KRZYSZTOF PENDERECKI: A Bio-Bibliography

Cindy Bylander

PRAEGER

KRZYSZTOF PENDERECKI
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. www.praeger.com 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

Contents

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

Preface

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.

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

he has moved through several apparent stylistic changes. These sentiments. .Biography Krzysztof Penderecki is one of the most prominent composers of the twentiethcentury. providing a thread of unity throughout his oeuvre. similarities of style consistently appear in his music. 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. in turn. a passion for justice. He is a man of outstanding intellect and musical genius whose music. has aroused controversy throughout much of his career. This combination of forces imbued Penderecki with a strong sense of morality. As a composer. perhaps inevitably. His independent musical personality has led him to compose both strikingly innovative compositions and more traditional pieces. 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. Many of his works reflect his deep religious faith. He does not consider himself to be a composer who responds to political events. have served as inspiration for many of his works. Youth The circumstances of Penderecki’s upbringing have had a profound impact on his music. which came to power in 1947. Born in 1933 in a small town in southern Poland. and a deep interest in theology. 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. Nevertheless.

This was also the first of Penderecki’s . studying composition with Artur Malawski and. cluster glissandos. and Schoenberg. Berio. percussive treatment of the string instruments. In 1954. Influences Penderecki’s exposure to contemporary music from Western countries was minimal during his formative years. Scored for percussion and 42 strings. all entered anonymously. at the same time. that he was able to hear a range of compositions by such composers as Stravinsky. The second Festival.8 KRZYSZTOF PENDERECKI Penderecki’s youth was also spent surrounded by music. and Stockhausen. with the political thaw in Poland and the inception of the Warsaw Autumn International Festival of Contemporary Music. among others. established in Warsaw in November 1957. and “noise” into his nonelectronic compositions. each with a separate part. Wiechowicz. introduced him to works by Webern. for a short time. the piece astounded the Donaueschingen Festival audience at its 1960 premiere with its quarter-tones. and composers there were not encouraged to experiment with new compositional techniques. It was only in 1956. Anaklasis. tone clusters. which include playing the highest note possible. the atmosphere surrounding composers remained relatively liberal. Although the thaw ended for writers and graphic artists in 1958. and unusual performing requirements. held in 1958. Even so. Honegger. Indeed. and bowing between the bridge and tailpiece. Performances of music by twentiethcentury Western composers occurred rarely in Poland. were found to be his submissions. Nono. Boulez. and Krzysztof became proficient on the violin. at the same time he enrolled in Kraków’s Intermediate School of Music. repeating a note as quickly as possible. 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. His parents and extended family were amateur musicians. 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. Penderecki burst onto the international scene with his next piece. 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. lack of discernible melody. he entered the State Academy of Music in Kraków. These pieces—Psalms of David. In 1951 he began taking classes at University. Emanations. and Strophes—all use serialism to some degree and. foreshadow the innovations of his more mature compositions. his experiments there served as a major impetus for his integration of new string techniques.

. is Threnody. and a piece that is still among his favorites. a variety of new means of playing the string instruments. for it was then that he reached a point of no return in his search for a new musical language. and—the trait least discussed by the press—a strong emphasis on traditional forms and dramatic flow. and. 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. was enormous. 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. The St. penny whistle. noise is de-emphasized as a structural element and a more pronounced affirmation of the musical traditions of past centuries is introduced. Luke Passion. As always for Penderecki. glissandos. polyphony. non-traditional notational symbols. although clusters. 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. flexatone. indeed. Traditional notation is the norm rather than the exception. and typewriter—this in addition to a full orchestra using nearly all of the unconventional techniques Penderecki had developed to date. Elements of medieval chant. electric doorbell. a piece that reflects a clear shift in compositional intent. is one such work. Penderecki’s expanded interest in traditional musical elements initially was more apparent in his choral pieces than in his instrumental works. with all of its religious connotations. canonic middle section. In these pieces. At its premiere. Many of his ultra-modern techniques are absent from the choral works written after 1962. a piece from 1960 originally titled 8’ 37”. Penderecki’s most famous work of this period. musical saw. finished in 1966. and an interest in polyphony rather than vertical harmonies remain. 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. form is the most important part of each piece. At that each time. A Turning Point The year of 1962 was pivotal for Penderecki. durations indicated in seconds rather than in metrical notation. an increased use of percussion and/or percussive-style writing. The list of instruments in Fluorescences includes siren. and traditional tonality are cast within a rondo form. Penderecki had completed Stabat Mater. the significance of a composer from a Communist country writing a Passion. Before Fluorescences was premiered at the Donaueschingen Festival in October 1962.BIOGRAPHY 9 works to feature extensive use of his new notational methods.

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

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

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

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

the Sibelius Prize (1983). He was a professor at Yale University from 1972-1978 and. He is an honorary member of the Royal Academy of Music in London. Magnificat). In short. St. Here he was able to attract the attention of the Polish government. Priz Italia (1967. the American Academy of Arts and Letters. the Academy of Music in Stockholm. From 1966-1968 he taught composition at the Folkwang Hochschule für Musik in Essen. and a second Grammy in 2001 (Credo). Grawemeyer Award for Music Composition (1992. Penderecki has devoted substantial amounts of his time to teaching composition. As mentioned earlier. 2). Great Art Prize of North Rhein-Westphalia (1966. . he has been a composer both of his times and independent of his times. he made a major contribution to the avant-garde movement of the mid-twentieth century. for St. a situation that worked favorably for the Academy and Polish music in general. Wolf Prize (1987.14 KRZYSZTOF PENDERECKI Among the many awards he has received are those from the Polish Ministry of Culture (1962). perhaps his most important academic position. As a composer. and has been the musical director of Sinfonia Varsovia since 1997. He was the artistic director of the Krakow Philharmonic from 1987-1990 and the artistic director of the Casals Festival in San Juan. among others. Luke Passion). and teacher. Honegger Prize (1973. 4). Penderecki has never failed to follow his own path. a Grammy Award (1988. Puerto Rico from 1992-2002. and the Tchaikovsky Conservatory in Moscow. shared with Isaac Stern). Cello Concerto No. He is profoundly concerned with the condition of humanity. Symphony No. the Beijing Conservatory. Not merely of academic importance. His innovative notational practices and sonorities shocked the world and made him an acclaimed composer as a young man. the Rector of the Academy of Music in Kraków from 1972 to 1987. conductor. his pieces either outrage or inspire their audiences. Although he eventually turned towards a more traditional style. Penderecki has spent much of his time conducting orchestras around the world. As a composer. Luke Passion). He has also been the principal guest conductor of the North German Radio Orchestra (Hamburg) and the Central German Radio Symphony Orchestra (Leipzig). he never completely abandoned the ideals of his early years.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Sharon Kam. Mstislav Rostropovich. Schott World premiere: September 30. Germany. and orchestra. Choral Arts Society. tenor. 2 (1968. Washington. Christoph Poppen. revised c. piano . September 17. West Berlin. Schott World premiere: November 23.38 KRZYSZTOF PENDERECKI Publisher: Schott World premiere: August 13. D. 10 min. baritone. Quartet for Strings (c. cello World premiere of transcription for saxophone quartet: Dresden Contemporary Music Days. conductor See Polish Requiem W132. 1968-1970. soloists: Galina Vishnevskaya. soloist Selected performances: June 13. Penderecki having withheld the first version from performance.) Dedicatee: Father Maximilian Kolbe. Kraków Higher School of Music. 1970. and bass solos. Maureen Forrester. performers unknown W129. 10 min. Stafford Dean. 1954/1955. Andrzej Hiolski. Lübeck. clarinet. Maciej Paderewski.) Dedicatee: Heinrich Strobel Publisher: PWM. Recordare (1983.) W131. 1999. 1962. Quartet for Strings No. Berlin Festival Week. 1993. Poland. 1983. Ohio. West Germany. text by World premiere: mid-1950s. soprano. Quartet for Strings No. 8 min. Warsaw Autumn Festival. mixed choir. alto. 1962. National Symphony Orchestra. Boris Pergamenshikov. John Gilmore. voice and piano. Zofïa Stachurska. Parrenin Quartet (This was the premiere of the revised version. 1957. Rascher Saxophone Quartet W128. 1988. LaSalle Quartet W130. viola. Kraków Higher School of Music. Belwin Mills World premiere: May 11. violin. 1 (1960. Kim Kashkashian. C. martyred in Auschwitz Publisher: PWM.) Dedicatee: Julian Zarzycki Publisher: PWM. Request for the Joyous Islands (c. LaSalle Quartet Selected performances: Polish premiere. Cincinnati. 1956/1957) Withdrawn by the composer after the world premiere World premiere: c.

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

10 min. Ohio. piano . 1 (transcription of Trio for Strings) (orchestra. Szwarec. Germany.) Commission: Southwest German Radio. Paul Meyer. Edition Eulenberg World premiere: October 18. David Niwa. Donaueschingen Music Days. piano W138. violin. playwright) World premiere: c. Siegfried Palm. Marcinek Puppet and Actors Theater. Marko Kaneda. 1994. Philharmonic Orchestra. Sinfonia Varsovia. for Donaueschingen Music Days Dedicatee: Siegfried Palm Publisher: PWM. 2 for Clarinet and Strings (transcription of Quartet for Clarinet and Strings. Arlekin Theater. music for puppet theater. The Silver Adventure przygoda") (c. Sonata for Violin and Piano No. 1960. Luis Biava. music for puppet theater. Wojciech Wieczorkiewicz. director) World premiere: c. 1992. Donaueschingen. Ryl. playwright) World premiere: 1960. Christiane Edinger. 8 min. Jarema. Krzysztof Penderecki. 1990. cello. H. H. cello. 2002. Sinfonietta No. W. E. The Snow Queen (1962. Warsaw Autumn Festival. Warsaw. 1964. adapted from a tale by Andersen. Kownacki. Ernest Bour. director W140. viola. September 29. Andrzej Markowski. 1965. Krzysztof Penderecki. conductor W142. Groteska Theater. Martina Snell. premiere. clarinet. 1958. Kraków W139. Deshon. Poland. Bad Kissingen. Christoph Eschenbach. director W143. Sinfonietta No. Robert Jones. Southwest German Radio Orchestra. clarinet.40 KRZYSZTOF PENDERECKI Selected performances: U. cello. Sinfonia Varsovia. Belwin Mills. Warsaw. Columbus. playwright. 1994. Houston. Sonata for Cello and Orchestra (1963/1964. Texas. Ryl. Poland. 12 min. Kenichiro Matsuda.) Publisher: Schott World premiere: July 13. conductor Selected performances: Polish premiere.) Publisher: Schott World premiere: January 7. horn. 1 (1953. Siegfried Palm. conductor W141.S. M. January 8. music for puppet theater. conductor W144. Kalmus. 1962. West Germany. violin. 20 min.) Publisher: Schott World premiere: February 17. The Shoemaker’s Twine ("Szewc Dratewka") (1958.

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

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

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

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

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

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

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

director. World premiere of revised version: c. Arlekin Puppet Theater. 1963.48 KRZYSZTOF PENDERECKI Poland. World premiere of first version: c. Puppet . Jan Wilkowski. 1958.

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

VSM C 065 102452-1 (LP). rec. EMI 1C 065 102452-1 (LP rel. 2001) London Symphony Orchestra. 2001) Tapiola Chamber Choir. conductor. bass. conductor D9. Finlandia 88433 (CD. Hännsler Classic 98. 1975. 1985) St. Philips 6500 683 (LP rel. Jan Yngwe. Anaklasis D14. rec. 1973). conductor Agnus Dei for Requiem of Reconciliation D13. Artlab Preludio Productions 90-665 (CD. rel. 1994). conductor D8. rel. conductor D12. 1980. 1973). rel. 1993 or 1994. rec. conductor D16. 1981) Prague Radio Symphony Orchestra. 1994). 1993. soprano. rel. Concordia Recordings E-2204 (CD. Wojciech Czepiel. René Clausen. Wergo 0 301 (LP). rel. DDD. 1970). United 88021 (CD. 1972-1973. rec. DDD. Olaf Records E-1256 (LP rel. Andrzej Markowski. 1970). conductor D10. Juha Kuivanen. rel. 1996) BBC Singers. ADD. Kraków Chamber Choir. 1995). ADD. rel. rec. DDD. 1991) Choeur des XVI. conductor D11. Bo Holton. Krzysztof Penderecki. St. DDD. rel. CALA 88021 (CD. rec. EMI 74302 (CD. DDD. Muza SXL 0260 (LP rel. mezzo-soprano. live rec. & rel. EMI Electrola SHZE 393 (LP). rel. 1990. Julie Moffat. EMI-EMD 5507 (LP rel. Mace S-9090 (LP rel. Supraphon 1410 2734 (LP rec. Andre Ducet. 1965 by Polskie Nagrania). 1995) Donna Brown. 1989) Kraków Philharmonic Orchestra. conductor . rel. conductor D17.931 (CD. EMI 65077 (CD. Finlandia 98999 (CD. Helmut Rilling. Andreas Schmidt. conductor D15. 1974) National Philharmonic Orchestra. Kenneth Jennings. Mace CMCS-9090 (cassette rel. Israel Philharmonic Orchestra. rec. Gächinger Kantorei Stuttgart. 1992) Pro Musica Chamber Choir. 1970). Olaf Chorus. DDD. 1998) Concordia Choir. Wergo 60020 (LP rec.50 KRZYSZTOF PENDERECKI D7. 1993. Swedish Society Discofil SCD 1050 (CD. tenor. rel. Thomas Randle. 1993 or 1994. 1972-1973. Polmusic PmCD 1024 (CD. Jacek Kasprzyk. DDD.

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

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

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

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

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

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

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

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

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

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

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

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

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

Wergo WER 6261 (CD.64 KRZYSZTOF PENDERECKI Stefania Woytowicz. VoxBox CDX 5142 (CD. Stuttgart. Philips 2. baritone. Krzysztof Penderecki. Edward Lubaszenko. 2002. rel. Henryk conductor D144. Philips 6700 022 (2 LPs). Clytus Gottwald. Jean-Philippe Courtis. DDD. Antoni Wit. 2003) Izabella soprano. rec. Andrzej Hiolski. baritone. and rel. National Philharmonic Orchestra and Chorus. Henryk conductor D143. rec. François Le Roux. rec. rel. 1966 by Polskie Nagrania). 2001). ADD. Naxos 8.557149 (CD. Argo 430 328 (CD. West German Radio Choir. Philips 802 771/72 AY (2 LPs rec. Mainz Women’s Chorus. DDD. Manfred Jung. Muza SX 0325-0326 (2 LPs rel. Luke Passion D147. narrator. . Bernard bass. conductor . speaker. Marc Soustrot.007 (2 LPs). North German Radio Choir. rec. 1995). conductor D148. Philips PHS-2-901 (2 LPs rel. Warsaw Boys Choir. AAD. 1967). Cologne Radio Chorus. Candide CE 31071 (LP rel. 1972). 1967). Philips 3613-4 (2 LPs). 1966). 1999. Polskie Nagrania PNCD 017 (CD. Philips PT-2901 (tape reel rel. Finlandia 98999 (CD. 1967). Great Polish Radio Symphony Orchestra. Divox Radio Vaticana: Div Vat 61 001 (CD). rel. 1989) Stefania Woytowicz. 1995) Schola Cantorum. DDD. FRZ 61001. Evangelist. soprano. bass. rel. 1995) National Philharmonic Chorus and Orchestra. rec. Finlandia 88433 (CD. 1993. Domine" from the St. VOX STGBY 673 (LP). soprano. baritone. rel. rel. narrator. National Philharmonic Chorus. Candide Vox 36018 (LP rel. Andrzej Hiolski. speaker. 2000) Franziska Hirzel. baritone. Bernard bass. Romuald Tesarowicz. rec." and "Ut quia. conductor "Miserere " only: D149. bass. conductor "In pulverum mortis. Stephen Roberts. 1966. 1988. Krzysztof Penderecki. conductor D145. MDG 337 0981 (CD. Beethovenhalle Orchestra. Cologne Radio Symphony Orchestra. rel. Kurt Rydl. rec. Rudolf Jürgen Bartsch. 1972. Kraków Boys Chorus. DDD. DDD. Juha Kuivanen. Philips PHS 2601 (2 mono LPs rel. DDD. rel. Adam Kruszewski." "Miserere. Kraków Philharmonic Boys and Mixed Choruses and Orchestra. 1990) Sigune von Osten. Tölzer Boys Choir. "In pulverum mortis" and "Miserere” only Tapiola Chamber Choir. baritone. 1989. soprano. Leszek Herdegen. rec. 1973). bass. conductor D146. 1993. soprano. Krzysztof Kolberger.

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

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

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

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

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

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

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

72

KRZYSZTOF PENDERECKI

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

Kraków

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

73

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

74

KRZYSZTOF PENDERECKI

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

75

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

76

KRZYSZTOF PENDERECKI

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)

DISCOGRAPHY

77

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

.

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

“Composers Penderecki and Crumb at Wichita State University. 85.” Muzyka 21. 2 (Spring 1986): 55. He succinctly described the opera’s plot and noted the role that the orchestra played in presenting a “tension-loaded atmosphere B5. the author criticized the opera for its “welter of sex. 1983. 2 was surprised to hear the work’s romantic. pp.” B7. “Muzyka w prasie. Among the highlights of his stay was a concert on the final evening. his affinity for traditional forms.” Time.” Warszawy. and ecclesiastical satire. Penderecki mentioned that contemporary Polish music served as an “ambassador” of Polish culture. and others took place at the end of a 1975 Kraków seminar on the composer’s music. excerpts in Clavis. He attributed the popularity of his music in both the United States and the Soviet Union to the “universal values of contemporary classical music. Penderecki received an honorary doctorate from the University of Fine Arts in Belgrade. a correspondent with the Polish Press Agency. In this review of the Santa Fe Opera’s production of The Devils of Loudun. 1 (1984): 12. August 25. pp. B11. 7-8 (1980): 7-8. 1969. The Santa Fe Opera’s production of The Devils of Loudun was highly praised. quasi-tonal style. “Dyskusja. “Edinburgh. In this conversation with Jerzy Górski. Bunt ist die Devise.” Furthermore. scatology. B10. December 1. who portrayed Grandier. and the distinction between sounds and murmurs in his music. his ideas about clusters and sonorism (he disliked the latter term). Penderecki served as composer-in-residence at Wichita State from November 23 to December 2. p. “The Devils and Reardon. “Demons in Santa Fe.” . no. it “contain[ed] moments of complete unobtrusiveness followed by various hackneyed leitmotifs.” Pan Pipes 67. Streifflichter vom Edinburgh Festival 1980. This wide-ranging discussion among Penderecki. 1969. 1974. August 22. B6. no. and open rehearsals. no. 3 (1975): 26.80 KRZYSZTOF PENDERECKI to a German-speaking public. 1. even though the opera’s music was less forceful than it should have been. since it was more accustomed to Penderecki’s experimental music. B8. The audience at the European premiere of Symphony No. Tomaszewski. B9. 60-61. no. the reception of his works by both musicians and the public.” Newsweek. 6.” Ruch muzyczny 28.” Polish Perspectives 29. 4 (1976): 29-52. nos. his sketches for Psalmus 1961. was the focus of much of the article. given the plot's dramatic demands. “Doctorate for Penderecki. Topics included Penderecki’s compositional process.” Oper und Konzert 18. John Reardon. master classes. “Entuzjastyczne urodzinowego koncertu Krzysztofa Pendereckiego w Kennedy Center.

