Editing Krzysztof Penderecki (section)

==Career==

===1933–1958: early years===
Penderecki was born on 23 November 1933 in Dębica, the son of Zofia and Tadeusz Penderecki, a lawyer. His grandfather Michał Penderecki was a native of Tenetnyky village near [[Rohatyn]] (now [[Ukraine]])<ref name="rewakowicz">[https://pmv.org.pl/en/newsroom/to-say-goodbye-to-krzysztof-penderecki/ Roman Rewakowicz’s memoir about Krzysztof Penderecki]</ref> and belonged to the [[Ukrainian Greek Catholic church]].<ref name="dw">{{cite web|url=https://www.dw.com/en/penderecki-on-aiming-for-the-unreachable/a-17257279|title=Penderecki on 'aiming for the unreachable' |website=Dw.com}}</ref> He married Stefania Szylkiewicz of Armenian origin<ref name="dw" /> from Stanislau (now [[Ivano-Frankivsk]] in [[Ukraine]])<ref name="wprost"/> and they later moved to Dębica. The rest of the Penderecki family adopted Ukrainian identity and some still live in their ancestral village.<ref>[https://www.salon24.pl/u/krakowianin1961/1036008,lxix-wschodnie-korzenie-krzysztofa-pendereckiego (LXIX) Wschodnie korzenie Krzysztofa Pendereckiego]</ref> Krzysztof met them upon his visits to Ukraine in the 1990s.<ref name="rewakowicz" /> On his mother's side his grandfather, Robert Berger, was a highly talented painter and director of the local bank at the time of Penderecki's birth; Robert's father Johann, a German [[Protestant]], moved to Dębica from Breslau (now [[Wrocław]]) in the mid-19th century. Out of love for his wife, he subsequently converted to [[Catholicism]].<ref name="wprost">{{cite web |last=Lech |first=Filip |title=Mistrz |url=https://www.wprost.pl/tygodnik/10169073/mistrz.html |website=Wprost |date=18 November 2018 |access-date=9 March 2023 |language=pl}}</ref><ref name="Schwinger16">Schwinger, p. 16.</ref> 

Krzysztof was the youngest of three siblings; his sister, Barbara, was married to a mining engineer, and his older brother, Janusz, was studying law and medicine at the time of his birth. Tadeusz was a violinist and also played piano.<ref name="Schwinger16"/>

The [[Second World War]] broke out in 1939; Penderecki's family moved out of their apartment, for the Ministry of Food was to operate there. After the war, Penderecki began attending grammar school in 1946. He began studying the violin under Stanisław Darłak, Dębica's military bandmaster who organized an orchestra for the local music society after the war. Upon graduating from grammar school, Penderecki moved to Kraków in 1951, where he attended [[Jagiellonian University]].<ref name="Schwinger17">Schwinger, p. 17.</ref>

He studied violin with Stanisław Tawroszewicz and music theory with Franciszek Skołyszewski. In 1954, Penderecki entered the [[Academy of Music in Kraków]] and, having finished his studies on violin after his first year, focused entirely on composition. Penderecki's main teacher there was Artur Malawski, a composer known for his choral and orchestral works, as well as chamber music and songs. After Malawski's death in 1957, Penderecki took further lessons with [[Stanisław Wiechowicz]], a composer primarily known for his choral works.<ref name="Schwinger18&19">Schwinger, pp. 18–19.</ref> At the time, the 1956 overthrow of [[Stalinism]] in Poland lifted strict cultural censorship and opened the door to a wave of creativity.<ref name="LOC1">{{cite journal |last=Monastra |first=Peggy |title=Krzysztof Penderecki's Polymorphia and Fluorescences |url=http://memory.loc.gov/ammem/collections/moldenhauer/2428143.pdf |journal=Moldenhauer Archives, Library of Congress |access-date=19 March 2012}}</ref>

