Krzysztof Penderecki (1933-2020)

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W niedzielę rano w Krakowie w wieku 86 lat zmarł Krzysztof Penderecki

Ministerstwo Kultury@MKiDN_GOV_PL 9:00 AM · 29 mar 2020
Po długiej, ciężkiej chorobie zmarł #KrzysztofPenderecki - jeden z najwybitniejszych polskich muzyków, światowy autorytet w dziedzinie muzyki klasycznej. Był profesorem i rektorem Akademii Muzycznej w Krakowie. Miał 86 lat.
https://twitter.com/MKiDN_GOV_PL/status/1244157527077642240



W odpowiedzi do @MKiDN_GOV_PL 2:22 PM · 29 mar 2020
潘德列茨基先生2019年4月6日还出席了驻波兰大使刘光源和夫人彭玉英在使馆为宁波交响乐团波兰巡演举行的招待会,感谢他为中波文化交流作出的贡献!深切缅怀！
https://twitter.com/katarzy09251000/status/1244238623215583234

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"Последний из гигантов": умер Кшиштоф Пендерецкий
29 mar 2020 euronews (на русском)
 

POLISH COMPOSER - KRZYSZTOF PENDERECKI PASSED AWAY – Poland In
29 mar 2020


"Shining"-Komponist Krzysztof Penderecki ist tot
29 mar 2020


Penderecki: Kosmogonia (1970) - Wit


Krzysztof Penderecki - Dimensions of Time and Silence
29 mar 2020
In memory of Krzysztof Penderecki (1933-2020), who is arguably the greatest Polish composer after Chopin.

[Orionid]

Nie żyje Krzysztof Penderecki. Wybitny polski kompozytor i dyrygent miał 86 lat
mpi, paz
29.03.2020 08:31

Krzysztof Penderecki nie żyje. Jeden z najwybitniejszych polskich muzyków, światowy autorytet w dziedzinie muzyki klasycznej, laureat dziesiątek prestiżowych nagród odszedł w niedzielę nad ranem. Miał 86 lat.


fot. Jakub Ociepa / Agencja Gazeta

Informację o śmierci kompozytora jako pierwsze podało Radio Kraków, powołując się na rodzinę muzyka. Krzysztof Penderecki w listopadzie skończył 86 lat.

Krzysztof Penderecki nie żyje. Muzyka była jego miłością od najmłodszych lat

Urodzony w 1933 roku w Dębicy Krzysztof Penderecki zaczął komponować, gdy miał osiem lat - grał na fortepianie i skrzypcach. W 1958 roku ukończył studia kompozytorskie w Państwowej Wyższej Szkole Muzycznej (dzisiejszej Akademii Muzycznej) w Krakowie. W wieku zaledwie 25 lat został asystentem przy Katedrze Kompozycji S. Wiechowicza. W latach 1966-68 Penderecki wykładał w niemieckiej Volkwang Hochschule für Musik w Essen.

Jego pierwszy publiczny występ odbył się w 1959 roku na Festiwalu Warszawska Jesień.  Publiczność usłyszała "Strofy", jeden z trzech utworów, za które kompozytor otrzymał pierwsze nagrody na II Ogólnopolskim Konkursie dla Młodych Kompozytorów ZKP.

Penderecki szybko zaczął zyskiwać międzynarodową sławę jako kompozytor i awangardowy muzyk. Ceniono go szczególnie za wykorzystanie sonoryzmu - niekonwencjonalnych, bardzo efektownych technik wydobywania dźwięku z tradycyjnych instrumentów, które usłyszeć można np. w jednym z jego najsławniejszych utworów "Tren - ofiarom Hiroszimy".




DLOKI Fot. Michał Walczak / Agencja Gazeta

Na początku lat 70. kompozytor poszedł w stronę kompozycji tonalnych, nawiązujących do tradycji muzycznych XIX wieku. W 1972 roku został mianowany rektorem krakowskiej Akademii Muzycznej - pełnił tę funkcję kolejnych 15 lat. Akademia za jego kadencji była w Polsce jedyną uczelnią o niepartyjnych władzach, a samego Pendereckiego nazywano "parasolem". W tym samym roku, w którym objął rektorat AM, muzyk rozpoczął także profesurę na amerykańskim Yale University School of Music. Właśnie w tym okresie wystartowała jego kariera dyrygencka - Penderecki od tamtej pory przewodził największym orkiestrom świata.