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

no. “Krzysztof Penderecki laureatem nagrody Fundacji Wolfa. B24. This is a brief statement about the selection of Christopher Fry as the librettist for Penderecki's new piece commissioned by the Lyric Opera. Penderecki provided lengthy remarks about The Black Mask at the 1986 Baranow seminar. 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. News & World Report. B27. 2 (1987): 2. “tense” nature of his early works.” Ruch muzyczny 31. 26 (1986): 20 21. he chose Hauptmann’s The Black Mask because of its dramatic construction: it was in one act. . B21. his own Te Deum and the Polish Requiem.” Życie Warszawy 240 (October 14. “Marginalia: Opera Picks Penderecki. Penderecki received the “Lorenzo the Magnificent” award in Florence. B22. “A Modern Composer Enjoys 'The New Realism in Music'. no. 1979): 2.” New York. 54. The 1983 Sibelius Award was awared to Penderecki.” U. 71. B26.” muzyczny 27.” Ruch muzyczny 23. In this interview. B28. no. Penderecki was among those honored in Melbourne by the International Music Council. He developed a new musical language for the opera.S. February 26. 23 (November 18. no. He shared the $100. Penderecki included quotes from chorales. 1975.” New York Times. p. and action. Hauptmann's use of quotations from the Old Testament and the Psalms also fascinated him. 6 (March 25. 1983): 2. 1973.” Ruch muzyczny 30. p. He believed it was necessary for young composers both to write avant garde pieces and to study the music of the past. After considering seven texts. Times. Ruch B25. Uniwersytetu w Leuven. place. B23. 1985): 1.1979): 2. 1979. Penderecki received an honorary doctorate from the university in Leuven.” Ruch muzyczny 23. Krzysztof Penderecki Doktorem H. Sibeliusem. June 2. Penderecki was a co recipient of the annual arts prize awarded by Israel's Wolf Foundation. 23 (November 13. “Krzysztof Penderecki w Baranowie. The Lyric Opera commissioned Penderecki to write an opera for the 1976 Bicentennial celebrations.18. “Krzysztof Penderecki laureatem nagrody Akademii Medyceuszy.82 KRZYSZTOF PENDERECKI B20. with complete uniformity of time. “A Libretto by Fry for 'Paradise Lost'. “Krzysztof Penderecki honorowym Rady Muzycznej. p. April 16. “Krzysztof Penderecki laureatem nagrody im. which consisted of a harmonic system based on two circles of fifths separated by the interval of a second.000 award with Isaac Stern.C. no.

” Tygodnik kulturalny 31. The Kraków premiere of the Polish Requiem was presented on September 12. Penderecki also stated that he often felt like an “outsider. 1985. along with the echo of the hall. Penderecki was commissioned to write an opera on the Dreyfuss affair for the Deutsche Oper.” Polish Perspectives 31. no.” B30. p. “Muzyka. B34.in which he lived. “Nagrody i odznaczenia dla muzyków z okazji lecia Polski Ludowej. 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. cries. 6 (June 1970): 272-73. “Musica Viva zwischen Penderecki.. p. B32. A performance of Polish Requiem was mentioned. 11 (March 13. no. 1987): 13. B35. B37. he believed that he had to create something entirely different from what had been written previously. “New Opera by Penderecki. 6. December 2. Penderecki answered questions about his philosophy of composition. It is to be premiered in the early 1990s.” for he had begun writing operas and religious music at a time when those genres were considered irrelevant. The skillful interweaving of into the piece made a great impression on the audience. Penderecki received an honorary doctorate from Georgetown University. no.” Ruch muzyczny 3 1 . “Muzyki nie od Krzysztof Penderecki. no. He also mentioned that he had had tremendous difficulties with performances of the St.” Ruch muzyczny 28. 14. 22 (1987): 8-9. odrodzenia I 40- B36. as did the “Lacrimosa” and “Agnus Dei” movements. no. During the early part of his career. The author of this review cited the work’s various textual sources and commented that its whispers. George Whyte is to be the librettist. Luke Passion. However. Schuller und Reimann .” Literackie. “Muzyka.” Literackie. The Black Mask is to be presented in Moscow and Leningrad in April during the Soviet Union's Fourth Festival of Polish Music. he realized that he had exhausted all possibilities for expanding string techniques. “New Operas for Berlin. “Muzyka.” Neue Zeitschrift für Musik 131. no. screams. . 1988): 13.” Opera 38. after composing Polymorphia. and glissandos. B33.” Tygodnik kulturalny 32. 19 (May 10. Penderecki’s Dies Irae was presented at the Musica Viva festival. but he did not elaborate further. no. 17 (1984): 2. B31. 10 (Oictober 1987): 1134. September 22. “Muzyka.BIBLIOGRAPHY 83 B29. contributed to its “mystical neonaturalism.immer fessselnd. 2 (1988): 62. 1984.” Te Deum and the Polish Requiem are examples of this language.. The Deutsche Oper in West Berlin commissioned Penderecki to write an opera about Alfred Dreyfus. Penderecki received a State Award for Paradise Lost.

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

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

” Register Guard (Eugene. “Penderecki. Luke Passion. Luke Passion summarized the work's musical materials and textual sources. a viewing of the film The Saragossa Manuscript. however. he pointed out the piece’s affinities to earlier musical models. which features two symphony concerts.” B56. The Oregon Bach Festival will feature performances of the St. “Plany Teatru Wielkiego w Warszawie. 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. He felt. Luke Passion'. “'Polish Requiem' in London. presented “questions concerning the fundamental problems of man's existence and missions. Pope John Paul II remarked that Milton's Paradise Lost. . “Penderecki's Passion.” The Strad 91. 1987. Following the performance of the second act of Paradise Lost in Rome. October 9. no. B57. “Penderecki Wins Music Award.” New York Times. A new production of The Black Mask is to be premiered by the Teatr Wielki in June 1993. Boris Pokrowski will be the stage director. and Andrzej Majewski the scenery designer. This anonymous reviewer of the British premiere of the St. 1988. “A Polish Legends Visits: Are You Ready For Penderecki Week?” Seattle Times. “Pope John Paul II And 'Paradise Lost'. B55.” Polish Perspectives 30. the source material for this piece.” Musical Events 22 (July 1967): 28. that Penderecki had not met the challenges of the “profounder implications of the Passion story. 1086 (October 1980): 421.000 1992 Grawemeyer Award for Music Composition was given to Penderecki for his Adagio for Orchestra. The $150. The British premiere of Polish Requiem was given on January 25. In particular. no. no. 1990. two chamber concerts by the Marzena ensemble. “Penderecki's 'St.” EAM Accents (Fall 1979): 45. 8 (1992): 8.” Ruch muzyczny 36. Oregon). 2 (Spring B59. with Penderecki conducting. 1992. Violin Concerto. Penderecki conducted the BBC Symphony Orchestra and Chorus. Isaac Stern declared Penderecki's Violin Concerto to be “the most important in the genre since that of Berg. Seattle is hosting a Penderecki Week. April 30.86 KRZYSZT OF PENDERECKI B53. B58. and an informal public meeting with the composer.” and that these questions are answered in the Bible’s book of Genesis. B54. June 15. B60.” perhaps because his musical language was not suited to such means of expression. 1987): 61. Dondajewski the musical director.

B63. used the original libretto. for the Warsaw production of the same year. . c. no. Poetyka i Recepcja. 119-24. no. p. no.” Ruch muzyczny 31. A ballet version of Polymorphia was presented by the Twentieth Century Ballet of Bonn. baletowe. Kado's article in Ruch muzyczny. 12 (1987): 2.” Ruch muzyczny 35.000 Prize. Penderecki received an honorary doctorate from Madrid’s Autonomous University. 1996. which includes a $30. 22 (1991): 5. Penderecki’s received the 1983 Sibelius Prize. “Stern and Penderecki Share $100. had introduced a similar revision. B65. and the role of dramatic expression in his compositions. lascivious displays. For the 1975 Mönchengladbach production of The Devils of Loudun. On the occasion of a seminar on Penderecki’s music held in celebration of Penderecki’s 60th birthday. which refers to an earlier performance in May 1991. C17. “Prawykonania.” New York Times. B64. Pendereckiego. Among the principle topics of conversation were the composer’s attitude toward his chamber works vis-à-vis his operas and orchestral works. Dni Muzyki 1992 w Polsce. 314-15. “The Seminar Meeting with Penderecki. B67.] B62. Teatr Wielki will present The Black Mask at the ISCM Festival in Warsaw in May 1992. [See. 1983. p. The String Trio is listed among the world premieres given at the Warsaw Autumn Festival. Penderecki.” In The Music of Krzysztof Penderecki: Poetics and Reception. dla Pendereckiego.” Muzyka Krzysztofa Pendereckiego. 1987. which included lewd. 1995.” Ruch muzyczny 11. no. Kraków: Akademia Muzyczna. 18 (1967): 17. the recent incorporation of “Sanctus” into the Polish Requiem. no. October 16. “‘Die Teufel von Loudun’ in Köln. The composer conducted the world premiere of Veni Creator when he received that degree. Section 1. “Konwersatorium z K. The Israel government announced that Penderecki and Isaac Stern were the recipients of the 1987 Wolf Prizes for the arts.BIBLIOGRAPHY 87 B61.” Das Orchester 28 (April 1980): B68. 4 (1992): 1. Lothar Höfgen made his choreographic debut. 57. 11926. 14 (1991). B66. June 2.” Ruch muzyczny 36.000 award. however.” New York Times. director Paul Hager inserted a wedding scene. edited by Tomaszewski. participants and guests gathered to meet the composer. The 1980 production in Cologne. “Silelius Prize to Penderecki. Both performances were of the incomplete Trio. edited by Tomaszewski. “Siódmy doktorat h. the main subject of this review. Kraków: Akademia Muzyczna.

“Ein Verlangen nach reinem Dur. 1984. but its Zurich performance was not perfect. p. They also objected to the whistling and speaking that were called for in their parts. “Warsaw Benefits by Penderecki's Changes In 'The Devils of Loudun'.” Der Spiegel 31. He also stated that he wrote the St. with Boris Pergamenshikov as soloist. B73. 2: 3. B72. . B74. 1994): 2.” Ruch muzyczny 37. 73. although he still used elements of that musical style in some of his compositions. Penderecki stressed that his period of experimentation was behind him. He called the current era the “fin-de-siècle” in music.” Das Orchester 16 (June 1968): 283-85. “Warszawska '93.88 KRZYSZTOF PENDERECKI B69. This insightful article includes comments made by several of the Bavarian State Opera musicians who refused to play Polymorphia for a ballet performance. Luke Passion at a time when such sacred pieces could not be performed in Poland. B70. “Viel Staub um 'Polymorphia'. “Eine Wiederbegegnung. no. excerpts in Clavis. Pendereckis ‘Lukas-Passion’ in der Zürcher Tonhalle. The latter will be presented in its transcription for cello and orchestra. The musicians compromised by offering to tape the piece for the ballet performance. pp. This was done. 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. 1994). July 9. Luke Passion are scheduled for Swiss cities. Ruch muzyczny 38. 17 (1993): 1. 39-40. The Passion created a worldwide sensation after its premiere in the 1960s. and critics deemed it preferable to a live performance. Das Bayerische Staatsorchester und Pendereckis Ballettmusik. Concerning the latter topic. 2 (January 5. This interview with Penderecki was devoted to a discussion of the composer’s relationship to Polish political events and his thoughts about contemporary music. Spiegel-Gespräch mit Krzysztof Penderecki. no. Penderecki made several changes to the score at the suggestion of stage director Kazimierz Dejmek. Musikalische Jugend 17 (1968). when the styles of the past century must be reconsidered and synthesized. The 1993 Warsaw Autumn Festival is to include performances of Penderecki's Flute Concerto and Viola Concerto. 1975. B71. this work thus signalled his public stance with the Polish Catholic Church and against Communism. 8. w kulturze. no. October 13.” Neue Zürcher Zeitung. These remarks concerned the commercialization of the music business.” Przekrój (November 6. no. 1987): 144-46. since the dancers were able to become accustomed to a precise tempo. 25 (December 11. They cited damage to their instruments as one of the main reasons for their protest. For the Warsaw production of The Devils of Loudun. Five performances of the St.” Variety.

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

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

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

the author congratulated PAGART (the Polish Artists Agency) for producing The Black Mask in Salzburg and Vienna in 1986. following the composer's earlier “expressionist-sonoristic”' and “monumental” periods. He proposed that the symphony’s musical style heralds the emergence of a “third Penderecki” style. “Uraufführungen der Berliner Philharmoniker. This performance allowed the work’s characteristics— many of which were typical of Penderecki’s large-scale vocalorchestral pieces—to be clearly revealed.” Österreiche Musikzeitschrift 38. who withdrew after not having enough time to become familiar with the score. B102. Its characteristic progression of rising and falling minor seconds makes the piece vaguely similar to the Violin Concerto. it is quite different from that earlier work. Bachmann’s review focused on the structure of this new sevensection piece. “Penderecki: Siedem bram Jerozolimy. awl. no. B99. “Nowe Pendereckiego. no. “Weltgeistliche Liaison. Festliche Kirchenmusik in Salzburg: Neue Werke von Penderecki und Bresgen.” Der Tagesspiegel (Berlin). He thought the piece was quite convincing. with clear proportions and comprehensible harmonic patterns. The world premiere recording of Seven Gates of Jerusalem (Accord ACD 036) is a live recording of the work’s European premiere. B98. August 21.” Studio.” Musik und Kirche 44. 17 (1983): 15. Penderecki conducted the world premiere of his Magnificat. . The premiere of the Magnificat was part of the 1200-year anniversary celebration of the Salzburg Cathedral. Claus-Henning.” Warszawy (January 7. however. Baculewski. “Uraufführungen neuer Kirchenmusik. Pendereckiego wydarzeniem. substituting for Herbert von Karajan. B101. Klangvolles Dom-Jubiläum Penderecki-Uraüffuhrung in Salzburg.92 KRZYSZTOF PENDERECKI for the work's subtitle “Christmas Symphony” (quotations from a Polish Christmas carol). Bachmann. 6 (November/December 1974): 304-305. after further study it seemed rather simplistic. no. 3 (March 1983): 187-88. 1987): 7. “Zeitgenössische Musik in Venedig. This is a brief mention of a performance of Stabat Mater at Venice’s International Music Festival. B97. no.” Ruch muzyczny 27. this piece seemed to reflect a mature compositional style. 1974. B100. 54 (June 1998): 28-29. In an exaggeration of the facts. p.” Österreiche Musikzeitschrift 23. no. B96. Mstislav Rostropovich’s skill was on display in the premiere of the Second Cello Concerto. but in its form and general mood. 4. 10 (October 1968): 571. On first hearing. The Second Cello Concerto was the primary subject of this article. aw. Krzysztof.

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

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

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

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

11 (July 1979): 72-73. “Pendereckis ‘Utrenja’ in Münster.S. no. Blumenfeld. 11-12. soloist). The staging of Paradise Lost by the Lyric Opera did not live up to the potential suggested by its libretto. April 2.” Musik und Kirche 41. no. Blumenthal. 1. B130. Paradise Lost (excerpts. bj. 17 (June 1993): 47-48. no. and Violin Concerto (No.” Ruch muzyczny 33. 4 (July-August 1971): 211-23. “Chicago. but felt that Penderecki's attempts at a Wagnerian-style musical idiom were not satisfactory. no. “one of the most important large choral works of our time.” was heard by a full house of political and artistic luminaries. Penderecki. B132.” Opera 44. Penderecki refused to write music for an opera on the Dreyfus affair. from attending the premiere. Opera News 57. B133. One bright spot was its impressive solo vocal writing. 1996. B134. Blindow. Threnody.BIBLIOGRAPHY 97 B129. . “Opera Feud Defused. even though the piece is not intended for performance at worship services. with Salvatore Accardo.” Music and Musicians 28. B131. 1632 (February 1979): 146. De Natura Sonoris No. Ralph. “Munich. no. Section C.” New York Times. while the second testifies to Penderecki's continuing interest in Orthodox liturgical music. For Now. The Paradise Lost excerpts seem to be in a neo-romantic vein. B135. Jost Meier. production of the piece since its American premiere in 1969. Boas. no. 1. Harold. no. while the Concerto lies between these two extremes. Paradise Lost. “Bordeaux. Veni creator and Song of Cherubim were performed in Warsaw in March 1989. “35-lecie Choru FN. Boas noted that the first two works are the most radical stylistically. The first of these songs has hints of Stabat Mater.10 (1989): 17-18. Both pieces reflect Penderecki's “neoromantic” style. The premiere of Utrenia.” Music and Musicians 27. Martin. with Peter Lagger as soloist). Penderecki conducted the Polish Radio National Symphony Orchestra at the Bordeaux Festival in a concert of his Anaklasis. The Stuttgart Opera's production of Paradise Lost was given at the Munich Festival in July 1979.” Musical Times 120. The Indiana University Opera Theater’s presentation of The Devils of Loudun in March 1993 marked the first U. Blumenfeld remarked that over the years the opera has lost whatever luster it may have once had. “Bloomington. This article reveals an interesting situation in which the librettist tried to prevent the eventual composer. Boas admired its musical portrayal of Adam and Eve. Links to Eastern liturgical music abound in it. 6 (June 1993): 664-665. Robert. 1 (September 1979): 55-56.