===1958–1962: first compositions===
Upon graduating from the Academy of Music in Kraków in 1958, Penderecki took up a teaching post at the academy. His early works show the influence of [[Anton Webern]] and [[Pierre Boulez]] (Penderecki was also influenced by [[Igor Stravinsky]]). Penderecki's international recognition began in 1959 at the [[Warsaw Autumn]] with the premieres of the works ''Strophen'', ''Psalms of David'', and ''Emanations'', but the piece that truly brought him to international attention was ''[[Threnody to the Victims of Hiroshima]]'' (see [[threnody]] and [[Atomic bombings of Hiroshima and Nagasaki|atomic bombing of Hiroshima]]), written in 1960 for 52 [[string instrument]]s. In it, he makes use of extended instrumental techniques (for example, playing behind the bridge, bowing on the tailpiece). There are many novel textures in the work, which makes extensive use of [[tone cluster]]s. He originally titled the work ''8' 37"'', but decided to dedicate it to the victims of Hiroshima.<ref>Thomas (2008), p. 165</ref>

''Fluorescences'' followed a year later; it increases the orchestral density with more wind and brass, and an enormous percussion section of 32 instruments for six players, including a Mexican güiro, typewriters, gongs and other unusual instruments. The piece was composed for the [[Donaueschingen Festival]] of contemporary music of 1962, and its performance was regarded as provocative and controversial. Even the score appeared revolutionary; the form of [[Graphic notation (music)|graphic notation]] that Penderecki had developed rejected the familiar look of notes on a staff, instead representing music as morphing sounds.<ref name="LOC1" /> His intentions at this stage were quite [[John Cage|Cagean]]: 'All I'm interested in is liberating sound beyond all tradition'.<ref name="liner">{{cite web |last=Tomaszewski |first=Mieczyslaw |title=Orchestral Works Vol 1 Liner Notes |url=https://www.amazon.com/Penderecki-Orchestral-Works-Vol-01/dp/B00004D3II |website=Amazon |year=2000}}</ref>

Another noteworthy piece of this period is the ''Canon'' for 52 strings and 2 tapes. This is in a similar style to other pieces in the late 1950s in its use of sound masses, dramatically juxtaposed with traditional means although the use of standard techniques or idioms is often disguised or distorted. Indeed, the Canon brings to mind the choral tradition and indeed the composer has the players sing, albeit with the performance indication of ''bocca chiusa'' (with closed mouth) at various points; nevertheless, Penderecki uses the 52 'voices' of the string orchestra to play in massed glissandi and harmonics at times – this is then recorded by one of the tapes for playback later on in the piece. It was performed at the Warsaw Autumn Festival in 1962 and caused a riot although curiously the rioters were young music students and not older concertgoers.<ref name="Jakelski">{{cite book |last=Jakelski |first=Lisa |title=Making new music in Cold War Poland: the [[Warsaw Autumn]] Festival, 1956–1968 |date=2017 |publisher=University of California Press |isbn=978-0-520-29254-3 |pages=80–83}}</ref>

At the same time, he started composing music for theater and film. The first theater performance with Penderecki's music was ''Złoty kluczyk'' (''Golden Little Key'') by Yekaterina Borysowa directed by Władysław Jarema (premiered on 12 May 1957 in Krakow at the "Groteska" Puppet Theater). In 1959, at the [[Studio Filmów Rysunkowych|Cartoon Film Studio in Bielsko-Biała]], he composed the music for the first animated film, ''Bulandra i diabeł'' (''Coal Miner Bulandra and Devil''), directed by Jerzy Zitzman and [[Lechosław Marszałek]].<ref>{{cite web |url=https://www.telemagazyn.pl/community/index.php/film/bulandra-i-diabel-2762222/ |language=pl |title=Bulandra i diabeł |website=telemagazyn.pl |access-date=31 January 2023}}</ref>