Krzysztof Penderecki skomponował cztery opery, osiem symfonii i szereg innych utworów orkiestrowych, koncertów instrumentalnych, oprawę chóralną głównie tekstów religijnych, a także utwory kameralne i instrumentalne. Wśród jego najbardziej rozpoznawalnych utworów są "Tren - ofiarom Hiroszimy", "Pasja według św. Łukasza", "III Symfonia" i "Polskie Requiem" - zalążkiem tej kompozycji była napisana z okazji odsłonięcia pomnika ofiar Grudnia '70 "Lacrimosa", stworzona w kilka dni na prośbę Lecha Wałęsy. W 1996 roku Penderecki skomponował symfonię-oratorium "Siedem bram Jerozolimy" na zamówienie miasta Jerozolimy z okazji jubileuszu 3000 lat Świętego Miasta.



Dyrygent nigdy nie zapomniał o swoich pedagogicznych korzeniach. W 2013 w Lusławicach, nieopodal prywatnej posiadłości Pendereckiego, otworzono Europejskie Centrum Muzyki Krzysztofa Pendereckiego. Instytucji przyświeca "nadrzędna idea inspirowania najzdolniejszych młodych muzyków do doskonalenia umiejętności i dążenia ku pełnej dojrzałości artystycznej. Centrum jest miejscem spotkań młodych adeptów muzyki z mistrzami sztuki wykonawczej i kompozytorami, a także wybitnymi postaciami szeroko pojętej humanistyki".


DLOKR fot. Jakub Ociepa / Agencja Gazeta

Maestro Krzysztof Penderecki - podziwiany na całym świecie, doceniony przez Hollywood

Kompozytor był laureatem dziesiątek prestiżowych nagród. Czterokrotnie wyróżniono go Grammy (ostatni raz w 2017 roku za album "Penderecki Conducts Penderecki, vol. 1" w kategorii "Najlepsze wykonanie: muzyka chóralna"). Już w 1968 roku National Academy of Recording Arts and Sciences przyznała mu specjalną Nagrodę Dyrektorów, otrzymywaną przez "osoby, które w trakcie swojej kariery muzycznej wniosły, poza występami, znaczący wkład do dziedziny rejestrowania sztuki". Za swoją działalność artystyczną Penderecki został odznaczony m.in. Orderem Orła Białego, tytułem doktora honoris causa Uniwersytetu Jagiellońskiego i Honorowego Obywatela Miasta Krakowa.

Jego utwory znalazły się w takich filmach jak "Egzorcysta" Williama Friedkina, "Lśnienie" Stanleya Kubricka, "Dzikość serca" Davida Lyncha, "Ludzkie dzieci" Alfonso Cuaróna, "Katyń" Andrzeja Wajdy oraz "Wyspa tajemnic" Martina Scorsese.



https://kultura.gazeta.pl/kultura/7,114526,25828164,nie-zyje-krzysztof-penderecki-wybitny-kompozytor-mial-86-lat.html

[Orionid]

Krzysztof Penderecki, Polish Composer With Cinematic Flair, Dies at 86
By Daniel Lewis March 29, 2020 Updated 10:37 a.m. ET

Mr. Penderecki’s modernist compositions turned up in films like “The Exorcist” and influenced a generation of edgy rock musicians.


Krzysztof Penderecki conducting the Philharmonia Orchestra of Yale at Carnegie Hall in 2010. In addition to his work as a composer, he had a lucrative career as conductor of the Krakow Symphony and as a guest conductor abroad. Credit...Richard Termine for The New York Times

Krzysztof Penderecki, a Polish composer and conductor whose modernist works jumped from the concert hall to popular culture, turning up in soundtracks for films like “The Exorcist” and “The Shining” and influencing a generation of edgy rock musicians, died on Sunday at his home in Krakow. He was 86.

His death was confirmed by Andrzej Giza, the director of the Ludwig van Beethoven Association, which was founded by Mr. Penderecki’s wife, Elzbieta.

Mr. Penderecki was regarded as Poland’s pre-eminent composer for more than half a century, and in all those years he never seemed to sit still. Beginning in the 1960s with radical ideas that placed him firmly in the avant-garde, he went on to produce dozens of compositions including eight symphonies, four operas, a requiem and other choral works, and several concertos he cheerfully described as being almost impossible to play.