The most striking aspects of the Sonata for Cello and Orchestra are its traditional elements and expressive tendencies. “Das IV.” Philips Music Herald (Spring 1967): 4-7. . B137. Robert. Penderecki’s Strophes was performed in Palermo as part of the First International New Music Week. In this critique of Penderecki’s contribution to postmodernism. no. “Kontinuität und Wandel im Werk Krzysztof Pendereckis. B142. B139.” Melos 27 (November 1960): 349. B141. B138. and Boulez.” Opera News (March 31. He referred to two ‘definitions’ of postmodernism. Penderecki’s Concerto for Violino Grande and Orchestra was performed during the Fourth International Webern Festival. no. In its first section. “Penderecki Trinity. Bouma. He mentioned that he had composed electronic music for about thirty films. L. The principal soloists were on stage together constantly and events that should have occurred in succession took place simultaneously.” Österreiche Musikzeitschrift 23. then claimed that Penderecki’s music fulfilled both of them. Böhmer. relating them to the works of Penderecki’s contemporaries. Borris divided Penderecki’s career into four stylistic periods: revolutionary innovations (1957-1959). In this interview. Penderecki reviewed his musical education and early compositions. Borris. bpj. 1990): 4142. The Deutsche Oper’s production of The Devils of Loudun suffered from poor staging. 12 (1975): 609-14. “Pendereckis Stellung im Synkretismus der 60er Jahre. and retrograde trends (1968-1970.98 KRZYSZTOF PENDERECKI B136. expansion and consolidation (1960-1963). B140.” Musik und Bildung 7. no. but not traditional. Wiszniewski. Brauneiss described the composer’s use of the triad as being simple. The second and final section moves quickly. Jochen. Breiholz. 1972).” Ruch muzyczny 9. a “distant relationship” with functional harmony is apparent and the soloist's melodies are reminiscent of Berg's works. “Sonata Krzysztofa Pendereckiego. Leopold. Internationale Webern-Festival in den USA. 17 (1965): 12-13. thanks (or no thanks) to movable walls. intensification and affirmation (1964-1967). Brauneiss. 1 (October-November 1991): 530-36. Siegfried. “Düsseldorf.” Osterreichische Musikzeitschrift 48. “Die Avantgarde faßt auch in Sizilien Fuß. no. Böhmer described the piece as a mixture of the musical styles of Webern. held at Dartmouth College in New Hampshire. Breuer. Swedish lute virtuoso Hans Olof Hannson built the violino grande two years earlier. with almost motoric rhythms that help to evoke an anxious mood. 10 (October 1968): 575. A. He briefly discussed the compositions that belonged to each category. Helga.

” B146. “Pendereckis tönender Kosmos in New York üraufgeführt. B147.” its multilayered material was brought out skillfully in this performance. no. no. a Lyric Opera administrator. November 1978). von Krzysztof Penderecki. With this piece. no. Luke Passion in its “magical radiating power. no. although Breuer did not delve into the details of these problems. The First and Second String Quartets. Penderecki also included all of his own trademark compositional techniques. it is similar to the St. 1 (January-February 1971): 42. which was dominated by high towers on each side. Brill.” Melos 37. 12 (December 1970): 520-21. “Abkehr vom Experiment. Breuer questioned how well Cosmogony would be received since it could easily be perceived as a conglomeration of noise effects. Brill examined the paths that Penderecki had taken in his search for new sounds and new musical styles.” Oper und Konzert 17.” Österreiche Musikzeitschrift 35. Penderecki and Virginio Puecher. it is clear that Penderecki recognized his responsibility to respond to the tragic events of the twentieth century. He did describe the work’s stage design. Adagietto from Paradise Lost and the Violin Concerto were among the works mentioned . B145. Musically the work alludes to Wagner. “Pendereckis 'Polnisches Requiem' in New York. “Chicago. The New York premiere of the Polish Requiem was presented in January 1986 by the Kraków Philharmonic and the Choral Arts Society of Washington. The composer seemed to be less concerned with the intelligibility of the texts than the overall sonority of the work. ‘Das verlorene Paradies’. A concert of Penderecki's music in Gütersloh provided the spark for this article. no. 6 (June 1988): 48-49. “Pendereckis 'Kosmogonia'. had several major disputes. 1 (1979): 6-7.565 lines had been incorporated into Penderecki’s ‘sacra rappresentazione’.” Schweizerische Musikzeitung 111. B148. Breuer pointed out that only 1450 lines of John Milton’s original 10. 9 (September 1980): 482.” Das Orchester 34. Prior to the premiere. Although Cosmogony is not easy to comprehend due to its multiplicity of texts. which was an intense mixture of sound and noise. Hans Gerd.” Österreiche Musikzeitschrift 34. upon which the choir was seated.” Neue Zeitschrift für Musik 149. “Penderecki-Oper in Chicago uraufgeführt. [Note: Although the exact wording of the two articles cited in this annotation differs. no. “Pendereckis Zweite Symphonie in New York uraufgeführt. 1 (January 1979): 51-53.] B144. C. Composed in a clearly defined sonata form that includes variations on “Silent Night. In this review of the world premiere of Paradise Lost.. (Uraufführung am 29. Breuer reviewed the world premiere of Cosmogony. D. 4 (1986): 417-18.BIBLIOGRAPHY 99 B143. the contents and main ideas are the same. although as Breuer pointed out. The world premiere of the Second Symphony was met with lengthy applause. Komponistenportät Krzysztof Penderecki in Gütersloh. no.

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

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

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

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

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

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

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

prayer and aggressiveness. the analogies between Grandier’s actions in Act 3 and those of Christ in the days before his crucifixion. B199. including the juxtaposition of good and evil. In opinion. The symbolic meaning of the Polish Requiem was discussed against the background of the historical requiem and contemporary events in Poland. “X na Pendereckiego (8): symfonii. “Krzysztof Penderecki’s ‘The Polish Requiem’. “X na Pendereckiego (9): kantaty. “X na Pendereckiego (7): dramatu. 1993. Elements of the requiems written by many other composers (from Ockeghem to Stravinsky) could be heard in the Polish Requiem. 227-64. 112-19. the symphony serves as an expression of man’s confrontation with the world and with God. Mahler. In the earlier work.” Studio (November 1998): 7. For Penderecki. Penderecki has maintained his focus on musical architecture and color. Regina. B198. explored the musical and extra-musical influences that are embedded in The Devils of Loudun. Kraków: Akademia Muzyczna. Pendereckiego na opery Diably z Loudun. Among these are the dramatic traditions of the oratorio and recitativearia pairings. profane. summarized the similarities and differences among Penderecki’s four operas. religijne. including Beethoven. B201. 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. ogólnopolskiej Konferencji Muzykologicznej 1-3 1993. .” Studio (October 1998): 7.BIBLIOGRAPHY 107 B196. Penderecki is one of a long line of symphonic composers. As one of the greatest composers of works for voices and orchestra. Warsaw: Kompozytorów Polskich. although transformed into “modern equivalents.” Studio (September 1998): 7. 1992.” Music Theory: Explorations and Applications (Duquesne University School of Music) 3 (Fall 1994): 23-26. Ekspresjonistyczna wizja In Krakówska szkola kompozytorska 1888-1988. “Inspiracja literacka w teatrze muzycznym K. and lyric monologue and grotesque actions. the composer enhanced the expressionistic features of Hauptmann’s play through his incorporation of many musical contrasts. 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. “Czarna maska Krzysztofa Pendereckiego. folklorem. but stylistically each also reflects the dimensions of good vs. and Shostakovich. B197.” Penderecki’s B200. Each differs from the others. Bruckner. edited by Teresa Malecka. and the characteristics of expressionistic and mystical theater. who believed that symphonies were among the epitomes of musical creativity. evil and/or sacred vs.” In Inspiracja w muzyce XX wieku: filozoficzno-literackie.

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

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

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

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

In the second related Penderecki’s text to the genres of epithalamion. Penderecki was the composer-in-residence for the 1977 Conference on Contemporary Music in Aspen. II. Collin. Cisowska divided her article on Canticum Canticorum Salomonis into three sections. 8 (April 1968): 624-26. 1. Luke'. One of Them a Masterpiece. “W 'Canticum Canticorum'. Cohn briefly discussed Threnody in this review of an RCA recording (VICS-1239). In a departure from tradition. Cohen. Eastern European church modes. 2. . Capriccio for Violin. “Subject Inverted. In an editorial letter responding to a November 24 article in the same newspaper (by Paul Griffiths). pastoral poem. p. String Quartet No. 158-202. she reviewed the historical interpretations of “Song of Songs” texts. B223. The two recordings in question are RCA VICS 6015 and Philips PHS 2-901 (which also includes Threnody). Clark. Cohn.” High Fidelity/Musical America 27. no. Among the featured works were his Capriccio for Oboe. and serial cuttings is the very opposite of retrogression. premiere of Utrenia. B220. 4 (December 1967): 288-89. 3. and the U.” B225.” American Record Guide 34. Cohen questioned whether Paradise Lost should be described as avantgarde or orthodox. wide pitch ranges. November 26. Pt. and unusual string techniques. “The Aspen Experience. The composition features diatonic-sounding quarter-tones. 15. S. 1 (September 1967): 26-27. “Really New New Music from RCA Victrola. more than 150 critics were invited to attend the dress rehearsal of Paradise Lost. Dorothy. Penderecki's Threnody is the masterpiece alluded to in Cohn’s title. In the first. 1978. no. 1984. Arthur. Alan G. B221. “Critics Converge to Cover the Birth of a Classic. “Two Recordings of the Penderecki 'Passion According to St. In the final section. “Four Works from Poland. This article gives an anecdotal description of that event. she discussed how Penderecki's music seems to have been inspired by the texts.” The Times (London).” American Record Guide 34. no. B222. pp. 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. and psalm. Kraków: Akademia Muzyczna. Capriccio for Siegfried Palm. B224. Section 1. complete with Penderecki pacing the aisles and the Opera's general manager giving lastminute directions.” American Record Guide 34. yet so slow moving that it “tortures” the listener.” In Tomaszewskiemu w 60-lecie edited by Teresa Malecka. November 28. the piece is frenzied. 1981.112 KRZYSZTOF PENDERECKI B219. In his opinion.” Chicago Tribune.S. 12 (1977): MA35. no.

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

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

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

Münchens Musica Viva mit Acker. but a negative opinion about the production presented by the Bavarian State Opera. “Penderecki o sobie. and glissandos. Penderecki also displayed his inexperience at the conducting podium during the Shostakovich Symphony. Ishil und Penderecki. “Penderecki dirigiert Penderecki. this complex piece is characteristic of the composer’s earlier works in its use of harmonics. pizzicati. Penderecki conducted his own Violin Concerto and Shostakovich’s Sixth Symphony in a Bavarian Radio Symphony Orchestra concert. he was unable to penetrate through the thickness of the orchestral sound. He felt that writing for theater of the absurd was appropriate for Penderecki. 10 (1991): 1116-7. 1036 (August 1976): 277-89. .” Das Orchester 28 (July-August 1980): 601. suggested that the opera would be improved if these scenes were included. since the composer was able to incorporate stylistic models of the past into the piece. Danler offered positive comments about Penderecki.” he cited the Cello Sonata as proof that “the composer is forced to abdicate intelligence and rely on useless general statements. no. In this review of the world premiere of Ubu Rex. but had decided they were unnecessary. Kazimierz Dejmek. Danler. S. 6 (1973): 4-5. “Iwakis grosser Auftritt. He and Dejmek also agreed to combine two scenes and eliminate another one. Cybulski. no. Bohdan. 1 (1975): 14.116 KRZYSZTOF PENDERECKI B246. B247. In addition. The second half of this article is devoted to a discussion of Penderecki's musical style. S.” B248. “Deutsche Erstaufführung einer Messa in scena. Although he conceded that Penderecki's most recent compositions were more “musical. so Penderecki changed his mind and agreed to complete them. Dale. Danler briefly mentioned Penderecki’s modernist musical language and Polish connections.” Das Orchester 23. “Absurdes zum Festspielauftakt in München. no. He said that he had originally intended to compose two additional scenes for the Devils. i Dejmku. Karl-Robert. Berio und Penderecki in Münchens Musica Viva. B249. The stage director of the Warsaw production.” The Strad 87. A stunning performance of Dies Irae in its Germany premiere was the impetus for this review. Although soloist Konstanty Kulka mastered the many technical demands of his part. Hiroyuki Iwaki conducted the Bavarian Radio Symphony Orchestra in a performance of Penderecki’s First Symphony. B251. Dale scorned Penderecki's music because it did not contain counterpoint and lyrical melodies.” B250. On the other hand. 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.” Das Orchester 39. “Contemporary Cello Concerti. no.” Teatr. Münchens Musica Viva unter der Leitung des Komponisten.” Das Orchester 18 (April 1970): 167-68. Pendereckis ‘König Ubu’ in Luxusausgabe. In Danler’s opinion. 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. XLIII: Korngold and Penderecki.

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

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

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

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

through the nightmarish experiences of the hero and its secretive atmosphere. Bernhard. no. Trackings. reflects a world disappearing under the weight of social conflict.” Concerto 13. and another in Polish by Warsaw's Teatr Wielki. quasi-sonata form. Dümling. 14 on the same concert as this world premiere performance of the Cello Concerto. Composers Speak with Richard Dufallo.8. Richard. 5 (September-October 1965): 291-92. Dümling described the Second Cello Concerto as having a three-part. The piece also has a certain romantic quality that will appeal to listeners not accustomed to contemporary music. Dufallo's lengthy interview with Penderecki. who becomes entangled in the moral and social conflicts that are threatening the disintegration of his world. “Routinierte Synthese. conducted in February 1987. no. The Capriccio for Tuba demonstrates the many technical possibilities inherent in this solo instrument. “'Musica nova' in Luzern. New York: Oxford University Press. Dybowski. no. 207 (September 25.” Ruch muzyczny 33.” Neue Zeitschrift für Musik 144. B279.1996). Albrecht.-1. 1988): 3. 1980). “Geistliche Höhenflüge: Festivaljubiläum in La Chaise-Dieu (20. no. Dufallo. ds [Dorota Szwarcman]. The Warsaw production presented a “powerful. no. B283. thrilling drama” that. This contains a brief mention of a performance of the St. no. Luke Passion.BIBLIOGRAPHY 121 B278. 26 (1989): 11-12. “'Warszawska na powszechne. Drobig. “'David' i inni. “Pomost muzycznej Jesieni.” Schweizerische Musikzeitung 105.9. The interpretation focused on the main hero. Penderecki conducted Shostakovich’s Symphony No. Uraufführung von Pendereckis Violoncellokonzert Nr. electronic and serial music. B281. 1989. B282.” literackie 38. Penderecki conducted the Kraków Philharmonic in Jan 'David' Symphony and Tchaikovsky's Rococo Variations in November 1989. Two productions of The Black Mask were presented during the 1988 Warsaw Autumn Festival: one in German by Teatr Wielki. the difficulties the composer has experienced in getting performances of his compositions. Wojciech. was both shocking and humorous. B280. . The piece marked a continuation of Penderecki’s neo-romantic style. performed at the Lucerne Festival. and the stylistic features of these same pieces. 2 mit Rostropowitsch und den Berliner Philharmonikern. first seen in the Violin Concerto. Druey. 117 (October 1996): 9-10. 4 (April 1983): 29-30. B284. Paul. The Capriccio for Oboe and Strings. Dzieduszycki. 42 (October 16. revolved around several topics: the Darmstadt festivals of the early 1960s.

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

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

Another criticism was that the “brutal realism” of the finale's film projections unnecessarily shocked many audience members. Concerto for Viola and Orchestra. 1 for Violin and Orchestra. and Orchestra. Although the performances and sound quality were fine. in the role of Eve. 21 (1990): Teatr Wielki presented The Black Mask in Dresden and West Berlin in September and early October 1990. One of the complaints frequently expressed about the Stuttgart production (as seen in Warsaw) was that Uta Maria Flake. Ekiert asserted that the logic behind the finale was “faultless. “ polscy za Ruch muzyczny 34. 6 (July/August 1990): 221. “a tightly knit. Ellis’s response to this CD of Penderecki’s music was luke-warm.” B301. B298. no.” Fanfare 13. B300. Strophes for Soprano.” and the Viola Concerto. ep.” and that both the libretto and the concept of a sacra rappresentazione originated in the Baroque era. In this CD review (Conifer 185). . Teatr Wielki gave performances of The Black Mask in Sindenfingen and Friedrichshafen. should be thinner if she was going to wear nearly transparent clothing. no. for Orchestra. “ polscy za Ruch muzyczny 33.124 KRZYSZTOF PENDERECKI and other French composers. Stephen. Concerto No. Speaking Voice. rather morose affair. B299.” Fanfare 12. 2.” Fanfare 14. and Ten Instruments. for Narrator. no. West Germany between November 12 and 17. but that comparison was now considered to be inconsequential. “Penderecki: Threnody for the Victims of Hiroshima. Recordings of Threnody. Ellis. he did not consider the music to be masterful.” Ruch muzyczny 32. Penderecki's case is similar. B303. “Van de Vate: Cracow Concerto for Percussion and Orchestra. 15 (1988): 2. 1989. in his rebuttal. brutal musical depiction of unimaginable horror. 5 (May/June 1989): 266-67. no. North briefly described Dies Irae as a “wrenching closer. Van de Vate: Chernobyl. 27 (1989): 2. “a truly searing. no. Intermezzo for Twenty-four Strings. “ zagraniczni w Polsce. 4 (March/April 1991): 410-11. Pendereckis: Dies Irae—Oratorio in Memory of the Victims of Auschwitz.” were reviewed here (Conifer 168). B302. Katyn. when ideas about the beauty of human figures were different. no. Three Pieces in Antique Style. Capriccio for Oboe and Eleven Strings. Schoenberg: A Survivor from Warsaw. However. This is a list of the foreign performers involved in the Penderecki Festival in Kraków in June 1988. Male Chorus. for String Orchestra. “Penderecki: Concerto for Viola and Orchestra. for Orchestra and Chorus.

