"Schott Music - Penderecki, Krzysztof - Profile

Profile text / short biography for Krzysztof Penderecki, composer,
Born: November 23rd, 1933, Country of origin: Poland. I have spent
decades searching for and discovering new ...

GOD - POLAND WAS THERE IS 1933 ( check them criminals from heart
attack - they forgot Paderewski at Tilly ( Tully - when that one
flanks) Hall in NY:
(AND WAHAT ABOUT MANY OTHERS!)

 They, criminals, imply that music flatens on them and more over that
is fine to them, but PADEREWKI -ONCE BLASTING NY NOW NOBODY TO COUNT
AS POLISH MUSICIAN. THE CRIMINALS THOUGHT THAT JUST GORECKI,
PENDERECKI AND LUTOSLAWSKI.

( SUPPOSE TO BE MUSIC CRITICS AND CLAIM THAT DISSONAT AND CONSONANT
MUSIC
IS UNDER THEIR COMMAND SELECTION, AS IF THEY EVEN KNW WHAT IS WHAT!
PEOPLE,
THAT SI IN NYT,ONCE THE STANDARD OF CREDIBILITY!

BY THE WAY - THAT CONSONANT MUSIC IS STILL THERE - MAYBE A LITTLE
INVESTIGATIVE REPORTING WITH THE THRILL OF IMPRISONMENT TOGETHER WITH
BLOGGERS.
(is that good enough for NYT?) MIND YOU, OBAMA CAN STILL FIX THE
DEMOCRACY FOR USA!)

NOW, LETS FOCUS ON THE WHOLE TO FIND OUT WHOM THE CRIMINALS ARE STILL
HIDING, WHY AND HOW!

"Advertise on NYTimes.com.Music Review
Embracing the Modern With Tone Clusters, Not DissonanceBy ALLAN KOZINN
Published: January 23, 2011
"The Juilliard School's annual Focus! Festival provides a significant
service for New York concertgoers by shining a light, sustained and
searching, on a tightly defined subject. Usually the themes are
geographical, and Joel Sachs, the festival's director, has made a
point of assembling programs that balance familiar names with
composers most Americans will not have encountered. You invariably
come away from these free concerts with a sense of having discovered
something.
Nan Melville for the Juilliard School

REALLY, MEN  YOU ARE UP THERE! ME TOO!

"Polish Modern: New Directions in Polish Music Since 1945": Andrew
Arceci plays at Alice Tully Hall
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..This year's Focus! series, which opened on Saturday evening at Alice
Tully Hall, is called "Polish Modern: New Directions in Polish Music
Since 1945." As you might expect, the three most famous contemporary
Polish composers -- Krzysztof Penderecki, Witold Lutoslawski and Henryk
Gorecki -- are represented, with Lutoslawski getting a full program to
himself (the concluding concert, on Friday). Nearly three dozen more
composers fill out the picture.

At the opening concert, Mr. Sachs led his finely drilled New Juilliard
Ensemble in works that, for the most part, used tone clusters as basic
building blocks yet were not particularly dissonant. The composers
seem to have been attracted to clusters not for their potential
harshness but as a way of skirting (or at least, obscuring)
conventional tonality.

The earliest work here, Grazyna Bacewicz's "Contradizione" (1966), set
the stage with a colorfully orchestrated atmospheric haze that sounded
almost electronic at first and quickly morphed into a series of high-
contrast figures: smoothly flowing passages gave way to sharply etched
ones; assertive writing melted into nebulousness. These, presumably,
were the contradictions of the title. The second movement, tightly
scored and with an almost folkish melody at its core, was more
traditionally unified: a contradiction, in a way, of the changeable
first movement.

Tadeusz Wielecki used the oscillation of a trill as the DNA of his
"Time of Stones" (2002), though he disguised it at first by having
many trills, in different keys and moving at different speeds,
sounding at once. The solo bass part, gamely delivered by Douglas
Balliett, is hardly a showpiece for the instrument: often, it plays
stressed natural harmonics, which Mr. Wielecki combines with flute
tones to create an eerie whine, though it is the bass that clarifies
the trilled source material in the work's final pages.

The dark, consonant approach that swept through other corners of
Eastern Europe in the 1980s -- most notably in the music of the
Estonian Arvo Pärt -- was represented by Wojciech Kilar's "Choral
Prelude" (1988), a slow, haunting hymn for string orchestra that seems
repetitive until you notice the subtle key shifts that keep it varied
and vital. Zygmunt Krauze's dense, eventful "Terra Incognita" (1994)
is hardly as consonant or as meditative as Mr. Kilar's work, and the
occasional appearance of a solo piano line, played deftly by Shen
Yiwen, gives it great textural variety. Yet the two works share an
appealing otherworldliness.