Among those who could were the violinist Anne-Sophie Mutter and the cellist Mstislav Rostropovich, whose recordings of the concertos he wrote for them won Grammy Awards in 1999 and 1988, respectively

Mr. Penderecki was most widely known for choral compositions evoking Poland’s ardent Catholicism and history of foreign domination, and for his early experimental works, with their massive tone clusters and disregard for melody and harmony. Those ideas would reverberate for decades after he himself had pronounced them “more destructive than constructive” and changed course toward neo-Romanticism.

(His decision to move on was partly political: The Polish avant-garde movement had created an unhealthy illusion of freedom in a country living under Communism, he said. But it was also artistic: Experimentation had reached an impasse, he told a Canadian interviewer in 1998, because “we discovered everything!”)

Still, it was compositions from the wild first decade of his career, including “Threnody for the Victims of Hiroshima” (1960), “Polymorphia” (1961) and the “St. Luke Passion” (1966) that brought him lasting international recognition while he was still a young man.

The threnody, in particular, is a much-studied example of startling emotional effects created from abstract concepts. Following a score that often looks more like geometry homework than conventional notation, it forces an ensemble of 52 string instruments to produce relentless, nerve-jangling sounds that can suggest nuclear annihilation. Yet it was said that Mr. Penderecki dedicated it to the victims of Hiroshima only after hearing the piece performed.

Though he wrote little expressly for movies, film directors picked up on Mr. Penderecki. His compositions could perfectly amplify scenes of dread, horror, murder and mayhem. His music can be heard in Martin Scorsese’s “Shutter Island,” Peter Weir’s “Fearless,” David Lynch’s “Wild at Heart” and “Inland Empire” and, of course, Stanley Kubrick’s “Shining” and William Friedkin’s “Exorcist.”

Mr. Penderecki also appealed to many a pop musician. Artists as disparate as Kele Okereke of Bloc Party and Robbie Robertson of the Band professed to have been inspired by him. But his influence is most directly evident in the music of Jonny Greenwood, the classically trained guitarist of Radiohead.

Mr. Greenwood’s own score for the movie “There Will Be Blood,” for example, features his “Popcorn Superhet Receiver,” a work directly inspired by the Hiroshima threnody.

According to an account in The Guardian, the two composers first met after a concert, when Mr. Greenwood, in his words, went to shake Mr. Penderecki’s hand “like a sad fanboy.” They later pursued a collaboration culminating in 2011 with a series of concerts that included both “Polymorphia” and Mr. Greenwood’s work for strings, “48 Responses to Polymorphia.” Mr. Penderecki was pleased: Nine thousand young people packed the auditorium at the first performance, in Wroclaw, “and they had never heard about this old guy Penderecki’s music.”

Sometimes he was famous for the wrong reasons, like missing due dates, as with his commission from the Lyric Opera of Chicago to write a new work for the American Bicentennial in 1976. While American composers fumed over the choice of a foreigner to do the job, the fearless Mr. Penderecki envisioned something grand: a kind of oratorio-opera drawn from Milton’s epic “Paradise Lost,” with an English libretto by Christopher Fry using much of the original text.

Alas, it could not be done in time for the Bicentennial: the premiere was delayed until November 1978. In the end, the critics didn’t much like it.

But then, opera had been his most troublesome genre. Even “The Devils of Loudun” (1969), his first opera and the most popular, got mixed reviews and two thumbs down from the Vatican, which tried in vain to keep the composer from going ahead with his interpretation of a 17th-century scandal in the church.

On the podium, Mr. Penderecki was a powerful, bearded figure who conducted with sweeping gestures befitting his music. Consider the mighty forces required for his heavily choral Seventh Symphony, subtitled “Seven Gates of Jerusalem,” written to commemorate the city’s third millennium in 1996. It calls for a huge orchestra, offstage brass and woodwinds, three choirs, five soloists and a narrator.

He seldom regarded his work as completely finished, adding new layers at will to old compositions. The Polish Requiem, for example, began with a single piece, the Lacrimosa, written for the unveiling of a statue at the Gdansk shipyard to honor those killed in the anti-government riots in 1970. He expanded it into a large-scale Mass, first performed in 1984; expanded it again in 1993; and in 2005 added a final Ciaccona in honor of Pope John Paul II.

Whatever the form of Mr. Penderecki’s music, darkness was a constant. The New York Times critic Bernard Holland, writing about a Carnegie Hall concert in 1986 with Mr. Penderecki leading his Krakow Philharmonic, called the composer “our most skillful purveyor of anxiety, foreboding and depression.” He found it strange that Shostakovich’s gloomy Sixth Symphony, the only work on the program not written by Mr. Penderecki, should end up being a leavening agent.