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

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

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

the stage director. no. Discographies at the end of each chapter list a few pertinent recordings. (He had earlier participated in the making of a recording in that city. presented at the 1979 Warsaw Autumn Festival by the Stuttgart State Theater. As a conductor. no. According to Erhardt. “Krzysztof Penderecki dyryguje w Katowicach. no.” Polish Music 14. twórcy kultury polskiej.” 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. 1975. Penderecki paid more attention to overall form than to details. which has been used “without its traditional melodic and harmonic props. The Black Mask. Translated by Jan Aleksandrowicz. “Krzysztof Penderecki. 4 (1980): 18-22. Music in Poland. 8-9 (1968): 44-46. translated.” Ruch muzyczny 23. “Operowe Krzysztofa Pendereckiego. Penderecki's compositions are mentioned throughout this book. completed in 1967]. 4. 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. Edited by Wanda Michalek. 1974): 6. Correspondingly. 1 and First Symphony were on the program. English translation as “Penderecki's 'Paradise Lost' at Warsaw Autumn 1979. B325. they did not need the assistance of music to bring them to life. 20 (1967): 3. 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. no. August Everding. that is.128 KRZYSZTOF PENDERECKI B320. but the June event was the first time that he conducted publicly in Poland. Among the cuts . eliminated the dancers that in the Chicago production had served as the alter egos of Adam and Eve. the originality of Penderecki's music stemmed from the composer's treatment of sound. “Penderecki’s ‘Paradise Lost’ at Warsaw Autumn 1979.” Polish Music 14. 4 (1979): 18-22. Ludwik. B322. no. Erhardt.” Polish Perspectives 11. Penderecki's conducting debut in Poland was on June 1. although his tempos and dynamic contrasts were appropriate. Erhardt argued that the relative lack of success that met Penderecki’s last three operas (Paradise Lost. 1993): 1. 1974 in Katowice. [Quote is from Polish Perspectives.” Ruch muzyczny 37. and altered the characterization of Raphael. B323. B324. Erhardt lamented the fact that this staging did not reflect the wishes of either the librettist or the composer. even without any serial arrangement. Penderecki’s music for these works served only to illustrate the drama rather than to enrich it. and Ubu Rex) was due to the composer’s predilection to select librettos that were complete in themselves. 14 (July 7. “ a teatr. In this review of Paradise Lost. no. 23 (1979): 3-4. Warsaw: Interpress Publishers. 23 (November 14. nos.) Stravinsky's Firebird Suite and his own Cello Concerto No. shortened the work by more than a half hour.” Ruch muzyczny 18. abridged version in “Krzysztof Penderecki.” Tygodnik Kulturalny 11.] B321.

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

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

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

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

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

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

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

the dullest concerto. mushy. S.” Neue Musikzeitung 35..136 KRZYSZTOF PENDERECKI B367. A concert of Penderecki's music at the 1985 Zagreb Biennale included his Second Symphony. 235 (October 5-6. “Przekora i Po 'Warszawskiej Jesieni 1974. glissandos. Penderecki’s music was chosen as one of the samples in a study of anxiety levels experienced while listening to music. and De Natura Sonoris No. D. and his distaste for much of contemporary music. 1 was among the pieces analyzed.” Neue Musikzeitung 28. B369. Fuks. Indiana University. 5 (October/November 1986): 4. no. Kyle. Fuhrmann criticized the work for its “yawning boredom” and lack of adherence to John Milton’s original concepts. “Totentanz mit Musikzitaten.. Christopher Summers. his predilection for religious themes. On the occasion of the U. Canticum Canticorum Salomonis was greeted with mild applause at the 1974 Warsaw Autumn Festival.” Stereo Review 46. G. Second Cello Concerto. “Percepcja muzyczna a poziom w grupach treningowych. B374. March 3. Fuhrmann acknowledged the opera’s public success and excellent performances. Following the Italian premiere of Paradise Lost in Milan. 1987: 75. “Density in Twentieth-Century Music. He criticized the music for its rather arbitrary mixing of tradition and innovation. B368.” B371. In this review of the world premiere of The Black Mask. premiere of Te Deum. no. Pendereckis Die Schwarze Maske in Salzburg uraufgeführt. Penderecki's String Quartet No..” Trybuna mazowiecka. 1975. B372. Gallaher's dissertation focused on the interaction of vertical and horizantal densities in contemporary music. Fuhrmann wondered how any successful three-hour piece could be based on “organ points. “Classical Music Briefs. Marian. dissertation. Gallaher. Penderecki discussed his early interest in composing for strings. “Contoured Sheets.” Ph. 1974). J. no.” Psychiatria polska 9. “Das verlorene Paradies eines Komponisten. 4 (April 1981): 100.” Neue Musikzeitung 34 (June-July 1985): 46. “Das Unmögliche in der Realität umgesetzt. B373. Fuhrmann noted that Penderecki never felt obligated to apologize for his position in the musical avant-garde.” Village Voice. 1 (February/March 1979): 2. no. 2.ever heard. Fuks described its musical style as “luke-warm. B370. Gann claimed that Penderecki's music appealed to the American cultural establishment because of its “generic quality” of chromaticism. Gann.. 5 (1975): 517-30.” and other such devices..” . Organisationswunder bei der Musikbiennale in Zagreb: ProgrammKontroversen. the high quality of American musicians. He called the Viola Concerto “one of the most predictable atonal works ever written and. no. viscous-sounding layers of sound. Zur Auffuuhrung von Pendereckis ‘Paradise Lost’ in Chikago und Mailand.

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

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

9 (September 1984): 47. “Münchener Opernfestspiele. receiving its German premiere.1 (1980): 52-54.” but their logic and clarity were welcomed. Gojowy noted that two pieces by Penderecki were presented: the Violin Concerto and Paradise Lost. In his review of the 1979 Warsaw Autumn Festival. 23. 1975. “Diese erstaunlichen Polen. no.” Neue Zeitschrift für Musik 145. Penderecki conducted the Southwest German Radio Orchestra in performances of his The Awakening of Jacob and First Cello Concerto. respectively. “Krzysztof Penderecki: Te Deum—Lacrimosa.” Ruch muzyczny 20. B391.” Neue Zeitschrift für Musik 148. Goertz. theatrical effects almost overwhelmed the music B390. “Penderecki dyryguje w Bonn. 10 (1991): 561-62. The latter. This article is a review of EMI's release of Penderecki's Te Deum and Lacrimosa (EMI1C-067-1436231).” Österreichische Musikzeitschrift 24. Penderecki's music was applauded heartily. In the Hamburg production of The Devils of Loudun.BIBLIOGRAPHY 139 B388. 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]. no. Neues von Penderecki und Trojahn. “Von Szymanowski bis Schäffer. was described as being stylistically reminiscent of Skriabin and his contemporaries. Krzysztof Penderecki in Bonn. “Darmstadt is dead!” This declaration by Goertz summarized his description of Ubu Rex. performed by the Stuttgart State Opera. Detlef. The first work. November 21. The three compositions presented by the Southwest German Radio Orchestra (the First Violin Concerto. no.” Musica 34. no. B394. 8 (August 1969): 469-70.” Österreichische Musikzeitschrift 46. was described by Gojowy as bearing the influences of Wagner and Shostakovich. B393. 6 (June 1987): 38-41. “Warschauer Herbst 1979. B392. Biennalen Neuer Musik in Krakau und Zagreb.” Frankfurter Allgemeine Zeitung. no. “Pendereckis erste Oper 'Die Teufel von Loudon'. Harald. Symphony No. and the West German premiere of The Awakening of Jacob) did not “fulfill the emotional expectations of the German audience. Gojowy. This review mentions the world premiere performance of ty snem (“Were You But a Dream? “) at the Szymanowski International Musik Biennale in Kraków. 1 (1976): 2. which features “catchy choirs. nevertheless. and briefly described the importance of Catholicism and Western culture in Polish musical composition since 1956. Gojowy explained the historical reasons for dedicating these pieces to John Paul II and the Solidarity labor union.” mysterious wind chords. no. and Rossini-inspired passages. p. . B389. 1.

its performance in the Saint-Séverin church bothered him. Although subtitled “In Conversation. “'La Passion selon Saint Luc' de Krzystof Penderecki. “Zeit zum Ordnen. Luke Passion. Charles Bruck. Among other things. no. the composer noted that it would be impossible.” Journal de musical français musica disques. July 26. . 5 (May 1986): 65. This is a brief mention of Te Deum. Krzysztof Penderecki: Streichquartett Nr. B400. 3 (March 1982): 50-53. 106 (January 1963): 42-45. B397.” B399. He went on to say that string quartets had been rarely written in Poland until after World War II.. 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. ” Journal de musique francais. Golea. leaving none of the traditional charm of these instruments.” Die Welt. However.Et les 'Plaintes à la Memoire des Victimes d'Hiroshima' de Penderecki. Gojowy asserted that the composer was famous because of the support he has received from the West in terms of commissions for the St. and contrabasses is extracted.. no. but also has an Italian bel canto quality to it. Paradise Lost.” Musica (Chaix) no. 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. Gojowy included remarks made by Penderecki to several Belgrade students.. “Witold Streichquartett. B398. 1. Utrenia. 1986. “.140 KRZYSZTOF PENDERECKI B395. given the recent historical experiences of Poland. The piece is stylistically within the East European tradition. The Polish Radio National Orchestra performed Threnody during the Semaines Musicales Internationales in France. p.. and his numerous late cues contributed to the poor performance. Im Gesprach: K. cellos. and other works. “Warschauer Herbst 1981. 168 (April 1968): 20. 2. no. “Les caprices d'Euterpe. to compose a piece in buffa style. performed at the 1981 Warsaw Autumn Festival. Penderecki. no. Luke Passion. 2. 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. Antoine. After hearing its world premiere and subsequent recordings. The conductor. Rather. B396. Joanna Bruzdowicz: Streichquartett Nr.” no direct quotes by Penderecki appear in this article. 166 (1968): 33-34. violas. In his review of the Warsaw Quartet’s recording of these three pieces (Pavane ADW 7149). was not suitably prepared.” Neue Zeitschrift für Musik 147. ‘La Vita’. Golea acquired a favorable impression of the St.” Neue Zeitschrift für Musik 143..

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

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

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

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

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

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

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

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

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

With Threnody. “consists of a series of contrasting segments producing various coloristic effects. performed at the 1961 Warsaw Autumn Festival.” In Warschauer Herbst und neue polnische Musik: Rückblicke— Ausblick. As I composed it. no. 3 (1963): 253-54. He related the history of the composition and summarized the events that were to be depicted on stage. This phenomenon represented an alternative direction in avant-garde Polish music. wiedergefunden.It is music of a very special kind. 4 (April 1969): MA22. B463.” B465. Some works performed in the early years of the Warsaw Autumn Festival. No. “Paradise Regained. “Donaueschingen. Helman. B462. No new musical techniques or styles were presented at the 1960 Donaueschingen Festival. Zofia.” High Fidelity/Musical America 19. no. Penderecki has “thrown overboard” all of the musical traditions of past centuries. 4 (November 1960): 329-31.” Music Review 21.” Music Review 24. but also impressive.” Musical America 81. something very beautiful.” It was repeated in response to boos from the audience. H[elm]. 6 (November-December 1978) In this article. Helm also said that Penderecki's Anaklasis “provoked the only nearriot of the festival. no. 11 (1961): 467-68. abridged article as “Donaueschingen 1960.[Paradise] is a very lyric piece.” B466. E[verett].” Nevertheless.150 KRZYSZTOF PENDERECKI B460. . Threnody. The exhilarating reception accorded to Threnody (“a rather terrifying work”) at the ISCM Festival in Amsterdam compelled the orchestra to repeat the work. 11 (1961): 23-24. including those by Penderecki. “Autumn Music. written prior to the world premiere of Paradise Lost. Neue Zeitschrift für Musik 122. verschoben.. Helm wondered if the continued use of this style of music would lead to the “impoverishment of art. Helm. were influenced by Christianity.” Musical Times 101. “ISCM Festival. The author listed some of the unusual playing techniques used in the piece. no.. Heinsheimer described the massive preparations being made for that production. 1998. “Alte Musik als Inspirationsquelle neuer polnischer Musik.” Opera News 43 (November 1978): 4855. 1414 (December 1960): 772. I seemed to be discovering a new style.. Essen: Blaue Euele.” Melos/Neue Zeitschrift fur Musik 4. Everett. 29-40. The composer incorporated new and unusual treatment of the string instruments into this piece. However. B464.” B461.. creating music that is “not only expressive. “Paradies: verloren. Threnody is replete with avant-garde sonorities that have been merged into a satisfactory whole. no. no. 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. “Warschauer Herbst 1961—Die neue polnische Schule”. “Philadelphia Orchestra (Ormandy)..

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

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

1986. Overall. rising from their chairs only when involved in the action. 1969): 11. “Eastman Philharmonic (Hendl).” Österreichische Musikzeitschrift: 39. no. Hiller. represents a musical meeting of the 19th and 20th centuries. “Concert: Penderecki and Cracow Ensemble. “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. heard in its world premiere performance [of the complete version]. B487. hjm. Section 3. instead favoring the element of compassion. 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. B484. Partita was performed at the ceremony. B485. A new production of The Devils of Loudun at the Cologne Opera was praised by Hiller. 1997. Of concern. Carl H. Penderecki was given an honorary doctorate by the University of Rochester. Holden provided a synopsis of the film’s plot. B482.” High Fidelity/Musical America 22.BIBLIOGRAPHY 153 other devices. September 27. “Pendereckis ‘Polnisches Requiem’ in Stuttgart. on December 22. B486. Bernard. Stephen. The Kraków Philharmonic's performances of the Second Cello Concerto and The Awakening of Jacob were reviewed favorably. A performance of the St. Eastern Promise. . p. 1968. Holland. “Cologne City Opera. The Polish Requiem. 4 (February 15-28. was given a standing ovation. however. Hiementz. January 20. 11 (November 1984): 609.” Opera Canada 21. Heyworth was skeptical about the long-term fame of the piece. 25. Hinz. 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. “Wiesbaden. Jack.” New York Times. Holden. Hinz was unimpressed with the piece. no. B483.no. All cast members were on stage throughout. no. 5 (May 1972): MA 18. Penderecki avoided a sense of tragedy in this work.” Ruch muzyczny 13. Luke Passion in Warsaw. Klaus-Michael. B488. It was more faithful to Penderecki's original wishes than the premiere production in Hamburg had been. 2 (1980): 38. but admitted that it is a fascinating work. “Adrift Between Dream and Fairy Tale.” Opera 31 (Autumn 1980): 97100.

it was “correct and dull. 25. January 23. heard in its American premiere. Kraków: Musica Iagellonica. p.154 KRZYSZTOF PENDERECKI B489.” 87. In Holland’s opinion. Homma. the Darmstadt Summer Courses. 1986. 21. 28.” In Dziedzictwo europejskie a polska kultura muzyczna w dobie przemian. Its five movements are “largely bereft of engaging ideas and. “Penderecki Is Retrogressing Now—On Purpose. “Penderecki Again Tries a Style He Overthrew. “Recepcja muzyki polskiej w Niemczech. Martina. 17. 1995. 233-60. 1989. “Seven Gates of Jerusalem: A Grand Gesture for 3. pp. However. heard in New York.” New York Times. with a virtuosic solo part. 1996. including the Polish Requiem and The Black Mask. The United States premiere of Symphony No. July 20.” New York Times. A Mob That Howls or Whispers. B491. B494. pp. Penderecki's Flute Concerto. Penderecki noted that he could notate only 60 percent of what he wanted to hear—the remainder he produced when conducting his works B493. Oct. 280Deutsches Polen-Institut. Holland described the piece as easily comprehensible.” Conductor Kurt Masur spent his time trying to make sure that everyone came in as scheduled. C15-16. his most recent compositions. The reception of the music of Penderecki and in Germany was discussed within the context of the Warsaw Autumn Festival. Penderecki’s works are included in Homma’s discussion of Polish . “Reichlich Theorie und Wissenschaft: Polnische Musik und In Deutsch-polnische Ansichten zur Literatur und Kultur. and his Polish heritage.” New York Times. In a wide-ranging interview with Penderecki. is not enough to overcome its “poverty of invention. The American premiere of Penderecki’s Second Violin Concerto was presented at Carnegie Hall. Among other provocative statements. boring. “From Penderecki. in a word. January 12. November 9.” New York Times. and 20th-century musical styles.000 Years of History. “One Way to Control the Chaos in Ives. “sounded suspiciously” like the type of strictly organized music that the composer had disdained earlier in his career. he did not think it was successful overall. 1996.” B490. The “almost intimidating number” of performers required for Seven Gates of Jerusalem.” New York Times. 1993.” B492. B495. 3 was presented at Carnegie Hall by the Montreal Symphony and Charles Dutoit. Darmstadt: Performances of music. Holland elicited comments about the composer's reasons for pursuing a conducting career. Section 2. 1998. Musiktheorie.

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

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

BIBLIOGRAPHY

157

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.

158

KRZYSZTOF PENDERECKI

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.”

BIBLIOGRAPHY

159

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.

160

KRZYSZTOF PENDERECKI

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.

BIBLIOGRAPHY

161

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.”

162

KRZYSZTOF PENDERECKI

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.”

