Editing Krzysztof Penderecki (section)

===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>