The composer’s personal circumstances, by contrast, were the opposite of dreary. Born on Nov. 23, 1933, in Debica, in southeastern Poland, to Tadeusz, a lawyer, and Zofia Penderecki, he became a prosperous man, living in a manor house on 20 acres in Lutoslawice, Poland, that he lovingly developed as an arboretum.

He had as many commissions as he could handle, and enjoyed a lucrative overlapping career as conductor of the Krakow Symphony and frequent guest conductor abroad.

Besides his wife of more than 50 years, Elzbieta, he is survived by their children, Lukasz and Dominika,  and a daughter from his first marriage, Beata.

What troubled his imagination was the past. In an interview with a Louisiana television station in 2013, he said: “I was not living in easy times. If I would be born in New Zealand, maybe, I would never write the Polish Requiem or pieces which were connected with the history of war.

“But this was my childhood. War was the main subject, and also in our family. My uncles were killed by the Germans. Our house was in the middle of town; behind it was the ghetto, from which Jews were sent to concentration camps.”

And after the war, he added, there were 45 years of living under a puppet government, when “no politics was possible without asking Moscow.”

Still, there was a wrinkle that changed the lives of all young Polish composers. Beginning in the late 1950s, the country was allowed to hear Western music, which brought a flood of previously unheard sounds: electronic music, the work of John Cage. Mr. Penderecki worked in an electronics studio for a while, and the experience directly influenced his early compositions.

Over the years, Mr. Penderecki strove to develop a style that would synthesize many sources, going back to Bruckner and beyond but also accepting more modern influences. He was thus open-minded about trends in music generally, and not overly concerned about the future of the “classical” kinds.

“Listening to classical music is like reading philosophy books,” he said in an interview posted on a Polish website in 2015. “Not everybody has to do it.”

At the same time, he had a long perspective on the cyclical nature of tastes. “Music in the ’50s isolated itself from popular music and then slowly, step by step, I think it might have begun in films, it started coming back,” he said.

“They learn from us and, when it comes to reaching a larger audience, we learn from them. Used properly and wisely, everything is good.”

Joanna Berendt contributed reporting.

https://www.nytimes.com/2020/03/29/arts/music/krzysztof-penderecki-dead.html

[Orionid]

Krzysztof Penderecki obituary
Keith Potter Sun 29 Mar 2020 14.10 BST Last modified on Sun 29 Mar 2020 21.59 BST

Polish composer and conductor who was a leading figure in contemporary music


Krzysztof Penderecki conducting his oratorio Seven Gates of Jerusalem at the Winter Palace, St Petersburg, in 2001. Photograph: Dmitry Lovetsky/AP

The Polish composer and conductor Krzysztof Penderecki, who has died aged 86, was an outstanding representative of musical modernism’s success in the 1960s. From the early 70s he became equally emblematic of the subsequent failure of so many of that modernism’s principal pioneers to sustain a lifelong career without abandoning their original principles.

In Penderecki’s case, that appeared to mean the substitution of his early trademark emphasis on sound itself, the innovative textures of his choral and orchestral music replacing themes and tonality as the basis for musical construction, with a more lyrical and Romantic style that seemed more like a continuation of 19th-century compositional concerns than a radical reappraisal of received materials.

The composer’s earlier manner reached its apogee in the St Luke Passion for two vocal soloists, reciter, three mixed choruses, children’s choir and orchestra; its world premiere took place in March 1966 in Münster Cathedral.

As the German critic Hans Heinz Stuckenschmidt put it: “A large ecclesiastical choral work, composed by a representative of the new music in socialist Poland, performed for the first time in a centre of West German Catholicism, in the former bishop’s seat of the daring anti-Nazi Graf von Galen [a prominent critic of the Third Reich when bishop of Münster during the 40s]: this gives occasion to a variety of thoughts.” Many performances worldwide of the Passion took place over the next few years.

Penderecki’s later approach is perhaps best exemplified by the First Violin Concerto, written in 1977 for Isaac Stern; by the Polish Requiem for four soloists, chorus and orchestra (1984, revised in 1993), many sections of which are dedicated to individuals or mass martyrs from Polish history; or by the Credo for five vocal soloists, chorus, children’s choir and orchestra (1998), in which Bach and Polish sources are encountered in a broadly 19th-century harmonic idiom.