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

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

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

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

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

no. Luke Passion by the Minnesota Orchestra and conductor Skrowaczewski proved to have a mesmerizing effect on its Carnegie Hall audience. 2. The Penderecki “Project. B595. 4.” Ruch muzyczny 27. Lacrimosa. and Clarinet Quartet. B590.). Benedicamus Domino. and Canon as pieces that propel our thoughts into the future. B593. reviewed two events – a concert consisting of Penderecki’s Cello Concerto No. Threnody.168 B589. “Penderecki's 'Passion' in New York Premiere. Symphony No. 1994): considered Ubu Rex to be “one of the finest comic operas since Verdi’s Falstaff. October 7. 2. March 14. 7 (April 3. Also featured were several films for which Penderecki had composed electronic music. no. B591. “Philadelphians Play Penderecki. Luke Passion. the Violin Concerto. as was its overall vocal writing. Kastendieck discussed the work’s sonoristic innovations and their effect on the work’s overall success. and the first performance of Paradise Lost by a Polish theater. The North American premiere of Violin Concerto No. 2 “elicited admiration for its expert integration of styles but not much affection for its content. Miles. p. 5. due to Penderecki’s seeming preoccupation with sound at the expense of true expressiveness.” It was too long and “too reliant.. 41 (1962): 8. no. Kaptainis.” Nowa kultura 13. Karaskiewicz. 6. “Montreal Symphony: Penderecki Violin Concert No. Sinfonietta.. were particularly impressive. no. The piece was not as fascinating as the St. and Brigade of Death.on the repetition of simple melodic cells. 2 [premiere]. 7 (1983): 22. “Raj Utracony. This performance of the St. In this review of Utrenia (Part I). Among the pieces performed were Adagietto from Paradise Lost. was held in the Brabant province of the Netherlands. 5. “Urodziny Pendereckiego i jego Raj. p. and thus serve as a means of escape from both the past and the present. B594. 1993): 1.. American Record Guide 59. (A similar event had been held in Rotterdam in 1980. Norbert. Psalmus 1961. 26 (December 26. Arthur. no. ..” a series of concerts dedicated to the composer’s music. 3 (May-June 1996): 59.” Its group scenes. Kastendieck. He cited Dimensions of Time and Silence.” Ruch muzyczny 37. Karaskiewicz pondered the relevance of Penderecki's recent compositions.” Christian Science Monitor.” B592. Song of Cherubim. 1969. “ Ubu Rex w KRZYSZTOF PENDERECKI Ruch muzyczny 38. reminiscent of those in Rossini’s operas. Sonata for Violin and Piano. Warsaw’s Teatr Wielki. 1970. Flute Concerto. 1. “Penderecki Project w Brabancji.” Christian Science Monitor.

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

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

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

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

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

given its world premiere by the Juilliard Orchestra. 1979. 3 (May/June 1970): 266-67. Intervals of a seventh. extending the kind of tonal imagery Penderecki deployed in his Threnody. is “a skillfully crafted work. p. B635. 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. B632. 3.174 KRZYSZTOF PENDERECKI B631. Kohn. Luke Passion.” Musica 24. Irving. 1970): 29. Penderecki strengthened its choral writing by adding to the finale. The Minnesota Orchestra under Skrowaczewski gave the New York premiere of the St. . fourth. March 22. December 18.” B637. 79. February 24. timeless mysteriousness. In another departure from previous productions. The Wuppertal production of The Devils of Loudun marked the premiere of the revised version of the score. 33. 21 (October 17. 2. p.” Saturday Review. and seconds also are used frequently. “Music to My Ears. “Was taugt der Theaterkomponist für die Oper? Ein notwendiges Nachwort zur konzertierten Stuttgarter Penderecki-Aktion. An excerpt from the score is included with this article. 1968: 63-65.” Musical Quarterly 49.” Stuttgarter Zeitung.” Ruch muzyczny 37. Karl. ninth. B633. Opera 21 (May 1970): 418. no. 1969: 68-69. Kofin. Penderecki affirmed that he used overtones as an integral part of Dies Irae.” it “achieves a dark. “Music to my Ears. Strophes contains “extended 'triadic'” chords and a heterophonic texture. 25. “A fascinating and intense work of an expert craftsman. Kolodin. no. 1993): 1. May 10.” Saturday Review. “Los Angeles. De Natura Sonoris No.” Saturday Review. “Die Teufel von Loudun. an austerity. 1971. 26 (May 16.” B636. projections of texts by Aldous Huxley were shown during scene changes. Te Deum was one of the highlights of the 1993 Wratislavia Cantans festival. serialism and Renaissance polyphony. and a leanness not linked to 'religious' music. In a conversation with Kolodin. “Wuppertal. no. “The Passions of Penderecki.” Opera News 34. “’Wratislavia’ ma sie dobrze. no. Among other changes. 3 (1963): 36069. Ewa. He also discussed electronic music. B634.

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

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

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

his own interests in classical antiquity. Ochman. B663. “A Talk with. The piece is musically attractive. Kozlowski.” Carnegie Hall/Stagebill 8. mentioned in this interview that Penderecki's music was not difficult to sing.. Wilhelmshaven: Heinrichshofen’s Verlag. Maciej.” In Uwe Kraemer. 12 (1973): 54-58. Penderecki acknowledged that the declaration of martial law in Poland had. Kraemer. his impetus for writing the St. he stated that Polish music was better known abroad than in Poland and that he read Latin texts in the original language. Kramer claimed that the world premiere of the complete Utrenia took place in Vienna. “Muzyka w prasie. 6 (December 1971/January 1972): 21. when in fact it occurred in Münster. no. B665. Dieter Einfeldt stated that Penderecki was a fashionable. Kramer. though not modern composer. 5 (January 1986): 18. excerpts in Clavis. Among his more interesting remarks.” Kultura. B661. and religion. a soprano. Komponisten uber Komponisten. no. Il mio tesoro. This was due to its non-provocative stage directions and the banality of its music. no. with its fascinating treatment of clusters combined with the sounds of old Slavic church music. 4 (December 1992-January 1993): 5-6. a leading Polish tenor. B664. Uwe. Stefania Woytowicz.” the music is based on a polyphonic .” Neue Musikzeitung 20. 1973). “Pendereckis zugängliche Musik. no. 11 (November 1971): 494. “Pendereckis 'Teufel' in Graz. Zur Wiener Erstaufführung des ‘Polnischen Requiem’ im Konzerthaus. B662. Two sets of comments about Penderecki are provided here: Norbert Linke suggested that Penderecki owed much to the music of Schaffer. no. no. 19 (1973): 2. 22. Characterized by a “linguistic pluralism. literature. p. 1984. “Krzysztof Penderecki.. his opinions about contemporary classical and pop music. wielkiej sztuki. abridged version in “A Conversation with Krzysztof Penderecki. Dorota.” Die Presse. and his work as a teacher. 33 (August 19. Penderecki talked about the reasons for Poland's recent successes in modern music. particularly with regard to his notation and use of form. December 24.178 KRZYSZTOF PENDERECKI B659. Kramer was impressed with both the performers and the quality of the Polish Requiem.” Polish Perspectives 16. 148-50. Gerhard. performed Penderecki's music so well that others often imitated her interpretations. B660.” Ruch muzyczny 17. compelled him to write the Polish Requiem. 1972. “Auch in Wienschoß Boulez den Vogel a” Melos 38. Viel Beifall für eine enttäuschende Aufführung. 5. in part. The Devils of Loudun was given a disappointing production in Graz. Z Ochmanem rozmawia Dorota Studio 1. Ein Quellen-Lesebuch. no. Krzysztof Penderecki. Luke Passion.

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

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

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

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

BIBLIOGRAPHY

183

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.

184

KRZYSZTOF PENDERECKI

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.

BIBLIOGRAPHY

185

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.

186

KRZYSZTOF PENDERECKI

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.

BIBLIOGRAPHY

187

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

188

KRZYSZTOF PENDERECKI

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.”

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

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

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

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

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

The Concerto’s orchestral part serves as a “prime coat” for the soloist’s virtuosity.” Musik und Gesellschaft 22.” Musik und Gesellschaft 25. Jan. “Ned Rorem. since composers take the “structure of the language” into account when writing the music. He created analogies between the clerical feuds over power in 17th-century France. which was that operas should be presented in their original language. His impetus for the article was Penderecki's opinion about the same topic (see Haegenbarth's interview in Nurt. Marynowski argued that theatrical productions given in Poland should be in Polish. Markowski. no. “Country Properties. Markowski discussed the meaning of its plot. The history of Penderecki’s country home. 1987. 1992. no. while the First Symphony displays the varied possibilities of tone color inherent in orchestral writing. is summarized. Andrzej. Mass. B768.194 KRZYSZTOF PENDERECKI B767.” Musik und Gesellschaft 23 (December 1973): 712. On the occasion of the East German premiere of The Devils of Loudun.to the AIDS crisis ended up being Penderecki's I (based on Nazi collaborationist Gerhard Hauptmann's racist. Liesel. no. the American quest for imperialism in Vietnam.. June 28. 1929 soap opera about the second wave of the black death in seventh-century [sic] Europe). B772. po polsku czy w oryginalnej wersji Ruch muzyczny 33. Anaklasis explored the limits between sound and noise.” B770. “It's sad that the only conceivable contribution of the Santa Fe Opera. no. . Warsaw Voice. Markowski reviewed it favorably.. Marynowski offered an editorial on the question of whether operas in a foreign language should be translated into Polish for presentation in Poland. Anaklasis. the First Cello Concerto.” B771. If an opera was originally written in a language other than Polish. Lawrence. “Penderecki dirigierte Penderecki. Penderecki’s Partita was given its Polish premiere at the Warsaw Autumn Festival.” Opera Monthly (February 1990): 513. 6 (1989): 8-10. as are the composer's planned restoration projects for the property. 10. and percussive effects. 12 (December 1972): 760-63. describing an inner tension created by Penderecki’s exploitation of aleatorism. “Pendereckis 'Teufel von Loudun’. the priest in Devils. Grandier. then a second version must be prepared for Polish performances. while “the fable of the witch trials of the 17th century must be understood as an image of the suppression of mankind today. “'Warschauer Herbst' 1972. 12 (December 1975): 724-27. and the First Symphony were conducted by Penderecki on a concert at East Berlin's Comic Opera. was described as a martyr. and the Polish experience at the hands of German facism in World War II. tonal shadings. B769. Marynowski. Markowski.

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

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

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

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

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

“Hindemith: Violin Concerto. Penderecki: Violin Concerto. no. Prelude for Clarinet Solo. 5 (May 1984): 63-64. no. The Interrupted Thought.” High Fidelity/Musical America 16. During the course of the article. Moore implied that Penderecki’s Violin Concerto No. B809. 1 was important primarily because it was written for soloist Isaac Stern. “Krzysztof Penderecki. August 15. Although Moor never answered the question posed in his title. “Penderecki's Te Deum: Another Milestone froma Modern Master. and his methods of composing. 12.” although the solo writing was “marvelous” and there was appropriate “religious exultation.” American Record Guide 57.. He briefly described its plot and music and discussed its two previous productions in Hamburg and Stuttgart. For Polish citizens.C. Moore traced a history of Penderecki's compositional twists and turns. 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. Penderecki's occasional use of religious texts that evoke images of a free Poland is emotionally stirring. B814.” American Record Guide 55. B810. 7 (September 1977): 45. Moore. Luke Passion was “imposing. Penderecki was the Composer-in-Residence for the Conference on Contemporary Music at the 1977 Aspen Festival. B808. then turned to The Devils of Loudun. 6 (November/December 1994): 167. no. “Contemporary Solo Cello. he did acknowledge his admiration for Penderecki's music and his friendship with the composer. S. Moor summarized Penderecki's catapult to fame.M.” American Record Guide 59.200 KRZYSZTOF PENDERECKI B807.” Music Journal 35. his early influences of Schönberg and Boulez. Moore. recorded by Ivan Monighetti on Chant du Monde 2781059. p. B813. no.” Life. Moore gave the piece a mixed review. no. saying that its music was “overstated. “Talent and Trash from I. 1969. 264 (September 1970): 86-93. premiere at that time. Moor remarked on Penderecki's frequent compositional connections to Christian liturgy. In this review of a recording by the Tale Quartet (BIS 652).it simple and quite sincerely moves you. .” B812. “Denver..” B811. no. Clarinet Quartet. D. “Penderecki: Quartets 1 + 2. to be presented in the near future by the Santa Fe Opera. This mentions Per Slava. his popularity in both Poland and the West.” High Fidelity/Musical America 34. “Sexual Hysteria Set to Music. In this review of the EMI/Angel recording of Te Deum and Lacrimosa (DS 38060). String Trio. Part II of Utrenia received its U. 4 (July/August 1992): 257. no. Moor reviewed Penderecki’s childhood. 12 (1966): MA26. 1 (January/February 1996): 124. Polens Größter seit Chopin?” Der Monat 22. The Warsaw premiere of the St.S.

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

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

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

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

in Poland. 12 (December 1970). “O co nam chodzi w tym sporze?” Ruch muzyczny 16. Kraków: Polskie Wydawnictwo Muzyczne. he believed that this work should always be performed in a cathedral. 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. The Stabat Mater is based on major and minor seconds. Mycielski reaffirmed his earlier opinions (“Dziwne Ruch muzyczny. Postludia. and Stravinsky and speculated about other possible influences in Penderecki's background. 1971.” The central portion of the article is a detailed discussion of the choral parts. 1 (1972): 10. “'Stabat Mater' Krzysztofa Pendereckiego. Luke Passion immediately after its world premiere. John's Cathedral prompted this review. perhaps Warsaw's Wielki Teatr. or even equal. The use of other intervals is so rare that “the most rigorous line of a Gregorian chorale sounds almost lyrical. Reprinted in Zygmunt Mycielski. He pointed to the Renaissance as a period of similar practices. B845.” Finally. he now admitted that it was indeed “an authentic Passion. B846. for example. “List do Zygmunta Mycielskiego”. “Pasja po latach.” Ruch muzyczny 7. Mycielski briefly discussed the work's underpinnings in the compositions of Bach. 239-43. B844. Schütz. see also and Wallek-Walewski. no.” Ruch muzyczny 21. 18.” Ruch muzyczny 19. Gesualdo. Secondly. no.” Ruch muzyczny 15. and it has been widely analyzed in the press. Mycielski considered this piece to be one of Penderecki's finest achievements. The performance of the Magnificat in Warsaw's St. the greatness of Bach's efforts in that genre. In this final communication regarding Cosmogony's texts. “Muzyka w prasie. This article includes a discussion of Penderecki's links to Baroque music. no. Mycielski offered several thoughts about the St. “‘Passio et mors domini nostri Jesu Christi secundum Lucam’ Krzysztofa Pendereckiego. B847. Luke Passion has become a “classic” after only ten years of existence. According to Mycielski. In particular. Mycielski thought Czyz's interpretation of the piece was definitive. Jana. excerpts in Clavis. B848. no. or. He also compared the inventiveness of the Passion to the “stagnation” of other compositions written in the last twenty years. and “Spór czy qui pro quo?”). Its “richness of invention and colors [and] its musical dimensions” no longer surprise audiences. Liszt. . no.BIBLIOGRAPHY 205 possible to texts in order to hear what the composer did with this material?” Penderecki. B843. “Tradycja i Polska. First. the St. 1977.” Ruch muzyczny 10. no.” Wallek-Walewski. 2 (1963): 12-13. 23 (1975): 6-7. 2 (1971): 2. “Kosmogonia Krzysztofa Pendereckiego. no. 10 (1966): 3-7. no. “Penderecki w Katedrze Sw. although he had feared that this Passion could never surpass. 2 (1977): 10-11. has said that he takes great care in selecting his texts.

” American Choral Review 16. Judith. Gerhard. “II symfonia Krzysztofa Pendereckiego. Nagley. Penderecki's 'Passio': Structure and Performance. “Penderecki.” Studio (June 1998): 35. Newell. Nelson. 12 (December 1968): 469-70. “Dreimal Penderecki. This is an announcement of the publication of Labyrinth of Time in Polish and English. Penderecki's Threnody consists of many unusual sounds made by 52 string instruments. Miniatures for Violin and Piano. Nagley noted its unmistakably twentieth-century musical language as well as its links to Bach's Passions. Luke Passion. no.” Ruch muzyczny 5. no. world premiere and subsequent performances. Polish Opera & Ballet of the Twentieth Century. B853. 1688 (October 1983): 629. Paradise Lost. no. and publishing information. 5 (May/June 1990): 242-46. Luke Passion for the first time. ed.” Melos 35. vocal parts. the TV version of Devils is also listed. Negrey devoted his essay to an almost measure-by-measure analysis of the form of the Second Symphony. 24 (November 24. B854. “Labirynt czasu. Marek]. B855. 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. 21 (1961): 1-4. Maciej. Nelson briefly summarized each piece in the five “volumes” (comprising seven CDs) of Penderecki’s music issued by Polskie Nagrania. Kraków: Polskie Wydawnictwo Muzyczne. 3 (1974): 13-19. In Mycielski’s opinion. B856. Nestler.” Ruch muzyczny 27. Negrey. It is not clear whether Negrey used the original or the revised score for his analysis. these sounds helped to create a truly musical piece.” Fanfare 13. The Devils of Loudun. “Warszawska 1961.206 KRZYSZTOF PENDERECKI B849. 1. 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. Muza PNCD 017-021. Neuer. discography. and String Quartet No. no. 1986. and The Most Valiant Knight are listed in this chronicle. 1983): 3-4. “Choral Conductors Forum. Adam.” Musical Times 124. B850. mz [Zwyrzykowski. “Proms. Photos from productions of Devils and Paradise Lost accompany the citations. In this commentary on the St. B852. Translated by Jerzy Zawadzki. The works he examined were Three Miniatures for Clarinet and Piano. Poland’s state music company. Robert. no. no. David K. instrumentation. Penderecki conducted the St. B851. Excerpts from reviews are given for The Devils of Loudun and Paradise Lost. Among the details provided for each piece are their characters. . Volumes One to Five.

BIBLIOGRAPHY 207 B857. but it is not a miniature version of that work. no. Finally. she stressed the composer's faithfulness to the customary rules of form and drama in composition. Kraków: Akademia Muzyczna. B862.” Muzyka 32. His biggest discovery was Grigorii Zhislin.eine Schallplattenaufnahme. edited by Tomaszewski. this article offers several provocative ideas about Penderecki’s symphonism. “Z niektórych twórczosci symfonicznej lat Muzyka Krzysztofa Pendereckiego. 1182 (October 1988): 817. stating that with this recording “music history has captured a remarkable event. the tragedy of war. 4553. Bonn: Theater-Rundshau. Niehaus. or other aspects of human life. Michael. B861. 1 (1987): 31-53. 23-46. she noted that Penderecki's music was intensely emotional and often based on the concepts of the greatness of humanity. she divided his works into three periods (1958-1962. Newman. no. Klaus Wolfgang. 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. Jahhunderts zum Domfest 1980. “Cadenza for Solo Viola. no. Penderecki had met Christ’s Passion with the dual inspirations of religion and intellect. 45-54.” The Strad 99.” In Das Religiose in Opern des 20.” Neue Zeitschrift für Musik 128. Kraków: Akademia Muzyczna. 3 (1981): 3-4. 1974-) and discussed his stylistic evolution in detail. B859. Penderecki found Soviet orchestral . no. Manfred. Nikolska touched on several important points. Irina. B858. B860. which features the world premiere’s performers (Harmonia Mundi 3101/02). Nikolska. Despite a lack of fluency in its translation. Luke Passion on the basis of its first recording. Next.” Ruch muzyczny 25. In this lengthy essay on the evolution of Penderecki's compositional style. Niemoller. Niehaus reviewed the St. Penderecki’s Paradise Lost is included in this discussion of religiosity in 20th-century operas. Newman discussed the piece's notation. 3 (March 1967): 113-14. who performed the solo part in his Violin Concerto. 1981. form and motivic features. During his twelve-day stay in Moscow and Leningrad. 1995. creating a unified piece that speaks to the spirit of our times. “Zur musikalischen Ausdruckswelt der religiosen Oper im 20. Poetyka i Recepcja. trying to learn as much as possible about Russia's cultural background. “O ewolucji instrumentalnej Krzysztofa Pendereckiego.” In Krzysztof Penderecki: Poetics and Reception. “On Some Symphonic Works within the 80s. The composer is depicted as the logical successor to 19th-century romantic symphonism. The Cadenza shares a ternary structure and musical material with the Viola Concerto. Jahrhundert. Penderecki visited many museums and architectural monuments.” In his opinion. 1964-1973. “Krzysztof Penderecki: 'Lukas-Passion' -. even while changing other aspects of his musical style. “Penderecki w ZSRR. First. 1996. He is an ardent admirer of the piece. edited by Tomaszewski.

