Word: penderecki
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Dates: during 1960-1969
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After sitting in on rehearsals last week for the U.S. premiere of his two-hour oratorio, the Passion and Death of Jesus Christ According to St. Luke, Polish Composer Krzysztof Penderecki was exuberant. The conductor, he said, "is excellent. He understands modern music-he has composed it himself. I have complete trust in him." Penderecki was talking about the musical director of the Minneapolis Symphony, Stanislaw Skrowaczewski, 44. Later in the week, Skrowaczewski returned the compliment by leading his orchestra, soloists and local choristers in two austerely jolting performances of the Passion at Minneapolis' Northrup Auditorium...
...have one of the great orchestras of the world." The orchestra has launched a drive to raise $10 million in capital funds, is planning to enlarge from its current 94 players to 105, and is already underwriting more tours. This month it will airlift the entire production of Penderecki's Passion to New York City for a performance in Carnegie Hall. "In a sense," says Orchestra Manager Richard Cisek, "we're declaring war on the big five...
...audience through the eye is easier than through the ear," he has brought such gifted directors as Jean-Louis Barrault and GianCarlo Menotti to Hamburg to stage his productions; and as a musician, he has persuaded such fellow composers as Hans Werner Henze, Ernst Krenek and Krzystof Penderecki to write new operas for the company...
Saws & Sirens. Passion is Penderecki's latest and most ambitious work. Now 33, he leapt into prominence seven years ago when he anonymously entered three compositions in a competition sponsored by the Polish Composer's Association -and walked off with first, second and third prizes. The first performances of his music in Poland were attended by hard-core traditionalists who touched off riots with whistles and rattles. Penderecki merely answered with some noisemakers of his own, scored one piece for woodwinds, musical saws, files, sirens, typewriters and electric bells, not to ignore the percussionist whose work entailed assaulting...
...problem of scoring for such non-instruments is something that even the great orchestrater Rimsky-Korsakoff could not have foreseen. Even Penderecki's requirements for customary instruments compelled him to devise a new written language that would convey the sounds he wanted to hear. Today, many of his notational inventions have become the accepted form for avant-garde composers. Tone clusters, for example are designated by highest and lowest notes...