Penderecki was born in Dębica, in south-eastern Poland, the youngest of three children of Zofia (nee Wittgenstein) and Tadeusz Penderecki. His father was a lawyer, and an amateur violinist and pianist. Armenian ancestry came from a grandmother, who took the young Penderecki to an Armenian church in Kraków; this aspect of the composer’s heritage was highlighted in 2015 with the premiere of a new choral work, Psalm No 3, commemorating the Armenian Genocide of 1915, at Carnegie Hall, New York.

Composition studies with Artur Malawski and Stanisław Wiechowicz at the State Higher School of Music (now known as the Academy) in Kraków (1954-58) led to his being appointed a teacher of composition there himself. This was only five years after the death of Stalin; and, despite the advent of the Warsaw autumn international festival of contemporary music in 1956, communist rule in Poland discouraged modernist tendencies.

Penderecki himself was then still writing music essentially neoclassical in style, and in 1958 it must have looked as though the young composer was set for a safe but dull career of merely local significance.

In the following year, however, came a rise both to sudden maturity and to fame surely as swift as that experienced by any composer at any period. Penderecki had, anonymously, as its terms required, submitted three works to a competition organised by the Union of Polish Composers.

When his name turned out to be on the scores winning all the top three prizes, the works involved – Strophes, Emanations and Psalms of David – all immediately became well-known in European avant-garde circles, and commissioners of new works quickly beat a path to his door.

The reasons for Penderecki’s increasing popularity during this time clearly lay in the fact that his reliance on sound itself, rather than on melody or harmony as such – an approach that came to be called “sonorism” – was allied to a highly expressive manner that quickly resonated with listeners beyond the avant garde, promising to create a new public for contemporary music.

The works that Penderecki now began to write – deploying sound masses including unusual instrumental and vocal techniques, and combining conventional and more graphic methods of notation – extended this coupling of experimental sound-world and immediacy of expression to develop a texture-based language of assertive individuality.

In the St Luke Passion, the use of chant, recitative and chorales, not to mention the BACH motif (using German note-names, B flat-A-C-B natural) and occasional major triads, helped to make it famous as an instinctively dramatic reworking of a genre familiar from the baroque period. The work was also very timely since, despite emerging from communist Poland, it expressed a spirit of post-second world war reconciliation. Penderecki’s Passion became regarded as a kind of avant-garde counterpart to Benjamin Britten’s War Requiem, premiered only four years before it.

An expressive approach to new materials and means such as Penderecki’s found contemporary parallels in the outputs not only of other Polish composers such as Henryk Górecki and, to some extent, Witold Lutosławski, but also in those of Iannis Xenakis and György Ligeti. Part of the broader agenda here was a concern to find a way forward that addressed the problems of musical structure and comprehensibility raised by the so-called total serialism of such composers as Pierre Boulez and Karlheinz Stockhausen, and that yet retained a radical attitude to musical materials.

West Germany, in particular, opened its doors to Penderecki in the 60s: the publisher Hermann Moeck and Heinrich Strobel – a radio producer who also ran the Donaueschingen Music Days – were soon prominent champions. It was not long before Penderecki was showered with awards, both in that country and elsewhere.

One of the first of these, a Unesco prize, went to his most famous early composition before the St Luke Passion, his Threnody to the Victims of Hiroshima (1960). Written for 52 strings and originally known as 8’37” (the work’s length), Threnody is classic early Penderecki: its vividly unconventional writing for massed strings, including quarter-tones, tremolos and multiple glissandi, allied – after the composer changed the title – to highly emotive and political subject matter.

This combination would serve him well both at this period and later. Indeed, just as the highly expressive, sometimes programmatically charged, approach of other early works such as Polymorphia for 48 strings (1961), with its thunderously concluding C-major chord, or the Dies Irae for three vocal soloists, chorus and orchestra (1967), which commemorates the dead of Auschwitz, was subsequently carried over into the more conventional sound-world of Penderecki’s output from the 70s onwards, so the potentially incompatible range of musical materials to be found in some of his 60s compositions can sometimes be detected in his output too.

The Polish Requiem and Credo offer two contrasting approaches here: the former incorporating 60s sonoristic effects, the latter more consistently conventional in idiom.

More rigorously modernist commentators soon criticised Penderecki’s scores of the 60s for cheap eclecticism, producing “effects-without-causes” music.

Subsequently, his move into what was often called “neo-Romanticism” supplied them with fresh ammunition, as the view of Penderecki as a “sheep in wolf’s clothing” appeared vindicated. Now that most of the more obviously avant-garde surface aspects of his music had largely disappeared, thematic and tonal underpinning could show through, unencumbered by any remaining equivocations about expressing musical and extra-musical ideas as approachably as possible to a public for whom most contemporary music remains anathema.