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

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

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

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

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

BIBLIOGRAPHY 213 B896.” Opera 49. no. Luke Passion. “Odrobina luksusu. pa. B898. 1. 4. no. West Germany. Luke Passion. and dramatic structure. no. had been overused. Symphony No. pitch structure. the concertos for flute. “Sztokholm zapowiada festiwal Pendereckiego. and Nuremberg. “Na rok przed Ruch muzyczny 37.” . The Awakening of Jacob. 19 (1976): 12. violin and viola. Luke Passion was a “tremendous occasion” for the Catholic country of Poland. 1993): 5. 20 (1977): 15. “Koncerty kompozytorskie Krzysztofa Pendereckiego. 20 (October 3. Frederick. no. Pawel. Although he thought that certain techniques.” Ruch muzyczny 20. Page.” Ruch muzyczny 37. and Threnody. Psalms of David.” Ruch muzyczny 38. The piece has “brilliant. Osaka and Tokyo. Among the scheduled pieces at a Stockholm festival commemorating Penderecki’s sixtieth birthday are Symphonies 2 -4. This article consists primarily of a list of foreign concerts of Penderecki's compositions. Capriccio for Violin. “Saint Luke for Moderns. In this analysis of the St. Orski. inventive writing.” B897.no. tonal implications. no. Violin Concerto. “Cieszyn. B900.” Music and Musicians 15 (May 1967): 28. The musical “sense” of the piece was minimized. 149. Canada. the Polish Requiem. A wonderful performance of the Polish Requiem opened the Viva Il Canto festival in Poland. B901.” Musical Times (December 1966): 1079. This is a brief notice about concerts of Penderecki's music in Guelph. The Kraków Philharmonic performed Te Deum during the Wratislavia Cantans festival. he still believed that the piece “may well prove one of the great works of our time. 2. “Warsaw. “Zagraniczne koncerty kompozytorskie Krzysztofa Pendereckiego. Japan. A staged performance of the Polish Requiem during the Penderecki Days festival was the ‘artistic scandal’ of the festival. 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. such as ostinatos and certain string sonorities. 8 (April 18. B899.” Ruch muzyczny 21. the St. and De Natura Sonoris No. 1 (January 1998): 96-97. B902. Dni Krzysztofa Pendereckiego w Krakowie. Stabat Mater. These works include Magnificat. p. Penderecki's Passion. B903. Orga commented on its orchestration. 10-12 grudnia 1993. Polymorphia. 2 (January 23. The first Warsaw performance of the St. 1993): 3. 1994): 1.

Parsons.” Das Orchester 23. 9 (1975): 554-55. 1968 radio broadcast. z Loudun z Krefeld. Threnody is heard in “startlingly clear sound” in this recording (Berlin 1012). Bodnar criticized Paradise Lost.” and harsh harmonics. 43 (October 28. The Awakening of Jacob. 1979).principally due to the treatment of its orchestra.” Tygodnik kulturalny. “Fans Fill Eastman House For Composer's Visit. The Krefeld and Mönchengladbach productions of The Devils of Loudun used many of the same personnel both on and off-stage.” American Record Guide 58.214 KRZYSZTOF PENDERECKI B904. B906. and Three Miniatures for Clarinet and Piano. 1970. In this article abstracted from a Feburary 22. no. 1995): 95. 1987. 1. Penderecki also talked about his composing habits and his conducting schedule. He thought that his Viola Concerto might be the most difficult piece ever written for that solo instrument.” B907.1 (1976): 23. 5-6 (May-June. Berg: Violin Concerto. But it was composed now. “Conducting Music Provides 'Respite'. “Klaster i masa Horyzonty muzyki. B909. Panek focused on the critical reception given that work. no. “Musik-Festival in Israel. no. November 15. and Partita) feature tone clusters. According to Palmer. no. Penderecki admitted that he does not compose for an audience. it would have been recognized unanimously as a masterpiece. but enjoys it when audiences praised his music. .” Other works performed on a Rochester concert included Cadenza for Solo Viola. “Karawana idzie dalej. Panek. Robert V. edited by Jozef Patkowski and Anna Kraków: Polskie Wydawnictwo Muzyczny. 1987. carefully structured whole. Ladislaus.. therefore it arouses controversy. the Second String Quartet is “a tightly organized miniature—not just a catalog of experimental sounds.” Rochester (NY) Democrat and Chronicle. Pataki. In particular.” Ruch muzyczny 20. Jòzef.. stating that “if it had been written slightly earlier. Three works by Penderecki presented in Jerusalem and Tel Aviv (Symphony No. Penderecki: Threnody. “Britten: War Requiem. Palmer. Patkowski. B908. 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]. Miniatures for Violin and Piano. but an emotive. B905. November 16. On the occasion of the performance of Paradise Lost at the 1979 Warsaw Autumn Festival.” Rochester (NY) Democrat and Chronicle. Patkowski used Threnody as an example of cluster technique. “bizarre glissandi. B910. Charles H. par.

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

Paradise Lost. Enduring Music. and one that resulted in such works as the St.” Studies in Penderecki 1 (1998): 9-12. In this interview with Perlmutter. Included are English translations of the texts for Dies Irae. He found it impossible to compose in a “traditional” manner in the face of the human tragedies that have occurred during his lifetime. Utrenia. na koniec wieku. and Te Deum. Penderecki lamented the homogeneity of today’s culture and questioned how artists could achieve their goals in a chaotic world. B923.” Music and Musicians 18 (September 1969): 40-42. that of following a tradition based on sacred values. edited by Ray Robinson. Five Addresses for the End of the Millenium. 2. Section 6. Cosmogony. and Seven Gates of Jerusalem. was the correct one to follow. Among the symbols embraced by Penderecki are the tree. which is itself a compilation of addresses published individually in Plus Minus and Tygodnik powszechny. Penderecki mused on the causes of his celebrity. North Carolina: Hinshaw Music. Chapel Hill. “Penderecki: Universal Themes.” Los Angeles Times. [Sketches]. 1986. Perlmutter. Labirynt czasu. Luke Passion. B922. 1995): 2-3. B919. 1998. The composer’s Christian roots serve as a recurring theme. B921. At the same time. . He suggested that the answer lies inutilizing one’s intelligence and “inner world” to free art from its current stagnation. He specifically mentioned Threnody in this context. regeneracji sztuki jest dla mnie pewnikeim. labyrinth. forest. Labyrinth of Time. p. Expanded English version. 2 (January 22. “My Iliad and Odyssey. as does his belief that while contemporary art (especially music) is in danger of decay and self-destruction. B918. He considered that decision to be a turning point in his life. and The Black Mask. Warsaw: Presspublica publishers. Donna. Schott 8244. This lecture was given by Penderecki when he was awarded an honorary doctorate by the Academy of Music in Warsaw.216 KRZYSZTOF PENDERECKI that a third option. no. and ark. The first three pages of Strophes are reproduced here. Utrenia. The English edition is an expanded. “Strofy. Cosmogony. B920. 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. without knowledge of or reference to programmatic associations. March 27. it also possesses the ability to resurrect itself. 1997. translated version of the original Polish publication. he claimed that his music could be listened to abstractly. These addresses form a major statement by the composer on the state of the arts at the close of the 20th century. This untitled collection contains color reproductions from the manuscripts of Cosmogony.” Ruch muzyczny 39.

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

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

Ludwik Erhardt. was one of Hauptmann's weakest endeavors. for example. Pociej.” it consisted of works by young composers from Poland. 1-2 (1965-1966): 15-18. Kanski surmised that “history would recognize [The Black Mask] as one of the best operas of the last quarter of our century. without Hauptmann's text. Bulgaria. “France. his style has evolved. 6 (June 1985): 66768.” Its text. nos. Pociej discussed the relationship between musical experimentation and tradition in Penderecki's compositions. B942. no. Olgierd. . no. 1983): 21-22. the opera has links to those of Richard Strauss. “Festiwal wielkiej muzyki. no. but its main features have been present in all of his compositions. and Josef “ o 'Czarnej Masce'. 22 (October 30.” Yes. the oft-repeated criticisms that Penderecki frequently changed his compositional style were “the result of insufficient acquaintance with his music. Pitt was impressed with the solution devised by set designer Serg Creuz. Charles. These three authors gave their impressions of the production of The Black Mask given by Teatr Wielki. are fused with his later emphases on melody and quotation.” Music and Musicians 18.” Ruch muzyczny 32. B941. however. In Pisarenko's opinion. The second festival sponsored by Penderecki took place in September 1983. For Erhardt.” Opera 36. “Krzystof Penderecki--en traditionell kompositör. Penderecki’s music was included in the Wratislavia Cantans festival held in B946. who was faced with the challenge of coordinating thirty scene changes. no. Bohdan. Pleasants. no. so abjectly poverty-ridden in terms of melody. 1998): 26-29. Lithuania. Henry. Subtitled “Romantic Songs. 22 (November 1.” Ruch muzyczny 42. which are characteristic of Penderecki's music from the 1960s. “Penderecki's Devils. Strasbourg was the site of a Liège Opera production of The Devils of Loudun. w dzczu. He also believed that the music of The Black Mask could stand alone successfully. “Standing Ovation dla Festiwalu. Paradise Lost was performed at the 1998 Wratislavia Cantans in honor of the composer’s 65th birthday. B943.” B945.” Ruch muzyczny 20 (October 1971): 13-15. and Armenia.” Ruch muzyczny 27. Pisarenko. harmony and rhythm. Pitt. such technical means as clusters and glissandos. In The Black Mask.” Nutida musik 9.BIBLIOGRAPHY 219 B940.2 (1988): 3-4. Strasbourg. B944. 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. 1 (September 1969): 53.

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

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

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

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

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. Erica Amelia. Redvall. and 17th-century “tafelmusik. the “most important structure of the work. Günter Krämer inszenierte Pendereckis ‘Teufel von Loudun’. thesis. “Stockholm.” B975. “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. R. Regamey rebutted those critics who claimed that in the St.” B977. Frieder. .M. Eva. Penderecki’s earlier compositions. Warsaw's Teatr Wielki gave a performance of Penderecki's The Devils of Loudun in Stockholm in January. no. In this review of the world premiere production of The Black Mask.224 KRZYSZTOF PENDERECKI B973. Musically. 250 (July 1979): 19.” Polish Music 1.A. Reininghaus summarized the opera’s plot and staging. Burkhardt. Luke Passion.” D. Penderecki had retreated from his earlier innovative style. Reiter.” Neue Zeitschrift für Musik 147. 1997. University of Arizona. B974. 4 (April 1990): 31. Regitz. Zur Inszenierung von Pendereckis ‘Verlorenem Paradies’. “Stuttgart. 21 (May 1978): 3840. Grandier.” Die Bühne. 19 (1986): 35-37. while the integration of tertial harmonies and 12-tone row techniques also play an important role. Konstanty. 3 (1966): 5-8. Reiter.” He lamented the director’s choice to set the opera in the 1930s. Regamey. B978. no. Projections of heaven and hell formed the backdrop for the climactic episode between Adam and Eve and other scenes alluding to sin and death.” Explorations and Applications (Duquesne University) 6 (Fall 1997): 19-24. B976. in his opinion. The Stuttgart production of Paradise Lost was considerably shorter than Chicago’s world premiere version. no.” Neue Zeitschrift für Musik 151. Gottvater Everding. Reinighaus commented that the lead character. Threnody succeeds as a composition due to its tight formal and harmonic control. Harmonically. “Verfremdung ohne Zielrichtung. Hartmut. no. He claimed that hints of styles from earlier centuries had already appeared in such works as Stabat Mater and Psalms of David. Reininghaus. “must have been a powerful renaissance man. “Passio et Mors Domini nostri Jesu Christi secundum Lucam by Krzysztof Penderecki. Moreover. the piece contains hints of Stravinsky. “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. “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.” Opera News 42. the [01267] pentachord is. Its libretto and music had undergone a “major” revision since its world premiere. B979. no.

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

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

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

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

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

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

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

Utrenia. s. as well as on the pre-premiere maneuverings regarding directorial and design positions. no. Washington. “Krzysztof Penderecki laureatem Nagrody im.” Stereo Review 22. S. B1029. while De Natura Sonoris No.” and a piece that helped to put Polish music on the musical map. Samson described De Natura Sonoris No. nos.. The Nonesuch recording of Capriccio for Violin and De Natura Sonoris No.C. “Wyniki konkursu kompozytorskiego Festiwalu 'MMMM'. no. 2 (February 1969): 106. no. West Berlin. no. B1030. Luke Passion. The Capriccio uses contemporary sounds within a neoclassic framework. he provided information on the work's staging and singing. no. Sadie.” Ruch muzyczny 23. Houston. Luke Passion at the Proms had been such a moving experience. 1978. 7 (April 5. while its earlier presentation at Festival Hall had “made a doubtfull [sic] impression. 1981): 2. no. 3-4 (1981): 478-81. B1028. Samson. St. “Koncerty urodzinowe Krzysztofa Pendereckiego. Jim. p. 3 (1984): 2. This article lists recent programs of Penderecki's music performed in New York City. D. and Polish Requiem. Honeggera 1977. no.” B1033. B1031. Hubert.” Music and Letters 62. “Trouble in Paradise.” Ruch muzyczny 25.232 KRZYSZTOF PENDERECKI B1025. The following works were performed: String Quartet No. Three Miniatures for Clarinet and Piano. “Recent Polish Music. and Rome. Saal. Sadie wondered why the performance of the St.” Ruch muzyczny 28. Penderecki and the Nuremberg Music Theater are trying to schedule either a concert or stage production of Paradise Lost.” Das Orchester 27. “Editorial. Salzman. 1495 (1967): 793. 2. B1026. Stanley. Penderecki was awarded the 1977 Honegger International Music Award for his Magnificat. 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.” Newsweek. Eric.” Ruch muzyczny 22. . 1 was “more abstract and probing. 11. 90. “Koncerty kompozytorskie Pendereckiego w Stanach Zjednoczonych. B1027. Saal gave the premiere of Paradise Lost a negative review. In the process. 1. 2 (February 1979): 134.” B1032. however. “Contemporary Music: Two Unquiet Streams.. “Pendereckis Lob für Nürnberg. 1 as “one-dimensional” but “exhilarating. Cello Concerto No.” Musical Times 108. H. 1 was reviewed. Stabat Mater. 3 (1979): 2. Dec. Concerts celebrating Penderecki's 50th birthday took place in Kraków. and Leningrad. 11 (1978): 3.

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

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

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

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

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

but was transformed as part of the primary melodic material in the Polish Requiem’s “Recordare. 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.238 KRZYSZTOF PENDERECKI B1067. Citing excerpts from works such as the Psalms of David. “Das B-A-C-H-Motiv in Pendereckis Lukaspassion. Schuler illustrated his thesis in a wide-ranging discussion of the motive’s thematic development. B1074. its role within a twelve-tone row and its permutations. In Schuler’s opinion. The Capriccio for Violin and Orchestra is similar in some respects to the Cello Sonata. “Traditionelle Satztechniken im geistlichen Schaffen Pendereckis. however. A performance of Anaklasis at Donaueschingen proved that a gifted mind such as Penderecki’s could maneuver itself into a dead end. This comparison of Mozart’s Requiem and Penderecki’s Polish Requiem yielded two similar motives. Schuh. This motive. Utrenia. Penderecki’s early avant-garde style of composition reached its zenith in the St. “Pendereckis Hommage an Mozart. Schuler. no. “Donaueschinger Musiktage 1964. B1070. Luke Passion. and Polish Requiem. Penderecki’s Sonata for Cello and Orchestra is not a typical example of a sonata. Luke Passion. B1072. 6 (November-December 1964): 358-61. St. B1071. be linked to the futurist works of a half-century earlier. The solo part is technically difficult. 6 (November/December 1960): 370-71.” “Dies Irae. Manfred.” Kirchenmusikalisches Jahrbuch 65 (1981): 105-11. “Tonale Phänomene in Pendereckis 'Lukas-Passion'. He pointed out tonal treatments in “Stabat Mater” and “Crux fidelis” and described Penderecki’s incorporation of as a tonal phenomenon.” Schweizerische Musikzeitung 104. no. particularly in its wide range of string effects.” Schweizerische Musikzeitung 104. Magnificat.“ Die Musikforschung 45.” It should not. B1068.” Schweizerische Musikzeitung 100. “Donaueschinger Musiktage 1962.” Melos/Neue Zeitschrift für Musik 6. In Schuler’s opinion. Domine.” Schweizerische Musikzeitung 102. “Donaueschinger Musiktage 1960. 6 (November-December 1964): 372-73.” and “Libera me. Schuler described how Penderecki incorporated elements .” B1073. the B-A-C-H motive plays a central structural and symbolic role in the St. Luke Passion—a piece that can also be analyzed tonally (at least in some passages). and its significance as a symbol of the cross. no. Melodies are rarely heard. “Donaueschinger Musiktage 1967. 2 (November-December 1976): 457-60. 3 (July-September 1992): 279-82. 6 (November-December 1962): 363-64. one of which was integrated seamlessly into several movements of the latter work. and the soloist often serves as an acrobat. no.” Kirchenmusikalisches Jahrbuch 75 (1991): 119-215. Fluorescences marked the continuation of Penderecki’s experiments with “organized noise. was not directly quoted by Penderecki. Jesu pie” in Mozart’s Requiem. Willi. B1069. no. no. from the “Recordare.

