsamstags-Oratorium 'Grablegung Christi' im Altenberger Dom uraufgeführt. M.” while on-stage screen projections of Aldous Huxley’s writings were both disturbing and superfluous. 1976.” Das Orchester 26. Erfolg für Pendereckis historisches Musikdrama. .” Penderecki had located music in convents in Bulgaria and the Soviet Union and although he literally quoted only a couple of the psalms and recitations he found. Luke Passion was attended by numerous dignitaries from the Catholic Church in Germany. he did not provide any bibliographic information for these quotes. 5 (May 1978): 401-402.

and Bruckner in Penderecki's Second Symphony. 1977. Andrzej. Magee heard hints of Shostakovich. The primary feature of the set design was its large mirror. 9 (May 3. Magee. “Penderecki's 'Dance of Death'.BIBLIOGRAPHY 191 B750. B752. 10.” B753. “Paradise Really Lost?” Warsaw Voice. Luke Passion. B754. June 5. Two excerpts from the score are included. “Sztuka czy Opera polska w XX wieku?” Ruch muzyczny 42. Zu Voraussetzungen und Gestaltung von Pendereckis dritter Oper. 1653 (November 1980): 723. which was set at an angle so the audience saw both the actual characters and their reflections. Here he compared Hauptmann’s play of the same name to the text of Penderecki’s opera. p. Michael. 1997. The remainder of the book—the analysis—is concerned in large part with the issue of sonorism in Penderecki’s music. 1998): 9-11. A videotape of The Black Mask was presented during the “20th-Century Polish Opera” musicology conference held in B751. a biography of the composer. For Mahlke. The Magnificat was heard at the Berlin Philharmonic. . Sybill. BMäcklemann. the stage designer for the Wielki Teatr’s production of Paradise Lost. in his opinion. “Lucerne. Sibelius. the world premiere production of The Black Mask was excellent. Style et Matériaux. and presented a short description of the music’s polyphonic layering. Krzysztof Penderecki. “really important works are completely free of political references. Brian.” Musical Times 122. Mahlke. Majewski. 1994.” Neue Zeitschrift fur Musik 147. In Magee’s opinion. Paris: Éditions Kimé. This publication is devoted to an analysis of Penderecki’s works for combined voices and instruments. “Musik des Gleitens. and a list of works. nos. B755. 7-8 (July-August l986):28-33. a continuation of the musical style heard in the St.” B756. p. Malecka-Contamin. Alina. Barbara. with the composer as conductor. Krzysztof Penderecki mit den Berliner Philharmonikern. regrettably. 4.” Opera (Autumn l986):4l-47. no. claimed that Penderecki had asked him to be the designer when the piece was first begun. no. Unlike many of the composer's earlier works.” Der Tagesspiegel (Berlin). January 23. the work reflects. The early chapters are concerned with Polish musical life in the decades after World War II. Mäcklemann reviewed Penderecki’s musical style and briefly discussed Paradise Lost and The Devils of Loudun before turning his attention to The Black Mask. Majewski. it is “tonal and conventionally orchestrated. The Berlin audience provided both applause and weak protests. “Die schwarze Maske. He purposely avoided creating allusions to contemporary events on stage. He compared its almost continual freneticism to Salome and Elektra and favorably juxtaposed Josephine Barstow's long aria to her portrayal of Salome.

and a quasi tonic-dominant harmonic scheme. B759. Several musical examples are provided. This insightful article about The Hymn to St. 1983.A. Dysonanse (December 1998): 1721. Teresa. This form overlays the four sections that Penderecki indicated in the score (Arché 1. Nelson Eugene. Kraków: Akademia Muzyczna. Penderecki actually has tight control over seemingly indeterminate passages. Jr. “Compositional Aspects of Two Early Works for String Orchestra by Krzysztof Penderecki. edited by Tomaszewski. edited by Regina and Krzysztof Szwajgier.192 KRZYSZTOF PENDERECKI B757. she commented on how they. Mandrell. Malecka discussed four of the composer’s songs for solo voice and accompaniment. a development. “'Magnificat' Pendereckiego pierwszy raz w Polsce. related to Penderecki’s larger compositions. recapitulation.” The large-scale form of each piece is delineated by textural changes from clusters to pointillistic writing. no.. The Polish premiere of the Magnificat took place in Kraków. Poetyka i Recepcja. thesis. After describing the structure of each song. and Arché 2). as a group. Of special mention should be Malecka’s discussion of Daniel (a prince who was recognized for his expansion of Moscow’s territorial lands. complete with two contrasting themes. B760.” Ruch muzyczny 19. the strong Russian flavor embedded throughout the Hymn. Malecka. 1989. B758. The details of these two pieces are intriguing. She concluded by stating that the piece was pivotal. 69-77. Kraków: Akademia Muzyczna. In Malinowski's opinion.” D. Malinowski.M. Malecka analyzed Penderecki’s First Symphony as a sonata-form movement. “Penderecki’s World of Lyrics: the Songs.” In The Music of Krzysztof Penderecki: Poetics and Reception. University of Illinois. Kraków: Akademia Muzyczna. Dynamis 1. 1995. Mandrell demonstrated that contrapuntal structures dominate both works and “that practically every event can be related to some form of imitation. 65-69. Dynamis 2.” Muzyka Krzysztofa Pendereckiego. B761. he was also the son of Alexander Nevsky). Through an investigation of the form and pitch organization of Polymorphia and Threnody. the composition displayed links to the past—to the musical traditions that most other contemporary composers purposely avoided.” In i tradycja w muzyce Krzysztofa Pendereckiego. liryki Pendereckiego. “Hymn Swiatomu Kniazju Moskowskomu Krzysztofa Pendereckiego. Daniel covers a range of topics. “I Symfonia. edited by Tomaszewski. and the somewhat puzzling insertion of a quotation from the Catholic sequence “Dies Irae” in this otherwise orthodox work. 176-86. Polish and English versions of the texts and cursory remarks about the changes made to them by Penderecki are given at the end of the article. 7 (1975): 11. since it was positioned between two different stylistic periods in the composer’s career. 1996. .

8. the Easter eve services of the Orthodox Church. Pt. . He was the artistic director of the Kraków Philharmonic for nearly two years. S.” The material of the one-movement piece is derived from its opening measures. Its instrumentation and singing style are reminiscent of the ecstatic nature of these services. dramatic. as “richly inventive.. David. He does not consider himself a “political composer.” Music Magazine 7. Tadeusz.” Ruch muzyczny 35.” The final part follows. no. primarily over the hiring of a permanent guest conductor without his approval. Luke Passion and the complete Utrenia to be a triptych. “Concert Notes: Minneapolis-St. Penderecki talked with Markowska about his conducting career. preferring to remain loyal to B766. Markle described the Viola Concerto. Luke Passion in Poland marked the first time that a religious composition by a contemporary composer had been performed there since a Communist government had been in power. no. Polish conductor Jan Krenz labelled the composer a genius. Penderecki also discussed the compositional history of his nearly completed Ubu Rex. He is to make his Warsaw Autumn Festival conducting debut in September. The world premiere of Utrenia. Jana Krenza lat z Rozmowy o muzyce polskiej.” Polish Music 6. expression and. Penderecki stated that he believed that experimental and traditional elements have co-existed in his music since his 1962 Stabat Mater. B764. Markle. The performance of the St. at least in part.” is characterized by “chilling and static immobility.” The Strad 98. Krenz remembered that he had been asked to take over as conductor for The Devils of Loudun after Penderecki had asked that Henry not conduct further performances of that opera. In this interview. premiere. Marek. He noted that Threnody (under its original title) was awarded 3rd prize in the Fitelberg Competition in 1960. 1996.” The first part of Utrenia. “The First World Performance of 'The Resurrection'. “Christ Laid in the Sepulcher. “Krzysztof Penderecki. and nearly expressionistic. no. Penderecki also noted that people stand up in Poland whenever Lacrimosa is performed as a sign of their opposition to the government. is a synthesis of Penderecki's work up to 1966.” but it is clear from his many religious and humanitarian compositions that he is anti-Communist. His Passion & Politics. 5 (1984): 10-13. B765. yet it is unique in the world of music for its “subject.techniques. but resigned because of differences with the orchestra's management. Marek considered the St. Margles.. heard in its U. In another rarely heard story. Kraków: Polskie Wydawnictwo Muzyczne. even though other members of the competition jury were less enamored of the piece than he had been. II (“Resurrection”) was a complete success. Mówi Krzysztof Penderecki. no. leading the Sinfonia Varsovia. B763. In his conversations with Markowska about Penderecki. “'Ubu Rex'—prapremiera w lipcu. Paul.BIBLIOGRAPHY 193 B762. Pamela. Markowska. 1163 (March 1987): 173. based on Roman Catholic liturgy. 2 (1971): 3-9. Krenz refused the request. The Passion. 10 (1991): 1.

On the occasion of the East German premiere of The Devils of Loudun. while the First Symphony displays the varied possibilities of tone color inherent in orchestral writing.. po polsku czy w oryginalnej wersji Ruch muzyczny 33. since composers take the “structure of the language” into account when writing the music. “Pendereckis 'Teufel von Loudun’.. Lawrence. the priest in Devils. Anaklasis explored the limits between sound and noise. Grandier. . Warsaw Voice.194 KRZYSZTOF PENDERECKI B767. “Country Properties. He created analogies between the clerical feuds over power in 17th-century France. tonal shadings. 10. 12 (December 1975): 724-27. 1929 soap opera about the second wave of the black death in seventh-century [sic] Europe). Markowski. no. then a second version must be prepared for Polish performances. 12 (December 1972): 760-63.” B771. the American quest for imperialism in Vietnam. Marynowski argued that theatrical productions given in Poland should be in Polish. no. Markowski. 6 (1989): 8-10. Anaklasis. B768.” Musik und Gesellschaft 25. no. while “the fable of the witch trials of the 17th century must be understood as an image of the suppression of mankind today. “Ned Rorem. and the First Symphony were conducted by Penderecki on a concert at East Berlin's Comic Opera. The Concerto’s orchestral part serves as a “prime coat” for the soloist’s virtuosity. Jan. June 28. no. B772. Markowski discussed the meaning of its plot. the First Cello Concerto. If an opera was originally written in a language other than Polish. Markowski reviewed it favorably. which was that operas should be presented in their original language. Penderecki’s Partita was given its Polish premiere at the Warsaw Autumn Festival. Andrzej. is summarized.” Musik und Gesellschaft 22. was described as a martyr. and the Polish experience at the hands of German facism in World War II.” Opera Monthly (February 1990): 513. 1992. “It's sad that the only conceivable contribution of the Santa Fe Opera. 1987. Liesel. Mass. The history of Penderecki’s country home. and percussive effects. His impetus for the article was Penderecki's opinion about the same topic (see Haegenbarth's interview in Nurt.” Musik und Gesellschaft 23 (December 1973): 712.” B770. “'Warschauer Herbst' 1972. Marynowski offered an editorial on the question of whether operas in a foreign language should be translated into Polish for presentation in Poland. Marynowski. “Penderecki dirigierte Penderecki. as are the composer's planned restoration projects for the property. the AIDS crisis ended up being Penderecki's I (based on Nazi collaborationist Gerhard Hauptmann's racist. describing an inner tension created by Penderecki’s exploitation of aleatorism.

” Musical Times 122.yet it provoked none of the familiar responses. Mastnak included The Devils of Loudun in his discussion of how to incorporate the topic of “'insanity' on the opera stage” into the classroom. Characters are associated with specific intervals and motives in The Devils of Loudun. Tony. McCabe. 114-33. when a friend gave him Gerhard Hauptmann’s play to read. Mayer. specifically praising its set design and performers. 4 (April 1980): 239-40. 94-104. 335 (August 1986): 8-11. In this lengthy article published just prior to the world premiere of The Black Mask. The composer was fascinated by the idea that. Gerhard. no.” In The Black Rainbow: Essays on the Present Breakdown of Culture. 5 (May 1972): 408-409. “Krzysztof Penderecki: Realität und Halluzination. “Elementy dramaturgii z Loudun. no. 1653 (November 1980): 718. Wolfgang. The Cologne Opera production of The Devils of Loudun was convincingly performed. Wilhelm. McCabe criticized the superficiality of the music of Penderecki and other composers.” B779.. edited by Regina and Krzysztof Szwajgier. Mayer reviewed Penderecki’s previous accomplishments and included quotations from the composer.” Die Bühne. and foot stamping. Matejka. Indeed. and leeks. few people know that he had composed music for about 80 films and 42 plays. The French premiere of The Devils of Loudun was greeted with orange peels. a trait that he attributed to the growing internationalism of 20th century music. It had all the attributes of the Romantic symphony. in this play. “Pendereckis ‘Teufel von Loudun’ in Köln. and a melting pot of realism. R. was severely lacking. thought highly of the Marseilles production. no. John. no. 1975). edited by Peter Abbs (London: Heinemann. McAllister. . The work reflects a compromise between tradition. B776. Penderecki's Second Symphony is “totally devoid of creative substance. Mayer.” Österreichische Musikzeitschrift 35. Mastnak. Kraków: Akademia Muzyczna w Krakówie. “France. 1983.BIBLIOGRAPHY 195 B773.. “The Condition of Music. however. and Winton Dean. Cat-calls for 'The Devils'.” He has been involved in theater since his youthful days in Kraków. Mayer. turnips. Matynia-Szukalska.” Opera 23. “Edinburgh. B775. “the boundary between reality and hallucination does not proceed clearly. “Wahnsinn im Klassen raum: Pathologische Operngestalten im Unterricht.” Musik in der Schule 3 (May-June 1996): 123128. modernism. symbolism. B778. B777. however. Penderecki discovered the subject matter for The Black Mask by accident. B774.” In i tradycja w muzyce Krzysztofa Pendereckiego. cat-calls. with the tritone being one of its pervasive harmonic features. and existentialism. Compositional originality. expressionism.

In this analysis of Anaklasis.” Opera Canada 20. Uwe. She reviewed the work’s compositional history. The two outer movements of the Three Miniatures for Clarinet and Piano are rhythmically active. Geburtstag des Komponisten. B785. Penderecki’s sacred dramatic works are among those becoming increasingly popular in Austria. B784. Ruby. while the middle one is slower and more meditative. alluding to the historical events that triggered the writing of several of its movements.[despite being] a sincere Communist. Krzysztof. Werner. 9 (March 18-25. Mertl reviewed a performance of the Polish Requiem. B787. Mertins. Six productions of the opera are already planned.. no. B786.” Musical Quarterly 54.” B781. “Penderecki and Shostakovich: Death Affirms Life. According to Merten. 1995. Pendereckiego. Larry..” Die Bühne.” Parnass (Austria) 2 (March-April 1985): 62-67. no. “Neuer Sinn aus alten Formen: Musikalisch-dramatische Darstellung im Kirchenraum. 1987): 287-88. the set as a whole was “dull. Gedanken und Reflexionen zum 50. Mendes theorized that this was because Shostakovich was “sensitive to Christian values and concepts.” B782. Monika. but especially applauded the dancers. McDermott.196 KRZYSZTOF PENDERECKI B780.” In “Quartetto per archi No. Meyer. Mertl. “Milwaukee. Mercer enthusiastically reviewed the world premiere of Paradise Lost.” Musik und Kirche 48. 3 (1978): 118-23. “Lyric Opera of Chicago. “Das geistliche Vokalschaffen Matthias Kerns. 4 (1968): 524. Nevertheless. Saarbrucken: Pfau. no. 1 (Spring 1979): 23-24. 315 (December l984):l4-l5. Mertins discussed its serialist passages and his theory that the piece is less avant-garde than it seems at first hearing. German composer Matthias Kern was influenced by Penderecki’s use of form. the Requiem marked the end of his immersion in 19th-century musical styles and the start of another period of enrichment and enlargement of his compositional language. “Leitbilder zum Anfassen. Ein ‘Schaf im Wolfspelz’: Krzysztof Pendereckis ‘Anaklasis’. anti-Communist beliefs. Mercer. 2 i tradycja w muzyce Krzysztofa Krzysztofa . Merten. and the premiere has been broadcast via radio in Europe and the United States. Mendes. Although Penderecki purportedly would not even discuss the music of fervently Communist composers because of his own Christian. She praised nearly all of the performers. According to Penderecki. B783. no. he was willing to talk about and perform the music of Shostakovich. Vincent. no.” Christian Century 104.

A successful performance of the St. 1990): 4 This interview is based on two conversations that Meyer had with Penderecki in Zurich. In one succinct paragraph. However. Meyer. B791. Penderecki. Warsaw: Wydawnictwo Interpress. Meyer-Janson. Glasgow: Third Eye Centre. He also noted that religion had played an important role in his childhood life. 1987. According to the piece is one of Penderecki's best compositions.BIBLIOGRAPHY 197 Pendereckiego. Paul S. 225 (September 24. “Music. Thomas.” Ruch muzyczny 34. 5 (September-October 1970): 356-57. 1983. in turn. had contributed to his lifelong interest in sacred music. Michalski. and Bernstein. no. precede Minear's discussion of this work. Although Michalski did not discuss any piece in detail. Atlanta: John Knox Press. Burkhard. Brahms. Grzegorz. 1990. Changing Perspectives Series. “Nowa muzyka. or at least the indicated durations of particular sections. Jozef. “'Man kann nur einmal Avantgardist sein. 1974). Luke Passion's text.” In Polish Realities. Death Set to Music. Meyer found it interesting that the notation. edited by Tadeusz Ochlewski. 134-98.” B790. B792.’ Gespräche mit Krzysztof Penderecki. Meyer-Janson was not entirely satisfied with the music itself. “Pendereckis 'Lukas-Passion' in Hamburg. The Arts in Poland 1980-1989. edited by Regina and Krzysztof Szwajgier. he said that his so-called avant-garde works had been written in reaction both to the Darmstadt school of serialist composition and to the conservative music education that he had received. He spent much of his essay interpreting Penderecki's selections of texts.” Musik und Kirche 40. 12 (December 1989): 17-22. Penderecki's music is mentioned frequently in this chapter. Kraków: Akademia Muzyczna.” In Dzieje muzyki polskiej w zarysie. he did communicate the general characteristics of Penderecki's musical style. 114-19. 78-93. were different in the Schott publication than in the PWM score. edited by Donald Pirie. and Christopher Carrell. no. 1983. B788. written in the late 1950s and early 1960s. “A jednak Penderecki!” Dziennik Zachodni. plus a list of its Biblical sources. no. no. Michalski summarized Penderecki's compositional style and cited several of his pieces.” Neue Zeitschrift für Musik 150. B793. Minear. Canticum Canticorum Salomonis bears the mark of the composer's unusual use of timbre. excerpts in tylko raz. M. Luke Passion took place in Hamburg. Penderecki acknowledged that Strophes bore the influence of Boulez’s Improvisations sur Mallarmé. The Second String Quartet bears a close relationship to the sonoristic works of Penderecki. although he admitted that it was “impressive. which. Masterworks by Bach. B789. for they do not come solely from the Gospel . Jekaterina Young. Second edition. Latin and English versions of Penderecki’s St. 5 (March 11.

high register vs. low register.” Ruch muzyczny 24. The Hamburg production of The Devils of Loudun was also shown on television. Danuta. Adagietto. In Montés’ opionion. mk. and Krzysztof Szwajgier. Mirka asserted that these pieces were systematically structured.” Melos 34. no. In fact. co-sponsored by the Rotterdam Orchestra.” . nos. Mirka analyzed Penderecki’s sonoristic style in Threnody. and Psalms of David. included performances of Miniatures for Violin and Piano. the Quartet had “vitality and. 1 were among the highlights of a contemporary music festival organized by Alberto Ginastera. String Quartets Nos. 2 (1972): 330-33. “Europäische Avantgarde in Buenos Aires. Kraków: Akademia Muzyczna. Capriccio for Tuba. 25 (December 14.” it conveyed a sense of drama and an “almost otherworldly quality. the Violin Concerto. static sound vs.” Musical Quarterly 58. B794. Karen. Monson discussed in some detail the travails that accompanied the birth of Paradise Lost at the Lyric Opera. and the Rotterdam Artistic Foundation. John. Mirka. Capriccio per Siegfried Palm. B797. 1980): 2. a rich sounding contrast of percussive characters. Monson.198 KRZYSZTOF PENDERECKI of Luke. 1 and 2. Polymorphia. 2. In her opinion.” In Muzyka polska 1945-1995.g. B799. The Penderecki Festival. no. Pendereckiego w Holandii. “Penderecki: Utrenia. 1996. 1 (RCA LSC-3180).” Musical Semiotics in Growth (1996): 73-81. edited by Krzysztof Droba. Pt. “Penderecki's 'Paradise Lost'. She then claimed that Penderecki’s works from about 1962-1973 combined this system with a serialist system based on sounds “en masse” rather than individual pitches. “Sonorystyczny strukturalizm Krzysztofa Pendereckiego. moving sounds).. both the composition and the Lyric's production were excellent. De Natura Sonoris No. “Some Semiotic Problems of Krzysztof Penderecki’s Sonoristic Style. In his review of the RCA recording of Utrenia. B795. 39. Moevs asserted that despite the piece's “rudimentary” tendencies and “superficial complexity. Anaklasis. Penderecki's Psalmus and String Quartet No. Moevs. frequently. Penderecki seemed to change Luke's perspective on the Passion story by including material from Mark and John. The basic elements of Penderecki’s system incorporated the idea of binary opposition (e. Teresa Malecka. Rotterdam Conservatory.” B798. Robert. Montés. 235-48. and Fluorescences. 7-8 (July-August 1967): 274. In contrast to the widely perceived notion of Penderecki’s sonoristic works as merely a collection of special effects.” High Fidelity/Musical America 29 (March 1979): MA30-31. B796.

to be “an enormous success. In his opinion.. 10-12. B805. Montés did not consider this work to be one of Penderecki’s finest. Penderecki conducted the Jerusalem Symphony in three of his pieces—The Awakening of Jacob.numerous percussion effects. 32. premiered two days after that in Hamburg.” It was especially daring in its staging. . B806. Moor. to the point of having partial nudity in one scene.” B801. Penderecki flaunted the dictatorial powers of the Polish government by accepting invitations to Israel (with which Poland had no diplomatic relations) and by openly showing his support of the Solidarity movement. 3. no. In contrast. yet he described it as “genuine Penderecki. and.Where Kinetic Music Happened. had difficulty dealing with the notation in these works. Each of the sixteen parts called for improvisation and other unusual vocal techniques typical of Penderecki's music.” Melos 38. July 2. 1969. neither the sets nor the conducting did the piece justice. “Gulbenkian Festival: Penderecki Premiere. B804. “Buenos Aires wird mit neuer Musik überschüttet. B803. “Donaueschingen. The St.” Melos 37. no.” Financial Times. rather than a detailed portrayal of Solomon's songs. B802. Moor condemned the Hamburg world premiere of The Devils of Loudun.” Musical America 108.BIBLIOGRAPHY 199 B800. with its concentrations of sounds. Moor perceived Canticum Canticorum Salomonis as providing an impression. “Krzysztof Penderecki.” High Fidelity/Musical America 25 (December 1975): MA38-39.. Moor reflected on his long friendship with Penderecki and on the composer's relationship with the Communist authorities in Poland. 4 (April 1971): 157-161. no. 5 (May 1970): 200-205. comprised primarily of recent Soviet immigrants.” High Fidelity/Musical America 23. p. clusters. The Argentinian premiere of the Capriccio for Violin and Orchestra occurred in the presence of the composer. he considered the Stuttgart production of the work. Paul. 10 (October 1973): MA27. no.. “Buenos Aires hat moderne Konzerte in Hülle und Fülle.. Luke Passion was performed at the Teatro Colon in Buenos Aires. The final concert of the 1967 Donaueschingen Festival included the world premiere performance of Penderecki's Capriccio for Violin. The orchestra. and the First Symphony.” High Fidelity/Musical America 18 (February 1968): MA28-29. “The Devils Rehabilitated.3 (July 1988): 8. Partita. glissandos. “The Israel Festival Trims Its Wings. Montés praised Henryk as a conductor of eloquence and concentration whose expertise was crucial to the work’s success.

. Penderecki's occasional use of religious texts that evoke images of a free Poland is emotionally stirring. In this review of the EMI/Angel recording of Te Deum and Lacrimosa (DS 38060).C. Clarinet Quartet. recorded by Ivan Monighetti on Chant du Monde 2781059. Moor summarized Penderecki's catapult to fame. 4 (July/August 1992): 257. For Polish citizens. “Talent and Trash from I. “Krzysztof Penderecki. saying that its music was “overstated.” B811.200 KRZYSZTOF PENDERECKI B807. Penderecki: Violin Concerto. to be presented in the near future by the Santa Fe Opera. Luke Passion was “imposing. B808. S.” High Fidelity/Musical America 34.M. He also related the story of why Penderecki created the graphic notation that appears in his early works and why he had chosen to imitate the sound of a streetcar in Threnody. premiere at that time. B813. During the course of the article. Moore implied that Penderecki’s Violin Concerto No. Penderecki was the Composer-in-Residence for the Conference on Contemporary Music at the 1977 Aspen Festival. no. no. . Prelude for Clarinet Solo. his popularity in both Poland and the West.” American Record Guide 57. p. 12. no. Moore. he did acknowledge his admiration for Penderecki's music and his friendship with the composer. 1 (January/February 1996): 124. “Penderecki: Quartets 1 + 2. 6 (November/December 1994): 167. no. Moor reviewed Penderecki’s childhood. Moore gave the piece a mixed review. 1 was important primarily because it was written for soloist Isaac Stern. no. and his methods of simple and quite sincerely moves you.” Life.” High Fidelity/Musical America 16. Polens Größter seit Chopin?” Der Monat 22. no.” American Record Guide 59.” Music Journal 35. Although Moor never answered the question posed in his title. String Trio.” American Record Guide 55. B809. Part II of Utrenia received its U. “Sexual Hysteria Set to Music. “Denver. his early influences of Schönberg and Boulez. “Contemporary Solo Cello. This mentions Per Slava. Moore traced a history of Penderecki's compositional twists and turns.” B812. D. 12 (1966): MA26. The Warsaw premiere of the St.” although the solo writing was “marvelous” and there was appropriate “religious exultation. 7 (September 1977): 45. He briefly described its plot and music and discussed its two previous productions in Hamburg and Stuttgart. 5 (May 1984): 63-64. Moore. The Interrupted Thought.. 1969.S. 264 (September 1970): 86-93. then turned to The Devils of Loudun. B814. “Penderecki's Te Deum: Another Milestone froma Modern Master. no. In this review of a recording by the Tale Quartet (BIS 652). August 15. Moor remarked on Penderecki's frequent compositional connections to Christian liturgy. “Hindemith: Violin Concerto. B810.

Moore remarked that the pieces on the CD seemed to be a continuation of the romantic portions of the St. Luke Passion was a colossal success. Luke Passion. The first. performed at the 1971 Donaueschingen Music Days. p.” The Times (London). 10 (October 1969): 440-41. B819. March 5. since he had not enjoyed the composer's more adventurous style representative of his early career. Müller’s thesis is that this piece is not as closely related to Bach’s historical model as has been claimed by other critics. Morrison. “Penderecki: Violin Concerto. is an example of his later ventures into romanticism. For him. Motte. no. 1 (January-February 1982): 52-53. B817. B822. Luke Passion is one of three works analyzed by Müller. Diether de la. B821. 3 (1975): 160-72. Karl-Josef. 9.” Musica 36. B818. no. In this review of Orfeo 285 931.” Melos 38. “Donaueschinger Musiktage 1970. Fritz.” Schweizerische Musikzeitung 111. B816.BIBLIOGRAPHY 201 B815. The second.” Melos 38. this was a positive development. no. A schedule performance of Actions at the 1970 Donaueschingen Music Days was cancelled because the work was not yet completed. “Donaueschinger Musiktage 1971: Sinfonie orchester in verwandelter Welt. “Penderecki Festival. Richard. 1986. selections from Paradise Lost. Penderecki's affinity to the music of Bruckner can be heard in his Te Deum and Symphony No.” B820. He also thought its treatment of vowels favored a more modern interpretation of the piece. “Bedeutende geistliche Werke der musikalischen Avantgarde. 1 (January 1971): 23-25. Muggier. no.” American Record Guide 57. Canticum Canticorum Salomonis. 12 (December 1971): 531-33. Muggier described Actions. no. no. Two works performed at a festival of Penderecki's music at the Royal Academy of Music represented the composer's two major compositional trends. Penderecki’s St. “sums up” Penderecki's early experiments with sound resources. Cello Concerto 2.” Musica sacra 95. The Swiss premiere of the St. “Warschauer Herbst 25 Jahre jung. 2 (March-April 1994): 131. no. “Zürich während der Juni-Festwochen. Müller. 2. He asserted that the B-A-C-H motive should be viewed only as part of the work’s overarching 12-tone row rather than a more conscious use of an historical reference. 6 (NovemberDecember 1971): 359-61. which were performed at the 1981 Warsaw Autumn Festival.” Melos 36. as an unimpressive “Big Band composition. . “Karlheinz Stockhausen träumt für die Donaueschinger Musiktage. Actions has nothing to do with free jazz and leaves little to the imagination.

Penderecki's compositions are related to those of Webern in two ways: symmetrical row structures and chromatic links between parts. edited by Dieter Zimmerschied. no. Biblical sources.202 KRZYSZTOF PENDERECKI B823. Dimensions of Time and Silence. no. “Traditionnelles bei Penderecki. Psalms of David. 1974. Material und didaktische Information. edited by Dieter Zimmerschied. and reception. Mainz: Schott’s Söhne. 5 (May 1969): 214-16. Müller’s main focus was Anaklasis. Luke Passion consists primarily of a description of each of the work’s many sections. similarities to Bach’s Passions. Informationen zu Pendereckis Lukas-Passion. Müller chose to discuss the ideas of sound and reception in further detail. and how it explored the boundary between musical sound and noise. B824. 7-8 (1972): 377-80.” Musik und Bildung 7. and the St. text settings. Müllman. excerpts from published reviews. Luke Passion.” Neue Zeitschrifi für Musik 130. Also published as “Dramatische Leidenscharft und Stille Klage. Müller provided musical examples from these pieces. . B825. the Cello Sonata. “Krzysztof Penderecki (1933): Anaklasis (1959-1960) für Streicher und Schlagzeuggruppen. Frankfurt: Moritz Diesterweg. aesthetics. B827. and the Second String Quartet. 2. he demonstrated how Penderecki’s music differed from Ligeti’s. 12 (December 1975): 622-231. He discussed its twelve-tone rows. Müller’s 56-page book on the St. B826. he described its opposing roles of the strings and percussion and its counterpoint of surface sounds versus pointillistic settings. Illustrating his points with numerous musical examples. no.” In Penderecki’s music these points include notation. 201-214.” Das Orchester 20. Using examples from Anaklasis. The central portion of this article is an analysis of the Psalms of David. B. Also published in Musik und Bildung 4. Here Müller discussed Penderecki’s serial technique.” In Perspektiven Neuer Musik. biographical data. Both techniques are used in Strophes. Recording information. De Natura Sonoris No. He also delineated the work’s various notational devices. “Siegfried Heinrichs Einstudierung von Krzysztof Pendereckis 'Lukas-Passion' in Bad Hersfeld. B828. sound. 1974. and his text setting. Müller took as his point of departure the concept of a “mobile network of trigonometrical points. 5 (May 1972): 234-37. Material und didaktische Information. “Pendereckis Musik im mobilen Netz trigonometrischer Punkte. his incorporation of jazz and sacred musical elements into an otherwise overtly avant-garde piece. “Krzysztof Penderecki (1933): Aus den Psalmen Davids für gemischten Chor und Instrumental-ensemble (1958). A selected discography and bibliography conclude the book. form. nos.” Das Orchester 17 (June 1969): 261-63. 1973. and exploration of the limits between sound and noise. Numerous musical examples and a German translation of the text are provided. and a brief bibliography form the peripheral portions of this article.” In Perspektiven Neuer Musik. 215-33. Mainz: Schott’s Söhne.