Yet those early works, which at the time struck so many as so arresting in their dramatic challenge to convention, now seem – for some listeners at least – shallow, simplistic, or even opportunistic. Penderecki’s subsequent manner, meanwhile, retained the endless chromatic melodic sequences and tritones of the earlier manner in the context of a thematic tonality that could now prove simply banal.

A notable example is the Second Symphony, subtitled the Christmas Symphony (1980), with its quotation of the carol Silent Night: this seems inadequate to the task of handling the religious and political meanings with which it is often charged. Some would argue that the composer had long since proved to be a spent force.

Penderecki’s later, as well as his earlier music, retained some champions, however; both before and after the imposition of martial law in Poland in December 1981, the composer’s works were adopted as a representation of the struggle between church and state. This did not stop Penderecki from maintaining links with the Polish political establishment in the years immediately after 1981, something that his compatriots Lutosławski and Górecki – the latter also directly linked, like Penderecki, with the Solidarity movement – refused to do.

Works such as the Te Deum for four vocal soloists, chorus and orchestra (1980) – dedicated to Cardinal Karol Wojtyła of Kraków, who became Pope John Paul II in October 1978 – and the Polish Requiem – both of which quote old Polish hymns – should be understood in this light.

Other signs of Penderecki’s acceptance included the number of leading international soloists who premiered works by the composer, among them Mstislav Rostropovich, for whom the Second Cello Concerto (1982) was written, and Anne-Sophie Mutter, for whom both the Second Violin Concerto, subtitled Metamorphosen (1995), and the capriccio for solo violin solo, entitled La Follia, premiered in 2013, were composed.

Four operas – beginning with a suitably lurid Devils of Loudun (1969), based on a book by Aldous Huxley – received prominent performances, if not very many productions in the UK. Parts of this work, as well as his String Quartet and Kanon For Orchestra and Tape, were used on the soundtrack to the film The Exorcist (1973); and Penderecki’s music featured in films including Stanley Kubrick’s The Shining (1980), David Lynch’s Wild at Heart (1990), Alfonso Cuarón’s Children of Men (2006) and Martin Scorsese’s Shutter Island (2010).

The most recent of the composer’s eight symphonies – subtitled Lieder der Verganglichkeit (Songs of Transience), for three vocal soloists, chorus and orchestra, a 50-minute choral symphony in 12 movements setting 19th- and early 20th-century German poets – was completed in 2005 and revised in 2008.

Penderecki also worked frequently, and internationally, as a conductor – including, notably, of the music of Dmitri Shostakovich as well as his own. He was rector of the Kraków Academy (1972-87), and taught at Yale University (1973-78).

He is survived by his second wife, Elżbieta Solecka, whom he married in 1965, and by their son and daughter; and by a daughter from his first marriage.

• Krzysztof Penderecki, composer and conductor, born 23 November 1933; died 29 March 2020
https://www.theguardian.com/music/2020/mar/29/krzysztof-penderecki-obituary

Polish composer Penderecki dies at 86 after long illness
MARCH 29, 2020 / 10:06 AM / UPDATED 9 HOURS AGO

WARSAW/KRAKOW (Reuters) - Poland’s Krzysztof Penderecki, one of the world’s most celebrated composers, died on Sunday at the age of 86, his family said.

Penderecki was known for his film scores, including for William Friedkin’s “The Exorcist”, Stanley Kubrick’s “The Shining” and David Lynch’s “Wild at Heart”, for his Threnody for the Victims of Hiroshima and the largely atonal St Luke’s Passion.

“After a long and serious illness, Krzysztof Penderecki — one of the greatest Polish musicians, a world authority in the field of classical music died,” Poland’s Ministry of Culture said in a tweet.

Penderecki had been tested for coronavirus after his carer was diagnosed with the illness, but the composer’s result was negative, his daughter Beata Penderecka told Reuters.

Part of the family had been under quarantine at home after attending a family meeting on March 7, Penderecka said. Several people present later tested positive for coronavirus.

Elzbieta Penderecka, the composer’s wife tested negative, Beata Penderecka said.