The sparkling percussion and restlessly shifting orchestral coloration
of Elzbieta Sikora's "Canzona" (1995) are similarly refreshing. Ms.
Sikora adds an exotic touch of her own: a lyrical, ear-catching solo
line for a Baroque throwback, the viola da gamba. Andrew Arceci
brought a lovely tone to the line and matched the dramatic impulses
that propelled the superb ensemble playing.


The Focus! Festival runs through Friday at Paul Hall and Alice Tully
Hall; (212) 769-7406, juilliard.edu"
WE LEARNED PART AND NOW ONTO THE REST OF THEM 'CLUSTERS'


I AM SEARCHING:

"Witold Roman Lutosławski, the youngest of three brothers, was born in
Warsaw shortly before the outbreak of World War I. In 1915, with
Russia at war with Germany, Prussian forces drove towards Warsaw. The
Lutosławskis travelled east to Moscow, where Józef remained
politically active, organising Polish Legions ready for any action
that might liberate Poland (which was divided according to the 1815
Congress of Vienna-- Warsaw was part of Tsarist Russia). Dmowski's
strategy was for Russia to guarantee security for a new Polish state.
However, in 1917, the February Revolution forced the Tsar to abdicate,
and the October Revolution started a new Soviet government that made
peace with Germany. Józef's activities were now in conflict with the
Bolsheviks, who arrested him and his brother Marian. Thus, although
fighting stopped on the Eastern Front in 1917, the Lutosławskis were
prevented from returning home. The brothers were interred in
Butyrskaya prison in central Moscow, where Lutosławski-- by then aged
five-- visited his father. Józef and Marian were executed by a firing
squad in September 1918, some days before their scheduled trial."

SO HE MAKES IT,  REGARDLESS!

AND HE MAKES IT:

"KRZYSZTOF PENDERECKI  (b. 1933, Dębica, Poland)

"Krzysztof Penderecki was born in Dębica on 23 November, 1933. He
studied composition privately with Franciszek Skołyszewski and then
(1955-8) with Artur Malawski and Stanisław Wiechowicz at the State
Higher School of Music in Kraków, where he also taught, being
appointed its rector (i.e., president) in 1972 (in the 1980s the
School was renamed "Academy of Music). "

HIS TEACHERS DO NOT:
"Artur Malawski was born on 4 July 1904 in Przemyśl and died on 26
December 1957 in Kraków. He graduated from the Kraków Conservatory of
Music (studies under J. Chmielewski) with a high distinction as a
violin virtuoso in 1928, and then from the Warsaw Conservatory of
Music with two diplomas - in composition under K. Sikorski and
conducting under W. Bierdiajew in 1939. He lectured on composition,
conducting and theory at the State Higher School of Music in Kraków
from 1945 until his death, where his pupils included Penderecki and
Schaeffer. He also taught conducting at the State Higher School in
Katowice (1950-54). In addition, Malawski appeared as a conductor of
symphony orchestras in concert halls and on the radio. In the years
1948-51 he was President of the Polish Section of the ISCM. His
conducting activities were restricted largely to his own works as he
devoted most of his time and energy to composition.
Malawski received many awards for his works, among them in 1946 the
Award of the Kraków Voivodeship; in 1949 - the Second Prize at the
Chopin Competition for Composers in Warsaw for his Symphonic
Variations, and the Third Prize at the same competition for Toccata
and Fugue in the Form of Variations; in 1952 - the State Award of the
Third Degree for The Peaks; in 1955 - the State Award of the Second
Degree for his composer's and teaching activities in the previous
decade; in the same year - the Prize of the Festival of Polish
Contemporary Music and the Award of the Minister of Culture and Art
for Symphonic Studies and for Trio for Piano, Violin and Violoncello;
in 1956 - the Award of the Polish Composers' Union for the whole of
his composer's and teaching activity; in the same year - the Order of
the Banner of Labor of the Second Degree; in 1957 - the Music Award of
the City of Kraków for his creative work, especially for his Symphony
No.2. "

WITH ALL THESE CREDENTIALS FOR POST WAR POLISH MUSIC!

...

WHAT IS COOKING IN NYT?

CZY INNE GAZETY MAGA SIE ZAANGAZOWAC W POSZUKIWANIE MUZYKI
KONSONANSOWEJ?