. 1 (1980): MA37-38.” Polish Music 14. 1 (1976): 2229. In Müllman’s words. especially its choral writing and successful blending of diverse styles. B833. He claimed. The Stuttgart production of the opera. Luke Passion was premiered in Dusseldorf the evening before Palm Sunday. “Warsaw Autumn. B832. “one wonders again and again why Penderecki’s Lukas Passion addressed the listener so directly that the question about the quality of the soloists becomes. Munstermann. however. A staged performance of the St. John Cathedral was full to overflowing for a performance of Utrenia. The Violin Concerto and Paradise Lost were performed at the 1979 Warsaw Autumn Festival. B830. no. and a critique of the performance. no. Murray applauded much of the music. “Warsaw Autumn 1975. This review of the world premiere production of Paradise Lost includes a list of cast members.” Polish Music 11. The piece's formal structure is non-traditional.D. a summary of the work's compositional history.” B829. 1986.A New Opera of Krzysztof Penderecki.” Melos 36. keening chants and [a] soaring panoply of choral and orchestral lines. B831. Murdock. J. Erich Walter choreographed the limited stage movements of the soloists. no. “Düsseldorf macht szenische Experimente mit Pendereckis Lukaspassion. . this production was an hour shorter than the world premiere production by the Chicago Lyric Opera in 1978.” Polish Music 14. Murray was disappointed that the ballet was cut in this version. that many directions contained in the libretto were ignored.insignificant. no. It is shorter by more an hour and has improved staging and scenery. “Warsaw Autumn 79. Lighting and video projections enhanced the production. Bain. eerie choral glissandos. dissertation. is preferable to the Chicago Lyric Opera's world premiere presentation. “The Pittsburgh Overture' by Krzysztof Penderecki and 'Forging the Circle (Original composition).” High Fidelity/Musical America 30. Penderecki's Magnificat contains “striking sonorities. The Polish premiere of Paradise Lost took place in September 1979. Katherine. Warsaw's St. Luke Passion was presented in in several German cities.. 4 (1979): 10-17. 6 (June 1969): 262-63. nos. Murray. no. H. “'Paradise Lost' . the version seen in Warsaw. 4 (1971): 3-11.” Polish Music 6. but the composer's “sense of dramatic pacing and gesture” contribute to its effectiveness.” Ph. a plot synopsis. B834. Murray noted that the antiphonal choral writing was the most effective aspect of the piece. 1-2 (1979):37-43. “Warsaw Autumn 1971. Presented by the Stuttgart State Opera.BIBLIOGRAPHY 203 The St. Penderecki's free use of dodecaphony and his methods of creating blocks of sounds in the Pittsburgh Overture are discussed in this dissertation. University of Rochester.” B835.

but after composing much of it. Both The Awakening of Jacob [here called “Jacob's Dream”) and the Magnificat contain astounding sonorities. In his opinion. reaching as far back as Gregorian chant. Musielak. B842. and canons to the playful nature of madrigals and dances. B838. Luke Passion. who claimed that Penderecki had originally called this work a concerto. 3. no. Penderecki's Capriccio for Violin is a “serious game. 5 (1968): 8-9. He linked the piece to the religious music of previous centuries.” Mycielski referred to another writer. Zygmunt. Mycielski took issue with their assertion that the text of a composition has no bearing on the work’s success. “Capriccio Pendereckiego: czy smutna zabawa?” Ruch muzyczny 12. The author reflected on the St. Dies Irae.” Ruch muzyczny 20. “Pasja po 10 latach. no. variations. “Dziwne Ruch muzyczny 15. In responding to and Wallek-Walewski's discussion of Cosmogony (“Kosmogonia Krzysztofa Pendereckiego”). De Natura Sonoris No. Luke Passion. and a “Violin Concerto” (the Capriccio for Violin).” High Fidilty/Musical America (February 1976): MA38-39. mww [Marian Wallek-Walewski]. Mycielski's point of departure is the concept of musical games. B839. Mycielski contemplated the swiftness with which composers write new pieces and the corresponding speed with which analysts must dissect and decipher them. during the last three years Penderecki wrote the St. puzzle-like aspects of fugues. Mycielski.” Journal musical francais musica disques 57 (May 1967): 26-28. “' Dies Irae' Pendereckiego. B837. “Le Xe Festival de musique contemporaine de Varsovie. He referred to the poignant texts of Bach's cantatas.204 KRZYSZTOF PENDERECKI B836. One of the highlights of the 1966 Warsaw Autumn Festival was a performance of Penderecki's St. 24 (1976): 10-11. no. no. He compared the serious. Mycielski cited the text in the Passion and Dies Irae as one of the common bonds between these two pieces. had changed its title to “Capriccio. Ludwik Erhardt. “'Dies Dies Irae’ Pendereckiego. “Warsaw Autumn: A Lab for New Sounds. Luke Passion. Those in the Magnificat seemed to be enhanced by the architecture and atmosphere of the Cathedral in which it was performed. p. For example.” Ruch muzyczny 11. B841.” B840. Henryk. He also discussed its textual sources and Penderecki's imaginative settings of the texts. Mycielski discussed Dies Irae after hearing it at rehearsals. now ten years old. Musielak briefly discussed the work's commissioning and its relationship to earlier Passion settings. Two of Penderecki's compositions were presented at the 1976 Warsaw Autumn Festival.” Tygodnik Powszechny. He no longer found its sounds shocking and he wondered if others knew the work as intimately as he did. April 30. 1. 14 (1967): 3. 1967. His recent thoughts about the piece concerned its relationship to earlier Passions. 18 (1971): 14-15. and asked “is it better to pay as much attention as .

and Stravinsky and speculated about other possible influences in Penderecki's background. B845. “Pasja po latach. 18. Mycielski reaffirmed his earlier opinions (“Dziwne Ruch muzyczny.” Ruch muzyczny 19. He also compared the inventiveness of the Passion to the “stagnation” of other compositions written in the last twenty years.BIBLIOGRAPHY 205 possible to texts in order to hear what the composer did with this material?” Penderecki. the St. In particular. Gesualdo. Liszt. he stated that the latter half of the 20th century has not been the only period in which texts in musical compositions have been difficult to understand. John's Cathedral prompted this review. no. and “Spór czy qui pro quo?”). B847. no. Mycielski offered several thoughts about the St.” Finally. “Kosmogonia Krzysztofa Pendereckiego. Luke Passion has become a “classic” after only ten years of existence. Secondly. “Penderecki w Katedrze Sw. or even equal. The performance of the Magnificat in Warsaw's St. First. Mycielski considered this piece to be one of Penderecki's finest achievements. he now admitted that it was indeed “an authentic Passion. no. “‘Passio et mors domini nostri Jesu Christi secundum Lucam’ Krzysztofa Pendereckiego. no. In this final communication regarding Cosmogony's texts. the greatness of Bach's efforts in that genre. He pointed to the Renaissance as a period of similar practices. perhaps Warsaw's Wielki Teatr. no. Postludia. excerpts in Clavis. Luke Passion immediately after its world premiere. Reprinted in Zygmunt Mycielski.” Ruch muzyczny 7. 1977. “Tradycja i Polska. Mycielski thought Czyz's interpretation of the piece was definitive.” The central portion of the article is a detailed discussion of the choral parts.” Ruch muzyczny 21. no. B848. Kraków: Polskie Wydawnictwo Muzyczne. B846. although he had feared that this Passion could never surpass. 2 (1963): 12-13. 2 (1971): 2. According to Mycielski. 1971. The use of other intervals is so rare that “the most rigorous line of a Gregorian chorale sounds almost lyrical. . and it has been widely analyzed in the press.” Wallek-Walewski. Schütz. or. 23 (1975): 6-7. in Poland. This article includes a discussion of Penderecki's links to Baroque music. has said that he takes great care in selecting his texts. Mycielski briefly discussed the work's underpinnings in the compositions of Bach. The Stabat Mater is based on major and minor seconds. B843. “Muzyka w prasie. see also and Wallek-Walewski. 1 (1972): 10. for example. 2 (1977): 10-11. no. Its “richness of invention and colors [and] its musical dimensions” no longer surprise audiences. no. he believed that this work should always be performed in a cathedral.” Ruch muzyczny 15. 10 (1966): 3-7. “List do Zygmunta Mycielskiego”. “'Stabat Mater' Krzysztofa Pendereckiego. “O co nam chodzi w tym sporze?” Ruch muzyczny 16. B844. 239-43.” Ruch muzyczny 10. 12 (December 1970). Jana.

no. 5 (May/June 1990): 242-46. 1986. Negrey devoted his essay to an almost measure-by-measure analysis of the form of the Second Symphony. B856.” Ruch muzyczny 27. Poland’s state music company. Photos from productions of Devils and Paradise Lost accompany the citations. David K. Paradise Lost. It is not clear whether Negrey used the original or the revised score for his analysis. 21 (1961): 1-4. Nelson briefly summarized each piece in the five “volumes” (comprising seven CDs) of Penderecki’s music issued by Polskie Nagrania. B851. Newell. Neuer. no. and The Most Valiant Knight are listed in this chronicle. Penderecki's Threnody consists of many unusual sounds made by 52 string instruments. Nestler. B852. B854. In Mycielski’s opinion. Among the details provided for each piece are their characters.” Musical Times 124. Adam.” Melos 35. Nagley noted its unmistakably twentieth-century musical language as well as its links to Bach's Passions. Marek]. Nagley. Miniatures for Violin and Piano. Judith.” Ruch muzyczny 5. “Choral Conductors Forum. . Translated by Jerzy Zawadzki. Nestler's thesis is that three chamber pieces written by Penderecki early in his career display a progression from an early emphasis on traditional sounds and forms to a later stress on timbre. Kraków: Polskie Wydawnictwo Muzyczne. Robert. B850.206 KRZYSZTOF PENDERECKI B849. and String Quartet No. “Dreimal Penderecki. “II symfonia Krzysztofa Pendereckiego. ed. Volumes One to Five. Gerhard. no. 3 (1974): 13-19. Luke Passion. “Warszawska 1961. Negrey. 12 (December 1968): 469-70. In this commentary on the St. instrumentation. B853. Penderecki conducted the St. Nelson. This is an announcement of the publication of Labyrinth of Time in Polish and English. 1. Penderecki's 'Passio': Structure and Performance. The works he examined were Three Miniatures for Clarinet and Piano. Muza PNCD 017-021. no. mz [Zwyrzykowski. no. Maciej.” Fanfare 13. Excerpts from reviews are given for The Devils of Loudun and Paradise Lost. discography. world premiere and subsequent performances. “Penderecki.” Studio (June 1998): 35. 24 (November 24. Luke Passion for the first time. 1688 (October 1983): 629. 1983): 3-4. and publishing information. The Devils of Loudun. Polish Opera & Ballet of the Twentieth Century. B855. “Proms. these sounds helped to create a truly musical piece. no. Newell discussed the symmetrical placement of its orchestral interludes and a capella sections and elaborated upon Penderecki's skillful incorporation of vocal “sounds” into otherwise instrumental passages. “Labirynt czasu. the TV version of Devils is also listed.” American Choral Review 16. vocal parts.

In this lengthy essay on the evolution of Penderecki's compositional style. this article offers several provocative ideas about Penderecki’s symphonism. During his twelve-day stay in Moscow and Leningrad. The Cadenza shares a ternary structure and musical material with the Viola Concerto. Michael.” In Das Religiose in Opern des 20. she divided his works into three periods (1958-1962.BIBLIOGRAPHY 207 B857. 1996. Penderecki found Soviet orchestral . Finally. Kraków: Akademia Muzyczna. B860. Niemoller. 1182 (October 1988): 817. 1995. she noted that Penderecki's music was intensely emotional and often based on the concepts of the greatness of humanity. “Krzysztof Penderecki: 'Lukas-Passion' -. He is an ardent admirer of the piece. Bonn: Theater-Rundshau. Irina. Manfred. 1981. “Z niektórych twórczosci symfonicznej lat Muzyka Krzysztofa Pendereckiego. no. Nikolska. Kraków: Akademia Muzyczna.” In his opinion. Penderecki had met Christ’s Passion with the dual inspirations of religion and intellect. or other aspects of human life. Despite a lack of fluency in its translation. “On Some Symphonic Works within the 80s. creating a unified piece that speaks to the spirit of our times. Niehaus reviewed the St. 4553. “O ewolucji instrumentalnej Krzysztofa Pendereckiego. which features the world premiere’s performers (Harmonia Mundi 3101/02). Penderecki visited many museums and architectural monuments. edited by Tomaszewski. 23-46. stating that with this recording “music history has captured a remarkable event. Jahhunderts zum Domfest 1980.” Muzyka 32. she stressed the composer's faithfulness to the customary rules of form and drama in composition.” The Strad 99. “Penderecki w ZSRR. trying to learn as much as possible about Russia's cultural background. Newman discussed the piece's notation. no.” Ruch muzyczny 25. His biggest discovery was Grigorii Zhislin. 1 (1987): 31-53. “Cadenza for Solo Viola. First. 1964-1973. Jahrhundert. form and motivic features. 3 (March 1967): 113-14. 1974-) and discussed his stylistic evolution in detail. Luke Passion on the basis of its first recording. 45-54. Nikolska touched on several important points. B858. The composer is depicted as the logical successor to 19th-century romantic symphonism.” In Krzysztof Penderecki: Poetics and Reception. Newman. B859. Niehaus. but it is not a miniature version of that work. Poetyka i Recepcja.eine Schallplattenaufnahme. no. “Zur musikalischen Ausdruckswelt der religiosen Oper im 20. who performed the solo part in his Violin Concerto. Penderecki’s Paradise Lost is included in this discussion of religiosity in 20th-century operas. even while changing other aspects of his musical style. B861. edited by Tomaszewski. the tragedy of war. Nearly constant development is apparent in his symphonies of the 1980s and he is able to create the auras of earlier styles without directly imitating them. Next. B862. 3 (1981): 3-4.” Neue Zeitschrift für Musik 128. Klaus Wolfgang. no.

Kraków: Musica Iagellonica. “Ponowne spotkanie z Krzysztofem Pendereckim.. Its Russian premiere did not occur until 1995. 3 (1968): 11-12.” was given an “immensely entrancing” performance by the Bavarian Radio Orchestra and Choir and soloists Colette Lorand. 5. 1988.” . K. B864. 1983): 18-19. B868. 14 (July 10.” She was impressed with the “kaleidoscopic images” in the Capriccio. The Black Mask.” Ruch muzyczny 27. and Hans-Ulrich Mielsch. “Krzysztof Penderecki: Capriccio No. which consisted of a “three-octave cluster of quarter-tones. The Cello Concerto is related stylistically to Penderecki's Violin Concerto.” Studies in Penderecki 1 (1998): 11516. profoundly impressive work. no. not from Russia. B865. B867. Section B. Penderecki conducted three of his works (Threnody. p. and the Second Cello Concerto) in Moscow and Leningrad in April 1983. a “jarring. According to Noble. when his neo-romantic Violin Concerto became a topic of much deliberation. edited by Anna Czekanowska. B866. Eduard Wollitz.” Oper und Konzert 8 (May 1970): 31-32. “Recepcja polskiej muzyce w Rosji (19601980). 261 -74. Nikolska's comments about Threnody focused on the work's progression towards a climax.” The orchestral writing includes complex solo parts and unexpected timbral and dynamic effects. glissandos. Exciting Production at SFO.” In Dziedzictwo europejskie a polska kultura muzyczna w dobie przemian. Noble.” Albuquerque Journal. “3. B863. Nikolska discussed the reception of Polish music in the Soviet Union. She mentioned the favorable response of the St.” Polish Music 3. Dies Irae. David. “Utrenya in Moscow. Virtuosity is required of both soloist and orchestra in the Capriccio for Violin. N. 1995. August 1. 2 for Violin and Orchestra. since both pieces use motives of tritones and minor seconds within a neo-romantic setting. Luke Passion in its first performance in that country in 1979 and noted the high regard that Penderecki had there from the 1960s until the early 1980s. given its American premiere by the Santa Fe Opera. “'The Black Mask' a Feverish. is “based on a truly weird play” and contains “explosive. angular avant-garde music that often was at the same time spacious and beautiful. percussive effects. these musicians were surprised to hear the style of the Violin Concerto and the Adagietto from Paradise Lost. The violin part contains undefined pitches. Having previously heard only his sonoristic works. Konzert der ‘Musica viva’ Herkulessal.208 KRZYSZTOF PENDERECKI musicians to be much more receptive to his music than those he had met elsewhere. having been forbidden by Soviet authorities until then. It differs from its violin counterpart. no. nn. Capriccio for Violin. and other “extremely difficult passages. in its free treatment of form. however. Penderecki’s inspiration for Utrenia came from the Orthodox liturgies of southeastern Europe.

Its central portion is an in-depth analysis of pitch structure. North thought the work still made “a tremendous impact. 7. North is still mystified by the piece.” Fanfare 13. . p.” Fanfare 14. “Krzysztof Penderecki . “Penderecki.” The Times (London). In the final section. Res Facta 2 (1968): 79-112.BIBLIOGRAPHY 209 B869. Emanations. no. “First Performances. 1965. and clock-time notation in Polymorphia.” B873. reprinted in Opera News 51. 1652 (October 1980): 645-46. Dimensions of Time and Silence. James H. it succeeds in sounding only “tired and worn. Norton-Welsh gave it a mixed review. Tippet. Penderecki's Violin Concerto is problematic. Norris. As part of the joint commissioning of The Black Mask by the Salzburg Festival and the Vienna State Opera. Norton-Welsh. no. 5 (May 1995): 540-42. The horror of the The Devils of Loudun’s plot was displayed to full effect in a Viennese production.studium notacji i instrumentacji. Geoffrey. The first part of Nordwall's essay provides details about notation and instrumentation in Strophes. August 1. A performance of the St. Vienna. incorporating quotes from an interview with the composer in Nutida Musik [“Tonsattaren inför traditionen. Luke Passion.” Translated by Zofia Stankiewicz. pp. 5 (May/June 1991): 245. “Penderecki: Symphony No. 1983. In Norris's opinion. the world premiere of the opera was given in Vienna in September 1986. as the “richness of the score's orchestral and choral palette” resulted in a performance of “strength. 2 (November/December 1989): 312.” but complimenting the singers’ performances.” no. In this review of an Olympia CD (OCD 329). articulations. Anaklasis.” Opera 37. 2. 9 (1987): 39-40. no. North mentioned that both critics and audience member were baffled by Penderecki’s Symphony No. North. Luke Passion at the Proms was a huge success.’” Trygve Nordwall. Concerto for Violin and Orchestra.] B870. Vienna. Fluorescences.” Opera 46. 1 (1963/64). Polymorphia. and String Quartet No. Miniatures for Violin. 1. Christopher.” B871. Luke Passion is the first new recording of the piece to be released since the two made shortly after the work’s premiere. criticizing the music's failure to provide “dramatic impact. “Austria. 2 at its world premiere. Trygve. “'Passion' with Power. Bruzdowicz: Concerto for Double Bass and Orchestra. no. B875. no. An Argo recording of the St. Although the piece is meant to revive the lyricism and virtuosity of the typical nineteenth-century concerto. energy and control.” B872. originally published as “‘Notation och Instrumentteknik i Krzysztof Pendereckis Verk samt en studio över Pendereckis 'Polymorphia. “Penderecki: St. 14-17. 12 (December 1986): 137374. B874.” Musical Times 121. Threnody. Nordwall. Nordwall discussed Penderecki's aesthetics. no.

Baroque rhetorical expressions. B881. Wagner. October 19. 65-69. “Koncert na flet i Muzyka Krzysztofa Pendereckiego. Oestreich. In this lengthy article. 246-70. Poetyka i Recepcja. and others in an idiom firmly rooted in tonality. Oberc.Bruckner. . and delineated the intricacies of its tripartate form. 11 (November 1964): 401-404. 1993. Kraków: Akademia Muzyczna w Krakówie. Joachim. B878. Hans. 1996. no. James R. Motivic structures and form dominate this discussion of the Flute Concerto. 12 (December 1971): 1075-76. 1995. This movement brought Penderecki the 1992 Grawemeyer Award for Music Composition. Renaissance polyphony. She also discussed the harmony and principal melodic motives of the work.” In i tradycja w muzyce Krzysztofa Pendereckiego.” Opera 22. 1960). “Te Deum. In the opinion of this reviewer. According to Oestreich. edited by Tomaszewski. 1 is an example of a “dramatic” concerto.210 KRZYSZTOF PENDERECKI B876. Lautsprecher links in Donaueschingen 1964. in which virtuosity is less important than the work’s dramatic flow.” no. Penderecki’s Violin Concerto No. “Idee koncertowania w polskich koncertach instrumentalnych. The Symphony No. no. “O IV Festiwalu Muzyki i nowej muzyce polskiej. Until then. 1983. and Richard Strauss. In Olkusnik's opinion. no. B879. “Lautsprecher rechts. Oesch. Anna. edited by Tomaszewski. “Concerto per flauto ed orchestra da camera. 21 (November 1-15. Kraków: Akademia Muzyczna. the piece “evokes Mahler. The Sonata for Cello and Orchestra was the most original work of the 1964 Donaueschingen Music Days.” In The Music of Krzysztof Penderecki: Poetics and Reception.. Nowak. 4 (1996): 43-60.” Muzyka 41. its short scenes convey the basic story line but do not create much dramatic impact. “Graz. Anna. Neapolitan opera. The work’s slow-fast-slow formal structure is a reversal of Penderecki’s earlier practice of using a classical fast-slow-fast sequence. B877. B880. Kraków: Akademia Muzyczna. and the romanticism of Bruckner.” New York Times. 4 “Adagio” was given its New York premiere by the Pittsburgh Symphony. Penderecki showed concern for detail and avoided brutality in Dimensions of Time and Silence..” Melos 31. 65-68. Oberc reviewed what she believed to be the stylistic influences apparent in Te Deum: medieval chant. “The Pittsburgh Symphony Brings a Premiere. Bartók.” B882. edited by Regina and Krzysztof Szwajgier. The Devils of Loudun does not become musically interesting until its third and final act.

10 (October 1988): 38-39. “Early Penderecki. B886. the composer said that rhythm played a much more important role in this piece than it had in his earlier works and that some rhythmic patterns act as leitmotifs. Penderecki's St. complete with excerpts from the libretto. B885. Novität. 3 (November 1973): 40-43. the piece is built on two circles of fifths displaced by a second. no. May 18. nos. 1085 (February 1968): 267-71. Pendereckis 'Schwarze Maske'. Ates. Luke Passion. p.BIBLIOGRAPHY 211 B883. “'The Devils'.” Music and Musicians 22. Among other things. 10 (1969): 18-19. The St. Its text could not be understood and its drama was both too compact and chaotic and too flagrant and overly concerned with spectacle. “Polish Première: 'The Black Mask'. Despite Orga's own critical acclaim for The Devils of Loudun. He noted that the program book failed to mention that the three acts of the original version of the opera had been redistributed over two acts for this production.” Opern Welt 29. was devoted to a summary of the historical facts of the opera’s plot and a scene-by-scene description of its action. Harmonically.” Theatre en Pologne/Theatre in Poland 30. The stage itself.” Musical Opinion 91. B889. 2. contributed to the magic of the presentation. Luke Passion and other sacred pieces by Penderecki evoke atmospheres that are different from the composer's other works.” Music and Musicians 22. providing music that was both dissonant and sensual. created by Ter-Arutunian. Orga began this article by attempting to rebut the negative opinions that had been frequently expressed about The Devils of Loudun. 5 (January 1974): 51-52. In this review of the the Polish premiere of The Black Mask. etc. Penderecki treated the members of the orchestra as virtuosos. Orga. Opalski included several comments by Penderecki. “A Case of Mass Hysteria. Oppens. “Noch einmal: das Martyrium des Urbain Grandier. The Santa Fe Opera’s production of The Devils of Loudun compared favorably to those given in Europe. the 1988 Santa Fe Opera production of the The Black Mask was flawed. 3-5 (1988). no. J. Orga described their extended playing techniques and lack of conventional melodies and meters. no. a church. a prison. a street. B887. no. Repertoire. however. The majority of his discussion. as a construction of “encapsulated squares” contained visions of a nunnery. “BBC Symphony Concert in the Royal Festival Hall. Orga took as his point of departure a February 1968 London performance of Penderecki's Strophes and First String Quartet. B884. he did not like the Sadler's Wells Opera's version of the opera given in November 1973.” Radio Times (London). B888. 1967. . Opalski. no.” Opern Welt. Each piece was given comparatively lengthy commentary. In Oppens' opinion. Kurt. “Doppel-Strauss.

Luke Passion on the occasion of its London Proms presentation did not extend to the performance itself. He then sketched a line of development in Penderecki's music by exploring the composer's graphic notation. the Brigade of Death. 1967.” Music and Musicians 16 (October 1967): 36-37.” Music and Musicians 18. Orga reviewed the history of socialist realism in Polish music and provided a short biography of Penderecki. he planned all the details about its form before writing its actual notes.” B892. “Exaggerated Passion. p. 1. and Mensura sortis. In this extensive article. and dramatic expressiveness. microtonality. and Dies Irae. Luke Passion.” Orga referred to Penderecki's hand-drawn diagrams (some of which are printed with the article). He is also concerned with “the notion of harmonic tension and the way certain combinations of pitch will react. Among the many works cited were such little-known ones as the Polish Ballad. May 18. The composer refuted the oft-repeated claims that he had been influenced by Xenakis and Stockhausen. 1 (September 1969): 34-38. 76.” Music and Musicians 22. no. Orga provided a rarely-seen description of the Brigade of Death: its colors and textures are related to those of Penderecki’s later works. “Krzysztof Penderecki. no. including.” B894. Luke Passion has a simpler musical language. Brigade’s text came from the diary of an 18-year-old Jewish boy who was forced by the Nazis to help burn bodies in concentration camps. B893. “London Premieres. When preparing a new work. and the St. In fact. when he described the form of the First Symphony B895. cogent analyses for many of the composer’s avant-garde works. the tempos that evening were so slow they produced “excruciating boredom. 32 (Summer 1969): 22-27. In his opinion. . Orga described the compositions written by Penderecki before 1965 as representing “a totally new approach in Polish music. the Passion.” Composer (London) no. but because he had wanted to reflect the “devotional nature of the text.” The Listener (London). Orga provided succinct. This resulted in a weaker focus on the work's tonal center of A. “Krzysztof Penderecki. Polymorphia. 664. 4 (December 1973): 68. “Electronic Music in Poland.” Music & Musicians 22. five pages of the last section (Arche II) were cut. not because Penderecki had entered a less adventurous phase of his compositional career. 2 (1973): 38-41. For the London premiere of Symphony No. while its portrayal of human passions can be compared to the emotions of Threnody.212 KRZYSZTOF PENDERECKI B890. “Penderecki: Composer of Martyrdom. for example. no. Orga's effusive praise of the St. The central portion of this article consists of quotations by Penderecki. Anaklasis. innovative sonorities and textures. B891. he stated that he did not care for the music of either composer.” The St.

19 (1976): 12. the concertos for flute. Japan.” Music and Musicians 15 (May 1967): 28. “Odrobina luksusu. 10-12 grudnia 1993. Orga commented on its orchestration. Psalms of David. Luke Passion. 20 (October 3. The piece has “brilliant. such as ostinatos and certain string sonorities. while its inclusion of such figures as Jerzy and Pope John Paul II as part of the staging did not yield a satisfactory dramatic solution. 2. The musical “sense” of the piece was minimized.” Ruch muzyczny 37. Dni Krzysztofa Pendereckiego w Krakowie. “Na rok przed Ruch muzyczny 37. Frederick. Luke Passion. p. tonal implications. “Saint Luke for Moderns. had been overused. no. This is a brief notice about concerts of Penderecki's music in Guelph. Although he thought that certain techniques. violin and viola. The Awakening of Jacob. This article consists primarily of a list of foreign concerts of Penderecki's compositions. no. 1 (January 1998): 96-97. 1993): 3. Page. B900. pitch structure. West Germany. he still believed that the piece “may well prove one of the great works of our time. B899. 149.” Ruch muzyczny 21. Osaka and Tokyo. A staged performance of the Polish Requiem during the Penderecki Days festival was the ‘artistic scandal’ of the festival.” B897. 4. B903. Canada. “Koncerty kompozytorskie Krzysztofa Pendereckiego.” . Violin Concerto. the St. Stabat Mater. and Threnody. “Zagraniczne koncerty kompozytorskie Krzysztofa Pendereckiego. B901.” Ruch muzyczny 20. 8 (April 18. “Sztokholm zapowiada festiwal Pendereckiego. no. The Kraków Philharmonic performed Te Deum during the Wratislavia Cantans festival. Polymorphia. Luke Passion was a “tremendous occasion” for the Catholic country of Poland. the Polish Requiem. “Warsaw. pa. 1994): 1. These works include Magnificat. The first Warsaw performance of the St. 1. Symphony No. and De Natura Sonoris No. and dramatic structure. Capriccio for Violin. Orski.BIBLIOGRAPHY 213 B896. Pawel. 20 (1977): 15. A wonderful performance of the Polish Requiem opened the Viva Il Canto festival in Poland. inventive writing. and Nuremberg.” Ruch muzyczny 38.” Opera 49. In this analysis of the St. 1993): 5. 2 (January 23. Among the scheduled pieces at a Stockholm festival commemorating Penderecki’s sixtieth birthday are Symphonies 2 -4. Penderecki's Passion. “Cieszyn. no. no.” Musical Times (December 1966): 1079. B898.

but enjoys it when audiences praised his music. Threnody is heard in “startlingly clear sound” in this recording (Berlin 1012). “Musik-Festival in Israel. “bizarre glissandi.” Rochester (NY) Democrat and Chronicle. 9 (1975): 554-55. carefully structured whole. 1987. 5-6 (May-June. and Partita) feature tone clusters.” American Record Guide 58. 1968 radio broadcast. Palmer.214 KRZYSZTOF PENDERECKI B904. 1979). Penderecki admitted that he does not compose for an audience. On the occasion of the performance of Paradise Lost at the 1979 Warsaw Autumn Festival. it would have been recognized unanimously as a masterpiece. B910. B906. 43 (October 28. “Fans Fill Eastman House For Composer's Visit.” Rochester (NY) Democrat and Chronicle. 1995): 95.” Other works performed on a Rochester concert included Cadenza for Solo Viola. Patkowski used Threnody as an example of cluster technique. Patkowski. “Britten: War Requiem. Jòzef. B908. November 15. Panek. But it was composed now. The Awakening of Jacob. He thought that his Viola Concerto might be the most difficult piece ever written for that solo instrument. no.principally due to the treatment of its orchestra. z Loudun z Krefeld. Penderecki: Threnody. Miniatures for Violin and Piano. The Krefeld and Mönchengladbach productions of The Devils of Loudun used many of the same personnel both on and off-stage. Charles H. .. stating that “if it had been written slightly earlier. In particular.” Tygodnik kulturalny. 1987. no. According to Palmer. Three works by Penderecki presented in Jerusalem and Tel Aviv (Symphony No. In this article abstracted from a Feburary 22. 1970.” Ruch muzyczny 20. no. Bodnar criticized Paradise Lost. November 16. Ladislaus. 1.” B907.” and harsh harmonics. therefore it arouses controversy. “Karawana idzie dalej.” Das Orchester 23. B905. Panek focused on the critical reception given that work.1 (1976): 23. no. Penderecki also talked about his composing habits and his conducting schedule. Parsons.. edited by Jozef Patkowski and Anna Kraków: Polskie Wydawnictwo Muzyczny. Robert V. and Three Miniatures for Clarinet and Piano. Berg: Violin Concerto. the Second String Quartet is “a tightly organized miniature—not just a catalog of experimental sounds. Pataki. “Conducting Music Provides 'Respite'. “Klaster i masa Horyzonty muzyki. but an emotive. par. he discussed the remarks made by Izabella Bodnar in an article published in Student [Note: a bibliographic reference for this article could not be established]. B909.

This is the text of a lecture given by the composer in Munich on December 18. and excerpts from Penderecki’s own sketches and published score to The Black Mask. Penderecki provided several reasons for his continued support of the Warsaw Autumn Festival. composers had the choice of adhering in their compositions either to “Simplicity and Popular Character” or “Freedom and Experiment. B914. The Black Mask. He offered the symphony as a means of conveying the best of 20th century composition. 1987. Tomaszewski. 1502 (April 1968): 352. Penderecki eventually realized . 1 (January 14. Penderecki. no. edited by Teresa and Regina Kraków: Centrum Kultury: 1998. 1996. B916. Krzysztof. Adama Mickiewicza w Poznaniu. B915. “Arka. and Regina all of which are given in both Polish and English. premiera Requiem Pendereckiego. 1996): 25. He also revealed that he went to Israel seeking inspiration for the music used for character of God. no. Included are essays by Tadeusz Chrzanowski. “New Paradise Lost' Opera Will Surprise. 52 (1996): 9-11. 1978): 87. This volume accompanied an exhibit held during the Krzysztof Penderecki Festival in 1998.” Billboard (October 28. He and the soloists performed for free.” Rzeczpospolita. Pawlak-Mihai. “New Music. no.BIBLIOGRAPHY 215 B911.” Musical Times 109. Penderecki lamented the expansion of the visual media in society and the accompanying regression of verbal or written means of communication.” Puls (London) 35 (Autumn 1987): 7377.” Many honest musicians selected the latter. Penderecki conducted his Polish Requiem in Bucharest on November 29. B913. Under the guise of socialist realism. Contemporary Dance of Death from Idea to Performance.” Ruch muzyczny 40. Penderecki confirmed that elements common to his early compositions would be less apparent in this new piece. “Czy ‘Warszawska jest potrzebna?” Opcje (September 1996): 10. Prior to 1989 his music had been banned from performance in that country. B912. In comments made prior to the world premiere of Paradise Lost. reproductions of artistic works and poetic excerpts on the topic of death. His remarks focused on the positive and negative aspects about European life during the last century. Alan. He called it a world-renowned event and wondered why it was not being given better financial support in Poland. This is a transcription of the speech given by Penderecki at Adam Mickiewicz University in after he was granted an honorary doctorate there on October 26. Penchansky. In Payne’s opinion. Jadwiga. Anthony. Payne. B917. the initial ideas heard in Penderecki's First String Quartet were not developed to their full potential. and his publisher provided the orchestral parts gratis as well. “Krzysztof Penderecki doktorem honoris causa Uniwersytetu im. 1995.

na koniec wieku. was the correct one to follow. Five Addresses for the End of the Millenium.” Studies in Penderecki 1 (1998): 9-12. which is itself a compilation of addresses published individually in Plus Minus and Tygodnik powszechny.” Music and Musicians 18 (September 1969): 40-42. it also possesses the ability to resurrect itself. Expanded English version. and Seven Gates of Jerusalem. Enduring Music. In this interview with Perlmutter. “Strofy. translated version of the original Polish publication. he claimed that his music could be listened to abstractly. 1997. He pointed to the United States as the epitome of a society of mass culture and warned that Poland was slipping into a similarly faulty path. This lecture was given by Penderecki when he was awarded an honorary doctorate by the Academy of Music in Warsaw. Luke Passion. 2 (January 22. B920. Penderecki lamented the homogeneity of today’s culture and questioned how artists could achieve their goals in a chaotic world. Labirynt czasu. Penderecki mused on the causes of his celebrity. Paradise Lost. Cosmogony. Among the symbols embraced by Penderecki are the tree. Labyrinth of Time. B922. He found it impossible to compose in a “traditional” manner in the face of the human tragedies that have occurred during his lifetime. Warsaw: Presspublica publishers. B918. The composer’s Christian roots serve as a recurring theme. Section 6. Utrenia. Cosmogony. and one that resulted in such works as the St. B919. This untitled collection contains color reproductions from the manuscripts of Cosmogony.” Los Angeles Times. that of following a tradition based on sacred values. and ark. The English edition is an expanded. Chapel Hill. p. and Te Deum. Utrenia. Included are English translations of the texts for Dies Irae. March 27. North Carolina: Hinshaw Music.” Ruch muzyczny 39. 1995): 2-3. forest. without knowledge of or reference to programmatic associations. The first three pages of Strophes are reproduced here. Donna. These addresses form a major statement by the composer on the state of the arts at the close of the 20th century. 1998. and The Black Mask. 1986.216 KRZYSZTOF PENDERECKI that a third option. [Sketches]. “My Iliad and Odyssey. B923. as does his belief that while contemporary art (especially music) is in danger of decay and self-destruction. 2. no. He considered that decision to be a turning point in his life. He specifically mentioned Threnody in this context. B921. Perlmutter. At the same time. . “Penderecki: Universal Themes. regeneracji sztuki jest dla mnie pewnikeim. Schott 8244. labyrinth. edited by Ray Robinson. He suggested that the answer lies inutilizing one’s intelligence and “inner world” to free art from its current stagnation.

and the (by now) predictably ingenious orchestration of its creator. expanded version “Diversity All Too Ill at Ease. 1. Melody. no. 9.” The Times (London). p. August 10. 1302 (May 1986): 156. p. The author discussed the political significance of the Polish Requiem before turning to a critique of its musical content. 1. Two concerts devoted almost exclusively to Penderecki's music were offered in London. Luke Passion was given in Kiel. Pettitt deplored Penderecki's use of “rather suffocating romanticism.” “self-conscious avant-garde effects. “Alla Breve: Passionate Tensions.” and “obsessive incorporation of the old Polish hymn B927. January 26. Vision.BIBLIOGRAPHY 217 B924. and “Miserere” from the St. an abundance of timbral color. “Premiere Has Heart. 5 (1975): MA22. Stephen. Pfannkuch. Peterson. and Finale from Paradise Lost. “Penderecki Festival. Polish Requiem was given a poor evaluation after its British premiere. “BBCSO/Penderecki. October 14. B931. Stabat Mater. “Los Angeles Philharmonic: Penderecki Premiere. “Cracow RSO/Penderecki.” Musik und Kirche 39. “Pendereckis Lukas-Passion in Kiel. ” The Times (London). Radio 3. Sonata for Cello and Orchestra.” The Times (London). is “marked by a logic of events. String Quartet No.” Boston Herald. The first included Canticum Canticorum Salomonis and Prelude. a wellspring of passion. Festival Hall. B929. The choir had 30 rehearsals of this technically demanding piece. she felt that its vocal writing was too difficult and its nearly continuous dense polyphony too much to absorb. Not Soul. p. January 28. p. 1986. Phillips. A successful rendition of the St. B928. Royal Academy of Music. In particular. no. heard in its U. Calendar section. B925.” B926. Awakening of Jacob. the second the British premiere of the Viola Concerto. London. Brighton/Radio 3.” Los Angeles Times. Bartholemew's. 1973.” High Fidelity/Musical America 25. 1. 9. p. Penderecki was faulted for his alleged inability to intertwine successfully both the disparate characteristics of atonality and tonality and the similarly contrasting ideas of stasis and development in Te Deum. St. “Philharmonic/Penderecki.” The Times (London). Ellen. no.” Musical Opinion 109. Luke Passion (CE 31071). Pettitt. Symphony No. 1984. B930. 9.S. Pettitt regarded the Second Cello Concerto as a continuation of Penderecki's move towards a more conservative musical style. 48. premiere. May 18. Pfeifer. Gordon. . Snape Maltings. 1984. 1987. 3 (May-June 1969): 132. 1984. 7. and Symphony No. Miniatures for Violin and Piano. A succinct analysis of each piece is also provided. Wilhelm. Peterson briefly commented on the Vox Candide recording of Emanations. May 17.