In 1959, he wrote the score for [[Jan Łomnicki]]'s first short fiction film, ''Nie ma końca wielkiej wojny'' (''There is no End to the Great War'', WFDiF Warszawa). In the following years he created over twenty original musical settings for dramatic and over 40 puppet performances, and composed original music for at least eleven documentary and feature films as well as for twenty-five animated films for adults and children.<ref>{{cite web |title=O projekcie – Muzyczny Ślad Krakowa |url=http://www.muzycznyslad.pl/o-projekcie/ |access-date=17 December 2020 |language=pl}}</ref>

===''The St. Luke Passion''===
{| class="wikitable" style="text-align:center;"
! Year !! Song title !! Work !! Instrumentation
|-
| 1968:
| "Miserere mei, Deus"<br />''{{audio|Krzysztof Penderecki Miserere mei-Deus.ogg|Listen}}''
|| Saint Luke Passion
|| Chorus
|}

The large-scale ''[[St. Luke Passion (Penderecki)|St. Luke Passion]]'' (1963–66) brought Penderecki further popular acclaim, not least because it was devoutly religious, yet written in an avant-garde musical language, and composed within Communist Eastern Europe. Various different musical styles can be seen in the piece. The experimental textures, such as were employed in the ''Threnody'', are balanced by the work's [[Baroque music|Baroque]] form and the occasional use of more traditional [[harmony|harmonic]] and [[melody|melodic]] writing. Penderecki makes use of [[serialism]] in this piece, and one of the tone rows he uses includes the [[BACH motif]], which acts as a bridge between the conventional and more experimental elements. The [[Stabat Mater#Musical settings|Stabat Mater]] section toward the end of the piece concludes on a simple [[chord (music)|chord]] of D major, and this gesture is repeated at the very end of the work, which finishes on a triumphant E major chord. These are the only tonal harmonies in the work, and both come as a surprise to the listener; Penderecki's use of tonal triads such as these remains a controversial aspect of the work.<ref>{{cite journal |last=Walter |first=Meinrad |date=2002 |title=Avantgarde mit menschlichem Antlitz |url=https://www.herder.de/hk/hefte/archiv/2002/10-2002/avantgarde-mit-menschlichem-antlitz-ein-portraet-des-komponisten-und-guardini-preistraegers-krzysztof-penderecki/ |journal=Herder Korrespondenz |volume=2002 |issue=10 |pages=507–512 |language=de |access-date=29 March 2020}}</ref>

Penderecki continued to write sacred music. In the early 1970s he wrote a [[Dies irae]], a [[Magnificat]], and [[Canticum Canticorum Salomonis]] ([[Song of Songs]]) for chorus and orchestra.<ref name="liner"/>

===De Natura Sonoris and other pieces in the 1960s and early 1970s===
[[File:Penderecki-gtfy-03100-03117u.jpg|thumb|Penderecki between 1980 and 1990]]

Penderecki's preoccupation with sound culminated in ''De Natura Sonoris I'' (1966), which frequently calls upon the orchestra to use non-standard playing techniques to produce original sounds and colours. A sequel, ''De Natura Sonoris II'', was composed in 1971: with its more limited orchestra, it incorporates more elements of post-[[Romanticism]] than its predecessor. This foreshadowed Penderecki's renunciation of the avant-garde in the mid-1970s, although both pieces feature dramatic [[glissando]]s, dense clusters, use of harmonics, and unusual instruments (the [[musical saw]] features in the second piece).

In 1968 Penderecki received the State Prize 1st class.<ref>''Dziennik Polski'', rok XXIV, nr 172 (7599), p. 6.</ref> During the jubilee of the [[People's Republic of Poland]] he received the Commander's Cross (1974)<ref>''Dziennik Polski'', rok XXX, nr 175 (9456), p. 2.</ref> and the Knight's Cross of [[Order of Polonia Restituta]] (1964).<ref>''Dziennik Polski'', rok XX, nr 171 (6363), p. 6.</ref>