Penderecki won four Grammy awards for his music, most recently for best choral performance in 2016.
https://www.reuters.com/article/us-poland-music-penderecki/polish-composer-penderecki-dies-at-86-after-long-illness-idUSKBN21G08D

[Orionid]

Planetoida Pendereckiego
Posted on 1 czerwca 2001, 0:00  by Marcin Marszałek   

Krzysztof Penderecki – kompozytor i dyrygent – ma swój pomnik w kosmosie. Jego imieniem została nazwana planetoida nr 21059 – poinformował doc. Krzysztof Ziołkowski z Centrum Badań Kosmicznych.

Międzynarodowa Unia Astronomiczna (MUA) zatwierdziła przed kilku dniami nazwy nowych planetoid. Jest wśród nich planetoida nr 21059, oznaczona symbolem 1991GR10, która otrzymała imię Krzysztofa Pendereckiego. Propozycję nazwy dla planetoidy zgłasza zwyczajowo jej odkrywca.

Planetoidę 21059 odkrył 9 kwietnia 1991 roku niemiecki astronom, dr Freimuth Boerngen z obserwatorium w Tautenburgu. Jest to niewielki obiekt z głównego pasa planetoid, obiegający Słońce w ciągu 5,1 lat. Do uznania przez MUA nowej planetoidy potrzebne były kilkakrotne obserwacje z różnych pozycji i obliczenia orbity.

Jest to kolejna “polska” planetoida. W kosmosie krążą już planetoidy nazwane na cześć wybitnych uczonych – Stefana Banacha (pisaliśmy o tym), Jana Heweliusza, Marii Curie-Skłodowskiej, Tadeusza Banachiewicza, Alfreda Tarskiego, Grzegorza Sitarskiego, Tomasza Kwiatkowskiego, Tadeusza Michałowskiego, a także poetów – Adama Mickiewicza, Marii Pawlikowskiej-Jasnorzewskiej oraz autora literatury SF Stanisława Lema.
https://news.astronet.pl/index.php/2001/06/01/n0569/

https://ssd.jpl.nasa.gov/sbdb.cgi?sstr=21059
 
https://pl.wikipedia.org/wiki/(21059)_Penderecki

Więcej o polskich nazwach planetoid https://www.forum.kosmonauta.net/index.php?topic=115.msg143108#msg143108

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Chapitre 37 d'Ezechiel sous la musique de Krzysztof Penderecki : Symphonie numéro 7, les sept portes de Jérusalem


Penderecki Violin Concerto No.2 'Metamorphosen'
27 sty 2014
K. Penderecki(con.) and Juyoung Baek(violin) perform Penderecki Violin Concerto No.2 'metamorphosen' with Korean Chamber Orchestra at Concert hall, Seoul Art Center, 18th December, 2013 under Seoul International Music Festival.


Krzysztof Penderecki: Agnus Dei - Chœur National des Jeunes de France; Régine Théodoresco
27 maj 2013


K. Penderecki -- „Polish Requiem" Lacrimosa
Opera i Filharmonia Podlaska


Penderecki Concerto Grosso for 3 Violoncelli and Orchestra
27 lut 2015

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Умер всемирно известный польский композитор Кшиштоф Пендерецкий
14:33 29.03.2020 (обновлено: 16:50 29.03.2020)


© РИА Новости / Владимир Вяткин Перейти в фотобанк

МОСКВА, 29 мар — РИА Новости. В возрасте 86 лет умер один из самых заметных композиторов и дирижеров последних десятилетий Кшиштоф Пендерецкий, сообщает classicfm.com.

"После продолжительной болезни умер Кшиштоф Пендерецкий — один из величайших польских музыкантов, авторитет мирового уровня в классической музыке", — сообщается в твиттере Министерства культуры Польши.

Он родился 23 ноября 1933 года в городе Дембица на юго-востоке Польши. С детстве играл на скрипке и фортепиано, учился в Краковской музыкальной академии.

Первый успех к нему пришел в 1959 году, когда он победил во всех трех категориях на всепольском конкурсе юных композиторов "Варшавская осень".

В 1960 году он сочинил "Плач по жертвам Хиросимы" для 52 струнных инструментов, а в 2002-м — концерт для фортепиано с оркестром "Воскресенье" после терактов 11 сентября 2001 года в США.

Пендерецкий писал концерты для выдающих музыкантов, включая виолончелиста Мстислава Ростроповича.
В своем твиттере выразило соболезнования руководство Лондонского филармонического оркестра: "Грустная новость. У себя дома в Кракове скончался польский композитор Кшиштоф Пендерецкий. Нас связывало с ним длительное тесное сотрудничество как с композитором и дирижером".