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

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

Encounters. and his predilection for composing pieces on the topic of man's inhumanity to man. Werkkommentare. both with his jazz piece Actions. Biography and Musical Commentary. Schwinger devoted much of the first half of this article to a discussion of Penderecki's musical career. 2 (1972): 149-50. A works list and discography are included. Stuttgart: Deutsche VerlagsAnstalt. “Germany/The Avant-Garde. “Penderecki and 'The Devils'.” Opera 24. . B1090. Luke Passion. B1089.” B1091. The composer's early exploration of the distinctions between sound and noise led him to write the St. no. 1 (1972): 39. Penderecki had his conducting debut and a world premiere at the 1971 Donaueschingen Music Days. whose German edition is currently the most up-todate. Luke Passion.” Musica 26. 1989. 1 (1968): 4-7. 1979. summarizing its plot and describing its high points. Furthermore. He also described other links between the Psalms and Stravinsky's Les Noces and Symphony of Psalms. This tome. Schwinger then turned to The Devils of Loudun. Schwinger perceived a line of development in the elements that occurred in Psalms of David and then reappeared in the St. emphasizing the composer's exploration of new sound resources in his early works. translated by William Mann. Penderecki: Begegnungen. Expanded edition. Penderecki's Sonata for Cello and Orchestra with soloist Siegfried Palm was the hit of the 1964 Donaueschingen Festival of Contemporary Music.” Musical America 84 (December 1964): 78. “Musiktage mit Träumen und Ragas. 1994. Krzysztof Penderecki.” Musica 22. “Neues von Ligeti und Penderecki. After describing the explosion of musical activity that occurred in Poland beginning in 1956. as are numerous photographs and score excerpts. Lebensdaten. 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. Werkkommentare. Mainz: Schott. His Life and Works. no. Schwinger’s biography of Penderecki and analysis of his compositions is the seminal work on the composer. the “super-Paganinilike [sic] escapades” in its second movement were applauded so vigorously that the movement was repeated immediately.” Musica 26. its analytical section is the most comprehensive in print. “Magische Klanglandschaften—Krzysztof Penderecki und die polnische Avantgarde. no. New York: Schott. The composition has few of the improvisational passages typical of jazz pieces. A virtuosic piece. his later utilization of more traditional elements. B1088. Originally published as Penderecki: Begegnungen. Schwinger turned to Penderecki’s music. Penderecki’s Prelude is a work of “calm and rebellion. 11 (November 1973): 961-66.no. Lebensdaten.BIBLIOGRAPHY 241 B1087. B1092.

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

BIBLIOGRAPHY

243

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

244

KRZYSZTOF PENDERECKI

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.

BIBLIOGRAPHY

245

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.

246

KRZYSZTOF PENDERECKI

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.

BIBLIOGRAPHY

247

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.

248

KRZYSZTOF PENDERECKI

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.

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

Stilz.” B1144. Bei den Donaueschinger Musiktagen 1971. in her role of Jeanne. 5 (September/October 1980): 458. “Renaissance der Melodie: Uraufführungen im Dürerjahr. Stone. “Paris. no. Stilz compared several of the major dramatic parts of the St. Stilz compared the division of vocal parts in the St. Luke Passion and Bach’s St. no. 2 (February 1972): 88-89. Also in Nürnberger Nachrichten. 12 (1971): 615. 7-8 (1970): 319-25. 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. Sterritt devoted most of his article to comments on the religious and moral meanings of both pieces. B1147. nos. Penderecki's contribution was Polymorphia. given its French premiere in Marseillesin February.” Opera News 36 (April 1. This brief report on a performance of Cosmogony in Nuremberg included a mention of the piece’s multiplicity of texts. was applauded by both the audience and this critic. Recordings of Utrenia (RCA LSC-3180) and The Devils of Loudun (Philips 6700 042) were reviewed here. In this section. 2 (1964): 260-71. 4. B1146. 1971. David. September 24.19. In the main portion of the article.” Neue Zeitschrift für Musik 133. Matthew Passion. . 1971. Sterritt. B1145. David. Ernst. Rudolf.' Versuch einer Gegenüberstellung mit Teilen der ‘Matthäus-Passion’ von Bach. as the best vocalist. Kurt. After a brief review of Penderecki’s career. B1148. he provided information on the orchestration and text settings of each part of the piece. Stevens described the set design and singled out Hélia T'Hézan.” Das Orchester 19. The live recordings contain compositions by fourteen Polish composers. Stevens. as conductor. “Rauschen auf G. The Devils of Loudun. gave a “clear and sensible interpretation of the complex score. 1972): 35. p. etablierte Avantgarde von gestern.250 KRZYSZTOF PENDERECKI Penderecki. Stöckl. Matthew Passion. B1149. “Reviews of Records. A concert presentation of Paradise Lost allowed Stöckl to realize just how graphically the music of this opera reflects its plot. Luke Passion and Stravinsky’s Symphony of Psalms. no. Luke Passion to their counterparts in the St. “'Musica sacra britannica'. “Pendereckis 'Lukas-Passion. Stöckl briefly described Actions as a mixture of jazz and symphonic music. Konzertante Aufführung von Pendereckis: Sacra rappresentazione ‘Das verlorene Paradies’. Oct.” Neue Zeitschrift für Musik 141. “Penderecki: Two Modern Masterworks. He then noted several similarities between the St. B1150.” Musical Quarterly 50. no.” Christian Science Monitor.” Musik und Bildung 2.

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

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

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

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

Prelude. 9 (1990): 1. B1179. Symphony No. no. He also designed a new instrument for the piece. . 1979. 2.” In Muzyka instrumentalno-wokalna kompozytórow Krakowskich. Dimensions of Time and Silence. no. although the later piece had more sophisticated “orchestration. a tubaphone. 4 (February 23. John. Karol. 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. Kraków: Wyzsza Muzyczne. sesji naukowej. 4. Jacek. 1960): 6. performed at the 1960 Warsaw Autumn Festival. 1 and De Natura Sonoris No. 1989. He also discussed the acoustical properties of selected passages from the first third of the piece. “Penderecki podsumowuje 3000 lat. features “wonderfully contrasting” instrumental sections. Cadenza. Several of Penderecki's compositions were presented at the 1993 Szlezwik-Holsztyn Festival. unusual coloristic effects. Szlezwik-Holsztyn '93. “Nasi w Holandii czyli Nowej Muzyki w Hadze. and motives similar to those in the composer’s Clarinet Quartet. The Seven Gates of Jerusalem. and the cello version of the Viola Concerto. September 2. B1181. which is modeled after traditional Australian instruments. “Prywatny polski festiwal w Niemczech. The 1990 Poznan contemporary music festival “Musical Spring” included a performance of The Superhero (“Najdzielniejszy”). B1180. 2. XXX Wiosna Muzyczna’. with music by Penderecki and Marek Stachowski. commissioned by the Festival. was given. heard in its world premiere performance. 1-16. “IV Warszawska. The world premiere of his piece for clarinet quartet [Quartet for Clarinet and String Trio].” Ruch muzyczny 34. Penderecki conducted excerpts from the Polish Requiem at a memorial concert in Warsaw. Penderecki admitted that links exist between this piece and his St. no. 1997): 8-9. Tarnowski. Per Slava. 3 and the “Sanctus” from the Polish Requiem.” New York Times.” Ruch muzyczny 51. 5.” Tygodnik Powszechny 42 (October 16. Szwajgier asserted that each piece complemented the other in mood. Penderecki's Miniatures for Violin and Piano was performed in March in The Hague. Targosz. Flute Concerto. In Targosz's opinion. Tagliabue. Luke Passion. “Festiwal à la mode.” B1178. contains clear allusions to Orthodox church music.” Ruch muzyczny 37. Three Miniatures.BIBLIOGRAPHY 255 In this comparison of De Natura Sonoris No. String Quartet No. B1184. B1183. “Jaruzelski and Solidarity Leaders Honor the Victims of World War II. p. 19 (1993): 3. no. Dorota. Szwarcman. “'Dies Irae' Krzysztofa Pendereckiego. Sinfonietta per archi. 10 (1988): 14-15.” Ruch muzyczny 32. as were Threnody. B1182.

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

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

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

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

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

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

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

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

and even Mussorgsky.” In Taniec ze 206-28. Among the piece's few redeeming values was its introduction of new sound effects that could be used in film. K. Stuttgart stage director Günter Rennert provided a more operatic and rational interpretation than did his counterpart in Hamburg. no. B1240. The reviewer described the piece derisively as one in which the strings “whine. Wagner. 28.” In Harfy na 212-23. B1239. B1242. [and] knock. chirp. no. . Adam.” Neue Zeitschrift für Musik 152. “Als das Fluchen noch geholfen hat. The second half is a biography of Penderecki. 1970. radio plays. 3 (August 1961): 235-39.” Music Review 22. 1969. W. The Stuttgart production of The Devils of Loudun was strikingly different from its Hamburg world premiere. Melos 36.264 KRZYSZTOF PENDERECKI B1237. “Revision durch Regie. Wagner turned to the music and drama of the newly completed opera. S. W. A concerto-like effect was produced by contrasting masses of string sounds with sections for percussion and “instruments producing modulated frequencies. albeit an unintentional one. po raz trzeci. 1984. Anaklasis features a pointillist treatment of timbres and expanded sound resources. Musically it is highly reminiscent of Rossini.. and stage music. Jerzy. B1241. Konrad The interpretative variations of the individual characters were so pronounced that one of the protagonists. z Loudun'. Kraków: Polskie Wydawnictwo Muzyczne. 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. June 25. Among the works selected for performance at the third Festival were Penderecki's Cadenza for solo viola and his Capriccio per Siegfried Palm.” Musik und Gesellschaft 15 (December 1965): 855-58. which took place six years after the world premiere and was decidedly less risqué than its earlier productions. scream. W.” Ruch muzyczny 28. 24 (1984): 8-10. J. Wagner. 7/8 (July/August 1969): 322-25. no. Rainer. seemed like a completely different person in Stuttgart than he had been in Hamburg. Threnody was performed by the Leipzig Radio Symphony Orchestra. p. Rennert inszeniert Pendereckis 'Teufel von Loudon' in Stuttgart. 9 (September 1991): 41-42. Waldorff concluded with comments about the Polish premiere of Devils. “Palermo: The New Fairground for Contemporary Music. Waldorff. Klaus. After a brief description of the various attempts and delays encountered by Penderecki in completing Ubu Rex. Mozart. squeal. Pendereckis ‘Ubu Rex’ in München uraufgeführt..” B1238. nos.” It is not far removed from being a comedy. Grandier.” Frankfurter Allgemeine Zeitung. Kraków: Polskie Wydawnictwo Muzyczne. “Ereignisreiche Festkonzerte. the first half also appears as z Loudun'. howl.

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

since Penderecki was revered as a national hero in Poland. 1988): 8. Marian. 1 (1972): 8-9. He wondered if this “excess” of texts was a sign of a composer who had “nothing to say. B1255. 224 (September 21.” B1256.” Ruch muzyczny 16.” Ruch muzyczny 32.. Helen.” The Strad 104. including Penderecki. “List do Zygmunta Mycielskiego. no. no. “'Jutrznia' czyli skok o tyczce. to explore new sounds and new treatments of traditional sounds for acoustic instruments. Wallace. Emanations. The composer had responded with pieces that were often linked symbolically.” B1254. if not musically. Anaklasis. “Penderecki 60th-Birthday Concert.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. “W Penderecki. 1805 (July 1993): 419. B1253. 1959). then pronounced this piece “tiring and. He then recalled that the Polish government previously had wanted Penderecki to write so-called “commissioned” works—that is. Wallek-Walewski. Wallek-Walewski's opinion of Utrenia was mostly negative. and moral values. directed by the composer. Cosmogony.” Gazeta Krakówska.boring. “Muzyka w prasie. no. “Muzyka w prasie. 8' 37” (later . 1971) by questioning why a great composer such as Penderecki would set so many texts in one piece. B1251. w swój czas. 11 (1971): 2. 5 (January 30. pieces that were stylistically acceptable to the government.” Odra (March 1971): 69-73. Musical Times 134. 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. 1421 (September 1993): 872. He reviewed the premieres and dedicatees of the various parts of the Requiem that had been performed separately durimg the 1980s. B1252. Wallek-Walewski called it “the most individual and independent work by young composers performed at the Festival to date. excerpts in Clavis.. The first Warsaw performance of Penderecki's Polish Requiem was greeted enthusiastically by Waldorff. no. 6 (1988): 13.” Polityka no. to the fate of the nation. Musical examples were drawn from Strophes.” He acknowledged that he would be attacked for his assessment of this piece.” Ruch muzyczny 15. Wallek-Walewski responded to Mycielski (see Ruch muzyczny no. Penderecki had also developed new notational signs for these sounds and articulations. The author began by suggesting that the development of electronic music and musique concrète had led many composers. excerpts in Clavis. “Impresje z 'Warszawskiej Jesieni’. 18. religion. He discussed the dilemma of evaluating the success of a composition against a framework of literature. Strophes was given its world premiere performance at the 1959 Warsaw Autumn Festival. no. 17 (1960): 1-2.” Ruch muzyczny 4. no. Dimensions of Time and Silence. no.

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

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

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

In response to the widespread dismay over the Lyric Opera's commissioning of Penderecki to write an opera for America's Bicentennial. then briefly described Penderecki's overall musical style before proceeding to a detailed discussion of Dies Irae. one who had already written a successful opera (The Devils of Loudun). As part of his 60th birthday celebrations. Williams praised the work’s “dramatic scheme. 1738(December 1987):704-705. p.D. “Krzysztof Penderecki's 'Dies Irae'. Section 6. Williams. Nicholas. and the fifth movement containing material from the first. B1281. The sources of text for this piece were delineated. Wilkey opened his article with a summary of twentieth-century Polish musical life.” but criticized its “brash” writing and “neo-expressionist” style.270 KRZYSZTOF PENDERECKI B1278. with the fourth being a recapitulation of the second. October 14. A Conductor's Introduction. The composer remarked that the piece was in five “inter-related” movements. Wimbush. 3. Thomas. no. The Magnificat is analysed as an example of “sound surface composition. Jay W.” Musical Times 128.and extrovert scoring. Winkler. as were the various instrumental and vocal techniques called for in its score. “Wojciech Has’ Whimsical ‘The Saragossa Manuscript’.” 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. A recording of the First Symphony was to be made by EMI the day after its world premiere. 1973. January 16.. 600 (May 1973): 2037. 1973. “LSO/Rostropovich. B1280. since full houses for each performance would be necessary to pay the company's expenses. Prior to a showing of The Saragossa Manuscript. 1998. Wilmington gave a somewhat humorous accounting of the movie’s plot and stated that Penderecki had provided a “wittily eclectic score.” B1283. Mstislav Rostropovich performed the solo part of a piece written for him—Penderecki's Second Cello Concerto. Wilmington. Gerhard. “Penderecki to Composer Opera-Oratorio for Lyric. B1284. “Das Magnificat von Krzysztof Penderecki und seine Stellungn im Vokalschaffen des Komponisten: Ein Beitrag zur Geschichte der Klangflachenkomposition. Section 2. B1282. 4. 1986. The subject of the new piece was unknown when this article was written.” ..” Ph. Penderecki fit all of these requirements. May 17. B1279. no.” Choral Journal 10.no. and one whose music would not keep audiences away. Willis. Roger.” Chicago Tribune.” Chicago Tribune. He also mentioned that an early interest in electronic music delayed his work with orchestras. “Here and There. 6 (March 1970): 14-16. Willis said that he supported the Opera's choice. the Opera needed a composer of international stature. Wilkey.. p. “ T h e Lyric's Banking on a Superstar. In his view. Michael. University of Salzburg.” Gramophone 50.

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

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

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

” Musical America 109. B1306. contains shockingly new sounds. 1988. In response to Hume's article of September 23. no. the tension created merely by living there comes through clearly in his music. but AIDS. Zajaczkowski.at the same time he could entertain the public. 4 (1980): 44-50. “This Composer Unmasks His Ideas. no. 1973. . C7. August 8. by the huge pictures of African children that were used as the backdrop for the Sante Fe Opera production of this opera. 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. October 14. according to Zakariasen. This article is similar to the one published in the New York Daily News on August 8. “Santa Fe Opera: Penderecki 'The Black Mask' [U. the composer's early “shocking” style of composition and his later romanticism were combined successfully. Bill. In Zakariasen’s opinion. B1309. B1307. 1988. Penderecki's Canon. Waclaw.'Foreigners'. 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.. no.” B1305.. “VI Warszawska Kierunki.274 KRZYSZTOF PENDERECKI B1304. In the recently premiered The Black Mask. Zakariasen. 1962): 3. 1988. “Warsaw Autumn 1980. 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.. In the Capriccio for Tuba. “Letters to the Editor. p. “soloist Zdzislaw Piernik could let himself run riot on his instrument.S.. premiere]. Zakariasen proposed an alternative interpretation of The Black Mask—that the disease threatening the main characters was not the black plaque. carried by “a former black slave from central Africa. 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. Among its features are a 208-voice stretto and the use of a retrograde canon. Penderecki stated that living in Communist-controlled Eastern Europe had made the topic of death a “haunting” one for him. 10. Did the 24th Festival of Contemporary Music Bring Anything That Was Essentially New?” Polish Music 15.” New York Daily News. 39 (September 30. perhaps.” This interpretation was suggested. performed at the 1962 Warsaw Autumn Festival. In his opinion. B1308. September 14.” 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. “Is This Really Necessary?” New York Daily News.” Washington Post. 1 (January 1989): 44-45.