Towards the end of the decade, Penderecki received a commission to write for the twenty-fifth anniversary of the founding of the United Nations. The result was ''Kosmogonia'', a piece of twenty minutes for 3 soloists (soprano, tenor, bass), mixed choir and orchestra. The [[Los Angeles Philharmonic]] premiered the piece on 24 October 1970 with [[Zubin Mehta]] as conductor and [[Robert Nagy (tenor)|Robert Nagy]] as tenor. The piece uses texts from ancient writers [[Sophocles]] and [[Ovid]] in addition to contemporary statements from [[Soviet]] and American astronauts to musically explore the idea of the [[cosmos]].<ref>{{cite web |title=Penderecki historycznie: od narodzin świata do World Trade Center |url=https://culture.pl/pl/artykul/penderecki-historycznie-od-narodzin-swiata-do-world-trade-center |website=culture.pl |access-date=31 January 2023 |language=pl}}</ref>

===1970s–2020: later years===
[[File:Wladyslaw bartoszewski, krzysztof penderecki.jpg|thumb|Krzysztof Penderecki and [[Władysław Bartoszewski]] in 2011]]
In the mid-1970s, while he was a professor at the [[Yale School of Music]],<ref>{{cite web |title=Biography on Krakow 2000 |url=http://www.biurofestiwalowe.pl/wydarzenia/kpenderecki_98/penderecki_a.html |url-status=dead |website=Biurofestiwalowe.pl |access-date=30 April 2007 |archive-url=https://web.archive.org/web/20070928162929/http://www.biurofestiwalowe.pl/wydarzenia/kpenderecki_98/penderecki_a.html |archive-date=28 September 2007}}</ref> 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]]. This direction continued with the [[Symphony No. 2 (Penderecki)|Symphony No. 2]] (1980), which is harmonically and melodically quite straightforward; the symphony is sometimes referred to as the "Christmas Symphony" due to the opening phrase of the [[Christmas carol]] ''[[Silent Night (song)|Silent Night]]'' appearing three times during the work.<ref>{{cite web |title=Krzysztof Penderecki, "II Symfonia" i Joanna Bruzdowicz, "Koncerty" (Olympia) |url=https://culture.pl/pl/dzielo/krzysztof-penderecki-ii-symfonia-i-joanna-bruzdowicz-koncerty-olympia |website=culture.pl |access-date=31 January 2023}}</ref>

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]], [[Luigi Nono (composer)|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'.<ref name="liner"/> Penderecki wrote relatively little chamber music. However, compositions for smaller ensembles range in date from the start of his career to the end, reflecting the changes his style of writing has undergone.<ref>{{cite web |title=Krzysztof Penderecki- Bio, Albums, Pictures – Naxos Classical Music |url=https://www.naxos.com/person/Krzysztof_Penderecki_21188/21188.htm |website=Naxos.com |access-date=22 January 2020}}</ref>

[[File:Krzysztof Penderecki dirigió a la Orquesta Sinfónica Nacional (28795460233).jpg|thumb|Krzysztof Penderecki conducting the [[Argentine National Symphony Orchestra]], 2015]]

In 1975 the [[Lyric Opera of Chicago]] asked him to write a work to commemorate the US Bicentennial in 1976; this became the opera ''[[Paradise Lost (Penderecki)|Paradise Lost]]'' Owing to delays to the project, however, it did not see its premiere until 1978. The music continued to illustrate Penderecki's move away from avant-garde techniques. It is tonal music, and the composer explained: "This is not music by the angry young man I used to be".<ref name="ParadiseWash">{{cite news |last=Hume |first=Paul |title='Paradise Lost,' Krzysztof Penderecki's Long-Awaited Opera 'Paradise Lost': The World PremiereMusic of Vivid Imagination Marks Krzysztof Penderecki's Long-Awaited Opera |url=https://www.washingtonpost.com/archive/lifestyle/1978/12/01/paradise-lost-krzysztof-pendereckis-long-awaited-opera-paradise-lost-the-world-premieremusic-of-vivid-imagination-marks-krzysztof-pendereckis-long-awaited-opera/deb9a8bc-6586-4b46-a9ba-61301344e8aa/ |newspaper=[[The Washington Post]] |date=1 December 1978 |access-date=7 June 2020}}</ref>