London Philharmonic Orchestra @LPOrchestra 10:22 AM · 29 mar 2020
Sad news this morning as we hear that Polish composer Krzysztof #Penderecki has died at home in Kraków aged 86. We had a long and close relationship with him as both a composer and a conductor, regularly performing his works at
@southbankcentre including many premieres. #RIP

Twitter

Также Кшиштоф Пендерецкий писал оперы, хоровую, инструментальную и камерную музыку.

Он — автор музыки к фильму "Рукопись, найденная в Сарагосе" (Rękopis znaleziony w Saragossie, 1964) Войцеха Ежи Хаса. Его произведения можно услышать в фильмах "Изгоняющий дьявола" (1973), "Сияние" (1980), "Катынь" (2007), "Остров проклятых" (2010).

У композитора трое детей: дочь от первого брака, а также сын и дочь с Эльжбетой Пендерецкой, на которой он женился в 1965 году.

https://ria.ru/20200329/1569313468.html

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Pendereccy i wszystko gra – rozmowa z Krzysztofem Pendereckim
Liliana Śnieg-Czaplewska |  Listopad 18, 2013

KRZYSZTOF PENDERECKI o miłości, poświęceniu, pasji, muzyce i drzewach

(...) Co to znaczy, że mogło się nie udać? Na początku lat 60. miał już pan uznanie, był twórcą sonoryzmu, potrójnym laureatem w Konkursie Młodych Kompozytorów Związku Kompozytorów Polskich itd.

– „Pasja” to była monumentalna kompozycja powstająca chyba ze trzy lata i szczególny moment w moim życiu. W 1962 r. dostałem zamówienie radia w Kolonii na napisanie „Pasji” na 750-lecie katedry w Münsterze. Bardzo dla mnie ważne zamówienie – klucz do całej mojej kariery, a jak się później okazało, sam utwór niezależnie ode mnie też zrobił wielką karierę. Prawda była taka, że nie miałem przygotowania, by w ogóle się podjąć tej pracy! Nigdy wcześniej nie komponowałem takich utworów, choć zawsze chciałem. A poza „Stabat Mater” Szymanowskiego nie było ich w Polsce; żaden z moich pedagogów też nie mógł mi w tym pomóc, bo sami nie umieli. Wcześniej skomponowałem tylko „Psalmy Dawida”, za które w 1959 r. dostałem nagrodę ZKP, i „Stabat Mater” z 1962 r. – hit przez wiele lat w muzyce na chór a cappella. Całą tę „Pasję” musiałem więc wymyślić sam, od początku do końca.(...)

A pan profesor co wtedy robił?

– Głównie komponowałem. A od 17 lat, jak wiadomo, Elżbieta jest menedżerem i organizatorem festiwalu beethovenowskiego, który przez pierwsze siedem lat odbywał się w Krakowie, a od 10 jest organizowany w Warszawie.

Dzięki żonie ma pan profesor z głowy wszystkie kłopoty dnia codziennego.

– Do tego stopnia, że teraz już nie odpowiadam na żadną korespondencję, faksy ani mejle. Rzadko odbieram telefony, tylko w ostateczności. (...)

Rodzina była w komplecie 13 grudnia roku pamiętnego?

– Nie. Stan wojenny zastał nas poza krajem, ale dzieci chodziły do szkoły w Polsce. To wtedy święta Bożego Narodzenia pierwszy raz spędziliśmy poza domem. Najpierw w lutym na zwiad przyjechała do Polski żona, pod koniec lutego 1982 r. wróciłem ja. (...)

Gdzie tak naprawdę jest pana profesora miejsce na ziemi?

– Gniazdo rodzinne jest tu, w Krakowie, gdzie mieszkamy od 1971 r. – to już tradycja. Ale i Lusławice kupione w 1974 r., przez sześć lat remontowane, uważam za moje miejsce na ziemi. Więc i tu, i tu. A w Lusławicach jest arboretum – jedno z najbogatszych w Europie Wschodniej. Mamy podział: dla żony najważniejszy jest Kraków, bo urodziła się w mieście, choć Lusławice kocha. A ja się urodziłem w małym miasteczku, w Dębicy, gdzie przed wojną żyło raptem 5-6 tys. mieszkańców. Dla mnie powrót do Lusławic to powrót do korzeni. (...)
https://www.tygodnikprzeglad.pl/pendereccy-wszystko-gra-rozmowa-krzysztofem-pendereckim/