Editing Krzysztof Penderecki (section)

===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>