Krzysztof Penderecki – Psalmus (1961)

Psalmus, which was realised in collaboration with the sound engineer Eugeniusz Rudnick, is to date the only electroacoustic work by Penderecki. His basic material stems solely from a recording of two voices (soprano and baritone) so treated that they provide long holding-notes developing in pitch, dynamics, and colour, alternating with short impulses which display to advantage the great variety of inflection proper to the Polish language.

Art by Domenico Zampieri

Krzysztof Penderecki – Complete Cello Concertos (1967-1983)

1 Concerto For Cello And Orchestra No. 1 (1967/1972) 17:48
2 Concerto For Cello And Orchestra No. 2 (1982) 35:06
3 Concerto For Viola And Chamber Orchestra (1983) 20:16

Cello – Arto Noras
Composed By – Krzysztof Penderecki
Conductor – Krzysztof Penderecki
Orchestra – Sinfonia Varsovia

Finlandia Records

Around the mid-1970s, while he was a professor at the Yale School of Music, Penderecki’s style began to change. The Violin Concerto No. 1 largely leaves behind the dense tone clusters with which he had been associated, and instead focuses on two melodic intervals: the semitone and the tritone. Some commentators[who?] compared this new direction to Anton Bruckner. This direction continued with the Symphony No. 2, Christmas (1980), which is harmonically and melodically quite straightforward. It makes frequent use of the tune of the Christmas carol Silent Night.  Penderecki explained this shift by stating that he had come to feel that the experimentation of the avant-garde had gone too far from the expressive, non-formal qualities of Western music: ‘The avant-garde gave one an illusion of universalism. The musical world of Stockhausen, Nono, Boulez and Cage was for us, the young – hemmed in by the aesthetics of socialist realism, then the official canon in our country – a liberation…I was quick to realise however, that this novelty, this experimentation and formal speculation, is more destructive than constructive; I realised the Utopian quality of its Promethean tone’. Penderecki concluded that he was ‘saved from the avant-garde snare of formalism by a return to tradition’. [source]

Arto Noras (born 12 May 1942 in Turku) is a Finnish cellist who is one of Finland’s most celebrated instrumentalists and amongst the most outstanding internationally acknowledged cellists of his generation. [source]

penderecki portada