Maria. no. Luke Passion. 1969.” kulturalny. “Penderecki w ” Ruch muzyczny 41. “Musica Polonica Nova od poniedzialku do soboty. Bohdan. Georg. B933. and Verdi). 43 (October 22. is “a typical example” of Penderecki's search for subtlety and control in his music. This European (and Polish) premiere of Seven Gates of Jerusalem took place at the Third Forum in Warsaw. . B938. performed at the 1959 Warsaw Autumn Festival. “Orfeusz na nowej drodze. Pilarski.” B934. 40-50. even though they have different musical philosophies and compositional styles. Warsaw: Akademia Teologii Katolickiej. no. Warsaw: Instytut Wydawniczy PAX. Schäffer. Pilarski characterized Penderecki's String Quartet as a “good work” that is formally “compact” and contains a long section of “murmuring articulations. Penderecki’s Flute Concerto was presented at the Musica Polonica Nova festival. Penderecki. Szkice o muzyce. “Plon Jesiennej fali. an “impressionist. This work synthesized elements from all of the composer’s compositional styles as well as those of other composers (Orff.218 KRZYSZTOF PENDERECKI B932. Warszawska 1959. no. 1969. no. no. 95-103. Warsaw: Instytut Wydawniczy PAX. this work has become a standard in the flute literature. Capriccio for Oboe and Der unterbrochene Gedanke were presented at Musica Polonica Nova.” Musikerzeihung 24. “Dziennik Festiwalowy.” prefers to maintain a single line of development.” no. an “expressionist. 9 (May 4. “Polska muzyka religijna po II wojnie In Stan nad w kulturze polskiej. B936. “Jeszcze raz Ruch muzyczny 36. Piotrowska mentioned Penderecki’s music in the context of an increasing amount of Polish religious music composed since 1956. Strophes. 5.” Ruch muzyczny 38. Olgierd . 1973. 7 (April 3. Pirckmayer raised doubts about the compositional practices of the last fifty years. 1994): 1. also published in Pilarski. Piotrowska. it “is full of glittering thoughts.” Ruch muzyczny 6. In the course of a year. 1 (1962). 30-39. 6 (1992): 1-2. Pirckmayer. Pilarski. Pisarenko. Szkice o muzyce. 21 (1962): 8-12. no. 1959): 6-7. B935. B937. 4 (1971): 147-51. B939.” shows an interest in varied styles. Penderecki and Schäffer belong to the “terrorist group” in Polish music.” Canon is a “fascinating design of a three-layered canon for 208 voices” that expanded upon the techniques used in Threnody. Bruckner. 1997): 14-16. “Avantgarde 1970 (I). The last half of the 1960s “began with a bang: with Penderecki's famous major chord” that concludes the St.

B944. Pisarenko. but its main features have been present in all of his compositions. who was faced with the challenge of coordinating thirty scene changes. Strasbourg was the site of a Liège Opera production of The Devils of Loudun. Pociej.” Ruch muzyczny 20 (October 1971): 13-15.” it consisted of works by young composers from Poland. no. In Pisarenko's opinion. the opera has links to those of Richard Strauss. “Festiwal wielkiej muzyki. Charles. and Armenia. Pleasants gave a scathing review of The Devils of Loudun: “I cannot recall ever hearing a major theatre score so utterly devoid of music of any kind. nos.” Ruch muzyczny 32. “Krzystof Penderecki--en traditionell kompositör. These three authors gave their impressions of the production of The Black Mask given by Teatr Wielki. Lithuania.2 (1988): 3-4. 6 (June 1985): 66768. 22 (October 30. B941. w dzczu. harmony and rhythm.” Music and Musicians 18. In The Black Mask. Henry. . 1998): 26-29. 22 (November 1. B942. Paradise Lost was performed at the 1998 Wratislavia Cantans in honor of the composer’s 65th birthday. Pitt. For Erhardt. “Penderecki's Devils.BIBLIOGRAPHY 219 B940. so abjectly poverty-ridden in terms of melody. such technical means as clusters and glissandos. without Hauptmann's text. his style has evolved. the oft-repeated criticisms that Penderecki frequently changed his compositional style were “the result of insufficient acquaintance with his music.” B945. 1-2 (1965-1966): 15-18. Pleasants.” Nutida musik 9. and Josef “ o 'Czarnej Masce'. Bohdan. Pitt was impressed with the solution devised by set designer Serg Creuz. Pociej discussed the relationship between musical experimentation and tradition in Penderecki's compositions. He also believed that the music of The Black Mask could stand alone successfully. Kanski surmised that “history would recognize [The Black Mask] as one of the best operas of the last quarter of our century. Olgierd. no. are fused with his later emphases on melody and quotation.” Opera 36. which are characteristic of Penderecki's music from the 1960s. Subtitled “Romantic Songs. Bulgaria. 1 (September 1969): 53. no. Ludwik Erhardt. was one of Hauptmann's weakest endeavors. for example.” Ruch muzyczny 27. 1983): 21-22.” Ruch muzyczny 42. no. however. B943. “France.” Its text. “Standing Ovation dla Festiwalu. Strasbourg. The second festival sponsored by Penderecki took place in September 1983.” Yes. Penderecki’s music was included in the Wratislavia Cantans festival held in B946. no.

no. Penderecki described the dilemma that had faced Polish composers at the beginning of his career: whether to follow the ideology of socialist realism advocated by the government or accept the esthetics of the so-called “bourgeois ideology. Bartók. no. This piece invited interesting questions about style: “Is it a pastiche? Stylization? Archaism? A personal synthesis of the styles and symphonic idioms of Wagner. and was provided. Ruch muzyczny 34. the proper path was one based on sacred values. In this written on the occasion of the German premiere of Paradise Lost.” Ruch muzyczny 31. In this article. Polaczek. “Krzysztof Penderecki doktorem honoris causa Uniwersytetu im. Threnody. 25 (1987): 3-4. April 30. One of the recordings reviewed by Pociej was Penderecki's Second Symphony (Olympia OCD 329). and Sibelius?” B948. no. the Bible was the “almost exclusive” source of texts and themes for Penderecki up to and including the composition of Paradise Lost. no. For instance. During his acceptance speech. “Z sali koncertowej. He acknowledged that Penderecki's music had aroused much controversy. as was a concert version of the opera given in West Berlin. 1981). 16 (1988): 8-9. Penderecki. B949. p. Bruckner. 15 (1988): 18-19.” Express Wieczorny (September 25. Polony. The role of drama in Penderecki's music should be the key point in any discussion of his music. described the connections between Penderecki and religious topics. Penderecki chose to pursue a path in which his music could be associated with time-honored religious and humanitarian values. Amid the political and artistic crises of the second half of the twentieth century. 1961). Penderecki was granted an honorary doctorate from Adam Mickiewicz University in the composer's first such honor from a Polish university. . A schedule of the Penderecki Festival held in June 1988 in Kraków. B952. Te Deum has the ability to cleanse the mind of life's daily difficulties and to arouse emotions from deep within the soul.” Frankfurter Allgemeine Zeitung. B951.220 KRZYSZTOF PENDERECKI B947. The Teatr Wielki's performance of The Black Mask in Wiesbaden in May 1988 was a great success. “Der Musik-Nuntius. 199 (October 15. Leszek. “XXV Warszawska na strunach no. performed at the recent Warsaw Autumn Festival. Mahler. 19 (1990): 7. Romuald. 1979. is concentrated in mood and utilizes all possible string timbres. “Wiosenne muzykowanie w Wiesbaden i Ruch muzyczny 32. Adama Mickiewicza w Poznaniu. 10.” For him. “Kompozytor w blasku.” Ruch muzyczny 32. Szabelski. Ostatnie dni Festiwalu. B950. B953. Polony attempted to ascertain Penderecki's place in the history of the twentieth-century music. Dietmar. Anna.

1983): 22.” B959. Te Deum and Second Symphony contain no such difficulties.” He finished by stating that few of Penderecki's compositions are “worth hearing more than once or twice. Post offered several classifications of these techniques. “Musical Events: Catching Up. Although some of Penderecki's compositions display problems with form. Luke Passion was presented in Oldenburg. “Muzyka ” Gazeta Krakowska.” Ruch muzyczny 27.” New Yorker (October 10. Pond followed the piece step by step.” Interface 11. 3 (1982): 131-76. “'Pasja' Pendereckiego w Oldenburgu. “Monophonic Sound Resources for the Oboe. 123-27. B956. In particular.” He belittled Polymorphia's score as being “made largely of encephalographs of mental patients recorded while they listened to Penderecki's earlier composition Threnody. 11 (May 29. Elizabeth. “Penderecki's Stirring New 'Polish Requiem': Unabashedly Sacred. 1988): 8283. Andrew. This is an anecdotal review of the world premiere of the complete Polish Requiem. no. The Capriccio for Violin is “a compendium of fashionable orchestral effects. Porter thought The Black Mask. The St. . “Die schwarze Maske. 198 (October 11. Pond.” New Yorker (March 21. Porter. discussing the hardships of the life of the conductor. B960. the Symphony is a seemingly natural mixture of nineteenth and twentieth-century elements. 1984. “Pod Krzysztofa Pendereckiego.” Ruch muzyczny 30. Nora. was a useless work. The Adagietto from Paradise Lost and the Second Cello Concerto were performed on a New York concert presented by the Kraków Philharmonic. stating that the former work is more ceremonial. He compared the Magnificat to the St. Carnegie Hall was the setting for an all-Penderecki concert. Porter was struck by the composer's exquisite use of ocarinas in The Awakening of Jacob. 1977): 120. B955.BIBLIOGRAPHY 221 B954. B958. and rounded off by a chord of C major. Luke Passion. and the different events for which the individual movements were written. She emphasized the heartfelt emotions that come forth as one contemplates the meaning of the words in the context of Poland's recent history. which he saw in Santa Fe. 1981). October 5. no. p. but less dramatic than the Passion.” Christian Science Monitor. Post. Mstislav Rostropovich. 28. The Capriccio for Oboe features some of the sound techniques in contemporary oboe repertoire. Polony gave a detailed account of the performance. B957. 4 (1986): 11. West Germany as part of the celebrations for the 150th anniversary of that town's Staatstheater.

” Musik und Kirche 36. “Lukas-Passion von Penderecki.” B963. “the most revolutionary agent of the Polish avantgarde and. “Pendereckis 'Lukas-Passion'. “one of the most important musical creations of our century. “Timbre and Texture in Twentieth-Century Orchestration Techniques.a decisive turning point in Penderecki’s career. 3 (May/June 1966): 143-44.. University of Miami. Zeitschrift für Wissenschaft. Penderecki effectively gave a spatial character to this piece. and others.” Musik und Bildung 3 (May 1971): 23542. no. Differences between tension and relaxation and between similarity and variation were created by contrasts in timbre. The world premiere of the St. Pütz. Pütz discussed the form of Fluorescences in some detail. New York: Gordon and Breach. rhythm. Rapp viewed three dramatic levels in Penderecki’s libretto: the characters of Jeanne and Grandier and the forces of morality. B966. Penderecki. 10. “Krzysztof Penderecki: Die Teufel von Loudun. Nick. Ramliak analyzed orchestrational techniques in works by Penderecki. Musical Life in Poland. Timbre and novel orchestral techniques underscore its dramatic expression rather than act as compositional gimmicks.A. no. Rappoport-Gelfand. By juxtaposing colors and materials. The amateur choir members mastered its unusual intonations and rhythms “with impressive superiority...M. 1991.. Edited by F. Lidia. sound density. the St. For Penderecki’s interpretation of The Devils of Loudun. Rapp. B967. Germany.” B964.” B965.” Musica 20. Werner. vol. Kunst und soziales Leben 40. The piece was “deeply provoking.(and) one of the most important contributions to sacred music of our time. the drama of the story is more important than its historically accurate portrayal. . Wege der modernen Kunst. The Postwar Years 1945-1977.” offered the world premiere of the St. B962. “Tendenzen in der Musik der Gegenwart und ihre Bedeutung für den Musikunterricht.. no. Luke Passion. “Pendereckis 'Lukas-Passion'. Translated by Irina Lasoff. Das Orchester 19. Musicology: A Book Series.[the] boldest innovator in the new music. Joseph Smith. Having been presented in concert halls and churches around the world. Ramliak. Quinke.” Musica 23. no. and dynamics. Kassel. such as the polyphony of the “Stabat Mater. 4 (1970): 189-92. Luke Passion was the subject of this review.” Die Drei. thesis.222 KRZYSZTOF PENDERECKI B961. 1995. She thought the composer had brightened the medieval constructs of the drama by emphasizing brotherhood and the beauty of human nature.” Its non-traditional sounds were convincing and were synthesized with other techniques. no. 6 (June 1971): 294-301.. Josef.” D. 3 (May/June 1969): 271-72. Dorothea. Luke Passion was finally heard in Kassel. 3 (May-June 1966): 119-21.

“Penderecki: Anaklasis. Threnody. “Avant-garde Music.” MLA Notes 27 (1971): 557-58. On the occasion of Schott’s publication of the score to Utrenia. Sonorism in Polish music is a concept first proposed in the 1950s by Józef Rappoport defined it as “a special system of musical means. Harmony. sonorism had been a major characteristic of Polish music since 1955. no.” It is merely a catalogue of compositional techniques used in many of the composer's previous compositions.collection of 20th-century music. . An “indispensable..” this EMI recording (65077) presents several of Penderecki’s works in chronological order.” American Record Guide 58. in Raymond’s opinion. Fonogrammi.” MLA Notes 26. particularly in the works of Serocki. I. where the sound coloristic functions as the primary factor of a composition. The concept of sound coloristics includes such aspects of musical language as timbre. The author was most concerned with the dramatic interpretations of these pieces both textually and musically. Threnody for the Victims of Hiroshima. B972. Luke Passion and Dies Irae. Utrenia’s Russian text is rendered phonetically in the published score. Raymond. harmony. Gardner. Pt. and Penderecki. B968. B971. This new piece contains almost every technical gimmick imaginable for the cello. Penderecki conducted these pieces. register and texture. Capriccio. 2 (December 1974): 405-407. which makes this recording a definitive one. Luke Passion. 3 (1970): 618-20. no. “Krzysztof Penderecki: Capriccio per Siegfried Palm [per] violoncello solo.” In her opinion. She also described the blending of traditional and modern techniques in the first three pieces named. The Dream of Jacob. The St. 2 (March/April 1995): 155-56.Krzysztof Penderecki's Pittsburgh Overture. Górecki. Polymorphia. David. B969. De Natura Sonoris 1 + 2 . B970. and Fluorescences were treated at length elsewhere in the monograph. and timbre were discussed frequently.. no.” MLA Notes 31. while earlier pieces such as Strophes.BIBLIOGRAPHY 223 Rappoport-Gelfand examined many of Penderecki's compositions during the course of her study. to such an extent that it seems as if Penderecki has been rewriting the same piece. texture. and Cosmogony were discussed in individual essays. Dies Irae.. Dimensions of Time and Silence. Pittsburgh Overture was a “disappointment. “Krzysztof Penderecki: Utrenja I. The Burial of Christ. “Sonorism: Problems of Style and Form in Modern Polish Music. Read. here presented in an academic manner. Song of Songs. Emanations. The Capriccio was one of Penderecki's first works to be published by Schott.” Journal of Musicological Research 4 (1983): 399-416.. Read described the “musical syntax” of this piece as being similar to that of the St.

Günter Krämer inszenierte Pendereckis ‘Teufel von Loudun’.” Neue Zeitschrift für Musik 147. Reiter.” D. in his opinion. B974. Grandier. Hartmut. no. Luke Passion.” Die Bühne. no. and 17th-century “tafelmusik. 21 (May 1978): 3840. while the integration of tertial harmonies and 12-tone row techniques also play an important role. 4 (April 1990): 31.” B975.” Opera News 42. Musically. 19 (1986): 35-37.224 KRZYSZTOF PENDERECKI B973. no. thesis. the “most important structure of the work. Its libretto and music had undergone a “major” revision since its world premiere. He claimed that hints of styles from earlier centuries had already appeared in such works as Stabat Mater and Psalms of David. “Krzysztof Penderecki’s ‘Cadenza for Viola solo’ as a Derivative of the ‘Concerto for Viola and Orchestra’: A Numerical Analysis and a Performer’s Guide. Zur Inszenierung von Pendereckis ‘Verlorenem Paradies’. Regitz. B976. Reinighaus commented that the lead character. Penderecki had retreated from his earlier innovative style.M. he asserted that “Penderecki employed techniques that revert to historical styles with the same skill and freshness as he made use of his own boldest inventions. no. “Illustriertes Entsetzen--und die ewig bösen Schwarzen: Reimanns 'Troades' in München und Pendereckis ‘Schwarze Maske’ in Salzburg. In this review of a new production of The Devils of Loudun.” B977. Frieder. Reininghaus.” Explorations and Applications (Duquesne University) 6 (Fall 1997): 19-24. Eva. Penderecki’s earlier compositions. Threnody succeeds as a composition due to its tight formal and harmonic control. no. Warsaw's Teatr Wielki gave a performance of Penderecki's The Devils of Loudun in Stockholm in January. R. Projections of heaven and hell formed the backdrop for the climactic episode between Adam and Eve and other scenes alluding to sin and death. Gottvater Everding. “Stuttgart. Reiter. 250 (July 1979): 19. Harmonically. “Passio et Mors Domini nostri Jesu Christi secundum Lucam by Krzysztof Penderecki. Reininghaus summarized the opera’s plot and staging. B979. In this review of the world premiere production of The Black Mask. 1997. B978.” Polish Music 1. “Verfremdung ohne Zielrichtung. the [01267] pentachord is. University of Arizona.” He lamented the director’s choice to set the opera in the 1930s. 3 (1966): 5-8. .” Neue Zeitschrift für Musik 151. Moreover. “Stockholm. Burkhardt. “must have been a powerful renaissance man. The Stuttgart production of Paradise Lost was considerably shorter than Chicago’s world premiere version. the piece contains hints of Stravinsky. Erica Amelia. “Influences of the Arch Form in Relation to the Properties of Pitch Structure and Formal Design Found within Krzysztof Music Theory: Penderecki’s Threnody to the Victims of Hiroshima. Regamey. Regamey rebutted those critics who claimed that in the St. Konstanty. Redvall.A.

” Warsaw Voice. and form were made.” Music and Musicians 22. the second part (“The Resurrection”) is “an anticlimax. but “no more boring than a great deal of other perfectly acceptable music of all periods. then complained that its music was .” American Record Guide 38. B981. The St. then examining the intervallic relationships in each piece. rh. 1993. comparisons among such musical elements as rhythm. Dieter. The Clarinet Quartet. “The Devils of Loudun. “Athens.” B985.” B983. B982. no. On the occasion of the world premiere of The Black Mask. This latter analysis revealed similarities between the pieces that were not evident through other analyses. Penderecki Birthday Concert. 1 (September 1973): 64-68.BIBLIOGRAPHY 225 The Cadenza for Viola and the Viola Concerto were treated to two types of analysis in this thesis. 5 (September-October 1963): 303-305. and Song of Cherubim were also presented. the first part of Utrenia (“The Entombment of Christ”) uses fewer avant-garde vocal techniques and more imaginative instrumental writing. Penderecki invited musical friends to perform on a 60th birthday concert in Warsaw. no. B986. “Three Hours in Modern History. Denby. dynamics. Franz. Riemer. conceived as a triptych by Penderecki. EMI’s recording of Te Deum and Lacrimosa (067-143623-1) reflects the composer’s own interpretations of these works. 5 (1986): 445-46. no. “Neue Schallplatten. Rexroth. This article is a review of the Philips recording of The Devils of Loudun (6700042). Second. a pitch comparison was made by assigning a number to each pitch. Trevor. B984. Ringo. Östeuropäische Chorkultur. 2]. no. Richardson. 3 (May-June 1986): 141-42. Threnody was presented at the International Society of Contemporary Music festival held in Amsterdam. but novel treatment of the strings. Ringo reviewed the opera's plot in some detail. Lacrimosa. Finally. especially in its effective. Jean-Pierre Rampal played the solo part on the Flute Concerto. 3 (November 1973): 72-73.” Schweizerische Musikzeitung 103. It is a fascinating work. B980. Richardson. and Mstislav Rostropovich offered an “ear-catching” performance of the Cello Concerto [No. First. Richardson reviewed a Rotterdam performance of the complete Utrenia.” Musica 40. He considered it less interesting than Tippett's Vision of Saint Augustine. James. Compared to the Passion. Reiter discussed the performance considerations of the Cadenza. Richards. Except for its final pages. since he conducted both pieces for this recording. no. no. “Das Weltmusikfest der IGNM in Amsterdam.” Music and Musicians 22. “Krzysztof Pendereckis ‘Die schwarze Maske’ in Salzburg uraufgeführt. “Holland. Luke Passion and the complete Utrenia.” Musik und Kirche 56. 8 (April 1972): 340-45. were performed in Athens. December 5. Rexroth reviewed the opera’s plot and characterized its music. Rick.

189-203. stating that Penderecki's score “was given as devoted and as well-prepared a performance as it is likely to get. including those with orchestral accompaniment. 1993. The final pages of the article are devoted to the use of the B-A-C-H and motives in the St. the St. 1 is among the pieces that Roberts analysed in her study of the use of sound masses in composition. Roberts applauded the performers.” In contrast to many other reviews of this opera. dissertation. Roberts. Among the topics mentioned were the subdivision of the orchestral parts and the need for the choir “to pull in and out of focus upon one pitch. Ray. 2 (August 1988): 24-25. Roberts. Robinson. Luke Passion.” In A Bach Tribute. NC: Hinshaw Music. Matthew and St. Roberts briefly discussed some of its performance problems.” Ph. Gwyneth Margaret.” Choral Journal 39. In this critique of The Black Mask. 47-48. 28.” Santa Fe New Mexican. he examined The Black Mask. “Procedures for Analysis of Sound Masses. John. 1988.” However. B988. no. August 1. On the occasion of Schott’s publication of Magnificat. A broad array of subthemes was brought up by Robinson in this essay. This is an annotated listing of Penderecki’s choral works. p. beginning with a review of the historical relationship of Poland to Western Europe and continuing through the traditional aspects of Penderecki’s musical education and early pieces to a fairly lengthy discussion of the relationship between Bach’s St. B989. “Bach Influences in the Penderecki St. Robinson devoted the first half of this article to a discussion of Penderecki's education and his compositional style as heard in Threnody. Roberts believed that much of the text could be understood despite the complexity of its vocal parts. summarizing its plot and described its performing forces and music.” lacked distinctive melodies. no. “Dance of Death. B991. Roberts noted that any musician who had played earlier works by Penderecki would find the Magnificat’s techniques to be familiar. 1978. Luke Passion.226 KRZYSZTOF PENDERECKI “harmonically static. “ The Choral Works of Krzysztof Penderecki.D. De natura sonoris No. B990. 3. “SFO's 'The Black Mask' Succeeds With Its Sense. 1998): 35-42. Luke Passion. and The Devils of Loudun. no. For the remainder of the article. Scheide. Essays in Honor of William H. John Passions and Penderecki’s St. The operas are not listed. 4 (June 1977): 945-46. B992. . B987. 4 (November.” Opera News 53. He emphasized the emotional qualities that permeate these pieces. Kenneth. “Krzysztof Penderecki: Magnificat. and in general sounded too much like the composer's earlier pieces. Indiana University.” MLA Notes 33. Chapel Hill. Roberts. Luke Passion.

no. B998. synthesis: 1962-1972. and ended with the Magnificat of 1974. outline of Penderecki's life.” Symphony Magazine 34. Robinson described its use of “distributed text. The biographical portion includes quotes by the composer about some of the external forces that influenced his own music. 5 (1983): 22-23. although the discography is not complete and the bibliography is short. 10 (May 1998): 9-13. Robinson began his discussion of Penderecki’s stylistic periods by citing the composer’s own opinions on the topic. the composer discussed his compositional influences and the two stylistic periods that he perceived in his output to date. Princeton: Prestige Publications. and stability) and. as are descriptions of the composer's various compositional styles. sophistication: 1972-1974. In characterizing each phase. including Catholicism. no. Robinson emphasized the roles that experimentation and tradition have played in many of Penderecki's works since Stabat Mater. the horrors of World War II. “Krzysztof Penderecki: An Interview and an Analysis of Stabat Mater.” in which individual syllables are sung by different choirs. and pertinent commissioning or dedication information. The next section provides information on the world premiere of each piece. “Penderecki’s Musical Pilgrimage. whispered. B996. In the interview portion of this article. A discography. B997.” Studies in Penderecki 1 (1998): 33-50. both composed in 1960. In the second part of the article. The book is a reliable source of information. and stabilization: 1986-). Robinson took Penderecki’s comments into consideration as he divided the composer’s output into six stylistic “phases” (search: 1956-1959.BIBLIOGRAPHY 227 B993. He also discussed the work's polyphonic techniques and its call for spoken. The second part of the article is an analysis of Stabat Mater. This article is similar to the one published in European American Music Distributors (see below). and sung texts. “Penderecki at 50: A Career in Retrospect. into one over-arching compositional signature. finally.” Choral Journal 24. its instrumentation. 3 (1983): 7-16. “Penderecki at Fifty. 11.” Choral Journal 38. A biography of Penderecki's life is provided. 77. synchronization: 1975-1986. then merged them into three “style periods” (search. The first began with Threnody and Anaklasis. B994. Krzysztof Penderecki: A Guide to His Works. “Krzysztof Penderecki’s Seven Gates of Jerusalem. which have changed several times over the years. and selected bibliograpy complete the volume. publisher. as are descriptions of the composer's various compositional styles. The second started with the The Awakening of Jacob (1974) and is still in progress.” European American Music Distributors [newsletter]. sonorism: 1959-1961. 1 (Spring/Summer 1983): 2-3. no. Robinson discussed the style and numerological context of Seven Gates of Jerusalem. synthesis. vol. 11. 1983. A biography of Penderecki's life is given. B995. This book begins with a short biography and discussion of Penderecki's musical style. The next section is a works list that includes the length of each piece. no. and the teaching of Artur Malawski. Robinson .

form.” B1000.” “aesthetic reorientation. As in many of his other works. He described what he considered to be the four aspects of the composer’s career that contributed to the positive reception of his music in the United States: “Parabolic quality. The larger number of instruments in the Sinfonietta gave Penderecki the opportunity to create different textures and to divide motives among various instruments. 1996. edited by Tomaszewski. B1001. melody. The first movement features elements of arch form. Musical examples are included. harmony. texture. “Penderecki’s Reception in the United States of America. He also described Penderecki's “signature” chord: “a major-minor chord with a flatted sixth in the bass. “Unpublished Research on Penderecki’s Music by Scholars from American and Canadian Universities: An Annotated Bibliography. 159-78. 163-83. The String Trio marked a change of direction in Penderecki’s chamber compositions. “The Polish Requiem by Krzysztof Penderecki. instrumentation. “String Trio and Sinfonietta. B1003. “ The Penderecki Te Deum. Robinson devoted a considerable portion of this article to reviewing the differences between the classical music scenes in Europe and the United States. In characterizing each phase. 1995. and the Baroque concerto grosso.” “synthesis between the old and the new” and “prophetic vision. The second movement is in an A-B-C-D-A form. Kraków: Akademia Muzyczna. The only addition to the traditional Te Deum text is the Polish hymn whose interpolation was meant as a reference to the political oppression then evident in Poland. The piece's musical language blends elements of both neoRomanticism and the composer's earlier experimentations. “Recepcja Pendereckiego w Stanach Zjednoczonych Ameryki. pitch. 8 (1981): 5-7. B999.228 KRZYSZTOF PENDERECKI one over-arching compositional signature.” Studies in Penderecki 1 (1998): 141-43. The Sinfonietta per archi is a revision of the String Trio.” The contrapuntal sections of the piece are based on two thematic fragments.” Choral Journal 21. sonata form. edited by Tomaszewski. Robinson linked the composition's political significance to its compositional history and described its general musical traits. Robinson emphasized the prevalence in the work of the tonal intervals of a minor sixth and minor third. Penderecki introduced the main musical material at the beginning of the first movement. In this analysis of Te Deum. This discussion of the Polish Requiem encompassed a variety of topics. B1002. no. Kraków: Akademia Muzyczna. The Music . Robinson discussed the following musical attributes: rhythm.” Studies in Penderecki 1 (1998): 101-12.” Muzyka Krzysztofa Pendereckiego.” In of Krzysztof Penderecki: Poetics and Reception. Poetyka i Recepcja. tonality. and extra-musical influences.” Choral Journal 26. no. 4 (1985): 5-11.

“Music: Kronos Quartet at Summerfare. Rockwell. In this record review (Thorofon CTH 2017) the Violin Concerto [No. Wolfgang. . 75. “Concert: Penderecki with the Philharmonic. which eventually will be situated in Esterháza. After summarizing the opera's plot and complimenting the set designer for his perverse creations. Luke Passion. he condemned the music for being “rhythmically square and almost defiantly charmless. Ray and Allen Winold. Kassel: Bärenreiter. “Penderecki: Concerto for Violin and Orchestra. The latter work. The second part is a review of the history of the liturgical Passion. Robinson and Winold divided this book into four main sections. Hungary. C11-12. pp. then discussed the works that the composer was currently conducting with the New York Philharmonic. 1992.” B1010. Rockwell summarized Penderecki's compositional career. Its score was projected onto a large screen that was visible to both players and audience. 1987. 1983. B1008. 1992. then summarized the critical reaction to the work's world premiere and subsequent performances.” Although dramatic interest is not maintained throughout the piece.” New York Times. The third section is a discussion of the texts selected for the St.” New York Times. “In Munich.” New York Times. Octavio. 1. in its version for full orchestra. John. Luke Passion. July 27. 1987. Rogge.” New York Times. 1979. Neue Musik I. Problems with the hydraulic system at Munich's National Theater forced the cancellation of performances of Penderecki's Ubu Rex. The Kronos Quartet performed Penderecki's String Quartet No. B1009. West Germany: Moeck. October 22. Roca. but for now alternates between Vienna and Kraków. Celle. May 26.” Ovation 9 (June 1988): 42. The first dealt with Penderecki's professional life prior to writing the St.” New York Times. Robinson. but liked the Viola Concerto even more. B1011. B1005. 1] was characterized as “a work of rare beauty. “Long-Delayed Munich Premiere: 'Ubu Rex' From Penderecki. Penderecki is scheduled to be a short-term faculty member of the Prague Mozart Foundation. Ooze ex Machina Causes Tragedy at Opera House. 2 favorably. p. A Study of the Penderecki St. Penderecki is among the 20th-century composers whose works are discussed in this 64page monograph. soloist Christiane Edinger's performance was undeniably exquisite. B1006. received its New York premiere during these performances. Rockwell's review of the world premiere of Ubu Rex was decidedly negative. “East Europe's New Academy Of Music Takes Shape. July 8. February 15. Section 1. 1991.BIBLIOGRAPHY 229 B1004. B1007. He reviewed De Natura Sonoris No. Luke Passion.

. 549. “Germany. In Rostand’s opinion. textures. Rörich. The Varsovia Quartet played both of Penderecki’s String Quartets in Vienna.” Ruch muzyczny 6. “Penderecki's 'Paradise Lost'. Edward..230 KRZYSZTOF PENDERECKI B1012.Auschwitz)” could be heard in the piece. Rothon.” To illustrate her thesis.” Musical America 81 (July 1961): 30-31. 'Devils' in Munich. Penderecki's Te Deum was deemed “a major work of the human spirit. 193-235. no. “Concert: Rostropovich in Penderecki 'Te Deum'. The only bright spot was the dancing of Dennis Wayne and Nancy Thuesen. The second half of the essay was concerned with Threnody. Rosenthaler. no. Johannesburg: University of the Witwatersrand. Proceedings of the First Symposium on Slavic Culture.. Günther Rennert. 1981. “Na Festiwalu bez zmian. B1016.” Variety. 6 (June 1987): 315-16. Rörich suggested that “the intrinsic expressiveness of Penderecki's work.” In Slavic Culture. “Gesprächskonzert Krzysztof Penderecki. The majority of the audience greeted it favorably. It is on this expressiveness that the listener should focus rather than the direct reference implied by the title. she provided both visual and written analyses of the piece. Among the compositions presented on the “Musique d'aujourd'hui” concert series in Paris was Anaklasis. Claude. February 1. Greville. 22 (1962): 9-10. B1018. “Avant-garde Season. In the first part of her essay.. Murray. Rostand. edited by I. Rothon questioned why Rennert was criticized.” B1015.” B1017. 1978: 100.” Opera 21. no. Rothstein.” Österreichisches Musikzeitschrift 42. 6 (June 1970): 532. Rosenthaler briefly summarized the two pieces and mentioned the shifts in Penderecki’s style from an anti-serialist avant-gardism to his more recent neo-romanticism. the world premiere of Paradise Lost was a disappointment. p. Rörich offered a brief history of aesthetics in music and discussed the hazards of equating verbal expressions of aesthetic feelings with one's true emotions about music. 48. Roth.” Reminiscences of Threnody and Dies Irae (here called the “work on. passionately asserting moral and physical claims.” New York Times. Mary. Gerhard. In Roth's view. The Stuttgart version of The Devils of Loudun was brought to Munich in February. it is a “fascinating and unusual piece. and durations. December 6. Rozbicki. “Penderecki's Threnody for the Victims of Hiroshima: A Case Study in the Dangers of Expressive Aesthetics and the Limits of Formal Analysis. but many also voiced their disapproval of both Penderecki and the producer. B1013. The visual representation consisted of a graph denoting the work's pitches. since his work made the opera interesting.[is] unquestionable. Masig-Delic. Kazimierz. while the music itself was “inferior to the background score of a good western.. 1983. B1014.

“Penderecki in London. B1020. B1021. beyond which overt display and the quest for cheap sensation begins. 5 (May 1966): 157-61. In one of the few published articles about Psalmus 1961. Given the Cathedral’s acoustical problems. no. “Ein ‘Magnificat’ von Penderecki. the bass solo that makes up its fourth section. Kraków: Akademia Muzyczna w Krakówie.” Music & Musicians 19 (May 1971): 4. he believed that traditional instruments would continue to be most important performance media. 1983. Although he had learned much from working in Warsaw's electronic music studio. 1974.Psalmus. Andrzej Markowski conducted the world premiere of De Natura Sonoris No. September 5.” Suddeutsche Zeitung. Rozbicki characterized Canon as a work that had an “interesting concept. Uraufführung unter Leitung des Komponisten im Dom von Salzburg.” In i tradycja w muzyce Krzysztofa Pendereckiego. Ruppel. Rozbicki. “Na Festiwalu bez zmian. .” Melos 33.” but that “crossed the line. H. B1023. and texture separately. rw. p. 1. The world premiere of Penderecki’s Magnificat brought forth long applause. Among other things. Kazimierz. He believed that Threnody had introduced a new manner of writing for strings. form. p. Rychlik. he felt that in a different place the various elements of the piece’s organization and harmony would become more transparent.” Muzyka 21. 41-51.” Its performance at the Warsaw Autumn Festival evoked both applause and derision. no. Rychlik described the 12-tone technique used in Emanations and the pointillist qualities of both Emanations and Strophes. August 21. Ruppel reviewed the premiere performance of the Magnificat. K. “Punktualizm we Krzysztofa Pendereckiego. a piece featuring intense timbres and a tension between quiet and explosive passages. B1022. no.” Ruch muzyczny 6. Penderecki stated that after he completed Utrenia he planned to return to a compositional style similar to that used in Stabat Mater. rhythm. “Royan will ein Zentrum moderner Musik werden. 4 (1976): 5-21. 35. he mentioned its 55-voice triple fugue. then posed the question of whether this piece was truly experimental.BIBLIOGRAPHY 231 B1018. Rychlik treated the topics of color. 1974. and its passacaglia. Rychlik described how the work’s source material was developed by Penderecki in Warsaw’s electronic music studio. with the rhythmic and dramatic accentuations of the music closely matching those of the text. 22 (1962): 9-10. Der Komponist dirigiert die Uraufführung seines ‘Magnificat’. B1024. B1019. “Penderecki im Dom. edited by Regina and Krzysztof Szwajgier. Penderecki paid particular attention to the text setting of Strophes.” Neue Zürcher Zeitung. “Krzysztof Penderecki . In this conversation. Ruppel recommended that the piece be heard elsewhere before forming a final opinion about its worth. 14. Jozef.