In 1980, Penderecki was commissioned by [[Solidarity (Polish trade union)|Solidarity]] to compose a piece to accompany the unveiling of a statue at the [[Gdańsk]] shipyards to commemorate those killed in anti-government riots there in 1970. Penderecki responded with ''Lacrimosa'', which he later expanded into one of the best-known works of his later period, the ''[[Polish Requiem]]'' (1980–84, 1993, 2005). Later, he tended towards more traditionally conceived tonal constructs, as heard in works such as the Cello Concerto No. 2 and the [[Credo (Penderecki)|Credo]], which received the [[Grammy Award]] for best choral performance for the world-premiere recording made by the [[Oregon Bach Festival]], which commissioned the piece. The same year, Penderecki was awarded the [[Prince of Asturias Prize]] in Spain, one of the highest honours given in Spain to individuals, entities, organizations or others from around the world who make notable achievements in the sciences, arts, humanities, or public affairs. Invited by [[Walter Fink]], he was the eleventh composer featured in the annual [[Rheingau Musik Festival#Portraits of living composers|Komponistenporträt]] of the Rheingau Musik Festival in 2001. He conducted the Credo on the occasion of the 70th birthday of [[Helmuth Rilling]], 29 May 2003.<ref>{{cite web |last=Rilling |first=Helmuth |title=29. mai 2003 • 70. geburtstag |url=http://www.helmuth-rilling.de/programm.htm |url-status=dead |date=2003 |access-date=9 March 2023 |archive-url=https://web.archive.org/web/20110719040057/http://www.helmuth-rilling.de/programm.htm |archive-date=19 July 2011}}</ref> Penderecki received an honorary doctorate from the [[Seoul National University]], Korea, in 2005 and the [[University of Münster]], Germany, in 2006. His notable students include [[Chester Biscardi]] and Walter Mays.

In celebration of his 75th birthday, he conducted three of his works at the Rheingau Musik Festival in 2008, among them Ciaccona from the ''Polish Requiem''.<ref>[http://www.rheingau-musik-festival.de/data_files/ouvertuere_2008.pdf Ouverture 2008] {{webarchive |url=https://web.archive.org/web/20110810031232/http://www.rheingau-musik-festival.de/data_files/ouvertuere_2008.pdf |date=10 August 2011}} Rheingau Musik Festival, p. 17, 11 July 2008.</ref>

In 2010, he worked on an opera based on ''[[Phèdre]]'' by [[Jean Racine|Racine]] for 2014, which was never realized,<ref>{{cite news |date=9 March 2018 |title=Penderecki sagt 'Phaedra' für Wien ab |url=https://www.pizzicato.lu/penderecki-sagt-phaedra-fur-wien-ab/ |work=[[Pizzicato]] |location=Luxembourg |language=de |access-date=29 March 2020}}</ref> and expressed his wish to write a 9th symphony.<ref>{{cite news |date=8 September 2010 |title=A composer for all seasons |url=http://www.irishtimes.com/newspaper/features/2010/0908/1224278430170.html |newspaper=[[The Irish Times]] |access-date=29 March 2020}}</ref> In 2014, he was engaged in the creation of a choral work to coincide with the [[Armenian genocide]] centennial.<ref name="armenpress.am">{{cite web|url=https://armenpress.am/eng/news/746022/krzysztof-penderecki-engaged-in-creation-of-choral-work-on-armenian-genocide-centennial.html|title=Krzysztof Penderecki engaged in creation of choral work on Armenian Genocide centennial|website=Armenpress.am|access-date=27 November 2022}}</ref> In 2018, he conducted Credo in [[Kyiv]] at the 29th [[Kyiv Music Fest]], marking the centenary of Polish independence.<ref name="Poland">{{cite web |title=Famous Polish composer marks Polish centenary in Kiev |url=https://polandin.com/39261968/famous-polish-composer-marks-polish-centenary-in-kiev |website=polandin.com |date=30 September 2018 |access-date=31 March 2020}}</ref>