Word: penderecki
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Dates: during 1960-1969
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...première of Polish Composer Krzysztof Penderecki's Si. Luke Passion, Germany...
...winds and strings. The resulting dialogue is almost Joycean in its plural textures and moment-to-moment subtleties. Recording studios also offer new technical means of composing, through such devices as the echo chamber, multi-track recording and tape superimposition. "In this way," says Poland's Krzysztof Penderecki, "the process of recording itself has become a means of composition as well as communication." Of course, none of this technical expertise would be possible without tape, on which all LPs are originally recorded. And there are those who see tape-especially video tape, with which the home listener may some...
Different Esthetic. There was a time when the thrill of a composer's life was a concert performance of one of his works. Now most composers see the concert hall and the LP as separate, but equally rewarding, mediums. Penderecki prefers to hear romantic music in the concert hall, but listens to Bach and Handel in the quiet and privacy of his home. As for his own music, he thinks the dramatically extroverted St. Luke Passion belongs in the auditorium because it should involve people as a group. When it comes to such works as Polymorphia and Dies Irae...
...critics had grounds for apprehension - but on quite another score. They were gathered for the American premiere of Krzysztof Penderecki's The Devils of Loudun by the Santa Fe Opera, a troupe known for its firm (and rare) conviction that contemporary opera deserves a place right alongside the old favorites. The Devils is a highly unorthodox piece of music. At earlier performances this summer in Hamburg and Stuttgart, it had been greeted with as many pans as praises (TIME, July 4). Santa Fe once more was sho ing its devil-may-care spirit in risking, along with the tried...
...turned out, no one need have worried. The Devils was cheered at Santa Fe. There was even help from an unexpected source: precisely at the moment when one of Penderecki's characters shouted "God is dead!" there came a clap of thunder and a storm enveloped the theater. The audience was as impressed by the opera as by the incident. But despite its effectiveness, The Devils seemed episodic, eclectic, and the complex Penderecki (pronounced Pen-der-ete-key) score sometimes trod meekly behind the drama instead of forcefully alongside it. What gave absolutely no grounds for complaint were...