D.C. as well as on the pre-premiere maneuverings regarding directorial and design positions. no.” Musical Times 108. Jim. p. Penderecki served as the chair of the jury for the composers' competition organized on the occasion of the Fifth “Young Musicians for a Young Town” Festival in Poland. “Koncerty urodzinowe Krzysztofa Pendereckiego. no. Sadie wondered why the performance of the St. Stabat Mater. In the process. Samson described De Natura Sonoris No. “Recent Polish Music.. 3 (1979): 2. The Capriccio uses contemporary sounds within a neoclassic framework. 90. Dec. Washington. B1030. Samson. and Leningrad.” and a piece that helped to put Polish music on the musical map.” Stereo Review 22. s. however. Luke Passion.” B1032. St.” Das Orchester 27.” Newsweek. Saal. Stanley. Three Miniatures for Clarinet and Piano. H.” Ruch muzyczny 25. Cello Concerto No. B1029. B1026. while De Natura Sonoris No. Luke Passion at the Proms had been such a moving experience. Honeggera 1977.232 KRZYSZTOF PENDERECKI B1025. Eric. he provided information on the work's staging and singing.. Concerts celebrating Penderecki's 50th birthday took place in Kraków.” B1033. “Trouble in Paradise.” Ruch muzyczny 22. Houston. Saal gave the premiere of Paradise Lost a negative review. 7 (April 5. 1981): 2. and Rome. 1495 (1967): 793. “Wyniki konkursu kompozytorskiego Festiwalu 'MMMM'. nos. B1028. 1 was “more abstract and probing. 1. The Nonesuch recording of Capriccio for Violin and De Natura Sonoris No.” Ruch muzyczny 23. Hubert. . B1031. B1027. Penderecki and the Nuremberg Music Theater are trying to schedule either a concert or stage production of Paradise Lost. no. “Editorial. West Berlin. The following works were performed: String Quartet No. no. 2 (February 1969): 106.” Music and Letters 62. This article lists recent programs of Penderecki's music performed in New York City. while its earlier presentation at Festival Hall had “made a doubtfull [sic] impression. S. Penderecki was awarded the 1977 Honegger International Music Award for his Magnificat. no. “Contemporary Music: Two Unquiet Streams. 2 (February 1979): 134. 1978. no. 11. 2. 1 as “one-dimensional” but “exhilarating. 3 (1984): 2. 3-4 (1981): 478-81. Utrenia. 1 was reviewed. 11 (1978): 3.” Ruch muzyczny 28. “Koncerty kompozytorskie Pendereckiego w Stanach Zjednoczonych. “Krzysztof Penderecki laureatem Nagrody im. Salzman. Sadie. no. and Polish Requiem. “Pendereckis Lob für Nürnberg.

and the Kraków Philharmonic on the occasion of its first tour of the United States in 1986. Sandow denounced Penderecki's First Symphony as a “fraudulent” work. “Warschau: 17. “Co pod Polityka 32.” Neue Zeitschrift für Musik 134. Gregory. July 3. performed at the 1973 Warsaw Autumn Festival. Sawicka. Penderecki noted that more people attended concerts of his music in the U. The text. taken from sources such as Copernicus. He cited the works of Penderecki and many other composers. . Sandner.BIBLIOGRAPHY 233 B1034. no. 1986. On the occasion of its U. May 17. edited by Stefan 238-60. A.” Polish Music. In this interview with Penderecki. 11 (November 1973): 726-27. This includes a list of Penderecki’s compositions completed prior to 1964. “Polish Composers After Szymanowski. no. Wolfgang. Keller praised Seven Gates of Jerusalem for its exquisite moments of simplicity and symbolism that reflect Penderecki’s “flexible and free” compositional style. as being favorable to other Polish and foreign works. is concerned with man's attempt to understand the vastness of the universe. B1037. and the Santa Fe. B1036.” Gwiazda Polarna. 1965.” High Fidelity/Musical America 21. Sandner characterized Penderecki’s First Symphony.” Stagebill (July 1998): 24. Sawa. no. Sandner explored the relationships between rock music and contemporary art music. Sawa elicited comments about the history of the Polish Requiem. “Los Angeles Philharmonic: Penderecki Premiere. Musikfestival 'Warschauer Herbst'. B1041.” Village Voice. B1038. and John Glenn. 1 (January 1971): MA16-17. 1988): 9. premiere. 11 (1977): 1185-90. than in his own country of Poland. 1984: 88-89. 46. the composer failed to create “precise and subtly flavored kinds of turbulence and serenity” and any cohesive relationship within the work. no. Sandner. The first public performance of Cosmogony occurred five days after its world premiere at an invitation-only event at the United Nations. the festivals founded by the composer. Piotr. Alina. “Faking It. In his view. Wolfgang. B1039. B1040. and Warsaw presentations. Sarzynski summarized the reception given to The Black Mask after its first four productions—the world premiere version given in Salzburg and Vienna. B1035.S. 40 (October 1. S[atz]. Warsaw: Wydawnictwo Naukowe. “Der Kunstanspruch der Rockmusik Beziehungen zwischen ‘populare’ und ‘ernster’ Musik. Ovid.” Universitas 32.S. Sandow. “Rozmowa z Krzysztofem Pendereckim. “Sacred Sounds.

Henry. and one of its string groups is tuned a half-step higher than the other. an emphasis on sonoristic techniques. March 31. indications for highest and lowest possible pitches. “Z faktury chóralnej muzyki polskiej.” Melos 40. which includes clusters of varying thicknesses and intensities. B1045.234 KRZYSZTOF PENDERECKI B1042. Penderecki’s First Symphony moves through five [sic] sections. and form.” The composition's “remarkable claustrophobic atmosphere. generacja kompozytorów polskich na III Festiwalu Muzyki 'Warsawska Chapter 2 in Horyzonty muzyki. Brigitte. and an abandonment of the traditional metric system. were similar to those used in Anaklasis and Fluorescences. englische Orchester und englische Festivals vergeben Kompositionsaufträge. Stockhausen.. B1046. These pieces include Strophes and Dimensions of Time and Silence. timbre. Daniel.” Ruch muzyczny 8. but more avant-garde style. he made a distinction between Penderecki's modernist features and those employed by Boulez. The second period is characterized by a more uniform. Symphonic Scherzo. He also mentioned several of its unusual vocal and instrumental techniques and briefly discussed its textual sources. pointillist technique. edited by Józef Patkowski and Anna Kraków: Polskie Wydawnictwo Muzyczne. In this article. These effects. 1959 radio broadcast. but with more modern treatments of texture. 1986. using material derived predominantly from sound effects. among other works. Luke Passion on Good Friday was “ideal. An excerpt from Dimensions is included. 1970. 3 (1964): 8-9. . These pieces include a String Quartet (unnumbered). Schiller divided Penderecki's compositional output into two periods—one lasting from approximately 1955-1958. whistles.” Ruch muzyczny 4. Schiller. edited by Józef Patkowski and Anna Kraków: Polskie Wydawnictwo Muzyczne. no.” B1044. Emanations uses intervals of 1/3 step. “Penderecki Lead a Passionate ‘Passion’. Finally. 1970. no. and Epitaph Artur Malawski in Memoriam. 6 (June 1973): 375-83. which to some critics signified a link with the Perkins factory that commissioned the piece. “Englische Firmen. in other words. 21 (1960): 5. Three Miniatures for Clarinet and Piano. Schiller's thesis was that contemporary music was moving towards the “automation of sonorities” or. Schiffer.mirrors the imprisonment of our own soul. “Po prawykonaniu ‘Wymiarów czasu i ciszy’ Krzysztofa Pendereckiego. One example of this trend is Penderecki's Dimensions of Time and Silence. the other beginning in 1958 and still continuing in 1960. derived from a October 21.” Los Angeles Herald Examiner. and Cage. Schillaci. Reprinted as Chapter 32 of Horyzonty muzyki. The Los Angeles Philharmonic's performance of the St. B1043. Miniatures for Flute. Schiller described Strophes as having a serial. no.. Songs to Texts by Staff [Two Songs]. songs to texts by [Request for the Joyous Islands]. The compositions of the first period emanated from traditional values.

B1050. Schneider. Penderecki’s Magnificat featured quarter-tones. String Quartet No. 4 (April 1968): 148-50. 15. p. A dance version of Polymorphia presented at Munich’s National Theater was choreographed by Lother Höfgen. Harold. “Pendereckis 'Magnificat' und Debussys 'Le Martyre de Saint Sebastien'. 2. p. and athematic writing.” Music and Musicians 23. B1048. Schonberg cited Utrenia as an example of “simple” music that avoided the complexities of serialism and chance music. “Did Menotti beat 'The Devils'?” New York Times. Since the musicians refused to play this “noise” music. June. Section 2. no. Polymorphia. 6 (June 1966): 230. Although Penderecki utilized such modern devices as dense textures. 1969. In this discourse. Critical opinion following the Santa Fe Opera’s presentation of The Devils of Loudun was that this production was more like a play than an opera. clusters. Section 2. “München: 'Musica Viva'.BIBLIOGRAPHY 235 B1047. and The Awakening of Jacob. Although passacaglias and triple fugues were mentioned in the program note for the work. no. The concert following his induction comprised works spanning his career: Miniatures for Violin and Piano. Schonberg claimed that it was “an example of an operatic disaster area. it was presented using a tape recording. One of the novelties of the fifth Musica Viva festival in Munich was Penderecki’s Sonata for Cello and Orchestra.” Melos/Neue Zeitschrift für Musik 1. B1052. 1970. “Penderecki. Helmut. 15. The Cathedral’s echoing acoustics helped to create the diffuse sounds desired by Penderecki. 4 (1969): 34-35. “München Reichgefächerte Musica Viva. and whirring passages. Siegfried Palm gave a virtuosic performance as soloist. no.” Opera Journal 2.” . Schmidt-Garre briefly described Penderecki’s First Symphony as having an arch form and modernist sound materials. excerpts in “Menotti's Globolinks Invade Santa Fe. no. B1053. Penderecki was granted an honorary membership in the Royal Academy of Music. “Can Anyone Live in This Building?” New York Times.” Neue Zeitschrift für Musik 129. no.” Neue Zeitschrift für Musik 127. Schonberg. Aug. B1049. “München: Crankos Debüt. Pittsburgh Overture (in its European premiere).” Neue Zeitschrift für Musik 135. choral shrieks and howls. HonRAM. Schmidt-Garre. Schneider questioned whether the composer is able to provide anything other than superficial sound manipulations. no. he succeeded in making a distinct emotional statement. October 11. B1051. 2 (March-April 1975): 115-16. 24. 10 (October 1974): 632-33. 8 (April 1975): 43-44. such devices were not audible.

“' Paradise Lost' Was Not Made in Heaven. B1059. Xenakis.” New York Times. the St. March 16. 52. New York Times. “Music: Philadelphia With Johansen. According to Schonberg. B1057. . December 10. Finally. “Mester Leads the Juilliard in Premiere of Penderecki's 'De Natura Sonoris II.” Schonberg felt that that it might herald a turn to neo-Romanticism in composition. Janel Mueller's comments about the differences between the depictions of God and Satan in the libretto and the poem. stating that it “suffered from a lack of lyricism. Boulez and others are used. Luke Passion was more “a compendium of devices.” B1055.” Its shock value is greater than its substance. p. p. January 30. October 1. 34. “Philadelphians Perform Wildly Eclectic 'Utrenia'. Schonberg could not tell if the performers had played the pieces correctly. 19.” The piece contained “all the types of sonorities expected from a work” of its name and “had a good deal of vitality. Stockhausen.” New York Times.” Although it incorporated “everything from Gregorian chant to a kind of stylized serialism. 2 benefited from a “virtuoso performance.” B1060.” New York Times. “Music: 'St. Schonberg began by contrasting the active. Despite these misgivings about the piece. 1968. p. “Penderecki's Aggressive Modernism. seemingly Western-style musical life of Warsaw to the oppressive atmosphere of socialist realism in the Soviet Union. Schonberg provided detailed information about the commissioning of Paradise Lost and the changes made in directorial personnel before the work's world premiere.236 KRZYSZTOF PENDERECKI B1054.” B1058. March 7. Schonberg asserted that “it is important that it be heard. 1971. Luke Passion “is not really a far-out piece. “Romanticism Coming Up?” New York Times. p.than an integrated whole. 1970. p. of variety. p. The Pennsylvania Ballet premiered a dance titled “Ceremony” that was set to three pieces by Penderecki: Anaklasis. Luke Passion'. p. He then turned his attention to Penderecki..” January 15. Section 2. Schonberg also paraphrased some of Dr. A short description of Threnody is given in this review. 83. of musical concentration. 37.. 1969. December 5. 21. 1969. The world premiere of De Natura Sonoris No. B1056. and Fluorescences. given the music’s inherently chaotic sounds.” New York Times.” New York Times. the Sonata for Cello and Orchestra. 1978. Utrenia was characterized as “a compendium of postwar techniques in which the theories of Cage. Section 2. 30. Schonberg critiqued the music of Paradise Lost.” it sounded much different than many other modern compositions. 1969. whose St.

this presentation lacked the spirit and immediacy of the world premiere performance in Münster in 1966. Opera Journal 2. Schreiber. Unfortunately. 13. The piece included everything from whistles to screams. 1 (1987): 28-33. 12. glissandos to aleatoric passages. The second German performance of the unorthodox St. led Penderecki to choose this subject for his opera. complete with descriptions of the historical figures that formed the basis of Hauptmann’s characters. June 15. B1065. “Die lateinische Sprache in der Musik des 20. Debut in Santa Fe: 'The Devils of Loudun'. December 1. and Bachian imitative principles to Penderecki’s trademark interval of a descending minor second. B1063. Penderecki incorporated non-canonical Latin texts into Dies Irae. Schorr. p. B1064. p. Schonberg discussed the appropriateness of the term “sacra rappresentazione” for this piece. B1066. 1969. 2 (March/April 1968): 85-86. Luke Passion took place in Stuttgart.” International Journal of Musicology 5 (1996): 401-18. no. “Der siebte Schöpfungstag steht noch aus. particularly in its confrontation of culture. The American premiere of The Devils of Loudun was given by the Santa Fe Opera. Werner. “World Premiere in Chicago. 4 (1969): 32-33.” Süddeutsche Zeitung. . the libretto's epic qualities. p. and the music's good and bad points. These parallels.” Schliesien. Ernst. In this essay. Wissenschaft. Schonberg praised its staging. Following the example of several other 20th century composers.” New York Times. no. II: Krzysztof Pendereckis Dies Irae. plus the play's interweaving of realism and symbolism.BIBLIOGRAPHY 237 B1061. Section 3. August 16.” Musik und Kirche 38. no. B1062. but thought that its music failed to support the issues or events occurring on stage. the staging and costumes used for the premiere. and race. “U. “Die Lukas-Passion von Krzysztof Penderecki.” New York Times. Schubert. After providing a brief history of the play’s genesis. religion. Luke Passion during the International Organ Week in Nuremberg. 30. Wolfgang. Schremmer focused on the relationship of Penderecki's The Black Mask to Hauptmann's play of the same name. In this article about the premiere performance of Paradise Lost. Of special note was the fact that the stage design used at the opera's premiere was based on directions given by Hauptmann in his play. 1978. Volkskunde 32. Penderecki’s complete control over the proceedings makes this a dramatically effective work. Kunst. “Ein wiederentdeckter Hauptmann. he gave a detailed synopsis of its plot.S. Schremmer. Hans Gierster conducted a performance of the St. Dieter. Jahrhunderts. 1978. Pendereckis Lukas-Passion bei der Internationalen Orgelwoche in Nürnberg. He then proposed that the play had many parallels with our time.

was not directly quoted by Penderecki. no. This comparison of Mozart’s Requiem and Penderecki’s Polish Requiem yielded two similar motives. Schuler. Magnificat. 6 (November-December 1964): 372-73. “Donaueschinger Musiktage 1960.” Kirchenmusikalisches Jahrbuch 75 (1991): 119-215. 2 (November-December 1976): 457-60. Schuler illustrated his thesis in a wide-ranging discussion of the motive’s thematic development. the B-A-C-H motive plays a central structural and symbolic role in the St. 6 (November/December 1960): 370-71. Melodies are rarely heard. Domine. “Pendereckis Hommage an Mozart. Schuler described how Penderecki incorporated elements .“ Die Musikforschung 45. Fluorescences marked the continuation of Penderecki’s experiments with “organized noise. “Traditionelle Satztechniken im geistlichen Schaffen Pendereckis. no. Citing excerpts from works such as the Psalms of David. Penderecki’s Sonata for Cello and Orchestra is not a typical example of a sonata. its role within a twelve-tone row and its permutations.” It should not. Manfred. “Tonale Phänomene in Pendereckis 'Lukas-Passion'.” Schweizerische Musikzeitung 100. Utrenia. Penderecki’s early avant-garde style of composition reached its zenith in the St. from the “Recordare.” B1073. In Schuler’s opinion.” Schweizerische Musikzeitung 104. no. and its significance as a symbol of the cross. Schuh. no. Jesu pie” in Mozart’s Requiem. “Donaueschinger Musiktage 1967. and Polish Requiem. one of which was integrated seamlessly into several movements of the latter work. B1074. however.” Schweizerische Musikzeitung 104. be linked to the futurist works of a half-century earlier. B1071. The solo part is technically difficult. particularly in its wide range of string effects. no. The Capriccio for Violin and Orchestra is similar in some respects to the Cello Sonata. St.” Melos/Neue Zeitschrift für Musik 6.” and “Libera me.” “Dies Irae. Willi. “Donaueschinger Musiktage 1964. “Donaueschinger Musiktage 1962. “Das B-A-C-H-Motiv in Pendereckis Lukaspassion.” Kirchenmusikalisches Jahrbuch 65 (1981): 105-11. B1068. 6 (November-December 1962): 363-64.238 KRZYSZTOF PENDERECKI B1067. Luke Passion. B1069. no.” Schweizerische Musikzeitung 102. He pointed out tonal treatments in “Stabat Mater” and “Crux fidelis” and described Penderecki’s incorporation of as a tonal phenomenon. and the soloist often serves as an acrobat. In Schuler’s opinion. but was transformed as part of the primary melodic material in the Polish Requiem’s “Recordare. Luke Passion—a piece that can also be analyzed tonally (at least in some passages). B1070. B1072. using his bow to hit the wood of the instrument or play on the wrong side of the bridge and the hand to strum or hit the cello. This motive. 6 (November-December 1964): 358-61. Luke Passion. 3 (July-September 1992): 279-82. A performance of Anaklasis at Donaueschingen proved that a gifted mind such as Penderecki’s could maneuver itself into a dead end.

no.” In Musik-Welt von innen.. and stylistic. the St. He alluded to the composer’s Munich Philharmonic commission to compose four more symphonies in addition to the five already completed. Now What? “ New York Times.” New York Times. and motivic development. Schuler described each of these types and cited several examples from Polymorphia Stabat Mater. Luke Passion.” Penderecki . Schwemmer. pp. “First a Firebrand. 1985. pp. and briefly described the Second Violin Concerto and Third Symphony. Schwemmer felt that its music lacked maturity.. Schwarz. 3 (July 1988): 80-81. Karl. “Geglückt und mißlungen PendereckiUraufführung in Chicago. 4 (April 1987): 219-20. Munich: Strumberger. ostinato. no. 19-20. Performed in Berlin with Soviet soloist Grigori Shislin. Horts. it features the composer’s usual blend of “meditative calm and shrill explosion.Cello Concerto No.” Musica 33. Schumann. Section 2. Das Orchester 19. contains tonal passages intertwined with those characterized by extreme chromaticism and emotional anguish. “Dürer zwingt zum Umhören. 12 (December 1971): 615-16. Among these models were the passacaglia. Gregorian chant. Although Penderecki and the performers received numerous accolades after the world premiere of Paradise Lost. Schwarz asserted that Penderecki's brand of neo-Romanticism differed from Rochberg's and Del Tredici's in that the Polish composer interwove his innovative sonorities with the forms and harmonies of earlier centuries.” Süddeutsche Zeitung Oct. 26.. July 14. Then a Romantic. 1971.BIBLIOGRAPHY 239 of traditional musical models into his modern liturgical works. is an optimist with mystical impact. Three types of musical quotation appear in Penderecki’s compositions: fragmentary. B1076. “Das Zitat in Pendereckis Lukaspassion. reviewed here in its recorded version (Angel DS-38060).who judges the world thoroughly positively. Schwinger deemed Penderecki’s Viola Concerto to be one of Penderecki’s most mature and original works. and Ubu Roi. 1996. This is a review of two recordings: Thorofon's cutting of the Violin Concerto (CTH 2017) and RCA Erato's pairing of Cello Concerto No. 2. 2 and Partita (ECD 75321). Paradise Lost. Section 2. 1980. In Schumann’s view. 33. B1075. 2 (1979): 163. B1079.” B1077. no. canon. B1078. and an on-going synthesis of these two styles. “Penderecki: Violin Concerto. Festschrift für Robert Wagner. “Berlin: Penderecki in der Komischen Oper. Penderecki's Te Deum..” Musik und Gesellschaft 37. Schwarz divided Penderecki’s music into three compositional phases: avant-gardism. Penderecki “in cosmogonic matters. Eckart. material. Robert. Cosmogony was performed in Nuremberg during a celebration of the 500th anniversary of the birth of Albrecht Dürer. October 20. B1081. 18-24. 41. “Composers Who Championed Accessibility. neo-romanticism.” Musical America 108. no. Partita. K. Schwinger. B1080.

and intensity on the podium. Wolfram. “The Changes in Four Decades: The Stylistic Paths of Krzysztof Penderecki.. briefly. Zu Gast beim Komponisten Krzysztof Penderecki. his work as rector of the Kraków music conservatory. With respect to the avant-garde works. He also discussed. “Fortgesetzte Magie. B1083. 6 (November-December 1970): 560. and rehearsals for upcoming performances. Engel und Gespenster. Henze und Ligeti. Schwinger deemed it “elegant [and] masterly. This article about Penderecki’s three operas—The Devils of Loudun. 41. no. Musically it bears the influences of Wagner and Orff. This contains excerpts from Schwinger’s recently published book on Penderecki. 1). Brahms. Paradise Lost. no. Schwinger was impressed by Penderecki’s professionalism.” B1084. since it is not separated into scenes). Oper heute 10 (1987): 175204. “Dämonen.. . the relationship between the libretto and the play or poem upon which it is based. Sixteen pages of photographs are included. 11 (November 1979): 691-93. scene-by-scene synopses of each plot (although The Black Mask is treated somewhat differently. used to “the pinnacle of excess.” Musica 24. and Sibelius. its musical content. and.. as is a list of productions and premieres for each work. he spoke of their “microorganic inner life. Schwinger. “Pendereckis ‘Verlorenes Paradies’ und anderes in Stuttgart. “Festwochenkonzerte mit Penderecki. Ecloga VIII.240 KRZYSZTOF PENDERECKI concluded the Berlin concert by conducting Shostakovich’s Fourteenth Symphony. Schwinger provided detailed. explosions (1959-1961). . 1 and 2 .. p. B1085. including such topics as the composer’s interest in antiques and gardening. Paradise Lost was equally impressive. and The Black Mask—is noteworthy in several respects. The Penderecki Days festival in Stuttgart featured the German-language premiere of Paradise Lost.highly complex sound-effect structures. the German premiere of the Violin Concerto (No. Schwinger noted the existence of five stylistic periods in Penderecki’s compositional career: preludes (1951-1958). his personal library.” B1086. and synthesis (1980-). and performances of Fonogrammi. Sound materials and musical structures in the larger instrumental and choral-instrumental works were the primary focus of his discussion. 1979. and String Quartet Nos. The Violin Concerto contains “stylistic reminiscences” of Penderecki’s early avant-garde style and echoes of Beethoven. Capriccio for Oboe. for each opera.[and] noise .” Studies in Penderecki 1 (1998): 65-82. clarity.. One of Berlin’s Festival Week concerts featured the world premiere of Penderecki’s Second String Quartet. consolidations (1962-1974).” Stuttgarter Zeitung. B1082. retrospectives (1974-1980).. April 14. its dramatic highlights. Shostakovich.” Musik und Gesellschaft 29. Berg. while dramatically it speaks of the importance of human dignity and wisdom..

is a valuable source of information on the dating of Penderecki’s pieces—not just their world premieres but also the dates of subsequent performances. his later utilization of more traditional elements. B1090. 11 (November 1973): 961-66. “Penderecki and 'The Devils'.” B1091. B1089. .” Opera 24. A works list and discography are included. Schwinger then turned to The Devils of Loudun. Werkkommentare. “Neues von Ligeti und Penderecki. Penderecki had his conducting debut and a world premiere at the 1971 Donaueschingen Music Days. Luke Passion. Schwinger’s biography of Penderecki and analysis of his compositions is the seminal work on the composer. no. 1979. no.” Musica 22. Lebensdaten. Biography and Musical Commentary. A virtuosic This tome. 1 (1972): 39. Penderecki: Begegnungen. emphasizing the composer's exploration of new sound resources in his early works. Lebensdaten. Penderecki's Sonata for Cello and Orchestra with soloist Siegfried Palm was the hit of the 1964 Donaueschingen Festival of Contemporary Music. Stuttgart: Deutsche VerlagsAnstalt. translated by William Mann. 1994. “Magische Klanglandschaften—Krzysztof Penderecki und die polnische Avantgarde. Encounters. Expanded edition. Schwinger turned to Penderecki’s music. Furthermore. Krzysztof Penderecki. the “super-Paganinilike [sic] escapades” in its second movement were applauded so vigorously that the movement was repeated immediately. B1088. its analytical section is the most comprehensive in print. Luke Passion. Schwinger perceived a line of development in the elements that occurred in Psalms of David and then reappeared in the St. “Germany/The Avant-Garde. Penderecki’s Prelude is a work of “calm and rebellion. both with his jazz piece Actions.BIBLIOGRAPHY 241 B1087. Originally published as Penderecki: Begegnungen. “Musiktage mit Träumen und Ragas. Schwinger devoted much of the first half of this article to a discussion of Penderecki's musical career. Mainz: Schott. New York: Schott. and his predilection for composing pieces on the topic of man's inhumanity to man. no. After describing the explosion of musical activity that occurred in Poland beginning in 1956. summarizing its plot and describing its high points.” Musica 26. 1 (1968): 4-7.” Musical America 84 (December 1964): 78. as are numerous photographs and score excerpts. The composer's early exploration of the distinctions between sound and noise led him to write the St. B1092. 2 (1972): 149-50. Werkkommentare. 1989.” Musica 26. He also described other links between the Psalms and Stravinsky's Les Noces and Symphony of Psalms. The composition has few of the improvisational passages typical of jazz pieces. His Life and Works. whose German edition is currently the most up-todate.

In Hamburg. Poetyka i Recepcja. and Shostakovich. The world premiere of the complete Utrenia was given in the Münster Cathedral.” Das Orchester 27. B1095. 4 (July/August 1971): 376-77. its form and instrumention.” Musica 22. creating instead a tableau of soft passages. 1 (JanuaryFebruary 1968): 15-16. In Stuttgart. 15758.” achieved to some degree by the addition of the crystalline voices of a boy’s choir. Kraków: Akademia Muzyczna. B1097.242 KRZYSZTOF PENDERECKI B1093. characterizing it as a romantic piece in the mold of Beethoven. Berg. 4 (July/August 1969): 352-55. no. however. “Die Rezeption von Penderecki’s Musik in Deutschland. “Recepcja muzyki Pendereckiego w Niemczech. the music became a dramatic component in its own right under conductor Janos Kulka. edited by Tomaszewski. conductor Henryk had failed to provide a dramatic impetus. 1996. no. Brahms. Stuttgart. “Pendereckis 'Dies Irae'. Schwinger briefly discussed the textual sources of Dies Irae. “Pendereckis 'Lukaspassion'. In contrast to Part I. in nonmusical terms. In it. in which an aura of mystery and meditation prevailed. “Pendereckis Violinkonzert.” Muzyka Krzysztofa Pendereckiego. no. Hamburg.” In The Music of Krzysztof Penderecki: Poetics and Reception.” Musica 22 no. Sibelius. It draws on the equivalent of the Matins service that was used in the old Holy Saturday liturgy of Russian Orthodoxy. Luke Passion was highly impressive. 161-62. . “Pendereckis 'Grablegung Christ'. B1094. Tchaikovsky. 3 (May/June 1970): 264-66. B1099. the substance of each of the work’s five sections. a liturgy that Penderecki had studied in the convents of southeast Poland. no. the newly completed Part II exudes an atmosphere of “radiating splendor. Its form and development are based on classical models. This article is excerpted from an advance copy of Schwinger’s Penderecki: Begegnungen. and Bulgaria.” Musica 23. although such modern tendencies as clusters and glissandos also play a role. no. he highlighted the primary features of the Violin Concerto No. In this review of the world premiere of Utrenia. 3 (1968): 181-82. Schwinger described. B1096. 1. “Pendereckis 'Utrenia'. Schwinger shared the nearly unanimous opinion of critics that the Stuttgart production of The Devils of Loudun was far superior to that given in Hamburg. Part I. edited by Tomaszewski. “Pendereckis 'Teufel von Loudon'. and its various emotional levels.” Musica 25. 1995. A Stuttgart performance of the St. Werkkommentare. B1098. 5 (May 1979): 356-61. Kraków: Akademia Muzyczna. although it did not match the caliber of the Münster world premiere. Lebensdaten. Russia.” Musica 24.



Many of Penderecki’s works were premiered in Germany. These and others were featured on German subscription concerts in later years. Penderecki’s turn to romanticism in the late 1970’s brought a split in German critics’ perception of his music. “Schwarze Maske im Kontext seiner szenischen Musik.” In of Krzysztof Penderecki. Poetics and Reception, edited by Tomaszewski, 19-20. Kraków: Akademia Muzyczna, 1995; : “Czarna maska w kontekscie muzyki scenicznej kompozytora.” Muzyka Krzysztofa Pendereckiego. Poetyka i Recepcja, edited by Tomaszewski, 157-58. Kraków: Akademia Muzyczna, 1996. The Black Mask is a true opera, as opposed to the oratorio-like works such as The Devils of Loudun, Paradise Lost, and St. Luke Passion. It possesses a sort of musical pluralism and features an atonal harmonic structure, with occasional forays into tonality. B1101. “Der Todeshauch einer Mittagsstunde. Vorbemerkungen zu Pendereckis neuer Oper ‘Die schwarze Maske’.” Das Orchester 34, nos. 7-8 (1986): 787-88. On the occasion of the world premiere of The Black Mask, Schwinger described its plot and musical contents. The composer quoted not only himself (from his Te Deum and Polish Requiem), but also 17th-century dance music and hymns. Clusters and glissandos, polyphonic chromaticism, disjunct intervals, and a wide variety of vocal writing were successfully intertwined. B1102. Seidel, Jozef. “Co gra w Tygodnik kulturalny 30, no. 9 (March 2, 1986): 1, 4. In this conversation with Seidel, Penderecki described his desire to maintain a link with musical traditions. He also related several stories about his work habits, including the circumstances surrounding the writing of Agnus Dei (in less than a day) and Stabat Mater (as a long-promised gift for Polskie Wydawnictwo Muzyczne, the state-run Polish music publisher). He always began a composition by sketching a one-page graph of the piece. Although he has the entire piece “in his head” before he starts, he does not write the actual score from beginning to end, but usually starts somewhere in the middle. B1103. “Jestem bezkompromisowy i Polityka 31, no.48 (November 28, 1987): 8. Penderecki began this interview by talking about his incorporation of stylistic traits from earlier centuries into his own compositions. He admitted that his turn to a romantic musical style had been prompted by a desire to do something other than shock people with modernistic developments. In a lengthy discussion about his operas, he stated that The Devils of Loudun was linked musically and topically to the St. Luke Passion, while The Black Mask could be related conceptually to Salome or Elektra. Concerning Paradise Lost, Penderecki explained how he solved the problem of writing the music for God’s character after hearing the music of the Samaritans during a trip to Israel. In The Black Mask, he was concerned with the theme of intolerance. B1100. The Music



B1104. Shankovich, Robert. “Contemporary Music in Poland Today: Spotlight on Krzysztof Penderecki.” Music Theory: Explorations and Applications (Duquesne University School of Music) 3 (Fall 1994): 19-22. Shankovich takes as his point of departure the Penderecki Symposium held in Krakow a year earlier. His presentation at that Symposium described how he taught his college students to analyze a work by Penderecki, and by extension, any composer. B1105. “Penderecki and the American Student of Music.” In The Music of Krzysztof Penderecki: Poetics and Reception, edited by Tomaszewski, 185-89. Kraków: Akademia Muzyczna, 1995; “Penderecki w oczach studenta muzyki: o Muzyka Krzysztofa Pendereckiego. Poetyka i Recepcja, edited by Tomaszewski, 179-83. Kraków: Akademia Muzyczna, 1996. Shankovich described how he approaches the analysis of Penderecki’s music in a university setting. He favored a fairly eclectic approach, taking into the account the methods set forth by various 20th-century theorists, with his principle focus being a response to the question “How does music mean?” (sic). B1106. “Symphony No. 5 in Pittsburgh.” Studies in Penderecki 1 (1998): 113-14. This symphony, performed in Pittsburgh in what Shankovich called its world premiere of the revised version, was the object of admiration by the audience and musicians. Penderecki himself was pleased with the performance. Unfortunately, Shankovich did not give a date for this performance nor he did describe the revisions. B1107. Siegele, Ulrich. “Entwurf einer Musikgeschichte der sechziger Jahre.” In Die Musik der sechziger Jahre, edited by Rudolf Stephan, 9-25. Mainz: Schott’s Sohne, 1972. Penderecki is described as a composer whose compositions incorporate dodecaphonic principles and explore the area between sound and noise. B1108. Sielicki, Edward. “Warszawska '88.” Ruch muzyczny 32, no. 23 (1988): 5-6. Warsaw's Teatr Wielki presented The Black Mask in Polish during the Warsaw Autumn Festival. Penderecki described his opera as a continuous dance macabre; musically it synthesizes his avant-garde and romantic styles with new elements. Sielicki felt that there were too many characters in the opera to whom Penderecki tried to give equal importance. B1109. Siemdaj, Ewa. “Trio and Sinfonietta.” In The Music of Krzysztof Penderecki: Poetics and Reception, edited by Tomaszewski, 5563. Kraków: Akademia Muzyczna, 1995; “Od Tria do Sinfonietty.” Muzyka Krzysztofa Pendereckiego. Poetyka i Recepcja, edited by Tomaszewski, 55-63. Kraków: Akademia Muzyczna, 1996. The focus of this article, ostensibly a comparison of the String Trio and Sinfonietta No. 1, is actually on the latter work, an orchestral arrangement of the Trio. Several musical examples are included.