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

24. Canon. Threnody. B1317. Penderecki “is probably the greatest colorist among young composers. The author also provided general comments on Penderecki's compositional style. B1318. Penderecki's Magnificat was given an overwhelmingly positive review. 41 (October 6. Zielinski described each of the work’s six sections. B1320. “O polskiej muzyce na Festiwalu. The Latest Styles. In opinion. 1973. this work is not equal in quality to the composer's earlier works for strings. whistled. the string quartet literature was expanded to include a work whose sounds were chosen chiefly for their coloristic qualities. Threnody. The rigor of its counterpoint and its harmonic material in general was particularly impressive. which enriched the composition's timbral possibilities. “Poland. kierunki i twórcy muzyki XX wieku. 1.” Musical America 84 (January 1964): 57. Dimensions of Sound and Silence. linking it to the traditions of Liszt and Berlioz. In his opinion. Dobrze i Ruch muzyczny 6.” Ruch muzyczny 5. no. Style. but they quickly realized that it was also quite expressive. devoted four pages to a discussion of Penderecki’s compositions. no. Penderecki's Polymorphia was performed at the 1963 Warsaw Autumn Festival. while the chorus hissed. 22 (1962): 3-5. 7(1975): 5-6. He described his revolutionary treatment of sound within specific dramatic settings. B1316. Warsaw: Centralny Metodyki Upowszechnienia Kultury. no. 12 (1961): 17-18. Dimensions of Time and Silence is a “fresh and mature composition. . 1 were performed at the 1962 Warsaw Autumn Festival. and Psalmus 1961). 1960): 7. Initially. In the last portion of the article. and briefly described the Magnificat's seven parts. and murmured. “'Magnificat' Krzysztofa Pendereckiego. He described Threnody's form and innovative string techniques and the sound sources and form of Psalmus 1961. and his individuality in this area is beginning to be truly striking. such as Threnody. and Fonogrammi) and expressionist (Anaklasis. no. and String Quartet No. Both Canon and String Quartet No. He then divided Penderecki's output to date into two categories: neo-impressionist (Strophes. focused on three of the works by Penderecki that had yet to be heard publicly in Poland: Anaklasis. With the latter piece. many listeners were shocked by its originality.” Ruch muzyczny 19.276 KRZYSZTOF PENDERECKI non-traditional sound sources as a typewriter and parchment paper. “Nowe utwory Krzysztofa Pendereckiego.” B1321. Penderecki's development of musical language has followed a consistent path. the most interesting feature of Anaklasis was its large percussion section. “Polska muzyka na 'Warszawskiej Przeglqd kulturalny. B1319. and Psalmus 1961.” The strings' timbres sounded at times like birdsongs.

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

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

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

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

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

1965 Sport Etudes (“Etiudy sportowe”). electronic music for feature film. 1968-1970 Je t’aime. 1965 The Superhero ("Najdzielniejszy"). 1967 Capriccio for Violin and Orchestra. je t’aime ("I love you. 1966 Dies Irae for soprano. feature-film electronic music. 1965 The Magic Grinder ("Czarodziejski music for puppet theater. music for theater. revised c. cello. bass. orchestra. mezzo-soprano.282 KRZYSZTOF PENDERECKI I Come to Tell a Story music for theater. 1964 Capriccio for Oboe and 11 Strings. 1968 The Devils of Loudun. Luke Passion”). 1 for orchestra. 1965 Sweet Rhythms rytmy). two mixed choruses. 1964 The Saragossa Manuscript znaleziony w Zaragossie"). 1967 Capriccio for Siegfried Palm. 1966 Codes (“Szyfry”). 1964 Mother ("Matka"). 1965-66. incidental music. and bass soloists. tenor. 1968-69 Utrenia. incidental music for puppet theatre. film music. opera.” soprano. tenor. 1966 The Bells Are Tolling dzwony"). wind ensemble. 1965 The Magic of Circles ("Czar short-film electronic music. film music. 1969-70 . boys’ choir. and basso profondo soloists. speaker. 1967 Legend of the Five Brothers o braciach"). mixed choir. 1967 Concerto No. transcribed for cello 1971-72 Pittsburgh Overture. 2. 1966-67. electronic music for theater. I love you"). 1965 Passio et mors Domini nostri Jesu Christi secundum Lucam (“St. 1965 He Left Home z domu"). 1968. music for puppet theater. baritone. soprano. three mixed choirs. 1965 The Famous Story about Troilus and Cressida historia o Troilusie i Kressydzie"). and bass soloists. short-film music. and orchestra. 1964 Ubu Roi. Includes In pulverum mortis and Miserere De Natura Sonoris No. 1968 Quartet for Strings No. and orchestra. 1965 Ungodly Comedy ("Nieboska komedia"). 1964 Polish Ballad ("Ballada polska"). short-film electronic music. music for theater. Part I “The Entombment of Christ. children's opera. music for theater. 1 for Violino Grande (or Cello) and Orchestra. 1966 Descent to Hell.

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

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

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

.

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

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

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

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

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

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

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

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

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

B1201. B340. B532. 415. 1. Robinson. Cztery eseje. B533. B1099. B1288. B1173. B226. B1083. Teresa. B878. Ray and Allen Winold. B180. B922. B1289. Tomaszewski. B1002. Krzysztof. 1106. B1091. B1004. B998. B1002. B864. B1135. editor. wokalno-instrumentalnych Krzysztof Penderecki i jego muzyka. KRZYSZTOF PENDERECKI Robinson. Studies in Penderecki. B176. Ray. Luke Passion. Technika chóralna w Krzysztofa Pendereckiego. B999. Wolfram. vol. [sketches]. B1200. Krzysztof Penderecki. editor. B920. Schwinger. B209. B1109. B63. B1100. Ray. B204. His Life and Works. . B759. B1105. 861. The Music of Krzysztof Penderecki: Poetics and Reception. Robinson. B1202. B993.296 Penderecki. Tomaszewski. A Study of the Penderecki St. Krzyszt of Penderecki: A Guide to His Works.

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

253. 221. 86. 22. 289 Brothers Karamazov. 284. 200. 141. 285. 195. 176. 123. 290 Concerto for Flute and Orchestra. 275. 136. 13. 121. 168. 136. 175. 156. 187. 266. 141. 2. 168. 168. 193. 130. 271. 258. 213. 10. 232. 225. 270. 20. 56. 19. 262. 238. 54. 217. 163. 294 Canon. 284. 115. 151. 225. 291 . 20. 213. 242. 134. 281. 11. 168. 90. 17. 12. 271. 281. 291 Concerto for Violin and Orchestra. 186. See Silence Codes. 147. 129. 23. 179. 160. 83. 176. 215. 18. 112. 221. 97. 280. 158. 279. 93. 291 Concerto for Viola and Orchestra. 114. 271. 99. 217. 276. 212. 186. 218. 251. 130. 53. 102. 290 Concerto for Cello and Orchestra No. 20. 208. 246. 19. 240. 290 Cantata in honorem Almae Matris Universitatis Iagellonicae. 19. 88. 283. 52. 229. 2. 287 Concerto for Cello and Orchestra No. 21. 124. 263. 271. 289 Capriccio for Siegfried Palm. 52. 22. 166. 92. 254. 129. 19. 121. 90. 21. 267. 112. 240. 221. 143. 226. 256. 229. 152. 208. 108. 151. 251. 134. 285. 128. 56. 211. 120. 243. 18. 277. 101. 249. 19. 100. 23. 213. 55. 104. 130. 265. 290 Concerto for Piano and Orchestra. 281. 168. 224. 139. 22. 274. 281. withdrawn. 112. 282. 183. 290 Concerto Grosso for Three Cellos and Orchestra. 146. 93. 214. 45. 117. 13. 84. 120. 294 Concerto for Violin and Orchestra No. 197. 204. 19. 216. 255. 207. 154. 55. 201. 282. See Our God's Brother Brigada See Brigade of Death Brigade of Death. 162. 231. 290 Concerto for Violin and Orchestra No. 220. 198. 291 Canticum Canticorum Salomonis. 189. 272. 122. 1. 256. 260. 162. 288 Bitterness. 290. 184. 87. 283. 252. 109. 86. 121. 20. 13. 282. 125. 169. 181. 61. 18. 128. 81. 177. 219.298 KRZYSZTOF PENDERECKI dzwony. 95. 132. 93. 173. 263. 176. 113. 147. 218. 185. 207. 137. 157. 240. 225. 287 Concert at Wawel. 157. 210. 133. 136. See Brothers Karamozov Brat naszego Boga. 22. 281. 184. 138. 283. 186. 292 Blacksmith. 265. 157. 246. 244. 118. 253. 224. 260. 210. 283. 112. 119. 94. 144. 239. 198. 283. 92. 185. 93. 136. 167. 245. 274. 115. 239. 53. 116. 284. 281. 110. 289 Capriccio for Tuba Solo. 224. 17. 114. 177. 93. 247. 283. 221. 154. 284. 214. 264. 142. 288 Burlesque Suite from Ubu Rex. 153. 245. 213. 123. 13. 274. 208. 155. 248. 58. 91. 20. 54. 282. 291 Capriccio for Oboe and 11 Strings. 102. 58. 182. 199. 57. 199. 95. 158. 138. 149. 264. 124. 198. 98. 256. 124. 289 Braci Karamazów. 185. 255. 289 Capriccio for Violin and Orchestra. 164. 118. 252. 237. 271. 217. 145. 239. 129. 151. 141. 107. 121. 85. 191. 141. 168. 102. 20. 187. 111. 188. 55. 290 Cadenza. 290 Cisza. 52. 89. 135. 1. 21. 79. 218. 255. 91. 207. 209. 232. 154. See Bells Are Tolling Bird’s Milk. 101. 164. 287 Black Mask. 88. 181. 281. 82. 288 Coffee Grinder. 14. 163. 233. 282. 21. 281. 53. 289. 160. 223. 137.

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

282. 192. 135. 288 Little Tommy Tiptoe. 39 Largo. 281. 27. 100. 146. 139. 280. 288 Jak See How Little Hanna Came to an Agreement Kidnapping. See For Whom the Bell Tolls Koncert wawelski. See General and the Fly. je t’aime. 117. 292 I Come to Tell a Story. 29. 27. 28. 289 Lis See Loitering Fox Little Tiger. 281. 172. 288 KRZYSZTOF PENDERECKI He Left Home. 200. 30. 28. 170. 285. 285. 288 Loitering Fox. 180. 168. 288 How Little Hanna Came to an Agreement with the Bear. 281 Lucerne Fanfare. 268. 254. 288 Forefathers. 281. 29. 287 Formy. 282. 288 In pulverum mortis. 30. 31. 225. 62. See General and the Fly Gorycz. 104. See Blacksmith Król Midas. 28. See Forms Funeral Song. 13. See Juggler Wearing a Crown Lacrimosa. See King Midas Królowa See Snow Queen Kuglarz w koronie. 288 Forms. 30. 292 Hymn to St. 291 Legend of Bulandra the Miner. 288 Juggler Wearing a Crown. 31. 287 Komu bije dzwon. 288 Legend of the Five Brothers. 84. 281. Adalbert. 93. 291 Intermezzo. 30. 11. 281. 29. 13. 29. 181. 30. 283. 193. 115. 30. 280. 85. 61. 28. 282. 29. 281. 30. Daniel.300 For Whom the Bell Tolls. 263. 285. 292. See Magic Jug. 287 King Midas. 184. 291 Larghetto. 28. 83. See Concert at Wawel Kowala. 288 Hymn to St. 28. 280. 287 General i mucha. 287 . 31. 29. 138. 13. See Bitterness Grandfather’s Wink. 288 Magic of Circles. 283. 124. 29. 64. 30. 28. 290 Magic Grinder. 282. 29. 285. 175. 280. 36. 290 Hania z misiem with the Bear Je t’aime.

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

289. 108. 255. 99. 188. 186. 82. 141. 106. 288 Sicut locutus est. 154. 213. 291. 289 Ptasie mleczko. 188. withdrawn. 38. 162. 275. 284. 289 Quartet for Strings. 263 Silence. 37. 171. 292 Sextet. 38. 270. 281. 224. See Kidnapping Prelude for Clarinet. 70. and Finale. 241. 171. 213. 218. 112. 37. 40. 202. 183. 239. 287 Polish Ballad. 277. 96. 290 Portrait of a Conductor. 67. 2. 161. 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. 283. 144. 39. 178. 37. 229. 83. 268. 200. 176. 181. 276. 221. 215. 255. 284. 238. 255. 243. 12. 86. 37 Prelude. 291 Seven Gates of Jerusalem. 177. 144. 153. 289 Quartet for Four Violins. 217. 12. 87. 183. 202. 101. 145. 294 Polymorphia. 282. Visions. 83. 217. 184. 279. 234. See Pocketknife Serenade. 36. 137. 180. 87. 284. 232. 223. 188. 289. 160. 294 Quartet for Strings No. 107. 66. 271. 89. 30. 65. 198. 118. 249. 173. 138. 203. 117. 250. 279. 66. 273. 134. 117. 214. 187. 269. See Bird's Milk Quartet for Clarinet and String Trio. 288 Polish Requiem. 11. 276. 291 Psalmus 1961. 212. 249. 257. 290. 271. 172. 35. 115. 141. 67. 37. 34. 95. 241. 225. 107. 184. 84. 253. 192. 86. 198. 216.302 KRZYSZTOF PENDERECKI Pittsburgh Overture. 200. 267. 235. 233. 181. 90. 89. 290. 198. 36. 285. 39. 39. 163. 197. 231. 93. 206. 38. 289 Shoemaker’s Twine. 269. 96. 165. 168. 261. 161. 36. 180. 283 Professor Serduczko. 290. 282. 255. 253. 40. 291 znaleziony w Zaragossie. 265. 235. 235. 37. 45 . 279. 238. 107. See Saragossa Manuscript Request for the Joyous Islands. 24. 289 Saragossa Manuscript. See Adventures of the Warsaw Bear Psalms of David. 269. 67. 276. 38. 240. 106. 282. 287 Scyzoryk. 277. 254. 294 Pocketknife. 273. 44. 215. 279. 233. 141. 167. 88. 213. 118. 80. 155. 11. 292 Roland Szalony. 93. 221. 123. 11. 13. Keyboard. 30. 36. 13. 252. 120. 168. 289 Recordare. 142. 255. 136. 227. 254. 38. 238. 291 Prelude for Winds. 138. 133. 69. 271. 39. 280. 39. 217. 105 Quartet for Strings No. 69. 154. 85. 144. 187. 261. 240. 284. 37. 198. and Double Basses. 275. 162. 153. 262. 8. 68. 1. 16. 260. Percussion. 102. 188. 93. 89. 38. 266. 212. 209. 152. 232. 37 Porwanie. 267. 36. 92. 209. 169. 280. 62. 285. 262. 103. 256. 223. See Roland the Mad Roland the Mad. 282. 147. 196. 277. 281. 123. 211. 65. 84. 280. 228. 182. 280. 234.

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

See Little Tiger Ubu Rex. 75. See Tour of the Cosmos z domu. 234. 155. 45. 225. 162. 193. 159. 229. 236. 146. 200. 187. 46. 141. 243. 110. 166. 280. 284. 223. 119. 97. 264. 129. 157. 220. 43. 192. 287 Were You But a Dream. 201. 282. 107. 259. 70. 263. 168. 104. 96. 181. 46. 87. 33. 187. See He Left Home Zwyrtala the Musician. 40. 238. 189. 145. 200. 283. 290 Threnody. 95. 200. 10. 46. 45. 89. 280. 255. 289 Three Pieces in Antique Style. 137. 221. 168. 242. 228. 281. 150. 247.304 KRZYSZTOF PENDERECKI Te Deum. 210. 166. 169. 81. 212. 182. Rim-cim-ci!. 216. 208. 284. 177. 140. 214. 75. 232. 172. 223. 183. 249. 220. 122. 103. 111. 159. 239. 44. 93. 118. 120. 180. 267. 119. 289 Ut quia. 179. 275. 216. 288 . 281. 109. 46. 165. 168. 184. 112. 225. 77. 156. 193. 11. 17. 287 Unterbrochene Gedanke. 47. 167. 45. 213. 292 Ubu Roi. 149. 276. 46. 206. 128. 163. 216. 176. 253. 214. 85. 284. 288 Uninhabited Planet. 120. 246. 280. 176. 217. 281. 259. 269. 155. 76. 281. 140. 256. 133. 244. 284. 175. 165. 39. 160. 136. 292 Wycieczka w kosmos. 287 Tower Clock. 165. 93. 291 Two Songs. 277. 102. 209. 105. 273. 44. 280. 176. 119. 144. 198. 45. 262. 90. 289 Two Scenes and Finale from The Black Mask. 101. 198. 175. 87. 235. 291 Veni Creator. 282. 97. 230. 287 Trio for Strings. 255. 236. 200. 186. 231. 100. 279. 39. 77. 94. 139. 224. 97. 271. 105. 218. 250. 271. 291 Three Miniatures for Clarinet and Piano. 268. 139. 177. 124. 227. 232. 287 Trap. 190. 45. 292 Tygrysek. 139. 9. 283. 230. 11. 203. 228. 226. 46. 193. 131. 137. 292 War Is Never Over. 282. 213. 264. 116. 239. 135. 147. 82. 279. 277. 112. 273. 47. 290 Timothy the Bear. 164. 231. 122. 47. 196. 148. 44. 44. 138. 261. 161. 47. 64 Utrenia. 248. See Little Tommy Tiptoe Tour of the Cosmos. 74. 171. 142. 184. 169. 178. 177. 93. 117. 83. 155. 19. 180. 124. 181. 289 Tomcio paluszek. 140. 174. 74. Domine. 184. 266. 174. 267. 45. 158. 206. 131. 76. 186. 289 Ungodly Comedy. 118. 164. 45. 13. 76. 221. 225. 208. 155. 135.

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

Smith Manuel María Ponce: A Bio-Bibliography Jorge Barrón Corvera . Perone Peter Schickele: A Bio-Bibliography Tammy Ravas Henry F. Grymes Steve Reich: A Bio-Bibliography D. Dressler Kenneth Leighton: A Bio-Bibliography Carolyn J. J.Recent Titles in Bio-Bibliographies in Music Emma Lou Diemer: A Bio-Bibliography Ellen Grolman Schlegel Ernst von Dohnányi: A Bio-Bibliography James A. Hoek Vivian Fine: A Bio-Bibliography Judith Cody Benjamin Britten: A Bio-Bibliography Stewart R. Craggs George Crumb: A Bio-Bibliography David Cohen Louis Moreau Gottschalk: A Bio-Bibliography James E. Martin Alan Rawsthorne: A Bio-Bibliography John C.. Gilbert: A Bio-Bibliography Sherrill V.

Sign up to vote on this title
UsefulNot useful