With the death of Krzysztof Penderecki, the music world has lost an outstanding representative of the generation of composers who received their original impulses from 20th century avant-garde. As early as the late 1950s, Penderecki looked for and found new possibilities of compositional expression in the tension-filled area between noise and music. Thus, he unsettled the conservative concert audience, yet at the same time opened new artistic horizons and reached the forefront of the European avant-garde. After turning away from his early sound experiments, Penderecki was said to have taken a neo-Romantic turn. Unlike any other composer of his generation, he drew both criticism and admiration for his development as a composer. In the mid-1980s, he found himself in an exposed position right in the middle of the postmodernism discussion. However, Penderecki never followed a purely Orthodox movement. For him, the equation of avant-garde and tradition was no contradiction. He rather believed in the aesthetics of synthesis: 'I have spent decades looking for and finding new sounds. At the same time I have studied forms, styles and harmonies of the past. I have continued to adhere to both principles …'. It was works like his Symphony No. 7 Seven Gates of Jerusalem, the opera The Devils of Loudun, the Polish Requiem and the monumental St. Luke’s Passion that made him one of the most internationally admired and frequently performed contemporary composers
[caption id="attachment_63671" align="alignnone" width="840"] "I work like a 19th century composer who had to know everything, even conducting." (photo: Ludwig van Beethoven Association, Bartosz Koziak)[/caption]
One of the last representatives of the large-scale form
Anyone who listens to the St. Luke Passion from 1966 today, with a distance of time, will not only discover experimental ways of composing but also find traditional elements in this work. It is not least the distinctive a cappella settings that revealed Penderecki's close ties to historical composition techniques. Over the decades, the dense clusters of early works thinned into tonal structures, with complex sound surfaces taking second place to a rhythmically and melodically accessible score. Reminiscences to the late Romantic tradition of Bruckner, Mahler, Shostakovich or Strauss were chosen deliberately. 'I am one of the last representatives of the large-scale form who writes everything: symphonies, operas, oratorios, concertos and chamber music. I work like a 19th century composer who had to know everything, even conducting.'
[caption id="attachment_71122" align="aligncenter" width="1200"] Pope John Paul II welcomes his friend Penderecki in Rome, 1983 (photo: Mari)[/caption]
In numerous compositions, Penderecki embedded extra-musical content in; his sacred compositions often testify to his strong Catholic faith. With his music, he also set political accents time and again. The instrumental work Threnos was dedicated to the victims of the catastrophe of Hiroshima, the piano concerto Resurrection to the events on 11 September 2001. In the Polish Requiem Penderecki established connections to his native country in different ways. Lacrimosa was commissioned by the Polish trade union 'Solidarnosc' in 1980, other parts were written by the composer in memory of the victims of Auschwitz and the Warsaw Uprising. When the composer received the news of the death of Pope John Paul II in 2005, he added Ciaccona in memoria Giovanni Paolo II. Penderecki never minced matters, not even when he was accused of embracing the aesthetics of Socialist realism in a Polish press campaign after the world premiere of Resurrection.
Faith and fugaciousness
For decades, Penderecki worked in close friendship with outstanding soloists. The composer's catalogue of works contains numerous solo works for artists such as Anne-Sophie Mutter (2nd violin concerto Metamorphosen, among others), Boris Pergamenshikov (Concerto grosso) and Mstislav Rostropovich (Concerto per violoncello ed orchestra no. 2). He effectively learned instrumental tone colours and performance techniques by listening, and gave the performers as much space for development as possible. As Penderecki also wanted to share his love of music with the following generations of composers, he built the European Krzysztof Penderecki Music Centre not far from his country estate in Lusławice which has become a meeting place for musicians from all over the world.
[caption id="attachment_71123" align="aligncenter" width="1200"] Penderecki cultivated an extensive arboretum (photo: Krzysztof Wójcik)[/caption]
In his eighth symphony Lieder der Vergänglichkeit, in which Penderecki set texts of famous poets on all aspects of the subjects 'forest' and 'tree' to music, he managed to combine his two great passions: music and his private arboretum where he collected more than 1,700 different kinds of trees. Just as the list of his commissioners, dedicatees and countless awards and distinctions provide information on his recognition in the international music world, so the trees collected by the internationally acclaimed conductor on his concert tours tell of his great love of and his close affinity with nature. After his seventh and eighth contributions to the symphony genre, Penderecki finished his 6th Symphony with the subtitle "Chinese Songs" for the world premiere in Guangzhou in 2017. Films like “The Shining”, “Shutter Island” or “Katyń” brought his music to the silver screen and home televisions worldwide.
Krzysztof Penderecki died on March 29 in Kraków, Poland.
photo: Schott Music / Bruno Fidrych