B1110. Sienkiewicz, Marian. “ T h e World Première. 'Our God's Brother' by Karol Woytyla.” Theatre en Pologne/Theater in Poland 23, no. 4 (April 1981): 3-11. Sienkiewicz's article about Pope John Paul II's play “Our God's Brother” is primarily an exposition of the theatrical and writing career of the playwright before his ascent to the papacy. The play’s moral and spiritual meaning was commented upon, and a description of its three scenes is provided. Concerning the world premiere production given at Kraków’s Theatre, Sienkiewicz thought that its “theatrical artificiality and a superficial religiosity are alien to the spirit of Wojtyla's work.” His only comment about Penderecki's music was that it is “oratorian.” The precise dates of the play, the music, and the premiere were not given. B1111. Sills, David. “Krzysztof Penderecki. Concerto for Viola ed Orchestra. Cadenza per viola solo.” MLA Notes 46,no. 1 (1989): 230-31. The one-movement Concerto consists of seven sections, with some having quasicadenza writing for viola juxtaposed with orchestral passages, and others having the soloist play against a thinly textured contrapuntal background. The Cadenza is not as difficult as the Concerto, but it is related stylistically to the larger piece. B1112. Simmons, D. “London Music.” Musical Opinion 97, no. 1155 (December 1973): 119-21. A London Symphony Orchestra performance of Penderecki's First Symphony was reviewed here. Simmons did not think the piece was an important addition to the repertoire. B1113. Sivell, Halina. premiera Pendereckiego.” Teatr, no. 10 (1974): 23-24. This article contains Polish translations from British reviews of a production of The Devils of Loudun presented at Sadler's Wells. Overall, reviews were mixed. The production was considered a new type of musical theater rather than an opera. B1114. Siwek, Marian. “Pasja w Teatrze Wielkim.” Ruch muzyczny 23, no. 6 (1979): 11. A semi-staged production of the St. Luke Passion was premiered at Warsaw's Teatr Wielki in January 1979. Previous stagings of the work in Dusseldorf, Adelaide, and La Plata had been unsuccessful, as was this one. Siwek criticized the poor preparation of the chorus, the loudness of the orchestra, and the inappropriateness of the scenery, scant though it was. Moreover, the program book lacked a translation of the Latin text. The applause after the performance was weak and mixed with hisses and boos. B1115. Sjostrom, Joseph. “'Paradise Lost' Winner at Premiere.” Chicago Tribune, November 30, 1978, Section 1, p. 1. Following the world premiere of Paradise Lost, several audience members offered their opinions of the production. In general, it was well-liked, although one person lamented the lack of memorable melodies.



B1116. Skulska, Anna. “Los mi Ze Stefanem Kamasa rozmowia Anna Skuluska.” Ruch muzyczny 42, no. 6 (March 22, 1998): 11-13. Stefan Kamas claimed that he urged Penderecki to turn a piece called Elegy for Viola and Orchestra into a two-movement work. This work became the Viola Concerto. B1117. Smith, Christopher. “Aldeburgh.” Musical Times 125, no. 1700 (October 1984): 586. The Second Rostropovich Festival featured the British premiere of Penderecki's Second Cello Concerto. Smith found its details a bit perplexing. B1118. Smith, Patrick J. “New York.” Musical Times 121, no. 1649 (July 1980): 460. Symphony No. 2, heard in its world premiere performance, was characterized as “an academic dodo” in which “the only sounds produced are echoes from a distant past.” B1119. “N. Y. Philharmonic: Penderecki Premiere.” High Fidelity/Musical America 30, no. 8 (August 1980): MA26. Smith lamented Penderecki's loss of the “compositional fire” that he had shown in his early works. His most recent work, Symphony No. 2, is nothing but a series of alternating louds and softs. B1120. “Penderecki & Menotti: Pros and Cons.” High Fidelity/Musical America 19, no. 11 (November 1969): MA24-25, 32; Opera News 34, September 20, 1969, p. 23. The Santa Fe Opera's production of The Devils of Loudun contained some minor revisions from its premiere performances in Hamburg and Stuttgart, but in Smith's opinion, it is still “a compound of faults, both musical and librettistic.” B1121. Sobolewski, Kazimierz. inny.” Warszawy, no. 274 (November 24-25, 1990); excerpts in Clavis. “Muzyka w prasie.” Ruch muzyczny 34, no. 26 (1990): 2. In this conversation with Sobolewski, Penderecki asserted that he did not wish to become actively involved in Polish politics, even in the country’s post-Communist era. In his opinion, music is an abstract art and musicians should “find their place more among sounds than among politicians.” Currently, he was working on a comic opera about King Ubu (Ubu Rex), which he had begun in 1969, and then set aside. He returned to it in 1980, but could not bring himself to finish it after martial law was declared in Poland in 1981. B1122. prapremiera opery Pendereckiego.” Warszawy, August 8, 1991, pp. 1, 5. The world premiere of Ubu Rex (here called Król Ubu) was transmitted via radio in Poland. Sobolewski thought the opera's set designs were controversial, but otherwise felt that the work was a huge success.



B1123. Sokolov, Raymond. “Dark Passions in the Desert.” Wall Street Journal, August 5, 1988. The American premiere of The Black Mask was met with a certain amount of derision by Sokolov. Specifically, he lamented the incomprehensibility of so many texts being sung simultaneously and the plethora of orchestral “tricks.” B1124. Sol. “Premiera 'Czarnej maski' Pendereckiego.” Warszawy, no. 218 (September 19, 1988): 1, 2. The premiere of the Polish-language version of The Black Mask was presented as part of the Warsaw Autumn Festival. B1125. Ewa. “Drzemki i przebudzenia. Po XXIII ‘Warszawskiej Jesieni’.” Sztandar no. 235 (October 2, 1979). The production of Paradise Lost given by the Stuttgart State Theater at the Warsaw Autumn Festival was somewhat disappointing, although both Penderecki and the performers received huge ovations. The work's staging did not meet the audience's expectations and the cuts made in the music were also “unfortunate.” B1126. “'Raj utracony'. XXIII Warszawska Sztandar no. 227 (September 22-23, 1979). The author briefly described the scenery and initial stage actions of Paradise Lost, which was presented by the Stuttgart State Theater at the Warsaw Autumn Festival. She also noted that its music might shock some people because it was “normal,” not experimental. B1127. nastroje Sztandar no. 220 (September 22, 1981). believed that Te Deum was Penderecki's attempt to create a piece in the style of late nineteenth-century romanticism. Later in the article, she quoted Andrzej Hiolski as saying that Penderecki's music was difficult to sing because of its extreme tessitura. Bl128. Ewa and Bogdan “Nie interesuje mnie Sztandar no. 300 (December 16, 1976); excerpts in Clavis. “Muzyka w prasie.” Ruch muzyczny 21, no. 3 (1977). In this conversation, Penderecki reflected upon his independence as a composer. He composed only to please himself, not his audiences or his critics. He realized that his compositions now served as models for other composers. He conducted and recorded many of his own works in order to provide “correct” interpretations. In his opinion, Zubin Mehta was the conductor who best understood his music. B1129. Sommerville, C. John. “The Religious Music of the 20th and 21st Centuries.” Religion 14 (1984): 245-67. Sommerville considered the many compositions that twentieth-century composers have associated with religious themes. He concentrated on the music of Stravinsky, Schönberg, Webern, and Messiaen, but also mentioned other composers. His discussion of Penderecki was limited to a list of his religious works, and a quote from the composer about his need to believe in God while living in the Communist country of Poland.



B1130. Sosnowska, Izabella. “Notatki z Salzburga 1974.” Ruch muzyczny 18, no. 21 (October 13, 1974): 10-11. On the occasion of the world premiere of the Magnificat, the Salzburg Cathedral's 500 seats were full and 400 more people were standing. Sosnowska briefly described the seven parts of the piece and provided excerpts from reviews by several German, Swiss, and Austrian critics. She summed up her thoughts as follows: “It is a piece that was excellently prepared and performed. I preserved it in my memory as a sacred composition that is entirely unconventional and that maintains the listener's attention from beginning to end.” B1131. Spangemacher, Friedrich. “Hiroshima in der Musik. Bemerkungen zu einigen Kompositionen mit dem ‘Thema’ der nuklearen Bedrohung.” Schweizerische Musikzeitung 120, no. 2 (March/April 1980): 78-88. Spangemacher considered three pieces in his essay on music memorializing the bombing of Hiroshima: Penderecki’s Threnody, Aikichi Kuboya’s Epitaph, and Luigi Nono’s Canti di vita e d’amore. He acknowledged that Threnody had caused a sensation in the musical world, but wondered if it would really achieve a lasting place in music history. B1132. Spencer, Piers. “Set Works for GCSE. Penderecki: 'Threnody to the Victims of Hiroshima'.” Music Teacher 67, no. 10 (October 1988): 35, 37-38. Threnody was selected by the Welsh Joint Education Committee to be part of its 1989 GCSE examination. Spencer provided details about the piece's instrumentation, notation, form, and style and gave a brief summary of Penderecki's place in contemporary music. He erroneously stated that Penderecki wrote this piece to reflect the bombing of Hiroshima, when, in fact, the title Threnody to the Victims of Hiroshima was given to the piece only after its completion. B1133. Spingel, Hans Otto. “Journal des Monats.” Opern Welt, no. 6 (June 1969): 11-13. Choreographed by the renowned trio of Georg Reinhardt, Erich Walter and Heinrich Wendel, a staged production of St. Luke Passion in Düsseldorf distracted Spingel from the essence of the piece, which he believed was the music. B1134. “Verfolgung und Tod des Urbain Grandier, verursacht durch die sexuelle Hysterie der Nonnen des Klosters zu Loudun.” Opern Welt, no. 8 (August 1969): 22-25. In this review of the Stuttgart and Hamburg productions of The Devils of Loudun, Spingel clearly favored the Stuttgart version, praising its deviant, perverse staging Spingel was not impressed with the music, fearing that the opera had been written too quickly and that it depended too much on devices such as clusters, glissandos, and sound masses. B1135. Stachowski, Marek. “Violin Concerto No. 2 in Katowice.” Studies in Penderecki 1 (1998): 121-22. Penderecki's Second Violin Concerto reflects the “synthesized approach” of the composer's later works. The intervals of the minor second, minor third, and tritone are structurally important in this one-movement piece.

no. if anything. Kevin. proven himself to be a master at writing for large choral-orchestral ensembles. The inaugural concert of the 2000 Penderecki Year in Kraków featured performances of Adagietto and Stabat Mater. Gabriela. The second Polish performance of Seven Gates of Jerusalem took place in Kraków. at other times. The Polish Requiem received a wonderful performance at its U. Stephens. B1139. to say that has not been said in other works by the same composer. Steger. B1138. 14 (July 13. featuring clarinetist Wojciech Komst.” Ruch muzyczny 42. no.BIBLIOGRAPHY 249 B1136. each singer was given a tuning fork to use at the performance. 4 (December 1976): 62. Strophes is “closely related” to Boulez's Improvisations sur Mallarmé. premiere. 1997): 27. for the composer has. 1998): 17-18. 4 (April 1986): MA26. As part of “Kiel Week. no. Luke Passion. “New Music on Mondays. This review of the Kraków Music Days festival contains a brief mention of the Polish premiere of the clarinet transcription of Penderecki’s Viola Concerto. B1141. B1142. 14 (July 13. 19 (September 21. B1137. no. Stein.” Hans Gebhard conducted the St. “Inauguracja Roku Krzysztofa Pendereckiego. Hellmuth.S. prefaced a lament by the character of Adam. At the 1976 Musica Nova festival. 5 (September-October 1968): 357-58.” Ruch muzyczny no. audiences were small except at a concert featuring Iain Hamilton's Epitaph For This World and Time and Penderecki's Magnificat. written after the world premiere of Paradise Lost.” Musica 22. no. Leonard. Stearns felt that it has little. Stanek-Peszkowska. The exact date was not provided. The Penderecki International Chamber Music Competition is intended to promote young musicians and Polish compositions written after 1945. Even after 31 rehearsals.” High Fidelity/Musical America 36. B1143. 1997): 19-21. Each piece includes pointillist sections and both arioso and recitative-like vocal lines. however. premiere].” Ruch muzyczny 41. and named the winning performers and their repertoire at the first of these events. As a composition.” Ruch muzyczny 41.” Perspectives of New Music 2. no. “Glasgow. 6 (March 22. This is regrettable. “Siedem bram Jerozolimy w Krakowie. “National Symphony: Penderecki. The piece. 1997): 16-19. “Ten festiwal do kompozytorów. S. “Konkurs pod patronatem Pendereckiego. no. David Patrick. 'Polish Requiem' [U. Stanek-Peszkowska noted that Adagietto. “Pendereckis 'Lukas-Passion'.” Music and Musicians 25. was masterfully written. . Stearns. Stanek-Peszkowska reviewed the competition’s rules and procedures. B1140. which contains allusions to Utrenia and the St. Luke Passion. 1 (Fall-Winter 1963): 142-50.

“Penderecki: Two Modern Masterworks. 1971. Luke Passion to their counterparts in the St.” Musical Quarterly 50. Luke Passion and Stravinsky’s Symphony of Psalms. Matthew Passion.250 KRZYSZTOF PENDERECKI Penderecki.” Musik und Bildung 2. Stöckl.' Versuch einer Gegenüberstellung mit Teilen der ‘Matthäus-Passion’ von Bach. Kurt. Stilz compared the division of vocal parts in the St. 2 (1964): 260-71.19. David. The live recordings contain compositions by fourteen Polish composers. no.” Neue Zeitschrift für Musik 133.” Neue Zeitschrift für Musik 141. Stöckl briefly described Actions as a mixture of jazz and symphonic music. no. Stevens described the set design and singled out Hélia T'Hézan. . nos. In the main portion of the article. Konzertante Aufführung von Pendereckis: Sacra rappresentazione ‘Das verlorene Paradies’. He then noted several similarities between the St. “Pendereckis 'Lukas-Passion. After a brief review of Penderecki’s career. The Devils of Loudun. Stone preceded his review of the five records issued during the 1963 Warsaw Autumn Festival with an enlightening commentary on the state of musical life in Poland in recent years and the role of the Festival in exhibiting the avant-garde nature of many new Polish compositions. “'Musica sacra britannica'. “Reviews of Records. Stevens. 5 (September/October 1980): 458. B1148. as the best vocalist. he provided information on the orchestration and text settings of each part of the piece. given its French premiere in Marseillesin February. p. Recordings of Utrenia (RCA LSC-3180) and The Devils of Loudun (Philips 6700 042) were reviewed here. was applauded by both the audience and this critic.” Das Orchester 19. Penderecki's contribution was Polymorphia. Sterritt devoted most of his article to comments on the religious and moral meanings of both pieces.” Christian Science Monitor.” Opera News 36 (April 1. Rudolf. This brief report on a performance of Cosmogony in Nuremberg included a mention of the piece’s multiplicity of texts. “Paris. in her role of Jeanne. Sterritt. “Rauschen auf G. etablierte Avantgarde von gestern. no. Stilz. Bei den Donaueschinger Musiktagen 1971. Oct. B1146. Also in Nürnberger Nachrichten. no. B1150. 4. A concert presentation of Paradise Lost allowed Stöckl to realize just how graphically the music of this opera reflects its plot.” B1144. “Renaissance der Melodie: Uraufführungen im Dürerjahr. 7-8 (1970): 319-25. Stone. B1149. Stilz compared several of the major dramatic parts of the St. David. B1147. as conductor. 2 (February 1972): 88-89. In this section. 12 (1971): 615. 1972): 35. gave a “clear and sensible interpretation of the complex score. 1971. Matthew Passion. Luke Passion and Bach’s St. Ernst. September 24. B1145.

1970. Elektronenschall in Warschau”. Strongin. rubbing. “Clarion Concerts Unearth Old Work. 21. Cosmogony includes many of Penderecki's familiar gestures—avoidance of melody. “Les fondements techniques et mathématiques de la musique moderne et spécialement chez Xenakis et Penderecki. Stuckenschmidt praised the piece as “a work of power and originality. no. and other similar horrors. Vietnam.” a choral passage in 55 parts. The Salzburg Cathedral was the site of the world premiere of Magnificat. After discussing several works by Xenakis. Wolfgang. Stroh rejected this interpretation as being too superficial. 4 (November 1962): 363-64. and the history of electronic music. yet rather “square.BIBLIOGRAPHY 251 B1151. and a lengthy.” Coloquio artes 16. and other unconventional means of producing sounds on string instruments. He also argued that Penderecki’s harmonies based on minor thirds were a sort of “foreign language” in this piece. Stuckenschmidt turned to Penderecki’s compositions. no. 19. thinly accompanied bass solo. which in this piece yielded an assortment of knocking. Stuckenschmidt. “Penderecki und das Hören erfolgreicher Musik. B1156. 18 (1974): 55-63. Its scoring ranged from the a cappella “Sicut locutur est” to the seven-part “Et misericordia ejus. Tontrauben. and therefore understood the screams and cries heard in the Passion. 1974. H. August.” and unusual instrumental techniques—which are arranged in successive blocks of sound in a surprisingly accessible manner. upsetting the expections of listeners. “chaotic choral speech. “Glissandos. Melos 29. January 14. H[ans]. . Luke Passion.” New York Times. Theodore. 1970. 11 (1970): 452-60. Hiroshima. “Baton of Mehta Evokes 2 Moods.” B1155. He claimed that the Polish composer had been influenced by the music of Varèse and Xenakis. In his opinion.” Frankfurter Allgemeine Zeitung. B1153. Canon. Stroh put forth several reasons for the success of the St. “Der Auftritt der Stars und ein ‘Magnificat’. p. 36. 40. Capriccio for Oboe was described as being full of various sound effects. no. B1152. p.” New York Times. arguing instead that the work’s tone clusters were a natural development of musical language in the early 1960s. Luke Passion. Musik in Salzburg. the music of Varèse and Xenakis had paved the way for Penderecki’s own ventures. One possible interpretation attributed this success to the fact that its audiences have experienced Auschwitz. October 31.” B1154.” Melos 37. the compositional system espoused by Joseph Schillinger. then briefly described the sound sources and harmonic systems of Anaklasis. and the St. Stuckenschmidt noted that Penderecki’s Canon was the “most provocative” of the world premieres given at the Warsaw Autumn Festival. p. The audience’s reaction was a mixture of applause and condemnation. Stroh.

harmonics. Hans Rosbaud. Spoken dialogue and monologues go on endlessly. no.” The 10-minute piece employs narrow intervals. in part laughing. rough sounds. 5 (May 1966): 152-55.” Musical America (January 1961): 34..” Melos 36.” B1159. nos. and “coloristic inspirations. Penderecki's Anaklasis was the most radical of these works. Imbued with grating clusters of quarter-tones. is “more symphony with solo obligato than a concerto. “Musikalische Kraftakte in Berliner Konzerten. 7/8 (July-August 1960): 322-25. Formally. Luke Passion and called it a “most important bridge between liturgical spirit and new music. and declared that it “appears empty and meaningless. 1 is “an apocalyptic poster. however. A decade after Southwest German Radio resuscitated the Donaueschingen Festival both artistically and financially. ten premieres were presented.” the piece was met by some sort of audience rebellion.. 6 (June 1967): 212. and “scurrying figures” within a primitive formal plan. “Ten Premieres. in part tragic. “Westberliner Festwochen zwischen Fracks und Blue jeans.” B1163.brilliantly made from contrasts of colors and dynamics. the piece contains a lyric center section followed by a waltz. The premiere of Penderecki’s Second String Quartet was presented by the Parrenin Quartet to “a handful of listeners.” Melos 34 (December 1967): 456-62.” B1162..” B1161.” Melos 34. In the St. “Musik der Letzten Dinge. laughters and roars. 1983 The Second Cello Concerto. B1160..” B1158. in the Devils. then repeated the work. . On the occasion of its premiere. Uraufführung von Pendereckis erster Oper. Stuckenschmidt described the texts and general musical characteristics of the St. Luke Passion. glissandos. this time to a more positive response. no. heard in its world premiere. January 13. a choir offers a variety of cries. “‘Die Teufel von Loudun' in Hamburg. 148. The world premiere of The Devils of Loudun was greeted somewhat derisively by Stuckenschmidt.” Melos 33. tone clusters and pitches at the extreme ends of instruments’ ranges.” Frankfurter Allgemeine Zeitung. The Capriccio for Violin and Orchestra is an example of virtuosic music. they were limited to “manufacturing atmosphere. 12 (December 1970): 512-13.” Stuckenschmidt briefly described the piece. “Nachwuchssorgen auch in Donaueschingen. Stuckenschmidt reminded readers to “note the name of this composer. and a large orchestra presents glissandos.” Melos 37.. “Polnische Passion im Dom zu Munster. the conductor. De Natura Sonoris No. these same techniques were used to good dramatic effect..252 KRZYSZTOF PENDERECKI B1157. no.

B1167. its music schools must be used only to educate a “musical elite. 5 (November 1975): 54. Suppan examined Penderecki’s use of a twelve-tone row and his exploration of the boundary between noise and sound. 4 (April 1995): 168-76. B1168. Penderecki discussed the religious aspects of The Devils of Loudun and the contempt that some European orchestras had for the playing techniques required in Threnody. He also declared that although Poland's citizens are not well-trained in music. Suppan. B1169. The Stuttgart Opera's version represented a great improvement in each of these matters. no. Barbara. 1 (January 1985): 34-35. “Dirigent Penderecki stahl Komponisten Penderecki glattweg die Schau. Sulek quoted from an interview with Anne-Sophie Mutter published in the April issue of Gramophone. In this excerpt of an article from Ruhr-Nachrichten Dortmund. In this conversation with Sutcliffe. Suerland. no. Andrzej.” Ruch muzyczny 42. He disliked the interpretation given by the changes made in the libretto. reprinted from Student.” Das Orchester 33. which included the shortening of some scenes and a staging change. James Helme. no. 1998): 36. no. 10 (May 17. 1972). He also recalled that he had played a tape of Threnody for the patients at a Kraków “nerve clinic. “Czy koniec prosperity?” Ruch muzyczny 16. but still retained a rather Victorian flavor.” Opera News 40. He then reviewed the Hamburg and Stuttgart productions of the opera. 1969): 14-15.” Musikerziehung 48. in which she discussed the premiere performance of the Second Violin Concerto. no. “Devil's Advocate. Stuhr.” then used the encephalograph of the patients' reactions as a formal diagram for part of Polymorphia. Sutcliffe. Wolfgang.” B1165. Sutcliffe began his article by enumerating some of the differences between Penderecki's libretto for The Devils of Loudun and the play on which is based—John Whiting's The Devils. These changes. 10 (1972): 6. and the sets created by the Skarzynskis. were apparently made to win the approval of the Catholic Church and Polish government censors. B1170. B1166. “Die Pittsburgh Ouverture (1967) von Krzyztof Penderecki. Penderecki revised The Devils of Loudun for its Warsaw production. “Double Bow For 'The Devils of Loudun'.” High Fidelity/Musical America (September 1969): MA22-23. 27 (June 14. no. 26. Sulek.BIBLIOGRAPHY 253 B1164. 5 (March 1-14. “Mutter czyli kilka po nagraniu Pendereckiego. “East Berlin.” Opera News 33. no. Suerland reviewed a Bochum Symphony concert in which Penderecki conducted his own Second Cello Concerto and Shostakovich’s Sixth Symphony. . Penderecki sees the need to hire a more qualified group of faculty members than presently exist at the college-level music schools in Poland. In this analysis of the Pittsburgh Overture. An East Berlin production by the Staatsoper reinstated some of these changes. Harald.

Among her chief conclusions: aleatoric and traditional techniques are used both simultaneously and separately.” Österreichische Musikzeitschrift 22.” Opera News 34. Henryk.” She noted its abundance of polyphony and some tonal tendencies. A slightly revised version of the Stuttgart production of The Devils of Loudun was brought to West Berlin. Technika chóralna w dzietach wokalnoinstrumentalnych Krzysztofa Pendereckiego. no.” In Krakowska kompozytorska 1888-1988.” Kurier polski. 1 (September 6. 215-26. Kraków: Akademia Muzyczna. The music of Paradise Lost reminded Swolkien of Wagner's Ring cycle. Szmolyan. Muzyczna. “‘De natura sonoris’ No.” “Quid sum miser. 7 (1967): 406-14. B1175. and Psalms of David—and the bold innovations in sounds and notation found in Anaklasis and Dimensions of Time and Silence.254 KRZYSZTOF PENDERECKI B1171. especially in the “Agnus Dei” and “Lacrimosa. Dimensions of Time and Silence. “Neue Musik in Polen.” and “Lacrimosa. 1 i No.” Nevertheless. 1976. tempo. Szwajgier. unforgettable experience. . B1172. 1979). Sutcliffe clearly favored the Stuttgart production of The Devils of Loudun over the Hamburg world premiere version. stating that it “is far removed from anything called opera up until now. edited by Teresa Malecka. Walter. no. and Dies Irae. meter. and sometimes rhythm are often undefined in aleatoric passages. 2 Krzysztofa Pendereckiego – Studium porównawcze. Sutcliffe stated that this presentation was “an electrifying. He reviewed the composer’s output.” B1173. “West Berlin. Penderecki began a new stylistic phase marked by clear designs and a propensity towards spiritual works. B1177. B1174. Luke Passion. 20 (1984): 8. “'Raj utracony' i odzyskany. Emanations. 204 (September 25. no. he predicted that it would remain an important part of the operatic repertory.” B1176. Krzysztof. 1969): 27-28. his polyphonic writing often included free imitation. Stuttgart. 1992. “Hamburg. mentioning the Stravinskian influences of his three early works—Strophes. “Requiem polskie na Ruch muzyczny 28.” Opera 21.” “Dies Irae. Swiercz analyzed the choral writing in five of Penderecki's works: Psalms of David. Swolkien. 8 (August 1970): 734-36. Teresa. and the precise selection of musical means is closely connected to the meaning of the chosen texts. no. Prace Specjalne 9. Beginning with Stabat Mater. Sutcliffe did not particularly like the music itself. no. St. the chromatic scale is Penderecki's basic source of pitch material. Cantata in honorem Almae Matris . Szmolyan labelled Penderecki as the leading contemporary Polish composer. gave her initial impressions of the portions of the Polish Requiem completed to date: “Agnus Dei.

The Seven Gates of Jerusalem. “Jaruzelski and Solidarity Leaders Honor the Victims of World War II. Tarnowski. B1180. 1 and De Natura Sonoris No.” B1178.” New York Times. and the cello version of the Viola Concerto. “Penderecki podsumowuje 3000 lat. He also designed a new instrument for the piece. 19 (1993): 3. “'Dies Irae' Krzysztofa Pendereckiego. Sinfonietta per archi. B1183. Kraków: Wyzsza Muzyczne. 2. Szwarcman. Symphony No. 1-16. unusual coloristic effects. John. Per Slava. He also discussed the acoustical properties of selected passages from the first third of the piece. although the later piece had more sophisticated “orchestration. Luke Passion. performed at the 1960 Warsaw Autumn Festival. a tubaphone. September 2. Dorota.” Ruch muzyczny 32. Flute Concerto. 1979. Jacek. sesji naukowej. heard in its world premiere performance. p. B1184. Penderecki conducted excerpts from the Polish Requiem at a memorial concert in Warsaw.” Ruch muzyczny 34. 2. XXX Wiosna Muzyczna’. “Prywatny polski festiwal w Niemczech. no. Penderecki admitted that links exist between this piece and his St. 1960): 6. “Nasi w Holandii czyli Nowej Muzyki w Hadze. with music by Penderecki and Marek Stachowski. Prelude.” Ruch muzyczny 51. Szlezwik-Holsztyn '93. String Quartet No. “IV Warszawska. as were Threnody. The 1990 Poznan contemporary music festival “Musical Spring” included a performance of The Superhero (“Najdzielniejszy”). 4 (February 23. Szwajgier asserted that each piece complemented the other in mood. B1179. Dimensions of Time and Silence. B1181. no. 3 and the “Sanctus” from the Polish Requiem.BIBLIOGRAPHY 255 In this comparison of De Natura Sonoris No. no. 9 (1990): 1. 10 (1988): 14-15.” Ruch muzyczny 37.” Tygodnik Powszechny 42 (October 16. Tagliabue. Cadenza. 1989. which is modeled after traditional Australian instruments. In Targosz's opinion. and motives similar to those in the composer’s Clarinet Quartet. 1997): 8-9. 5. The world premiere of his piece for clarinet quartet [Quartet for Clarinet and String Trio]. contains clear allusions to Orthodox church music. Targosz. Karol.” In Muzyka instrumentalno-wokalna kompozytórow Krakowskich. commissioned by the Festival. Penderecki's Miniatures for Violin and Piano was performed in March in The Hague. B1182. 4. no. the form and meaning of the texts of Dies Irae are so closely connected to the music itself that it is impossible to discuss one without the other. Several of Penderecki's compositions were presented at the 1993 Szlezwik-Holsztyn Festival. . features “wonderfully contrasting” instrumental sections. was given. “Festiwal à la mode. Three Miniatures.

26 (December 26. 1980). no. Penderecki united expressions of suffering by the victims of Auschwitz with those representing the suffering and torture experienced by many humans in our world. 4 (1967): 13-16. Thiel. “Caught. un Concerto pour flûte de Penderecki. Kenneth. and the third had been copied by a friend. 7 (1980): 13. one with his left hand. “A Handful of Impressions of the 'Warsaw Autumn'. Penderecki also related the story of how he had copied the three pieces that had won him prizes at the 1959 Polish Composers Union Competition. 2 (1988): 6-7. 9 (May 5. Terry did not like the Magnificat. no.” Revue Musicale de suisse romande 46. Composers have discovered that they cannot always compose completely new pieces—that it was necessary at times to gain inspiration from the past. 1977): 39. Tétaz-Gramegna incorporated several comments made by the composer about both this piece and contemporary music in general. 4 (April 1988): 47. including aleatoric writing and “spontaneous explosions” in the brass and vocal sections. or to do other non-musical things. Klaus. Thaler. B1186. 1 (March 1993): 45-47. B1191. stating that “neither the structure nor the length. no. In the excerpted parts of this interview. 1820 (February 24. Tétaz-Gramegna.” Przekój. Penderecki described the price that he has paid for his constant traveling and composing: he has not had time to spend with his that work's content. Myriam. Although he is often abroad. no. “Po prostu Penderecki. where he feels most comfortable. B1187. The Kreuzberg Quartet premiered Der unterbrochene Gedanke at a memorial concert for Arno Volk. The North American premiere of Magnificat was combined with performances of Polymorphia and Capriccio for Violin. “Interesse fürs Kriminalstück.. he does most of his composing in Poland.” Ruch muzyczny 37. “Polska premiera Krola Ubu. Gedenkkonzert für Arvo Volk. B1189. no.” B1188.. excerpts in Clavis. En création à Lausanne. Dies Irae contains many innovative features. Erik. Penderecki felt that contemporary composition was currently at a crossroads. no. to read. Director Ryszard Peryt focused on the work’s criminal aspects. no. Terry. Dorota.256 KRZYSZTOF PENDERECKI B1185. The Polish premiere of the German-language version of The Black Mask was given by the Opera. Terakowska. . tg. 1993): 5. Lotte.” Ruch muzyczny 24.” Downbeat 44. “Präsident und Verleger.” Polish Music 2.” Neue Zeitschrift für Musik 149.” Theater der Zeit. In this review of the world premiere of Penderecki's Flute Concerto. no. This is an announcement of a production of Ubu Rex by the Teatr Wielki in B1190. Tawaststjerna. One he had notated with his right hand. in contrast to the more magical aura that had been portrayed in Harry Kupfer’s Stuttgart production. “Muzyka w prasie. “Des clusters à l'accord parfait.

