Krzysztof Penderecki

2021 ◽  
pp. 265-278
Keyword(s):  
Krzysztof Penderecki

AN INTERVIEW WITH KRZYSZTOF PENDERECKI

Tempo ◽  
2020 ◽  
Vol 74 (294) ◽  
pp. 77-84
Author(s):  
Alexander Woodman
Keyword(s):  
Musical Education ◽  
Ninth Symphony ◽  
Krzysztof Penderecki

AbstractThis article transcribes an interview with the great Polish composer Krzysztof Penderecki and is one of the last interviews that Penderecki gave before his death on 29 March 2020. It traces the composer's career, from his early musical education to the Ninth Symphony on which he was working at the time of his death, and focuses on the composition of his Threnody for the Victims of Hiroshima, the St Luke Passion and the Polish Requiem.

Krzysztof Penderecki „Sextett“

2000 ◽  
Vol 55 (5) ◽  
Author(s):  
Dorota Kryspin-Seifert
Keyword(s):  
Krzysztof Penderecki

scholarly journals Mieczysław Tomaszewski. Muzykolog wolny, niezależny i zaangażowany

2019 ◽  
pp. 7-16
Author(s):  
Teresa Malecka
Keyword(s):  
Twentieth Century ◽  
Publishing House ◽  
Musical Work ◽  
Creative Development ◽  
Witold Lutoslawski ◽  
Music Publishing ◽  
Nodal Points ◽  
Krzysztof Penderecki ◽  
Karol Szymanowski ◽  
Different Levels

The article discusses the culture-creating activities of Mieczysław Tomaszewski (1921–2019) at the Polish Music Publishing House and within the context of Musical Encounters at Baranów Sando- mierski (1976–1981). The text is mainly concerned with Tomasze-wski’s publications relating to twentieth-century Polish composers: Karol Szymanowski, Witold Lutosławski, Krzysztof Penderecki and Henryk Mikołaj Górecki. The reflections of the Polish musicologist are closely entwined with the theoretical conceptions developed by himself: the conception of Wort-Ton, the method of integral interpre-tation of a musical work, the conception of nodal points in the lives of composers, or intertextuality in music. Applying these conceptions allowed him to describe Polish twentieth-century compositions at different levels and in different contexts: beginning with a synthetic periodisation of creative development, up to masterly analyses and interpretations of individual works that take into consideration their intertextual references. The Polish musicologist also paid careful at-tention to composers’ statements testifying to their original views and inner transformations. The problem of freedom was of particular im-portance to him, both in its personal, artistic aspect and in its histor-ical dimension. Tomaszewski as a person reveals himself throughout his activities as someone both free and committed.

Color Music: Visual Color Notation for Musical Expression

Leonardo ◽  
2000 ◽  
Vol 33 (3) ◽  
pp. 215-221 ◽  
Author(s):  
Michael Poast
Keyword(s):  
Arnold Schoenberg ◽  
Olivier Messiaen ◽  
John Cage ◽  
Musical Meaning ◽  
Notation System ◽  
Gyorgy Ligeti ◽  
Visual Color ◽  
Krzysztof Penderecki ◽  
History Of

In this article, the author de-scribes Color Music, an alternative notation system for musical expres-sion. The system uses colors and shapes-powerful tools of expres-sion-in conjunction with sound to form a new language for musical no-tation. The author briefly describes the history of color/sound relation-ships since the time of Aristotle and discusses the use of color in scores by Alexander Scriabin, Arnold Schoenberg, John Cage, Krzysztof Penderecki, Gyorgy Ligeti, Olivier Messiaen and other contemporary composers who recognized color as a tool of expression for musical no-tation. He also discusses the psy-chology and musical meaning of col-ors, along with the role of performers as interpreters of Color Music, and the use of standard mu-sical forms as structural devices for applying color to scores. He de-scribes his Color Music: Toccata and Fugue (1995) in detail.

scholarly journals O processo criativo musical envolvido na transcrição da composição Agnus Dei de Krzysztof Penderecki

2018 ◽  
Vol 17 (2) ◽  
pp. 177
Author(s):  
João Victor Bota
Keyword(s):  
Krzysztof Penderecki

O presente artigo trata da pesquisa do estilo de orquestração observável em composições musicais de Krzysztof Penderecki, que foram analisadas para que eu pudesse transcrever a música Agnus Dei do compositor polonês para banda sinfônica. Durante a pesquisa preliminar das obras orquestrais de Penderecki e a feitura da transcrição propriamente dita, escrevi um "diário de transcrição" (termo inspirado na prática de diversos tradutores que escrevem diários a respeito do ato de traduzir), que mapeou tanto os desafios enfrentados, quanto as soluções que foram encontradas durante meu processo criativo. Neste artigo essas informações estão presentes e justificam as decisões que foram tomadas ao escolher determinados recursos de orquestração.

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