Zu den Musiktagen für zeitgenössische Tonkunst. 26. tk Tadeusz]. no.” Neue Zeitschrift für Musik 130. “Pendereckis erster Oper 'Die Teufel von Loudun'. was described as “entertaining in a dangerously nonartistic manner which could end in the noise fetishism of the American since Polish is a difficult language to sing. Thomas described this piece as one inspired by the timbral and textural possibilities of electronic music. but that he would not permit a Polish translation. Bach's St. Tomaszewski. B1199.” Neue Zeitschrift für Musik 123 (December 1962): 562. 1997): 25-32. Fluorescences. 12 (December 1960): 430. “Penderecki. John Passion. Penderecki was awarded the biennial Honneger Prize in 1973 for his Magnificat. Ernst. B1194. no. and Babylonian chant. 5 (1988): 8. “Musiktage für zeitgenössische Tonkunst.BIBLIOGRAPHY 257 B1192.” Ruch muzyczny 32.” Dysonanse (Warsaw Autumn Festival Special Issue. “Penderecki laureatem nagrody im. Penderecki provided atmosphere at the expense of melody and developed a “contradictory relationship” with the text. philosopher. In his opinion. Thomas. “Boulez: Poesie und Musik. creator.” Musical America 81 (September 1961): 3132. “Penderecki Finds Paradise Lost. is “virtually insatiable” in its collection of sound effects. Lauretta. Honeggera. Penderecki's Dies Irae. Dimensions of Time and Silence. Quarter tones and blocks of sound appear within an atmosphere of nearless continuous vibrato.” B1195. B1198. “Polskie Requiem w warszawskiej Katedrze.000. 1979): 2. Thistle’s comments on Paradise Lost included the interesting note that Penderecki had no objection to having a German translation of the English libretto.” Neue Zeitschrift für Musik 121.” Fugue (March 1979): 24. performed at the 35th ISCM Festival in Vienna. B1193. Thomas expounded upon his belief that The Devils of Loudun is more derivative of an oratorio than of an opera. and moralist and as the words of a man who is much more widely read than most of us.” Ruch muzyczny 23. along with the audience of at least 2. B1197. 19 (September 23. tkacz Tadeusz]. Thistle also discussed the musical borrowings in the piece—excerpts from Lohengrin. B1196. The 1960 Donaueschingen Music Days included a performance of Anaklasis. This commentary on Penderecki’s Labyrinth of Time is accompanied by an excerpt from the composer’s book of essays. Cage. no. Tomaszewski aptly described Labyrinth in several ways: as the expressions of a composer. performed at the Donaueschingen Music Days. 9 (September 1969): 378-81. was moved by the patriotic and religious overtones of the Polish Requiem. Thistle. “ISCM Meeting. having referred in his book to the .

co Muzyka Krzysztofa Pendereckiego. Tomaszewski’s interpretations are fascinating.” and since 1986. including Netherlandish polyphony. emphasizing their stylistic synthesis of old (especially 19th-century) and new compositional techniques. among others. He described the major works composed during each phase. “Word and Sound in Penderecki’s Music. Krzysztof Penderecki i jego muzyka. “Penderecki: wszystko. these essays serve to both document and interpret Penderecki’s oeuvre. their reduction of means.” wszystko.’” In The Music of Krzysztof Penderecki: Poetics and Reception. B1202. He emphasized that Penderecki’s use of historical models did not extend to direct imitation or even naive stylization. Tomaszewski also hinted that Penderecki may have written these essays at least in part to answer his musical critics. 1996. Tomaszewski expounded upon the role that tradition has played in Penderecki’s music.” Pendereckiego). and choral recitative. their themes of “evil and darkness. edited by Tomaszewski. Written over the course of eight years (1986-1993). Kraków: Akademia Muzyczna. 91-118. Kraków: Centrum Kultury: 1998. Pendereckiego. and threshold of new synthesis (1985-1993). edited by Teresa and Regina 24-39. Bratislava: Litera. “Penderecki’s Dialogues and Games with Time and Place on Earth. Contemporary Dance of Death from Idea to Performance. years of sublimation (1971-1975).” In Penderecki. This article is given in both Polish and English in the current publication. injustice and intolerance. and tendency to . Krzysztof Penderecki Festival 18 September-10 October 1998. The Black Mask. He mentioned the many musical models that have inspired the composer. 89-115. Kantor. Tomaszewski elaborated upon Penderecki’s richness of material and expression. B1201.. B1200. ‘Absorb All That Has Come to Be. Cztery eseje. edited by Tomaszewski. internalization of forms. Kraków: Akademia Muzyczna.” i u Krzysztofa Pendereckiego). variation techniques. Kandinski. dialog with the rediscovered past (1976-1985). return to models of the past. 72-80. 1995. B1203. Stare v Novom/Das Alte im Neuen. 1994. Krzysztof. The author divided Penderecki’s stylistic evolution into six phases: effective entry (1958-1960). Numerous musical examples are included. Kraków: Kraków 2000 Festival Bureau. co and “Penderecki’s Dialogs and Games with Time and Space on Earth” (Pendereckiego dialogi i zabawy z czasem i miejscem na ziemi). time of trials and experiments (1960-1966). for he eloquently illuminated Penderecki’s music as a living. 1998. viable art that draws on both the past and present and that often reflects upon the conditions of human existence. In this lengthy article. but instead reached to the transformation and invocation of the spirit of the model.. Poetyka i Recepcja. The four essays published here are titled “Listening to Penderecki. Milosz. 1996. was entstanden ist. although this idea carried little weight in the overall tone of this article. breakthrough and the first synthesis (1965-1971).258 KRZYSZTOF PENDERECKI writings of Rilke. and Brodsky. “Penderecki: ‘Alles aufnehmen.” Studies in Penderecki 1 (1998): 13-32. preponderance of sacred subjects. Kraków: Akademia Muzyczna.

which enabled the text to be understood clearly. serialism and sonorism) within a single piece. Part I.” B1209. “. stating that it consisted of “moaning.” Opern Welt 16. 1997. no 10 (December 1970): 88. “Philharmonic Hall. Anthony. B1206. B1204. 412-23.und zum ersten Mal in Warschau. and the formal evolution of these different elements.” New York Times. Two new scenes were composed. B1205. heard in its New York premiere. Tomaszewski provided numerous musical examples in his exposition of the relationship between words and music in Penderecki’s oeuvre. and dramatic effects.” In Krakowska kompozytorska 1888-1988. “Resumè: From Buzz and Rattle to Mahler. Penderecki conducted Threnody and Symphony No.BIBLIOGRAPHY 259 incorporate contrasts (religion and eroticism. Among the composer’s primary means of musical expression were allusions to various genres. 154-67. “Pendereckis erste Oper ‘Die Teufel von Loudun’. B1207. emphasizing its form.” In Zum Verhältnis von zeitgenössischer Musik und zeitgenössischer Dichtung. Tomek. Ossia. 305-33.” Neue Zeitschrift für Musik 130. Klaus. no. no. wailing and shouting. u Krzysztofa Pendereckiego. tonal nuances. “Penderecki ‘Anaklasis’. 1986. Trilling. 9 (September 1975): 46-47. edited by Siegmund Helms and Helmuth Hopf. Regensburg: Gustav Bosse. 5 with the New York Philharmonic. The Symphony seems to be a sequence of events rather than an integral whole. 1992. Otto. Terbor sharply criticized Utrenia.” In Werkanalyse im Beispielen. B1208.. unconventional means of playing and singing.. Trebor. 9 (September 1969): 381-82. Stuttgart. playing techniques. Penderecki and stage director Kazimierz Dejmek made substantial revisions to the original piece. edited by Otto Kolleritsch. 1989. Tommasini. Trapp opened his analysis of Anaklasis by remarking that this piece marked a turning point in Penderecki’s compositional career. Tomek described several differences between the two productions and remarked that conductor Janos Kulka provided a chamber music quality to the music. and the other presenting the secret wedding of . The Stuttgart production of The Devils of Loudun was well rehearsed and followed the score more precisely than had been the case in the Hamburg production. Trapp. one concerning King Ludwig XII and Cardinal Richeliu. “Das Wort-Ton-Verhaltnis bei Krzysztof Penderecki. The Polish premiere of The Devils of Loudun was given more than five years after its world premiere. Kraków: Akademia Muzyczna. November 1. Vienna: Universal Edition. He then described the mixture of both traditional and experimental effects in the piece. Threnody seemed to be an “experiment in sound’ that lacks structure.” Music Journal 28. edited by Teresa Malecka. a varying intelligibility of texts within pieces.

B1215. “Gala Agnieszki Duczmal.” Ruch muzyczny 32. Capriccio per Siegfried Palm. Tubeuf. The composer “took maximal advantage of the technical and timbral possibilities of specific groups of instruments. Norbert. Agnieszka Duczmal led the Polish Radio and Television Chamber Orchestra in a performance of Penderecki's Aria and Two Minuets. 10 (1974): 505-506. “Report from Germany.” It was performed in Carnegie Hall when Penderecki received an honorary doctorate from the University of Rochester.particularly the violas and percussion. the composition is a blend of Gregorian melodies.” . Andre.” B1211. op. Tuska. Tschulik. Penderecki conducted the world premiere of his Passacaglia and Rondo at the Lucerne Festival. BWV 1049. He suggested that audience members should be provided with the opera's text in order to enhance their comprehension of the work. 55 (“Eroica”). The texts were sung in Polish rather than German or English. Almanach baletu polskiego 1945-1974. no. 1983. 21 (1988): 21-22.” Österreischische Musikzeitschrift 29. “Die Konzerte der Salzburger Festspiele 1974. Polymorphia is “no more than a musical novelty. Tritt. Henryk. 4 in G. B1217.. B1216. Beethoven: Symphony No. no.” Fanfare 14. One scene from the first act was cut. the highlight of this year's Donaueschingen Festival. rather than its original forty-eight. as were the roles of Ninon and De Cerisay. B1213. According to Trumpff. 346 (February 1989): 18. and intricate traditional harmonies.” Ruch muzyczny 32. Irena. was presented in a reduced scoring of sixteen voices. Jon. 6 (July/August 1991): 9798. “Krystof Penderecki. and a heretofore unknown work titled H are listed here.” Music Journal 30. no. This contains a brief mention of the world premiere of Magnificat. The authenticity and alternate title of H remain open to question. 3 in Eb. 2 (1967): 39-40. lat Festiwalu w Lucernie. Kraków: Polskie Wydawnictwo Muzyczne. 4 (April 1972): 74. The Partita contains many of Penderecki's “musical trademarks. Penderecki's Stabat Mater. Turska.260 KRZYSZTOF PENDERECKI Grandier and Philippe. Penderecki: Polymorphia for Eighteen Strings. The Salzburg/Vienna production of The Black Mask received high praise from Tubeuf. twelve-tone passages. “Carnegie Hall. A. ts. no. B1212.” Diapason-Harmonie. “Bach: Brandenburg Concerto No. G. Turner. 26 (1989): 14. no..” Americal Choral Review 9. B1210. no. Choreographed performances of Polymorphia. Trumpff. B1214. no.

Paul Hager's staging of The Devils of Loudun seemed “harmless” in comparison with that seen at the premiere in Hamburg. which had been imitated by other composers and derided by still others. Tyra.” Der Spiegel 41. no. Klaus. 2 (January 5. B1223. no. and opportunities for improvisation in Penderecki's Pittsburgh Overture. for he concentrated on the story of Urbain Grandier rather than on other. to tonal music. Tuttle. a correspondent with Radio Free Europe.BIBLIOGRAPHY 261 B1218.) B1222.D. 1971.” Schweizerische Musikzeitung 106. The author summarized the musical content of Stabat Mater. (Note: the opera was not presented in at the aforementioned time. B1224. 2 (Spring 1974): 512. The Dream of Jacob. 1987): 142-44. no. He used the piece as a model for examining other contemporary wind compositions. such as those heard in Fluorescences. no. Umbach. “Mit Gloria und Glykos in den Rückwärtsgang. B1220. 1 (Fall 1973): 37-48. and that several other theaters were also interested in the opera. He called Penderecki the “prophet” of this shift. Some of the dates and pages in the bibliography are incorrect. “An Analysis of Penderecki's 'Pittsburgh Overture'. unmetered rhythms. “Po premierze kompozytor Ruch muzyczny 35. Jan.” Indeed. performed recently at the Donaueschinger Music Days. 2 (November/December 1996). more erotic details of the libretto. and performance problems. Tyszkiewicz. stylistic analysis. the wedding scene is “not composed at all.” premiered in 1993 and included in this recording.” and needs to be reworked for future productions. He noted that Ubu Rex was to be given its Polish premiere in on November 18. no. Penderecki's score was characterized as “vague. B1221. uh.” Oper und Konzert 13. Umbach expounded on Penderecki’s turn from experimental techniques. interviewed Penderecki following the world premiere of Ubu Rex. B1219. . 16 (1991): 5. In this review of Chandos 9459/60. no. “Penderecki: A Polish Requiem. no.” Journal of Band Research 10. The composer discussed his choice of August Everding as the opera’s stage director. UGK.” Ph. “The Analysis of Three Twentieth-Century Compositions for Wind Ensemble. University of Michigan. 6 (November-December 1966): 374-77. Tyszkiewicz. This two-part article is divided into three 'chapters': historical considerations (a biography of the composer and background information about the Pittsburgh Overture). “Mönchengladbach. as a worthy addition to the Polish Requiem. “Donaueschinger Musiktage 1966. Tuttle cited the existence of the “Sanctus. and the non-literal musical borrowings he incorporated in the piece. Tyra described the use of serial techniques. dissertation. 7 (1975): 1718.” Fanfare 20. Raymond. Thomas.

He was fascinated with the piece. no. Among his most important points were his assertions that the Passion’s form depended on its text and that its linearity included elements of Gregorian melodies. He then compared its text-setting to several historical models. Unverricht. linearity. Prelude is a typical coloristic work by a Polish composer. 358-71. Urmetzer. without resorting to collage technique. Penderecki turned to the musical traditions of the nineteenth century. He divided the main part of the article into sections on form. “'Ich beherrsche alle Stile'. Vogt prefaced his article about Penderecki’s St. a florid appassionato style. In this interview with Umbach. since this piece was predominantly atonal or “freely tonal. Unverricht described this piece as a successful blend of tradition and modernity.” Melos 38. “Zimmermanns 'Soldaten' und ‘Requiem’ sind die stärksten Eindrücke bein Holland-Festival. “Krzysztof Penderecki: Lukas-Passion. Ernst. 7-8 (July-August 1979): 544-55. Penderecki compared the relationship of his comic opera. and the BA-C-H motive. .” Das Orchester no. For his Violin Concerto. and rhythm and meter. and a discussion of his musical style in the works preceding the Passion. He also discussed the differences between the text setting of “Stabat Mater dolorosa” as seen in Penderecki’s sketches and in Moeck’s published score. meaning that his harmonies revolved around one or more central pitches.” Das Orchester 27. to those of Verdi and Rossini. Vogt. nos. a selected works list. In response to more general questions about 20th-century music. Hubert. since both he and Mahler had created a synthesis of styles from their respective centuries. however. and described it in part as a summary of modern and traditional musical techniques. 1982. Stuttgart: Philipp Redam. polyphony. Zur deutschen Erstaufführung von Pendereckis Violinkonzert. Harmonically. Reinhold. Vermeulen. Hans. 12 (1984): n. he said that he would be proud to be known as the Gustav Mahler of that period.262 KRZYSZTOF PENDERECKI B1225.” Kirchemusikalisches Jahrbuch 75 (1991): 127-31.” Der Spiegel 45. After a brief review of previously published articles about Penderecki’s Stabat Mater. no. B1226.p. “Pendereckis ‘Polnisches Requiem’ in Stuttgart uraufgeführt. “Im Höhenflug zurück. He did not directly imitate those traditions. Ubu Rex. Luke Passion with a short biographical note on the composer. B1230. 28 (July 8. Urmetzer reviewed the world premiere of the complete Polish Requiem. 183. B1227.” In Neue Musik seit 1945. 11 (November 1971): 486-90.” B1228. “Pendereckis Stabat Mater. 1991): 180-81. Penderecki wrote in a quasi-tonal manner. B1229. harmony.

January 13. his shift towards a more romantic musical style in this piece. Song of Cherubim.” Chicago Tribune. 22. “Penderecki: Das Teufel von Loudun. “At Last: The Lyric Finds Its 'Paradise Lost'. Veni creator. in this review of the Philips recording of Penderecki’s first opera (Philips 446 328).” Chicago Tribune. In an article written just prior to the world premiere of Paradise Lost. B1233. Von Rhein placed the blame for the failure of the Lyric Opera's production of Paradise Lost on its staging. Penderecki has blended his 1960s' “modernist” techniques with a newer romantic style. He led the orchestra in his own The Awakening of Jacob and Second Cello Concerto. He summarized its plot. August 21. 24. “Penderecki: St. He believed that its nearly static stage movements failed to “measure up to the sonorous force of Penderecki's score or the dramatic specifications of Fry's libretto. “A Taste For the Offbeat Provides Many Flavors. and the problems faced by the composer in his attempts to depict the almost metaphysical characterizations of Milton's original poem. W.BIBLIOGRAPHY 263 B1231. pp.” Chicago Tribune. The author..” Gramophone (June 1996): 95-96. 1978. “Polish Composer Renews Musical Ties to Chicago. even in moments of heightened emotions and action. B1234.” The main characters were “shrieking caricatures” and the overall production “heavy-handed. p. December 10.” The total effect was one of “empty sensationalism. Von Rhein discussed Penderecki's history of writing religious music. and explained that in this opera. In pulverum mortis. November 26. 6. lamented the composer’s tendency to rely so much on speech-like declamations.” He gave several examples of these failings. Von Rhein reviewed the Santa Fe Opera’s presentation of The Black Mask. should accept some of the blame for the poor staging. A. B1236. B1232. 1988.” B1235. .” Gramophone (March 1996): 86. a feature that was absent in many of his other works. Miserere. Von Rhein. Benedictus. The author remarked upon the “economical intensity” of Penderecki’s choral works. Agnus Dei. Penderecki proved himself to be a worthy conductor in his appearance with the Kraków Philharmonic in Orchestra Hall.” Chicago Tribune. Magnificat—Sicut locutus est. as well as in Shostakovich's Sixth Symphony. given his close supervision of this production. “to no avail. Luke Passion—Stabat Mater. 1978. 1986. “Credits and Debits: 'Paradise' Revisited. John. Benedicamus domino. Von Rhein also alluded to the last-minute resignation of the stage director and the huge expense of producing this premiere. then questioned whether Penderecki.

Wagner. W. B1240. squeal.264 KRZYSZTOF PENDERECKI B1237. the first half also appears as z Loudun'. and stage music. . 9 (September 1991): 41-42. and even Mussorgsky. A concerto-like effect was produced by contrasting masses of string sounds with sections for percussion and “instruments producing modulated frequencies. Pendereckis ‘Ubu Rex’ in München uraufgeführt. Anaklasis features a pointillist treatment of timbres and expanded sound resources. radio plays.” Neue Zeitschrift für Musik 152. Among the works selected for performance at the third Festival were Penderecki's Cadenza for solo viola and his Capriccio per Siegfried Palm. howl. 28. Konrad The interpretative variations of the individual characters were so pronounced that one of the protagonists. which took place six years after the world premiere and was decidedly less risqué than its earlier productions.” B1238.. Rainer. Waldorff concluded with comments about the Polish premiere of Devils. 7/8 (July/August 1969): 322-25.” It is not far removed from being a comedy.. “Ereignisreiche Festkonzerte. 3 (August 1961): 235-39. 24 (1984): 8-10. Adam. This first half of this article provides historical background about the plot of The Devils of Loudun and describes the atmosphere surrounding both its world premiere in Hamburg and its second production given shortly thereafter in Stuttgart. Klaus. Rennert inszeniert Pendereckis 'Teufel von Loudon' in Stuttgart. [and] knock. 1984.” In Harfy na 212-23. no. p. Wagner. K. S. Musically it is highly reminiscent of Rossini.” Frankfurter Allgemeine Zeitung. 1970. Waldorff. Among the piece's few redeeming values was its introduction of new sound effects that could be used in film. z Loudun'. “Als das Fluchen noch geholfen hat. Mozart. The reviewer described the piece derisively as one in which the strings “whine. June 25. Grandier. “Revision durch Regie. B1239.” Music Review 22.” Ruch muzyczny 28.” Musik und Gesellschaft 15 (December 1965): 855-58. W. B1242. po raz trzeci. The second half is a biography of Penderecki. Threnody was performed by the Leipzig Radio Symphony Orchestra. J. Kraków: Polskie Wydawnictwo Muzyczne. 1969. no. nos. B1241. albeit an unintentional one. Wagner turned to the music and drama of the newly completed opera. Jerzy. Kraków: Polskie Wydawnictwo Muzyczne. The Stuttgart production of The Devils of Loudun was strikingly different from its Hamburg world premiere. Stuttgart stage director Günter Rennert provided a more operatic and rational interpretation than did his counterpart in Hamburg. chirp. “Palermo: The New Fairground for Contemporary Music. seemed like a completely different person in Stuttgart than he had been in Hamburg. W. no. Melos 36. After a brief description of the various attempts and delays encountered by Penderecki in completing Ubu Rex.” In Taniec ze 206-28. scream.

a performance of the St. Waldorff was disappointed with the Second Symphony. no. B1249. 1988): 8. as the Second Symphony is. In celebration of Penderecki's fiftieth birthday. no. 3. no. and the Stuttgart Opera's staging did little to ensure its success.” Polityka. “Dwie opery Krzysztofa P. 42 (October 17. 40 (October 4. 41 (October 10. Second Cello Concerto. A standing-room only audience filled St. B1245. no. Luke Passion was given at the National Philharmonic in Warsaw. and Polish Requiem. use of traditional forms. Trumpets. “Muzyka w prasie. excerpts in Clavis.BIBLIOGRAPHY 265 B1243. Waldorff was impressed by the work’s incorporation of tonal intervals. both of which had been given at the 1988 Warsaw Autumn Festival. He suggested that Penderecki take a break from composing to think about what he really wants to express. no. He clearly favored the presentation. Billed by Waldorff as “the most important and most sensational phenomenon” of the Festival.” Polityka. Luke Passion. Kraków: Polskie Wydawnictwo Muzyczne. The Polish premiere of Paradise Lost was presented by the Stuttgart State Opera during the Warsaw Autumn Festival. “Raj utracony. while in Washington. swoje. Waldorff made general comments about the piece’s musical language. 1993): 10. and the wonderful images created by murmurs and whispers.” Polityka.” Ruch muzyczny 28. . 1983). 49 (Dec.” Polityka no.” Polityka. the difficulty of its vocal parts. D. the Warsaw production suffered from bright lights. or any contemporary composer. 1979): 13. B1246.. Strophes (here titled “Stanzas”) had been performed in 1960 in Palermo and Paris. In contrast. 1970. performed at the 1960 Warsaw Autumn Festival. Dimensions of Time and Silence. “Nasza Jesienna. continuously loud music. would find something new to say in a composition based on nineteenth-century aesthetics. 41 (October 8. B1250. 1 (1984): 12. 40 (October 6. “Magnificat. B1244. “Krzysztof Apostata. and amplified voices.” Polityka 32. The last half of this article is a review of the world premiere of the St. and the high quality of the performance. He found it difficult to believe that Penderecki. 1975):9. B1248. At the 1993 Warsaw Autumn Festival. John's Cathedral for the Warsaw premiere of the Magnificat. “Odkryjmy panowie!” In Harfy na 15158. “Some New Composers. 1981). B1247. C. and Percussion. Penderecki conducted his own Flute Concerto and Bacewicz’s Concerto for Strings. citing the closer adherence of its music to the opera’s score and its more modest set designs. no. Penderecki conducted his Stabat Mater.” Musical America 81 (July 1961): 3435. was praised even by opponents of avant-garde music. Waldorff reviewed the Warsaw and productions of The Black Mask. this sacra rappresentazione is devoid of any tension and release.

excerpts in Clavis. B1255. to explore new sounds and new treatments of traditional sounds for acoustic instruments. 1971) by questioning why a great composer such as Penderecki would set so many texts in one piece. no.” Odra (March 1971): 69-73. “Penderecki 60th-Birthday Concert. since Penderecki was revered as a national hero in Poland. 11 (1971): 2. 1959). excerpts in Clavis. and moral values. directed by the composer. Musical examples were drawn from Strophes. Musical Times 134. B1251. Tim Hugh’s generally passionate rendering of the solo role in Penderecki’s Second Cello Concerto overshadowed the uninspired accompaniment of the Leipzig Radio Orchestra. no. Cosmogony. including Penderecki... no.” Polityka no. 1988): 8. B1252. Helen.” Ruch muzyczny 16. B1253. Emanations. pieces that were stylistically acceptable to the government. no. 17 (1960): 1-2. The author began by suggesting that the development of electronic music and musique concrète had led many composers. He wondered if this “excess” of texts was a sign of a composer who had “nothing to say. “Impresje z 'Warszawskiej Jesieni’. “Muzyka w prasie. He then recalled that the Polish government previously had wanted Penderecki to write so-called “commissioned” works—that is. “Muzyka w prasie. 8' 37” (later .” Ruch muzyczny 32.266 KRZYSZTOF PENDERECKI Waldorff used nearly half of the article to defend his comments made in a previous article about Penderecki's restoration of his home. then pronounced this piece “tiring and. Wallek-Walewski. Wallek-Walewski's opinion of Utrenia was mostly negative. Wallek-Walewski called it “the most individual and independent work by young composers performed at the Festival to date. to the fate of the nation. “W Penderecki. religion.” Ruch muzyczny 15. 1 (1972): 8-9. 5 (January 30. 6 (1988): 13. The first Warsaw performance of Penderecki's Polish Requiem was greeted enthusiastically by Waldorff.boring.” The Strad 104. 1421 (September 1993): 872. no. Wallace. “List do Zygmunta Mycielskiego. Dimensions of Time and Silence.” He acknowledged that he would be attacked for his assessment of this piece.” Ruch muzyczny 4. Penderecki had also developed new notational signs for these sounds and articulations. 18. no.” B1254. 224 (September 21.” Gazeta Krakówska. Strophes was given its world premiere performance at the 1959 Warsaw Autumn Festival. He reviewed the premieres and dedicatees of the various parts of the Requiem that had been performed separately durimg the 1980s. Marian. w swój czas. He discussed the dilemma of evaluating the success of a composition against a framework of literature. The composer had responded with pieces that were often linked symbolically. Anaklasis.” B1256. “'Jutrznia' czyli skok o tyczce. 1805 (July 1993): 419. if not musically. no. Wallek-Walewski responded to Mycielski (see Ruch muzyczny no.

Warnaby responded to these criticisms by discussing the opera’s gestational history and musical material. . tasteless and repulsive. 179 (December 1991): 56-68. John.” He remarked that the St. B1261. Walsh lambasted Ubu Rex. Wasita. 29.” Time. B1263. especially its “over-the-top staging that was vulgar.” Tempo. Psalms of David (here titled Psalms). B1262. Warnaby wondered whether the demise of Communism in Poland enabled Penderecki to feel free to complete this opera. Walsh compared the piece to Messaien's Saint d'Assise. Following the world premiere of Ubu Rex. 1983. William. Ryszard. Walsh. Penderecki had successfully created a world of satire through his juxtaposition of musical styles and the rhythmic energy that accompanied rapidly changing events on stage. (Note: The latter work is possibly an early version of Fonogrammi.) B1257. no. premiere of the eight completed movements of the Polish Requiem. Gerhard. including one flute. “Munich. “Awantgarda i dziedzictwo. 8 (August 1974): 510. “Let the Secrets of Glory Open.” Tempo. which received its world premiere a month later. The 1974 May Day festivities in East Berlin included the East German premiere of Penderecki’s Dies Irae. “Leipzig: Pendereckis 'Dies Irae' im Rundfunk.” B1260. no.” Polska. pp. Weber. In his opinion. Wasita described the piece as having a romantic style. “Old and New at the Umbrian Festival. Michael.” B1259. 4 (October 1991): 52. and Fluctuations. S. Warnaby.” Neue Zeitschrift für Musik 135. no. December 12.” High Fidelity/Musical America 17 (December 1967): MA 27. Weber noted that its texts offer a humanistic message. 7 (1966). A performance of Dies Irae at the Sagra Musicale Umbra festival re-established Penderecki's place of prominence in European music. 1992. 105-106.” Opera News 56.BIBLIOGRAPHY 267 called Threnody). a manuscript piece for three instruments. Penderecki remarked that he was “neither an enemy of tradition nor an indiscriminate enthusiast of the avant-garde. “Penderecki's 'Ubu Rex'. Luke Passion was the most important of his compositions. which was first conceived in the 1960s and which satirizes the “absurdities of power and its abuse in totalitarianism. In this conversation with Wasita. A performance of Penderecki’s Partitia at the 1992 Warsaw Autumn Festival served as a benchmark for evaluating other works on the program. no. Weaver. After hearing the U. A rare reference to his unpublished Violin Concerto (1962/63) was made in this article. “Warsaw Autumn Festival. many critics perceived an imbalance between the opera's flamboyant staging and the music's ability to hold the audience’s interest. 184 (March 1993): 59-60. no. B1258.

“Krzysztof Penderecki. This became “Lacrimosa. “Premiere sud-americane de la ‘Passion selon saint Luc’ de Krzysztof Penderecki. M. Friedrich. no. “Meister der Qualmusik. Wechsler. This reviewer was not impressed with the Hamburg premiere of The Devils of Loudun. Wechsler criticized the First Symphony for its “banality.” Musik und Kirche 41. although the difficulty of Paradise’s score made a reconciliation between these two areas problematic. “Zwei Opern mit religiösem Staff in Hamburg. Also published as “Buenos Aires. The Polish Radio Symphony Orchestra presented Penderecki's Threnody as part of the 1967 Cheltenham Festival. A relationship between art and religion was acknowledged by the participants. B1266. Weigend. was followed by brief notes about Penderecki's compositions to date. Weissmann. Weissmann's introductory statement.. 3 (1960): 20. John S. Christian. 34. Curt B. May 2. but while at that event in 1970. 4. M. Penderecki participated in a conference at a Catholic Academy. October 20.. B1270. 1141 (October 1972): 13-15.” B1269. Hoheheimer Gespräche nach der Oper Pendereckis.” Musical Opinion 96.” Music Journal 38. no. no. Bert. p.268 KRZYSZTOF PENDERECKI B1264.” B1271. “Klageruf eines Volkes.” This.” but noted that the piece would be played on the New York Philharmonic's upcoming European tour. “Penderecki's stature of composer will rest on his religious music. Krzysztof Pendereckis “Polnisches Requiem’ uraufgeführt.” Stuttgarter Zeitung.” Der Tagesspiegel (Berlin).. no. he received word of the bloody revolt in and realized that he had to write a piece in memory of the dead there. Webster theorized that the work's dependence on Gregorian chant and open harmonies contributed to its failure. “New York.” Musical Events 28 (October 1973): 10-11.” Revue musicale de Suisse romande 22. 1979.” Musical Opinion 90. B1268. He blamed the music for being too complicated and for illustrating rather than interpreting the drama. no. Weickert. Following the premiere of Paradise Lost in Stuttgart. 1080 (September 1967): 677-85. Stabat did not meet the expectations of this reviewer. Webster gave a vivid description of the work's “hypnotic. Of special note was his remark that the composer's use of tone clusters was imitated by many other composers and had become a “common language. 3 (May-June 1980): 31. p. E. Wiegend began by describing the origins of the “Lacrimosa” section of the Polish Requiem: Penderecki was planning to write a ballet for the Schwetzingen Festival. B1267. “The Three Choirs Festival: Tradition versus Trend.” B1265. “Cheltenham: Blight on the Band-Wagon. Südamerikanische . Webster. 2 (March-April 1971): 102. 1984.astonishing sounds.

Welanyk examined the structure of Partita in detail. Hans. Penderecki extracted the opera’s prologue. Wilkening. and Bartók. Berg. no. In Werba’s opinion. Welanyk.” Öesterreichische Musikzeitschrift 34. edited by Regina and Krzysztof Szwajgier. B1272. Chapell. and the “comforting finale. Luke Passion. “Am meisten Echo fand Penderecki Orgelwoche Nürnberg 1987. “Premieren bei den Münchner Opernfestspielen. Wiese. The Buenos Aires premiere of the St. Werba. Klaus Martin. Dies Irae. no. war. Threnody.” Österreichische Musikzeitschrift 34. B1274. plague. then explored its links with the traditions of the Baroque.” Neue Zeitschrift für Musik 130. form (rondo). and flood. including those of Wagner. Renaissance polyphonic techniques. nos. The “Prologue. .” Widrich concluded by quoting a lengthy excerpt from Wolfram Schwinger’s biography of the composer that referred to the musical traditions reflected in this music. The work's formal structure is derived from Bach's Passions. 149-75. February 12. Luke Passion was performed in Berlin. For this new suite. Kraków: Akademia Muzyczna w Krakówie.” Musik und Kirche 58. utilizing plainchant. hints of Stravinsky. Visions and Finale” from Paradise Lost is to be premiered at the Salzurg Festival in August 1979. no. Widrich. White. “Atlanta. the piece would work better if it were staged as an oratorio. Stravinsky. These connections can be seen primarily in the areas of instrumentation (concertino and tutti). no. B1276. Erik. “Penderecki--Uraufführung in Salzburg. Almost twenty years after its premiere. Wilkening confirmed the prevailing opinion that this work is impressive for both its theological subject matter and its shocking musical ideas. which concerns Adam and Eve and their expulsion from the garden. and Polymorphia had been heard previously in Buenos Aires.” In i tradycja w muzyce Krzysztofa Pendereckiego. 1985. hate. B1277. p. 2 (March-April 1988): 105-106.” American Choral Review 12. and violence in contemporary musical terms that are understandable to an average contemporary audience. The Stuttgart State Opera presented Paradise Lost during the Munich Opera Festival. a Próba analizy Partity. 9 (September 1979): 444-45. 4. Martin. the visions of fraticide. In his St. trills). “Eine Passion unserer Zeit. B1273. Penderecki succeeded in “articulating the universal human tragedy of bigotry. the St. B1275. 1983. and the B-A-C-H motive. Pendereckis ‘LukasPassion’ in der Philharmonie. and treatment of musical material (repetitions. Penderecki conducted his Polish Requiem during Nuremberg’s Organ Week festivities. 7 (July-August 1969): 349. 4 (1970): 197-98. 7-8 (July-August 1979): 357-58.BIBLIOGRAPHY 269 Erstaufführung der ‘Lukas-Passion’ von Penderecki.” Its music is eclectic. Luke Passion took place at the Teatro Colón. sprechstimme.” Der Tagesspiegel.

4. The sources of text for this piece were delineated. Willis. Michael. May 17. As part of his 60th birthday celebrations.” Chicago Tribune. “ T h e Lyric's Banking on a Superstar. Mstislav Rostropovich performed the solo part of a piece written for him—Penderecki's Second Cello Concerto. University of Salzburg. “Wojciech Has’ Whimsical ‘The Saragossa Manuscript’. “Krzysztof Penderecki's 'Dies Irae'. B1282.” but criticized its “brash” writing and “neo-expressionist” Wilmington gave a somewhat humorous accounting of the movie’s plot and stated that Penderecki had provided a “wittily eclectic score. January 16. Jay W. as were the various instrumental and vocal techniques called for in its score. October 14. Roger.” Choral Journal 10. In response to the widespread dismay over the Lyric Opera's commissioning of Penderecki to write an opera for America's Bicentennial. “LSO/Rostropovich. A recording of the First Symphony was to be made by EMI the day after its world premiere. no. Williams praised the work’s “dramatic scheme. “Das Magnificat von Krzysztof Penderecki und seine Stellungn im Vokalschaffen des Komponisten: Ein Beitrag zur Geschichte der Klangflachenkomposition. B1280. no.. with the fourth being a recapitulation of the second. Winkler. In his view.” Ph. B1284. since full houses for each performance would be necessary to pay the company's expenses. Willis said that he supported the Opera's choice.” B1283. B1281. 3. then briefly described Penderecki's overall musical style before proceeding to a detailed discussion of Dies Irae. Prior to a showing of The Saragossa Manuscript. Wimbush. 1986. B1279. Wilmington. 600 (May 1973): 2037. the Opera needed a composer of international stature. A Conductor's Introduction.” Gramophone 50.270 KRZYSZTOF PENDERECKI B1278. The composer remarked that the piece was in five “inter-related” movements. The subject of the new piece was unknown when this article was written. 1973.” Chicago Tribune. Willis mentioned Penderecki's most recent compositions when he announced that the Lyric Opera had commissioned the Polish composer to write an opera for the American Bicentennial. The Magnificat is analysed as an example of “sound surface composition. Gerhard. 1998.D. “Penderecki to Composer Opera-Oratorio for Lyric. 1738(December 1987):704-705. He also mentioned that an early interest in electronic music delayed his work with orchestras.. Section 2. Wilkey opened his article with a summary of twentieth-century Polish musical life. “Here and There.” . and the fifth movement containing material from the first. p. Section 6. 6 (March 1970): 14-16. p. and one whose music would not keep audiences away. Thomas. one who had already written a successful opera (The Devils of Loudun).and extrovert scoring.” Chicago Tribune. Wilkey. Nicholas.” Musical Times 128. Penderecki fit all of these requirements. 1973. Williams..

Zbigniew. “Violin Concerto No. Winold. Ligeti. an electronic composition. 2: A Descriptive Analysis. Utrenia. Wiszniewski. 10 (1980): 823-84.” contributed to Winold’s conclusion that this piece “deserves a place among the masterpieces of this century. Formally. B1290. In this essay written on the occasion of the world premiere of The Black Mask. and Rihm. no. and Second String Quartets. small groups of instruments. “Violin Concerto No. such as the St. and between this opera and those of other composers. Luke Passion.” Fanfare 13. Its “blend of trandition and innovation” and its overall sense of unity. summarized as “a menacing. “Motto” passages demarcate the primary sections.” B1289. nos. the piece revolves around the pitches D and A. Allen.” Melos 49. 1 and 2 . Psalmus 1961. John. A works list and selected bibliography are included. Included were some of the composer's major works. “Pendereckis Festival in Krakau. 2 in Leipzig. 1. Penderecki’s Second Violin Concerto is suggestive of the exposition and development sections of a sonata form movement. B1286. and its orchestration is based on constantly changing. Sinfonie: Versuch uber ein musikalisches Ur-Material-Einzelton und Repetition. most notably Stravinsky. Winkler pointed out some of the musical similarities between this opera and Penderecki's earlier compositions. Wiszniewski named the performers and works heard at the Penderecki Festival held in Kraków in June 1980. Capriccio for Tuba. 2 (November/December 1989): 379. B1287. 7-8 (July-August 1986): 389-90. “Krzysztof Penderecki. “Szymanowski: String Quartets.BIBLIOGRAPHY 271 B1285. Oper. Winkler’s analysis of Penderecki’s First Symphony relied heavily on comparisons with other works by composers as diverse as Mahler. Miniatures for Violin and for Clarinet . no. 4 (1987): 34-58. Wiser.” Studies in Penderecki 1 (1998): 83-100. Penderecki’s Quartet. along with the virtuosic performances offered by both violinist Anne-Sophie Mutter and the “Middle German Radio Symphony Orchestra.” Österreichische Musikzeitschrift 41. B1288. . the Violin Concerto and The Awakening of Jacob. Monteverdi. The world premiere performance of Violin Concerto No. Among the chamber pieces performed were the First. In particular he discussed rhythm.” Studies in Penderecki 1 (1998): 117-18. was also presented. “Krzysztof Penderecki: 'Die Schwarze Maske'. preceded by an introduction and followed by a series of character pieces and an epilogue. 2. and capriccio-style writing. excerpts from Paradise Lost.” Das Orchester 28. no. String Quartet. swaggering seven-minute firework. 2 elicited a standing ovation in Leipzig. Harmonically. Penderecki: String Quartet No. Capriccio for Siegfried Palm. and De Natura Sonoris Nos. timbre.” was part of an Olympia recording (OCD 328).

Joanna. He did not seem overly impressed with the work. details concerning its thematic construction. she pointed out various musical highlights of Penderecki’s composition. orchestration. Wolf discussed a recent Leipzig performance of the St. The composer remarked that he had supported the Polish Catholic Church in its struggle . 76-99. including its “Satan chord” and the use of major chords as symbols. Szatana w Raju utraconym. Penderecki’s attitude towards politics was the primary topic of this article. “Leipzig: Pendereckis Lukas-Passion. she described the piece as a “monumental work such as has been lacking in contemporary music. theatre. He also said that the negative reactions given his music by some orchestras did not bother him.” Musica 27. laid out in four columns: a prose account of the piece's moods and expectations. 1 (January 1979): 20. In conclusion. B1293. no. At the same time. The first part of Wnuk-Nazarowa's discussion of the Violin Concerto was shaped as a question and answer session.” Die Weltwoche. Witkowska. Thomas. “Muzyka w prasie. no. architecture. and philosophy. 1987. Luke Passion. a measure-by-measure account of the harmonic action. B1296. Kraków: Akademia Muzyczna. Wnuk-Nazarowa juxtaposed the geopolitical eras and religious backgrounds of Milton and Penderecki. 5 (September-October 1973): 458-59. “O Koncercie skrzypcowym Pendereckiego.” Musik und Gesellschaft 29. Zeszyt Naukowy Nr. Karl Heinz. texture. Wocker. Die provakative Wende des Komponisten Krzysztof Penderecki. In his opinion. painting. England was an out-of-the way location for such an important premiere as Penderecki’s First Symphony. and suggested names for the leitmotives described by Wnuk-Nazarowa. 7(1980): 13. Wnuk-Nazarowa. excerpts in Clavis. “Abschied von der Atonalität. Wördehoff. 221-32. Questions pertained to the roles of harmony. B1292. 8 (February 23. The piece was appropriately dramatic while the use of a twelve-tone row resulted in an austere expressiveness that was handled well by the performers. melody.” In i tradycja w muzyce Krzysztofa Pendereckiego. “Nie tradycji. The second section was an analysis of the Concerto. 1984. 1983. no. In this interview. and together in one column. Jadwiga. and rhythm in the piece. 7. Wolf. B1295. Penderecki discussed his interests in musical traditions. Wocker thought Peterborough. She then used this information to dissect the differences between Milton’s Paradise Lost and Penderecki’s adaptation of the same poem.272 KRZYSZTOF PENDERECKI B1291.” Fakty.” B1294. edited by Regina and Krzysztof Szwajgier. with her focus being to determine the basic role of Satan in each work. no. 1980).” Ruch muzyczny 24. In Tomaszewskiemu w 60-lecie edited by Teresa Malecka. “Pendereckis Erste Sinfonie. the composition was even more impressive in person than it was in its recorded version. the measures under discussion. Werner. March 12. Kraków: Akademia Muzyczna w Krakówie.

” B1300. “Germany.” Polish Music. 15. This rather lengthy report on the Penderecki Festival held in Kraków in September and October covered both the major concerts and a musicological symposium that focused on the composer’s theater music. He also discussed his Christian upbringing.” He thought that the piece was suitable only for use as film music. B1297. “Poland. 1998): 14-19. 1998): 32-33. 25th Warsaw Autumn Festival (September 18-27. Penderecki did not think of himself as a political composer. the St. no. “Musikalisches Panorama von Ost und West. Penderecki stated that he had composed 83 film and stage scores early in his career. and Krzysztof Penderecki. In this essay on recent Polish music. Hubertus. Despite this. B1303. 21 (October 18.” Ruch muzyczny 42. and the Polish Requiem could be directly related to this aspect of Penderecki’s life.. 3-4. and his successful experiences working with Günter Rennert and Harry Kupfer.BIBLIOGRAPHY 273 against the Communist government. March 20. 1981): 13-20. After hearing Threnody at the 1961 Warsaw Autumn Festival.” Musical Quarterly 47.” Ruch muzyczny 42. his distaste for the charge that he is an eclectic composer. even though Westerners often tried to give a political interpretation to his music.” Rheinischer Merkur. In opinion. B1298. The composition of Te Deum. Wörner concluded that the piece was a “shrewdly and effectually planned demonstration of sonorous impressions originating in musical instruments but often resembling electronic music. 1981). Karl. his opposition to the Communist government in Poland. “there stands an instinct for music. nos. Thomas. no. “Krakowskie Pendereckiego. Wörner thought the piece reflected a mood of hopelessness and despair. Indeed. “Natürlich möchte er die erste Geige spielen. 24 (November 29. Wördehoff. the use of past styles in a contemporary piece can be innovative and even revolutionary. no.. In this interview. Tadeusz Baird. Wörner focused on the compositions of Witold Kazimierz Serocki. the fact that Penderecki's Symphony No. The only other work in Penderecki’s oeuvre to match Seven Gates in expression and drama is the St. Wörner. B1302. “Udana inauguracja. p. Anna. B1299. Luke Passion. Luke Passion. . 1 (1962): 109-14. B1301. 2 (1961): 243-47.that is of unprecedented sureness.. 2 contains elements of past musical forms does not mean that the piece is a failure. A performance of Seven Gates of Jerusalem opened the 1998 Kraków Philharmonic season. After hearing Anaklasis for the first time. He described the musical style of Anaklasis and stated that in this and other compositions by Penderecki. “A Cultural Milestone.” Musical Quarterly 48. 1987. no.” Musica 15 (November 1961): 604-605.

” Musical America 109. 1962): 3. B1308. September 14. Penderecki's the same time he could entertain the public. B1307. no. In the recently premiered The Black Mask. according to Zakariasen. This article is similar to the one published in the New York Daily News on August 8. He also asserted that the American Revolution had offered “a beacon of hope for the oppressed people of Central Europe” and that the Bicentennial Committee should also reach out to these and other foreigners.” B1305. “soloist Zdzislaw Piernik could let himself run riot on his instrument.” This interpretation was suggested. He pointed out that George Washington had entrusted the defense of strategic military sites to Tadeusz Kosciuszko and given the command of America's first calvary brigade to Kazimierz Pulaski. 1988.” Washington Post. Zajaczkowski.. In his opinion. 1973.. 10. “Santa Fe Opera: Penderecki 'The Black Mask' [U. 39 (September 30. In the Capriccio for Tuba. “Letters to the Editor. but AIDS. August 8. “Is This Really Necessary?” New York Daily News. 1 (January 1989): 44-45. the composer's early “shocking” style of composition and his later romanticism were combined successfully. perhaps. Among its features are a 208-voice stretto and the use of a retrograde canon.” Penderecki disagreed with this interpretation as well as with the decision to have the opera's character of a black slave played by a white man in blackface. C7. In response to Hume's article of September 23.'Foreigners'. Penderecki stated that living in Communist-controlled Eastern Europe had made the topic of death a “haunting” one for him. October 14. Waclaw.. 1988. carried by “a former black slave from central Africa. performed at the 1962 Warsaw Autumn Festival. B1306. Did the 24th Festival of Contemporary Music Bring Anything That Was Essentially New?” Polish Music 15. Bill. the stage director and designer of the Santa Fe production of The Black Mask presented the opera as a “metaphor for AIDS and the indifference with which it is treated by so many people.” New York Daily News. Zajaczkowski argued that it was not unAmerican for the Chicago Opera to commission a Polish composer to write an opera for the 1976 Bicentennial. Zelechowski.S. p. In Zakariasen’s opinion. 1988. contains shockingly new sounds. B1309. 4 (1980): 44-50. . Zakariasen. “This Composer Unmasks His Ideas. premiere].274 KRZYSZTOF PENDERECKI B1304. no. “Warsaw Autumn 1980. the tension created merely by living there comes through clearly in his music. “VI Warszawska Kierunki. Zakariasen proposed an alternative interpretation of The Black Mask—that the disease threatening the main characters was not the black plaque. by the huge pictures of African children that were used as the backdrop for the Sante Fe Opera production of this opera.. no.

The first of these pieces “was powerful and dramatic. finely etched and cohesive.” response to was based on his belief that Penderecki is one of the greatest living composers. Penderecki attempted to obtain as many different string effects as possible in this piece. 1 were among the highlights of the 1962 Warsaw Autumn Festival. and stressed that Penderecki did not view the development of new sounds as a goal in itself. no. 1994). for what Hitler had done to Poland.” Melos 29.. and Fluorescences. to being on a musical “island. “‘Fluorescencje’ Krzysztofa Pendereckiego. B1314. “Der einsame Weg des Krzysztof Penderecki. 1963): 5. B1311. Kraków: Polskie Wydawnictwo Muzyczne.probably the most modern composition for string quartet to date. “Casus Penderecki. 1998): 13-17. Also published in Spotkania z 15259. B1312. Dimensions of Time and Silence. no.” Ruch muzyczny 38. He also mentioned that the West Germans often presented his works. 40 (October 6. for it is not..” Ruch muzyczny 42. 1998). “Muzyka w prasie. According to this article presented a scathing indictment of Penderecki’s shift from being a member of the avant-garde to being part of the “non-contemporary”—indeed. 19 (September 20. he cited Threnody. no. Jacek.” Ruch muzyczny 7. both to promote Polish culture in that country and to repay. his music is distinctively his own. Canon and String Quartet No.” Musical America (December 1962): 18-19. 1994): 2. no. Gazeta wyborcza (July 8. He described some of the innovations found in Anaklasis. Ziarno. excerpted in Clavis. “Autumn and the Avant-Garde. Zelechowski responded favorably to a performance of Polymorphia at the Warsaw Autumn Festival. Fluorescences is “a clear example of Penderecki's revolutionary style. 2 (1964): 5-6.” Kierunki.BIBLIOGRAPHY 275 B1310. 1975. Some of his works had been politicized by others. “VII Warszawska a Vista. 4 (September 1962): 318-23. Tadeusz. In his opinion. but rather as an opportunity to enrich his vocabulary for the purposes of musical development. took as his point of departure an article by Andrzej published in Tygodnik Powszechny (“Otwieranie drzwi za March 8.” while the second was “subtle. which had been castigated by the Soviets in Shostavich’s presence. Penderecki’s penchant for using the musical models of the past does not imply that his music is permeated with traditional sounds. B1315.” It contains new nuances in sound. “Podczas zdobywania Batylii na klawesynie. in a sense. both melodically and harmonically. 16 (August 7. particularly in its treatment of the wind instruments and its use of such . no.” B1313. Rather. while simultaneously creating a meaningful musical form. As an example. provided a clear summary of Penderecki’s musical style to date. Penderecki mentioned that he had turned down several requests to run for the Polish Parliament because he did not want to be involved in politics.

Threnody. but they quickly realized that it was also quite expressive. 12 (1961): 17-18. and briefly described the Magnificat's seven parts. 24. and Psalmus 1961. “'Magnificat' Krzysztofa Pendereckiego. . Penderecki “is probably the greatest colorist among young composers. such as Threnody. In the last portion of the article. Penderecki's Magnificat was given an overwhelmingly positive review. In opinion. “Nowe utwory Krzysztofa Pendereckiego.276 KRZYSZTOF PENDERECKI non-traditional sound sources as a typewriter and parchment paper. Dimensions of Time and Silence is a “fresh and mature composition.” The strings' timbres sounded at times like birdsongs. B1316. while the chorus hissed. Penderecki's Polymorphia was performed at the 1963 Warsaw Autumn Festival. and Fonogrammi) and expressionist (Anaklasis. B1318. Dimensions of Sound and Silence. The rigor of its counterpoint and its harmonic material in general was particularly impressive. “Polska muzyka na 'Warszawskiej Przeglqd kulturalny. 1960): 7. no. He described Threnody's form and innovative string techniques and the sound sources and form of Psalmus 1961. B1320. 1973. B1319. no. 41 (October 6. which enriched the composition's timbral possibilities. Initially. The author also provided general comments on Penderecki's compositional style. Style. With the latter piece. 22 (1962): 3-5. and String Quartet No.” Ruch muzyczny 5. no. many listeners were shocked by its originality. Threnody. the string quartet literature was expanded to include a work whose sounds were chosen chiefly for their coloristic qualities. “Poland. and murmured. He then divided Penderecki's output to date into two categories: neo-impressionist (Strophes. Zielinski described each of the work’s six sections. the most interesting feature of Anaklasis was its large percussion section. The Latest Styles. 7(1975): 5-6. focused on three of the works by Penderecki that had yet to be heard publicly in Poland: Anaklasis. 1 were performed at the 1962 Warsaw Autumn Festival. B1317. kierunki i twórcy muzyki XX wieku. Canon. no. Warsaw: Centralny Metodyki Upowszechnienia Kultury. linking it to the traditions of Liszt and Berlioz. this work is not equal in quality to the composer's earlier works for strings. Penderecki's development of musical language has followed a consistent path.” Musical America 84 (January 1964): 57.” B1321. and his individuality in this area is beginning to be truly striking.” Ruch muzyczny 19. 1. whistled. and Psalmus 1961). Dobrze i Ruch muzyczny 6. Both Canon and String Quartet No. “O polskiej muzyce na Festiwalu. devoted four pages to a discussion of Penderecki’s compositions. He described his revolutionary treatment of sound within specific dramatic settings. In his opinion.

“Technika operowania instrumentami smyczkowymi w utworach Krzysztofa Pendereckiego. “'Utrenia'.remain the same. originally written in 1962.” Muzyka. B1325. Kraków: Polskie Wydawnictwo Muzyczne. 1975. examined the role of the string instruments in Threnody. and individual points of sound).” B1324. Luke Passion both musically and liturgically. gave his impressions about Utrenia. 277 Krzysztofa Pendereckiego. Penderecki expressed his belief that his compositions and those of many other contemporary composers were. the work was “spontaneous and direct. The general principles concerning the consistency of style in a work. In response to questions. and points).. 12 (1970): 3-5. The concept of what makes a good piece of music is exactly the same today as it was earlier. In this article. Anaklasis. Pt. 1.” In the central part of the article. B1326. new methods of treating string instruments in Threnody. Penderecki considered form to be the most important element of music: “Only the medium changes in music: the sound material and the method of making it. the logic and economy of its progress. and solo parts.” “sound forms” (lines. he made a distinction between Penderecki's “neoimpressionistic” and “expressive” works.” Ruch muzyczny 14.” . String Quartet No. Kraków: Polskie Wydawnictwo Muzyczne. Rozmowa z Krzysztofem Pendereckim. clusters. today's audiences focused more on discovering the novel aspects of new works than on hearing any of their links to earlier pieces. Threnody contains new articulations and extraordinary sounds. However. 12 (1963): 8-9. orchestral.” In Spotkania z 68-82. Finally. It quickly appealed to the listener's emotions and imagination. at least in part.. He began by discussing dynamics and instrumentation in Anaklasis. Canon. 1975. related Utrenia to the St. no. Polymorphia. B1323. new sound sources in Canon and Psalmus 1961. He divided his discussion into the areas of “material. “The 'Warsaw Autumn' Festival and the Polish Contemporary Music.BIBLIOGRAPHY B1322. no. kompozytor a tradycja. “layers” (combinations of lines. He concluded with a discussion of the style and character of Utrenia's choral. and Fluorescences. and “form. Nowy utwór Krzysztofa Pendereckiego. no. clusters. which feature Penderecki's most novel compositional ideas. and the synthesis of these elements in Fluorescences.” From there he described timbre in Dimensions of Time and Silence. also in Tadeusz Spotkania z 176-82.” Musical Events 16 (December 1961): 23-24.” Ruch muzyczny 7. reflections of their predecessors. the composer's first piece “in a new style. considered the changes in compositional style and technique already apparent in Penderecki's short career. 1 after hearing a tape recording of its world premiere. 1 (1968): 74-92. For him.

Barbara. “Review. no. While talking to Zuck.” Columbus (OH) Dispatch. Zuck described Penderecki as a composer who is known “in some circles.” Opera Journal 3. After viewing the U. Zuck.” but was not likely to become too popular. 1 (1970): 23-25. the composer noted that he had changed compositional styles during his career because he did not want to become bored.278 KRZYSZTOF PENDERECKI B1327. January 13. Carl B. B1328. Zytowski thought the composition’s one noteworthy weakness was its inability to sustain drama over a long period of time. Zytowski. 1986. “Classical Composer Faces Challenge. . premiere of The Devils of Loudun. S.

1958 Epitaph Artur Malawski in Memoriam. c. 1958 . 1958 The Bird’s Milk ("Ptasie mleczko"). c. 1958 Little Tommy Tiptoe ("Tomcio paluszek"). music for puppet theater. mixed choir. czyli jak góral do nieba"). keyboard. music for puppet theatre. c. music for puppet theater. and double basses. 1958 The Shoemaker’s Twine ("Szewc Dratewka"). music for puppet theater. 1955 Quartet for Strings. music for puppet theater. 1953 Three Miniatures for Clarinet and Piano. 1958 The Swineherd music for puppet theater. 1958 Diamond Dew ("Diamentowa rosa"). music for puppet theater. orchestra. c. 1956-57 The Magic Jug ("Czarodziejski garnek"). percussion. c. string orchestra and timpani. Niebo w nocy (“The Sky at Night”)]. 1957 Psalms of David. or How the Mountaineer Reached Home ("O Zwyrtale muzykancie. 1958 Zwyrtala the Musician. 1958 Adventures of the Warsaw Bear ("Przygody warszawskiego misia"). music for puppet theatre. 1953-1955 Two Songs [Cisza (“Silence”). 1954-1955 Symphonic Scherzo. 1954-1955 Request for the Joyous Islands o wyspy voice and piano.Appendix A Chronological List of Compositions Sonata for Violin and Piano. 1954 Miniatures for Flute.

short-film music. and ten instruments. 48 strings. 1961 Meeting with a Monster ("Spotkanie z bazyliszkiem"). 1960 Professor Serduczko ("Profesor Serduczko"). music for puppet theater. short-film music for jazz ensemble and electronic sounds. music for puppet theater. 1960 The Trap. 1961 Balloons ("Balony"). 1960 About the Grinder and the Kantel’s Miraculous Lute ("O sampo i cudownej lutni Kantele"). 1960 Juggler Wearing a Crown ("Kuglarz w koronie"). Trumpet ("Pan short-film electronic music. short-film electronic music. 1960 Quartet for Strings No. 1960 The War Is Never Over. 1961 The General and the Fly ("General i mucha"). 1961 Enemy in the Glass ("Szklany wróg"). 1959 Legend of Bulandra the Miner o górniku Bulandrze"). 1959 The Crimson Dress ("Pasowa sukienka"). 1961 Polymorphia.280 KRZYSZTOF PENDERECKI Emanations. short-film electronic music. 1961 Psalmus 1961. 1959 Legend of Bulandra the Miner o górniku Bulandrze"). 1961 . music for puppet theater. music for puppet theater. 1960 Fonogrammi. music for puppet theater. short-film electronic music. 1. short-film music. c. 1959-60 Threnody. percussion. flute and chamber orchestra. 1958-59 Strophes. 1960 Forms ("Formy"). soprano. speaker. short-film electronic music. music for puppet theater. electronic music. music for puppet theater. 1959 Miniatures for Violin and Piano. 1959-60 Dimensions of Time and Silence for 40-voice mixed choir. 1960 Concert at Wawel ("Koncert wawelski"). music for puppet theater. 1960 Tower Clock. c. 1959 The Master’s Children ("Dzieci pana majstra"). two string orchestras. music for puppet theater. 1959 Grandfather’s Wink ("Dziadek music for puppet theater. 1961 Little Tiger ("Tygrysek"). 1960 Mr. c. 1959 The Spider music for puppet theater. short-film electronic music. 1961 How Little Hanna Came to an Agreement with the Bear ("Jak Hania z misiem "). and strings. short-film electronic music. music for puppet theater. 1959 Anaklasis for 42 strings and percussion. 1960 Silver Adventure przygoda"). 52 strings. music for puppet theater. 1959 The Most Valiant Knight ("Najdzielniejszy z rycerzy").

Twardowski ("Pan Twardowski"). 1962 Achilles and the Young Ladies ("Achiles i panny"). 1962 Pinocchio ("Pinokio"). short-film music. short-film electronic music. 1964 Funeral Song. 1962 Mr. music for puppet theater. music for theater. music for puppet theater. music for puppet theater. withdrawn after premiere. 1963 The Coffee Grinder do kawy"). 1962-63 Three Pieces in Antique Style . 1963 The Loitering Fox ("Lis music for puppet theater. short-film music. 1962 Nal and Damayanti ("Nal i Damayanti"). 1963 Brothers Karamazov ("Braci Karamazów"). 1963 Forefathers ("Dziady"). Rim-cim-ci! Tymoteusz Rym-cim-ci"). short-film electronic music. 1962 Uninhabited Planet ("Bezludna planeta"). 1963 King Midas ("Król Midas"). three 16-part a capella choruses. 1964 . music for puppet theater. 1962 Don Juan. 1963 Cantata in honorem Almae Matris Universitatis Iagellonicae for 2 mixed choirs and orchestra. music for puppet theater. voice and piano. 1963 Adventures of the Little Screws ("Przygody electronic music for puppet theater. 1963 Star Child ("Dziecko gwiazda"). music for puppet theater. short-film electronic music. 1963 Timothy the Bear. music for puppet theater. 1962 Bitterness ("Gorycz"). 1962 Pinocchio ("Pinokio"). 1962 The Snow Queen ("Krolówa music for puppet theater. short-film music. 1961 Tour of the Cosmos ("Wycieczka w kosmos"). music for puppet theater. music for theater. 1962 Concerto for Violin. 1962 Fluorescences. music for puppet theater. 1964 For Whom the Bell Tolls ("Komu bije dzwon"). 1961 Song of the Fox o lisie"). 1963 The Kidnapping ("Porwanie"). 1963 Brigade of Death (“Brigada electronic music for a radio play. 1964 Sonata for Cello and Orchestra. 1962 Stabat Mater. short-film music. 1961 Canon. 1962 Roland the Mad ("Roland Szalony").APPENDICES 281 The Pocketknife ("Scyzoryk"). 2 pianos. 1963 Mensura sortis. music for puppet theater. short-film music. music for theater. 1963-64 The Blacksmith ("Kowala"). 52 strings and 2 tapes.1963 Adventure of the Frog ("Przygoda short-film music. orchestra. c.

revised c. 1965 Sport Etudes (“Etiudy sportowe”). mixed choir. 1967 Concerto No. wind ensemble. 1968 Quartet for Strings No. 1968-69 Utrenia. feature-film electronic music. and orchestra. 1965 He Left Home z domu"). 1965 The Famous Story about Troilus and Cressida historia o Troilusie i Kressydzie"). speaker. 1966 The Bells Are Tolling dzwony"). Part I “The Entombment of Christ. orchestra. tenor. boys’ choir. je t’aime ("I love you. music for theater. 1966 Codes (“Szyfry”). and basso profondo soloists. 2.282 KRZYSZTOF PENDERECKI I Come to Tell a Story music for theater. and bass soloists. 1967 Legend of the Five Brothers o braciach"). electronic music for feature film. 1965 The Magic of Circles ("Czar short-film electronic music. Includes In pulverum mortis and Miserere De Natura Sonoris No. electronic music for theater. soprano.” soprano. and bass soloists. opera. tenor. I love you"). mezzo-soprano. cello. 1965 Sweet Rhythms rytmy). Luke Passion”). 1965 The Superhero ("Najdzielniejszy"). 1965 The Magic Grinder ("Czarodziejski music for puppet theater. 1965 Passio et mors Domini nostri Jesu Christi secundum Lucam (“St. incidental music for puppet theatre. 1966 Dies Irae for soprano. transcribed for cello 1971-72 Pittsburgh Overture. 1967 Capriccio for Violin and Orchestra. short-film music. film music. 1966 Descent to Hell. children's opera. 1969-70 . music for theater. three mixed choirs. 1 for orchestra. two mixed choruses. 1964 Ubu Roi. 1968-1970 Je t’aime. 1964 The Saragossa Manuscript znaleziony w Zaragossie"). music for theater. short-film electronic music. 1965-66. 1 for Violino Grande (or Cello) and Orchestra. 1966-67. 1964 Capriccio for Oboe and 11 Strings. film music. and orchestra. 1965 Ungodly Comedy ("Nieboska komedia"). 1964 Polish Ballad ("Ballada polska"). 1964 Mother ("Matka"). bass. incidental music. music for puppet theater. baritone. 1968. 1967 Capriccio for Siegfried Palm. 1968 The Devils of Loudun.

percussion. mixed choir. 1980 Agnus Dei. two mixed choruses. 1973-74 The Awakening of Jacob. 1970 Cosmogony. 1976-78 Paradise Lost.” five soloists. 1. two 24-part mixed choruses. and bass soloists. 1971 Partita for solo harpsichord. 1970-73 Symphony No. electric guitar. revised 1981 Capriccio for Tuba Solo. 1970 Utrenia. sacra rappresentazione. boys choir. tenor. and bass soloists. 24 strings. 1972 Ekecheiria. 1979-1980 Te Deum. 1972-73 Intermezzo. 2. electronic music. tenor. 1982 Concerto for Viola (or Clarinet or Cello) and Orchestra.APPENDICES 283 De Natura Sonoris No. winds. and Finale from Paradise Lost. 1971-72 Ecloga VIII. tenor. 1971 Prélude. 1974 Concerto for Violin and Orchestra No. and bass solos. keyboard. soprano. soprano. 1973 Magnificat. orchestra. 1976. mixed choir. 1975-78 Prelude. 2 “Christmas. orchestra. 1983 Cadenza for Solo Viola. mezzo-soprano. 1. 1988 Adagietto from Paradise Lost. 1972 Canticum Canticorum Salomonis for 16-voice choir and orchestra. 6 a capella male voices. 2. and double basses. and chamber orchestra. orchestra. Visions. and orchestra. orchestra. soprano. seven-part male vocal ensemble. 1984 . and orchestra. double bass. bass guitar. two mixed choruses. mixed choir. 1979 Symphony No. 1981 Concerto for Cello and Orchestra No. boys chorus. Part II “The Resurrection of Christ. rev. six soloists. bass solo. orchestra. and orchestra.” 1979-80. and orchestra. harp. jazz ensemble. for orchestra. 1979-80 Lacrimosa. eight-part unaccompanied mixed chorus. alto. 1971 Actions. 1983 Recordare. soprano. mixed chorus.

2 “Metamorphoses. 1990-91 Sinfonietta No. 1995 Seven Gates of Jerusalem (Symphony No. soprano. brass. 1994 Divertimento for Cello Solo.” 1991-92 Concerto for Flute (or Clarinet or Violin) and Chamber Orchestra. orchestra. opera. 1991 Benedicamus Domino. 1987 Passacaglia and Rondo. arranged for concert band. string quartet. 1993 Quartet for Clarinet and String Trio. alto. 1987 Veni Creator. 1986 Prelude for Clarinet. tenor.” 1989 Ubu Rex. mixed choir. 2 for Clarinet and Strings. for string orchestra. 5 soloists. 1994 Sinfonietta No. 1984-86 Per Slava. 1995 Symphony No.284 KRZYSZTOF PENDERECKI Polish Requiem. 1. speaker. arr. 1988 Two Scenes and Finale from The Black Mask. arranged for orchestra. orchestra. 1988 Were You But a Dream? ty snem voice and piano. incorporated into Symphony No. 1988 Symphony No. mezzo-soprano. 3 mixed choirs. 1984. orchestra. opera. a capella mixed chorus. four soloists. Includes Lacrimosa. 5 men's voices. mixed chorus. 3. orchestra. 3. and Recordare The Black Mask. 4 soloists. 1994 Entrata. cello. Agnus Dei.” 1995 Agnus Dei for Requiem of Reconciliation. mixed choir and orchestra. 1985-86 Song of Cherubim. 1988-95. mixed chorus and orchestra. and orchestra. 1993 Agnus Dei from the Polish Requiem. 4 “Adagio. 5 “Korean. 1988 Der Unterbrochene Gedanke. 1994 Music from Ubu Rex. mixed chorus. timpani. 7). 1992 Symphony No. Passacaglia and Rondo Burlesque Suite from Ubu Rex. 1992 Benedictus. 8-part a capella mixed chorus. 1991 Trio for Strings. 1994 Concerto for Violin and Orchestra No. Includes Adagio. 1993 Sanctus from Polish Requiem. 1996 .

“Adagio” from Symphony No. 1997 Serenade. 2003 arrangement of the . 1997 Credo. horn. boys’ choir. string trio and piano. 2000 Concerto Grosso for Three Cellos and Orchestra. 3. cello and orchestra. ” 3 a cappella mixed choruses. percussion. Daniel. 1997 Hymn to St. string orchestra. 1996. and Strings. percussion. mixed chorus. orchestra. 2. 8 trumpets and 4 percussionists. 1999 Sextet. 5 soloists. mixed choir. 2000 Concerto for Piano and Orchestra “Resurrection. 1998 Sonata for Violin and Piano No. 2000 Music for Three Recorders. string orchestra.” 2002 Largo.APPENDICES 285 De profundis (a transcription of part 3 of “Seven Gates of Jerusalem. piano. mixed chorus. Adalbert. clarinet. 1998 Lucerne Fanfare. winds. 1998 Hymn to St. winds. Marimba.


1961 Enemy in the Glass ("Szklany wróg"). 1963 The Saragossa Manuscript znaleziony w Zaragossie"). short-film electronic music. short-film electronic music. short-film music. 1963 The Kidnapping ("Porwanie"). short-film music. short-film electronic music. 1962 Don Juan. 1961 The General and the Fly ("General i mucha"). short-film electronic music. 1960 Mr. 1960 Trap.Appendix B Compositions by Genre Film Music Concert at Wawel ("Koncert wawelski"). 1962 Adventure of the Frog ("Przygoda short-film music. short-film electronic music. short-film music. 1961 Meeting with a Monster ("Spotkanie z bazyliszkiem"). short-film electronic music. 1963 The Coffee Grinder do kawy"). 1964 . feature-film electronic music. short-film music. 1960 Tower Clock. 1962 Uninhabited Planet ("Bezludna planeta"). 1960 The War Is Never Over. Trumpet ("Pan short-film electronic music. 1960 Forms ("Formy"). short-film electronic music. c. 1961 Bitterness ("Gorycz"). short-film music. short-film electronic music. 1961 Tour of the Cosmos ("Wycieczka w kosmos"). 1960 Balloons ("Balony"). 1961 The Pocketknife ("Scyzoryk"). short-film electronic music. 1963 King Midas ("Król Midas"). short-film music. short-film music for jazz ensemble and electronic sounds. short-film music.

1960 Professor Serduczko ("Profesor Serduczko"). c. 1965 The Bells Are Tolling dzwony"). electronic music for theater. 1958 The Shoemaker’s Twine ("Szewc Dratewka"). 1965 Sweet Rhythms rytmy). 1968 Incidental Music for Theater Brothers Karamazov ("Braci Karamazów"). 1966 Music for Puppet Theater The Magic Jug ("Czarodziejski garnek"). je t’aime ("I love you. 1964 I Come to Tell a Story 1964 Mother ("Matka"). 1958 The Bird’s Milk ("Ptasie mleczko"). 1960 Silver Adventure przygoda").288 KRZYSZTOF PENDERECKI The Magic of Circles ("Czar short-film electronic music. 1966 Descent to Hell. I love you"). short-film music. 1958 The Swineherd 1958 Zwyrtala the Musician. 1958 Little Tommy Tiptoe ("Tomcio paluszek"). 1965 He Left Home z domu"). c. or How the Mountaineer Reached Home ("O Zwyrtale muzykancie. 1960 How Little Hanna Came to an Agreement with the Bear ("Jak Hania z misiem 1961 . 1964 The Famous Story about Troilus and Cressida historia o Troilusie i Kressydzie"). 1957 Adventures of the Warsaw Bear ("Przygody warszawskiego misia"). 1959 The Spider 1959 About the Grinder and the Kantel’s Miraculous Lute ("O sampo i cudownej lutni Kantele"). 1964 Polish Ballad ("Ballada polska"). 1965 Ungodly Comedy ("Nieboska komedia"). 1958 Diamond Dew ("Diamentowa rosa"). 1963 Forefathers ("Dziady"). film music. 1963 For Whom the Bell Tolls ("Komu bije dzwon"). 1965 Codes (“Szyfry”). short-film electronic music. czyli jak góral do nieba"). 1959 The Most Valiant Knight ("Najdzielniejszy z rycerzy"). 1959 Grandfather’s Wink ("Dziadek 1959 Legend of Bulandra the Miner o górniku Bulandrze"). 1960 Juggler Wearing a Crown ("Kuglarz w koronie"). electronic music for feature film. film music. 1958 The Crimson Dress ("Pasowa sukienka"). 1965 Sport Etudes (“Etiudy sportowe”). 1959 The Master’s Children ("Dzieci pana majstra"). 1966 Je t’aime.

cello. string quartet. 1. 1961 Achilles and the Young Ladies ("Achiles i panny"). 1965 Capriccio for Siegfried Palm. cello. 1962 electronic music for puppet Adventures of the Little Screws ("Przygody theater. 1963 Timothy the Bear. 1964 Ubu Roi. 1961 Brigade of Death ("Brigada Ekecheiria. Rim-cim-ci! Tymoteusz Rym-cim-ci"). 1968 Quartet for Strings No. 1963 Capriccio for Oboe and 11 Strings. 1962 Pinocchio ("Pinokio"). 1988 Trio for Strings. 1993 Divertimento for Cello Solo. 1987 Der Unterbrochene Gedanke. 1964 The Magic Grinder ("Czarodziejski 1965 Legend of the Five Brothers braciach"). 1968. 1961 Song of the Fox o lisie"). 1953 Three Miniatures for Clarinet and Piano. 1956-57 Miniatures for Violin and Piano. 1985-86 Prelude for Clarinet. 2 pianos. c. 2. 1979-1980 Cadenza for Solo Viola. 1963 Instrumental Chamber Works Sonata for Violin and Piano. 1963 The Loitering Fox ("Lis 1963 Star Child ("Dziecko gwiazda"). 1962 Mr. 1962 The Snow Queen ("Królowa 1962 Pinocchio ("Pinokio"). revised c. 1960 Mensura sortis. 1963 The Blacksmith ("Kowala"). 1954-1955 Quartet for Strings. 1972 electronic music for a radio play. music for puppet theater. 2. 1959 Quartet for Strings No. 1990-91 Quartet for Clarinet and String Trio. 1999 . c. 1967 Electronic Music Psalmus 1961. 1962 Roland the Mad ("Roland Szalony"). 1984 Per Slava. 1954 Miniatures for Flute. 1994 Sonata for Violin and Piano No.APPENDICES 289 Little Tiger ("Tygrysek"). Twardowski ("Pan Twardowski"). 1968-1970 Capriccio for Tuba Solo. c. 1962 Nal and Damayanti ("Nal i Damayanti").

8 trumpets and 4 percussionists. 52 strings and 2 tapes. 1 for orchestra. 1976-78 Symphony No. 1994 Burlesque Suite from Ubu Rex. 1. arr. arranged for concert band. 1960 Fonogrammi. 1971-72 Symphony No. revised 1981 Concerto for Cello and Orchestra No. withdrawn after premiere. 1971 Entrata. horn. timpani. string trio and piano. and chamber orchestra. winds. electric guitar. orchestra. 1970 Partita for solo harpsichord. 1958 Emanations.” 1989 Sinfonietta No. orchestra. 24 strings. 1962 Concerto for Violin. flute and chamber orchestra. and double basses. 1. c. 1995 Lucerne Fanfare. 48 strings. 1966 Concerto No. 1 for Violino Grande (or Cello) and Orchestra. orchestra. 5 “Korean. 1962 Fluorescences. 1992 Agnus Dei from the Polish Requiem. wind ensemble.290 KRZYSZTOF PENDERECKI Sextet. 1974 Concerto for Violin and Orchestra No. 1972-73 Intermezzo. harp. for string orchestra. brass. percussion. 1994 Music from Ubu Rex. orchestra. 1959-60 Threnody. arranged for orchestra. clarinet. 1953-55 Epitaph Artur Malawski in Memoriam. orchestra. 1963-64 De Natura Sonoris No. transcribed for cello 1971-72 Capriccio for Violin and Orchestra. 1976. 1967 De Natura Sonoris No. 4 “Adagio. 1966-67. 1961 Canon. jazz ensemble. 2000 Instrumental Ensemble Pittsburgh Overture. 1971 Actions. 1988 Symphony No. 52 strings. 1958-59 Anaklasis for 42 strings and percussion. 1994 . 2. 2 “Christmas. 1983 Passacaglia and Rondo. 1991 Symphony No.” 1979-80. orchestra. 2. 1. rev. 1998 Orchestral Works Symphonic Scherzo. orchestra.” 1991-92 Concerto for Flute (or Clarinet or Violin) and Chamber Orchestra. 1973 The Awakening of Jacob. 1988 Adagietto from Paradise Lost. bass guitar. two string orchestras. 1961 Polymorphia. 1982 Concerto for Viola (or Clarinet or Cello) and Orchestra. double bass. 1967 Prélude. string orchestra and timpani. 1963 Sonata for Cello and Orchestra. 1962-63 Three Pieces in Antique Style. keyboard.

mixed choir. percussion. mixed chorus and orchestra 1988 Sanctus from Polish Requiem. and bass soloists.” soprano. 1970-73 Magnificat. mixed choir and orchestra. soprano. and orchestra. Marimba. keyboard.” 1995 Symphony No. tenor. seven-part male vocal ensemble. 1969-70 Cosmogony. and bass soloists. 1979-80 Lacrimosa. 1995 . 1988-95. mezzo-soprano. Includes Adagio. 2 for Clarinet and Strings. 1970 Utrenia. soprano. 1971 Canticum Canticorum Salomonis for 16-voice choir and orchestra. alto. 1959 Dimensions of Time and Silence for 40-voice mixed choir. Visions. and orchestra. six soloists. and Finale from Paradise Lost.” five soloists. boys chorus. and bass solos. tenor. soprano. two mixed choruses. alto. tenor. cello and orchestra. two mixed choruses. 1959-60 Cantata in honorem Almae Matris Universitatis Iagellonicae for 2 mixed choirs and orchestra. and double basses. soprano. soprano. mixed choir. 1980 Recordare. mixed chorus. and Strings. speaker. two mixed choruses. Passacaglia and Rondo Serenade. mixed choir. arrangement of the “Adagio” from Symphony No. mezzo-soprano. mixed choir. four soloists. Luke Passion”). percussion. 2 “Metamorphoses. tenor. 1967 Utrenia. two 24-part mixed choruses. tenor. bass. 1958 Strophes. baritone. bass solo. and bass soloists. soprano. soprano. orchestra. speaker. three mixed choirs. and strings. mezzo-soprano. 1994 Concerto for Violin and Orchestra No. boys choir. 1979 Te Deum. 1993 Agnus Dei for Requiem of Reconciliation. and basso profondo soloists. and Recordare Two Scenes and Finale from The Black Mask.” 2002 Largo. Includes In pulverum mortis and Miserere Dies Irae for soprano. 2000 Concerto for Piano and Orchestra “Resurrection. 2003 Vocal and Instrumental Ensemble Psalms of David. Agnus Dei. 1973-74 Prelude. and orchestra. and orchestra. and orchestra. orchestra. 1984. 1997 Music for Three Recorders. and bass soloists. Part I “The Entombment of Christ. orchestra. orchestra. and orchestra. tenor. 3. and ten instruments. mixed choir. and orchestra. 4 soloists. Includes Lacrimosa. mixed chorus. 3. 1965-66. Part II “The Resurrection of Christ. mixed choir.APPENDICES 291 Sinfonietta No. 2000 Concerto Grosso for Three Cellos and Orchestra. boys’ choir. string orchestra. orchestra. 1983 Polish Requiem. 1964 Passio et mors Domini nostri Jesu Christi secundum Lucam (“St.

c. 1987 Were You But a Dream? ty snem voice and piano. 1997 Credo. 5 soloists. mixed chorus. 1968-69 Paradise Lost.” 3 a cappella mixed choruses. opera. 1954-1955 Stabat Mater. sacra rappresentazione. 1965 The Devils of Loudun. Niebo w nocy (“The Sky at Night”)]. 1955 Request for the Joyous Islands o wyspy voice and piano. percussion. 7). orchestra. 1981 Song of Cherubim. 1998 Songs & A Capella Choral Music Two Songs [Cisza (“Silence”). mixed chorus. mixed choir. 1996 De profundis (a transcription of part 3 of “Seven Gates of Jerusalem. 1964 Ecloga VIII. three 16-part a capella choruses. 6 a capella male voices. 1992 Benedictus. children's opera. mixed chorus. boys’ choir. 1975-78 The Black Mask. 1962 Funeral Song. 8-part a capella mixed chorus. eight-part unaccompanied mixed chorus. 1972 Agnus Dei. 1986 Veni Creator. opera. 5 soloists. string orchestra. winds. piano. 5 men's voices. percussion. 1998 Hymn to St. orchestra. 1996. 1997 Hymn to St. speaker. 1988 Benedicamus Domino. Adalbert. 1984-86 Ubu Rex. 3 mixed choirs. opera. 1993 Operas The Superhero ("Najdzielniejszy"). c.292 KRZYSZTOF PENDERECKI Seven Gates of Jerusalem (Symphony No. 1991 . Daniel. winds. voice and piano. a capella mixed chorus.

Jr. 63’. “De Natura Sonoris I and II by Krzysztof Penderecki: A Comparative Analysis. Daniel. “Formalized Aspect Analysis of Sound Texture. “Textural Transformations: The Instrumental Music of Krzysztof Penderecki. “Compositional Techniques and Use of the Chorus in Five Selected Choral Works of Krzysztof Penderecki.” B81. 1960-73. Bradley Gene. Gallaher. Structures. Frank Martins’ . Op. “The Warsaw Autumn International Festival of Contemporary Music.” B373.” B165. Richard James G. Foy. Cynthia E.” B258. Delisi. “Twentieth century Passion settings: An analytical study of Max Baumann’s ‘Passion.” B152. James Richard. Programs. Robert Joseph. Randolph M. 1956-1961: Its Goals. Bersano. “Density in Twentieth-Century Music. Christopher Summers. and People.Appendix C Dissertations by Reference Number Albers. Hutcheson. Bylander.” Brooks. B123.” B358. “Structural Functions of 'Musical Gesture' As Heard in Selected Instrumental Compositions of the Twentieth-century: A Graphic Analytic Method.

David Howell. Luke Passion’.” B655. Nelson Eugene. ‘“The Pittsburgh Overture' by Krzysztof Penderecki and 'Forging the Circle (Original composition). “The Twentieth-Century Requiem: an Emerging Concept. Kovalenko. Roberts. Tyra. Gwyneth Margaret. “Penderecki's Notation: A Critical Evaluation.” B830.” B1220. Symphony II. . Jr.” B987. Mikel Andrew. Mandrell. Thomas. Murdock. Erica Amelia. Ramliak. “The Analysis of Three Twentieth-Century Compositions for Wind Ensemble. Gerhard. “Performing Krzysztof Penderecki’s ‘Passio et mors Domini nostri Jesu Christs secundum Lucam’: A Conductor’s Preparation.” B965. Reiter. and Ernst Pepping’s ‘Passionsbericht des Matthaus’. “Krzysztof Penderecki’s ‘Cadenza for Viola solo’ as a Derivative of the ‘Concerto for Viola and Orchestra’: A Numerical Analysis and a Performer’s Guide.” B761.” B539.” B702. “Timbre and Texture in Twentieth-Century Orchestration Techniques. Susan Chaffins. “Procedures for Analysis of Sound Masses. Ledee. “Compositional Aspects of Two Early Works for String Orchestra by Krzysztof Penderecki.” B1285.294 KRZYSZTOF PENDERECKI ‘Golgotha’. Wes. Linthicum.” B979. Janzen. Krzysztof Penderecki’s ‘St. “An Analysis on the ‘First String Quartet’ of Krzysztof Penderecki and an Original Composition. “Das Magnificat von Krzysztof Penderecki und seine Stellungn im Vokalschaffen des Komponisten: Ein Beitrag zur Geschichte der Klangflachenkomposition.” B516.” B725. Winkler. Katherine. Nick.

Pasja o Krzysztofie Pendereckim. B108.Appendix D Books and Monographs by Reference Number Baran. B210. B207. B787. Krzysztof. B208. Penderecki. editor. B543. B823. Spotkania z Krzysztofem Pendereckim. Erhardt. B217. Karl-Josef. Contemporary Dance of Death from Idea to Performance. 1022. Informationen zu Pendereckis Lukas-Passion. B125. Ivashkin. Szkice o Krzysztofie Pendereckim. B656. Krzysztof Penderecki Itinerarium. Ludwik. B727. i tradycja w muzyce Krzysztofa Pendereckiego. B879. Zbigniew. and Jacek Ziaro. B1203. B218. B775. B758. Kshishtof Penderektskifi. Müller. B328. . Style et Matériaux. Labyrinth of Time. B1272. B1294. B245. Barbara. Krzysztof Penderecki. B377. B918. Malecka-Contamin. B756. Aleksandr. editors. The Black Mask. B211. B914. Chlopicka. Regina and Krzysztof Szwajgier. Krzysztof. Teresa and Regina editors. Lisicki. B520. B127. Krzysztof Penderecki.

Teresa. 415. B920. B1002. Wolfram. B1002. B864. B63. Krzyszt of Penderecki: A Guide to His Works. wokalno-instrumentalnych Krzysztof Penderecki i jego muzyka. KRZYSZTOF PENDERECKI Robinson. B1135. B1289. B1173. Robinson. B1200. B180. Robinson. B1091. Technika chóralna w Krzysztofa Pendereckiego. B1202. B1004. Ray. Ray. B999. B533. Ray and Allen Winold. B993. B1105. B1201. His Life and Works. B1288. B532. B1083. The Music of Krzysztof Penderecki: Poetics and Reception. editor. . B1099. vol. 861. Krzysztof. Luke Passion. Cztery eseje. B204. Tomaszewski. 1106. B759. B878. Krzysztof Penderecki. B226. Studies in Penderecki. B922. 1.296 Penderecki. Tomaszewski. B998. B1109. [sketches]. A Study of the Penderecki St. B1100. editor. B176. B340. Schwinger. B209.

16. 227. 122. 8. See Polish Ballad Balloons. 156. 230. 284. 194. 144. 177. 183. 266. 204. 123. 168. 227. 283. 10. 122. 15. 155. 291 Anaklasis. 184. 16. 49. 243. 221. 199. 196. 221. 144. 284. 284. 15. 288 Agnus Dei. 115. 118. 165. See Achilles and the Young Ladies Achilles and the Young Ladies. 241. 281. 180. 137. 173. 17. 283. 181. 201. 100. 288 Achiles i panny. 280. 13. 290 Aria and Two Minuets. 16. 126. 292 Bezludna planeta. 257. 156. 144. 254. 94. 276. 185. 281. 139. 168. 171. 153. 13. 198. 223. 263. 209. 49. See Legend of the Five Brothers Bells Are Tolling. 17. 172. 99. 290 Adagietto from Paradise Lost. 97. 144. 83. 170. 16. 264. 263. 283. 284. 94. 249. 117. 271. 289 Actions. 213. 17. 289 Adventures of the Warsaw Bear. 118. 252. 279. 283. 275. 115. 292 Benedictus. 292 Agnus Dei for the Requiem of Reconciliation. See Legend of Bulandra the Miner o braciach. 236. 263. 280. 287 Balony. 15. 188. 177. 260 Awakening of Jacob. 84. 13. 290 Adventure of the Frog. 17. 50. 214. 273. 16. 51. 277. 16. 202. 234. 169. 183. 51. 212. 15. 52. 50. 251. 290 Ballada polska. 238. 169. 164. 160. 93. 287 Adventures of the Little Screws. 49. 290. 280. 282. See Uninhabited Planet . 44. 198. See Balloons o górniku Bulandrze. 259. 177. 17. 120. 208. 250. 36. 11. 17. 254. 281. 288 Benedicamus Domino. 235. 187. 150. 164.Index of Works About the Grinder and the Kantel’s Miraculous Lute. 291.

265. 130. 226. 92. 115. 216. 114. 262. 287 Concert at Wawel. 18. 224. 253. 55. 57. 271. 123. 283. 284. 240. 93. 154. 239. 221. 104. 270. 176. 288 Coffee Grinder. 281. 291 Concerto for Viola and Orchestra. 21. 225. 252. 160. 219. 14. 173. 284. 294 Canon. 10. 20. 281. 191. 156. 124. 101. 207. 266. 138. 282. 210. 81. 290. 58. 271. 177. 185. 95. 109. 290 Cisza. 229. 265. 90. 187. 208. 263. 61. 158. 124. 99. 92. 291 Capriccio for Oboe and 11 Strings. 22. 55. 200. 17. 91. 124. 19. 58. 211. 52. 169. 164. 112. 252. 166. 115. 151. 141. 282. 179. 134. 213. 282. 112. 162. 258. 274. 20. 198. 198. 54. 280. 87. 289. 93. 1. 288 Burlesque Suite from Ubu Rex. 119. 152. 248. 232. 45. 93. 281. 132. 240. 224. 238. 246. 116. 290 Cantata in honorem Almae Matris Universitatis Iagellonicae. 110. 282. 55. 168. 207. 1. 88. 225. 143. 118. 20. 260. 251. 101. 86. 267. 141. 168. 184. 187. 18. 83. 274. 185. 215. 199. 121. 264. 121. 275. 175. 188. 56. 189. 17. 231. 120. 151. 128. 168. 19. 168. 271. 141. 145. 260. 151. 217. 204. 271. 281. 183. 181. withdrawn. 144. 53. 209. 21. 264. 91. 218. See Silence Codes. 56. 98. 225. 123. 125. 290 Cadenza. 154. 256. 111. 255. 163. 276. 153. 283. 12. 290 Concerto for Cello and Orchestra No. 184. 137. 212. 213. 79. 121. 176. 239. 163. 289 Capriccio for Tuba Solo. 107. 213. 138. 22. 129. 249. 113. 214. 102. 245. 285. 23. 162. 281. 291 Canticum Canticorum Salomonis. 284. 19. 19. 182. 168. 160. 53. 130. 117. 220. 129. 283. 213. 210. 214. 281. 19. 13. 256. 112. 290 Concerto for Piano and Orchestra. 52. 136. 20. 186. 157. 186. 274. 22. 136. 134. 233. 22. 245. 277. 290 Concerto for Violin and Orchestra No. 255. 242. 136. 221. 23. 255. 136. 218. 247. 114. 256. 155. 218. 122. 289 Braci Karamazów. 21. 232. 240. 157. 287 Black Mask. 289 Capriccio for Violin and Orchestra. 158. 133. 20. 54. 224. 290 Concerto Grosso for Three Cellos and Orchestra. 221. 223. 288 Bitterness. 243. 86. 142. 281. 198. 93. 254. 284. 177. 199. 128. 164. 217. 130. 97. 208. 100. 94. 283. 21. 229. 294 Concerto for Violin and Orchestra No. 154. 291 . 141. 186.298 KRZYSZTOF PENDERECKI dzwony. 93. 193. 181. 251. 197. 120. 13. 89. See Bells Are Tolling Bird’s Milk. 13. 287 Concerto for Cello and Orchestra No. 217. 291 Concerto for Violin and Orchestra. 147. 95. 84. 146. 102. 290 Concerto for Flute and Orchestra. 137. See Our God's Brother Brigada See Brigade of Death Brigade of Death. 208. 90. 207. 283. 281. 157. 108. 279. 282. 237. 239. 112. 53. 82. 118. 121. 88. 129. 18. 283. 263. 253. 244. 289 Brothers Karamazov. 135. 52. 195. 201. 285. 102. 176. 13. 167. 271. 185. 2. 246. 272. 292 Blacksmith. 147. 168. 289 Capriccio for Siegfried Palm. 139. 2. 11. 221. 85. 19. See Brothers Karamozov Brat naszego Boga. 20. 149.

23. 282. 174. 283. 93. 217. 58. 290 . 290 Enemy in the Glass. 58. 151. 222. 251. 61. 224. 198. 209. 156. 84. 212. 209. 87. See Master's Children Dziecko gwiazda. 166. 290 De profundis. 104. 149. 190. 216. 192. 282. 186. 235. 254. 271. 178. 96. 180. 210. 156. 106. 24. 174. 187. 287 Dziadek See Grandfather's Wink Dziady. 189. 13. 99. 149. 230. 26. 282. 2. 147. 127. 24. 252. 89. 265. 88. 110. 94. 26. 123. 10. 59. 275. 268. See Forefathers Dzieci pana majstra. See Star Child Ecloga VIII. 183. 107. 231. 250. 222. 98. 126. 181. 223. 117. 242. 248. 129. 255. 283. 157. 168. 27. 141. 269. See Magic Jug Czarodziejski See Magic Grinder ty snem See Were You but a Dream? De Natura Sonoris No. 237. 290 Fonogrammi. 126. 1. 60. See Sport Etudes Exaltabo te. 280. 195. 282. 39. 163. 292 Ekecheiria. 125. 234. 277. 261. 277. 210. 205. 171. 59. 289 Don Juan. 257. 206. 185. 169. 225. 80. 246. 209. 97. 264. 24. 255. 202. 256 Descent to Hell. 255. 157. 24. 279. 129. 223. 280. 237. 184. 152. 148. 284. 259. 236. 194. 26. 191. 116. 133. 155. 100. 285. 126. 161. 111. 141. 250. 233. 113. 175. 240. 141. 198. 223. 143. 127. 276. 241. 117. 26. 160. 102. 238. 223. 288 Czar See Magic of Circles Czarodziejski garnek. 267. 132. 188. 266. 167. 291 Divertimento. 204. 257. 236. 89. 24. 8. 204. 27. 214. 254. 245. 165. 130. 116. 171. 275. 93. 61. 200. 13. 208. 184. 27. 24. 229. 85. See Diamond Rose Diamond Dew. 172. 83. 284. 288 Dies Irae. See Master's Children. 254. 270. 25. 89. 182. 60. 177. 289 Emanations. 281.INDEX 299 Cosmogony. 254. 209. 226. 256. 26. 114. 230. 276. 156. 292 Der unterbrochene Gedanke. 147. 153. 60. 288 Devils of Loudun. 238. 290 Etiudy sportowe. 135. 25. 199. 158. 136. 171. 9. Domino. 139. 218. 23. 213. 142. 115. 166. 291 Dimensions of Time and Silence. 93. 159. 113. 12. 267. 287 Entrata. 243. 25. 282. 107. 109. 12. 179. 240. 290 Epitaph Artur Malawski in Memoriam. 81. 132. 257. 223. 234. 134. 257. 174. 138. 288 Fluorescences. 183. 278. 14. 162. 137. 67 Famous Story about Troilus and Cressida. 280. 219. 184. 91. 89. 292 Crimson Dress. 240. 130. 281. 282. 234. 120. 95. 231. 242. 239. 223. 282. 93. 60. 280. 198. 216. 193. 183. 165. 27. 271. 280. 117. 266. 204. 138. 290 De Natura Sonoris No. 26. 202. 187. 93. 11. 252. 270. 211. 97. 284. 124. 134. 61. 234. 266. 170. 253. 232. 279. 161. 261. 255. 107. 292 Diamentowa rosa. 11. 291 Credo. 173. 146.

283. 288 Forefathers. 285. 281. 172. 280. See Blacksmith Król Midas. 29. 168. 288 In pulverum mortis. 288 Magic of Circles. 287 Formy. 181. 31. 280. 30. 288 Loitering Fox. 28. 282. 31. 85. 27. 61. 28. 29. 290 Hania z misiem with the Bear Je t’aime. 28. 285. See Forms Funeral Song. 30. See Magic Jug. 30. 138. 28.300 For Whom the Bell Tolls. 287 General i mucha. See King Midas Królowa See Snow Queen Kuglarz w koronie. 13. 281. Adalbert. 30. 30. See General and the Fly. 30. 64. 117. 29. 289 Lis See Loitering Fox Little Tiger. 282. 170. 192. 263. 288 How Little Hanna Came to an Agreement with the Bear. 287 . 184. 84. See Bitterness Grandfather’s Wink. 291 Intermezzo. 36. 28. See General and the Fly Gorycz. 291 Legend of Bulandra the Miner. 135. 288 Little Tommy Tiptoe. 281 Lucerne Fanfare. je t’aime. 283. 291 Larghetto. 281. See Concert at Wawel Kowala. 139. 193. 93. 288 Forms. 292. 100. 268. 288 KRZYSZTOF PENDERECKI He Left Home. 285. 281. 288 Legend of the Five Brothers. 280. 29. 13. 288 Juggler Wearing a Crown. See Juggler Wearing a Crown Lacrimosa. 104. 115. 28. 27. 180. 288 Jak See How Little Hanna Came to an Agreement Kidnapping. 11. 29. 254. 280. 285. 83. 290 Magic Grinder. See For Whom the Bell Tolls Koncert wawelski. 287 Komu bije dzwon. 292 I Come to Tell a Story. 225. 175. 28. 146. 29. 30. 29. Daniel. 281. 30. 62. 292 Hymn to St. 13. 287 King Midas. 288 Hymn to St. 39 Largo. 281. 29. 31. 282. 200. 282. 124.

142. 109. 182. 159. 249. 289 o lisie. 212. 136. 234. See Ungodly Comedy O crux ave. 73. 33. 291. 215. 182. 99. Twardowski Paradise Lost. 110. 281. 250. 186. 290. 291 Per Slava. 83. 294 Master’s Children. 288 Mother. 65 O sampo i cudownej lutni Kantele. 203. 89. 155. 282. 173. 35. 31. 32. 207. 11. 181. 268. 247. 166. 289 Miniatures for Violin and Piano. 101. 287 Mr. 118. 217. 288 Matka. 31. 43. 270. 238. 135. 239. Trumpet. 271. 131. 113. 33. 255. 86. 284. 34. 283. 32. 101. See Mr. 158. 260. 206. 112. See Sky at Night Nieboska komedia. 281. 203. 191. 199. 216. 235. 231. 63. 214. 239. 291 Misterioso. 232. 62. 256. 180. 194. 227. 251. 263. 147. 33. 130. 272. 33 See Spider Pan See Mr. 169. 235. 189. 289 Tymoteusz Rym-cim-ci. 32. 15. 32. 94. See About the Grinder and the Kantel's Miraculous Lute O Zwyrtale muzykancie. 237. 280. 290. See Mother Meeting with a Monster. 217. 283. 290 Pasowa sukienka. 168. Marimba.INDEX 301 Magnificat. 221. 263. 15. 28. See Timothy the Bear. 16. 164. 276. 206. 257. 144. 85. 89. 32. 279. 33. 93. 153. 90. 123. 288 Mr. 93. and Strings. 155. 243. 220. 219. 289 Pinokio. 126. 33. 64. 63. 104. 177. 144. 125. 82. 102. 214. 232. 108. 226. 283. 263. 127. 35. 176 do kawy. 62. 183. 163. 236. 119. 10. 265. 213. 198. 257. 291 Music from Ubu Rex. 201. 128. 137. 160. 109. 200. 269. 292 Partita. 214. 33. 224. 198. 157. 271. 93. 118. 291. 289 Niebo w nocy. 110. 269. 184. 290 Najdzielniejszy. See Song of the Fox Pinocchio. 249. 32. 248. 173. 176. 81. 204. 84. 139. 289 Music for Three Recorders. 37. czyli jak góral do nieba. 156. See Crimson Dress Passacaglia and Rondo. 32. 10. See Pinocchio . See Zwyrtala the Musician Our God’s Brother. 284. 281. 281. convertere ad Dominum. 140. Trumpet Pan Twardowski. 285. 289 Miniatures for Flute. 265. See Most Valiant Knight Nal and Damayanti. 169. 260. 188. 284. 167. 254. 281. Rim-cim-ci! Miserere. 65. 260. 161. 175. 100. 196. 133. 157. 280 Mensura sortis. 158. 280. 14. See Superhero Najdzielniejszy z rycerzy. 100. 113. 150. 192. 191. 145. 206. 92. 255. 205. 31. 176. 230. 240. Jerusalem. 35. 120. 164. 187. 149. 245. 25. Twardowski. 32. See Coffee Grinder Most Valiant Knight. 170. 119. 217. 97.

118. 96. 209. 229. Percussion. 171. 82. 261. 290 Portrait of a Conductor. 103. 267. Keyboard. 249. 224. 107. 281. 90. 38. 69. 99. 39. 234. 217. 249. 12. See Adventures of the Warsaw Bear Psalms of David. 187. 279. 84. 34. 162. 253. 39.302 KRZYSZTOF PENDERECKI Pittsburgh Overture. 112. 39. 95. 161. 241. See Saragossa Manuscript Request for the Joyous Islands. 275. 276. 239. 291 Seven Gates of Jerusalem. 184. 294 Quartet for Strings No. 39. 172. 213. 215. 232. 284. 173. 223. 217. 238. 144. 188. 154. See Pocketknife Serenade. 37 Porwanie. 266. 36. 221. 84. 203. 37. 69. 160. 285. 183. 67. 163. 227. 39. 11. 87. 252. 294 Polymorphia. 280. 289. 141. 276. 145. 144. 80. 279. 177. 291. 13. 85. 200. 287 Scyzoryk. 291 znaleziony w Zaragossie. 83. 118. 138. 238. 65. 101. 267. 123. 2. withdrawn. 284. 40. 277. 153. 134. 36. 117. 289 Shoemaker’s Twine. 235. 255. 263 Silence. 38. 206. 89. 147. 38. 83. 136. and Finale. 12. 35. 86. 87. 65. 228. 212. 255. 108. 238. 262. 284. 212. 66. 260. 290. 138. 291 Psalmus 1961. 89. 44. 288 o wyspy See Request for the Joyous Islands See I Come to Tell a Story Przygoda See Adventure of the Frog Przygody See Adventures of the Little Screws Przygody warszawskiego misia. See Roland the Mad Roland the Mad. 285. 279. 221. 282. 107. 241. 277. 261. 209. 11. 233. 115. 188. 37. 282. 250. 123. 290. 291 Prelude for Winds. 289 Ptasie mleczko. 45 . 284. 36. 89. 67. 188. 11. 288 Polish Requiem. 68. 186. 268. 102. 70. 211. 36. 37. 253. 92. 93. 155. 289 Saragossa Manuscript. 289. 240. 180. 1. 37 Prelude. 235. 37. 182. 235. 168. 288 Sicut locutus est. 93. 271. 106. 67. 141. 290. 218. 216. 188. 37. See Bird's Milk Quartet for Clarinet and String Trio. 280. 279. 167. See Kidnapping Prelude for Clarinet. 180. 276. 37. 171. 66. 187. 243. 213. 269. 184. and Double Basses. 289 Quartet for Strings. 277. 223. 282. 153. 202. 213. 289 Recordare. 257. 265. 183. 255. 142. 292 Sextet. 144. 165. 231. 269. 93. Visions. 262. 202. 283 Professor Serduczko. 62. 169. 271. 269. 280. 254. 200. 255. 281. 106. 38. 137. 133. 117. 24. 154. 88. 198. 141. 40. 198. 178. 176. 280. 86. 197. 36. 283. 8. 161. 214. 107. 294 Pocketknife. 254. 271. 105 Quartet for Strings No. 13. 181. 215. 270. 282. 198. 275. 16. 168. 225. 181. 198. 256. 192. 292 Roland Szalony. 30. 234. 273. 96. 273. 196. 120. 30. 38. 162. 255. 289 Quartet for Four Violins. 232. 287 Polish Ballad. 217. 38. 240. 152. 233.

143. 89. 174. 86. 143. 232. 290 Symphony No. 135. 194. 103. 168. 119. 224. 2. 99. 143. 213. 7. 284. 239. 40. 271. 202. 234. 279. 218. 225. 283. 41. 243. 1. 65. 250. 106. 205. 93. 267. 63. 241. 263. 235. 165. 222. 273. 265. 288 Spotkanie z bazyliszkiem. 255. 191. 72. 176. 204. 147. 180. 45 historia o Troilusie i Kressydzie. 233. 14. 91. 185. 119. 234. 71. 127. 29. 290 Symphony No. 88. 236. 289 Song of Cherubim. 35. 182. 245. 158. See Meeting with a Monster przygoda. 116. 281. 199. 141. 40. 121. 146. 266. 272. 281. 105. 191. 231. 175 Strophes. 113. 213. 249. 134. 120. 41. 206. 73. 124. 273. 235. 226. 221. 203. 43. 98. 168. 126. 202. 71. 159. 197. 292 Song of the Fox. 176. 110. 208. 255. 281. 232. 10. 282. 179. 128. 221. 288 Sinfonietta No. 85. 190. 127. 261. 117. 41. 281. 211. 97. 223. 193. 32. 146. See Shoemaker's Twine Szklany wróg. 184. 164. 40. 213. 259. 289 Sonata for Cello and Orchestra. 217. 218. 293. 41. 154. 280. 213. 241. 168. 272. 92. 183. 155. 10. 201. 217. 205. 270. 32. See Sweet Rhythms. 10. 41. 214. 144. 284 Symphony No. 111. 282. 11. 160. 43. 269. 265. 212. 285. 133. 246. 249. 95. 74. 35. 281. 206. 290 Sinfonietta No. 41. 155. 33. 73. 177. 89. 213. 140. 81. 86. 237. 42. 229. 231. 101. 42. 186. 178. 283. 291 Superhero. 222. 102. 254. 152. 141. 2. 249. 132. 197. 284. 187.INDEX 303 Silver Adventure. 43. 64. 276. 195. 202. 142. 211. 2. 238. 292 Star Child. 223. 122. 282. 290 Symphony No. 239. 120. 3. 171. 123. 260. 262. 224. 175. 100. 98. 170. 289 Spider. 216. See Seven Gates of Jerusalem Szewc Dratewka. 199. 294 Stabat Mater. 63. 159. 181. 263. 153. 161. 70. 280. 263. 216. 260. 5. 85. 175. 201. 225. 173. 189. 35. 42. 210. 71. 181. 254. 262. 212. 282. 163. 27. 217. 133. 115. 134. 245. 227. See Sweet Rhythms Snow Queen. 217. 136. 12. 93. 265. 161. 116. 8. 234. Luke Passion. 284. 210. 14. 144. 192. 248. 89. 290 Sonata for Violin and Piano No. 234. 284. 168. 288 Sport Etudes. 117. 1. 112. 144. 242. 243. 183. 99. 268. 123. 291 Sky at Night. 244. 209. 184. 284. 90. 73. 280. 174. 149. 200. 70. 290 Symphony No. 252. 151. 93. 80. 288 See Swineherd Symphonic Scherzo. 176. 251. 254. 135. 265. 157. 279. 170. 72. 83. 42. 42. 41. 177. 160. 9. 126. 41. 220. 100. 97. 289 Story about Troilus and Cressida. 158. 79. 184. 255. 187. 238. 292 Sweet Rhythms. 198. 159. 4. 288 Swineherd. 289 Sonata for Violin and Piano No. 40. 139. 168. 277. See Codes . 239. 209. 40. 155. 209. 115. 213. 244. 1. 184. See Silver Adventure St. 12. 177. 42. 70. 255. 268. 236. 291. 271. 238. 193. 207. 290 Symphony No. See Enemy in the Glass Szyfry. 89. 40. 145. 9. 190. 156. 279. 228. See Famous Story about troilus and Cressida rytmy. 41.

87. 287 Trap. 292 Wycieczka w kosmos. 180. 203. 146. 120. 290 Threnody. 93. 221. 100. 140. 228. 46. 280. 271. 112. 148. 225. 124. 193. 282. 176. 289 Ungodly Comedy. 177. 46. 284. 281. 280. 282. 168. 96. 136. 239. 137. 275. 46. 97. 266. 103. 196. 174. 46. 75. 105. See He Left Home Zwyrtala the Musician. 235. 253. 208. 90. 177. 225. 159. 166. 273. 244. 289 Two Scenes and Finale from The Black Mask. 75. 139. 94. 289 Three Pieces in Antique Style. 238. 144. 249. 74. 47. 284. 168. 242. 181. 269. 224. 210. 164. 45. 208. 64 Utrenia. 45. 76. 277. 174. 105. 77. See Little Tommy Tiptoe Tour of the Cosmos.304 KRZYSZTOF PENDERECKI Te Deum. 267. 19. 230. 206. 231. 124. 109. 43. 187. 283. 119. 163. 165. 292 Tygrysek. 155. 104. 183. 175. 45. 281. 140. 10. 76. 227. 287 Unterbrochene Gedanke. 190. 221. 184. 200. 40. 181. 165. 171. 229. 225. 9. 214. 290 Timothy the Bear. Domine. 139. 256. 192. 93. See Little Tiger Ubu Rex. 47. 232. 81. 83. 184. 111. 44. 216. 156. 228. 212. 230. 214. 273. 33. 236. 268. 220. 262. 82. 281. 291 Veni Creator. 243. 39. 167. 280. 288 . 158. 279. 287 Tower Clock. 193. 77. 259. 255. 46. 160. 287 Were You But a Dream. 223. 246. 97. 178. 223. 213. 289 Ut quia. 45. 175. 283. 284. 248. 107. 74. 226. 46. 155. 250. 155. 184. 236. Rim-cim-ci!. 281. 122. 206. 168. 234. 149. 198. 95. 247. 279. 264. 45. 159. 186. 292 Ubu Roi. 119. 284. 11. 180. 17. 209. 264. 119. 162. 220. 179. 216. 200. 147. 120. 255. 131. 259. 261. 45. 133. 267. 193. 39. 164. 231. 161. 218. 93. 45. 70. 87. 128. 277. 118. 201. 13. 118. 140. 138. 142. 280. 44. 135. 200. 200. 232. 47. 165. 150. 157. See Tour of the Cosmos z domu. 217. 47. 186. 216. 169. 44. 291 Three Miniatures for Clarinet and Piano. 198. 189. 102. 288 Uninhabited Planet. 213. 117. 141. 182. 282. 131. 97. 263. 116. 76. 271. 85. 11. 112. 137. 172. 135. 101. 176. 287 Trio for Strings. 177. 187. 122. 110. 166. 292 War Is Never Over. 289 Tomcio paluszek. 44. 155. 129. 145. 169. 139. 176. 89. 291 Two Songs. 239. 276.

particularly the Warsaw Autumn Festival and the music of Krzysztof Penderecki. .ABOUT THE AUTHOR CINDY BYLANDER is a musicologist who specializes in post–World War II Polish music.

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