Post by Jaga on Mar 30, 2020 22:32:37 GMT -7
Krzysztof Penderecki was probably the most known contemporary Polish composer, he was 86 and he died after a long illness. But he was tested for coronavirus twice since one of his caretakers was positive.
Penderecki lived in Krakow, he has a house there, he was quite a prominent figure in my hometown. He was a chancellor/figurehead of the University of Music in Krakow.
www.nytimes.com/2020/03/29/arts/music/krzysztof-penderecki-dead.html
Krzysztof Penderecki, Polish Composer With Cinematic Flair, Dies at 86
Mr. Penderecki’s modernist compositions turned up in films like “The Exorcist” and influenced a generation of edgy rock musicians.
Krzysztof Penderecki, a Polish composer and conductor whose modernist works jumped from the concert hall to popular culture, turning up in soundtracks for films like “The Exorcist” and “The Shining” and influencing a generation of edgy rock musicians, died on Sunday at his home in Krakow. He was 86.
His death was confirmed by Andrzej Giza, the director of the Ludwig van Beethoven Association, which was founded by Mr. Penderecki’s wife, Elzbieta.
Mr. Penderecki was regarded as Poland’s pre-eminent composer for more than half a century, and in all those years he never seemed to sit still. Beginning in the 1960s with radical ideas that placed him firmly in the avant-garde, he went on to produce dozens of compositions including eight symphonies, four operas, a requiem and other choral works, and several concertos he cheerfully described as being almost impossible to play.
Among those who could were the violinist Anne-Sophie Mutter and the cellist Mstislav Rostropovich, whose recordings of the concertos he wrote for them won Grammy Awards in 1999 and 1988, respectively
Mr. Penderecki was most widely known for choral compositions evoking Poland’s ardent Catholicism and history of foreign domination, and for his early experimental works, with their massive tone clusters and disregard for melody and harmony. Those ideas would reverberate for decades after he himself had pronounced them “more destructive than constructive” and changed course toward neo-Romanticism.
(His decision to move on was partly political: The Polish avant-garde movement had created an unhealthy illusion of freedom in a country living under Communism, he said. But it was also artistic: Experimentation had reached an impasse, he told a Canadian interviewer in 1998, because “we discovered everything!”)
Penderecki lived in Krakow, he has a house there, he was quite a prominent figure in my hometown. He was a chancellor/figurehead of the University of Music in Krakow.
www.nytimes.com/2020/03/29/arts/music/krzysztof-penderecki-dead.html
Krzysztof Penderecki, Polish Composer With Cinematic Flair, Dies at 86
Mr. Penderecki’s modernist compositions turned up in films like “The Exorcist” and influenced a generation of edgy rock musicians.
Krzysztof Penderecki, a Polish composer and conductor whose modernist works jumped from the concert hall to popular culture, turning up in soundtracks for films like “The Exorcist” and “The Shining” and influencing a generation of edgy rock musicians, died on Sunday at his home in Krakow. He was 86.
His death was confirmed by Andrzej Giza, the director of the Ludwig van Beethoven Association, which was founded by Mr. Penderecki’s wife, Elzbieta.
Mr. Penderecki was regarded as Poland’s pre-eminent composer for more than half a century, and in all those years he never seemed to sit still. Beginning in the 1960s with radical ideas that placed him firmly in the avant-garde, he went on to produce dozens of compositions including eight symphonies, four operas, a requiem and other choral works, and several concertos he cheerfully described as being almost impossible to play.
Among those who could were the violinist Anne-Sophie Mutter and the cellist Mstislav Rostropovich, whose recordings of the concertos he wrote for them won Grammy Awards in 1999 and 1988, respectively
Mr. Penderecki was most widely known for choral compositions evoking Poland’s ardent Catholicism and history of foreign domination, and for his early experimental works, with their massive tone clusters and disregard for melody and harmony. Those ideas would reverberate for decades after he himself had pronounced them “more destructive than constructive” and changed course toward neo-Romanticism.
(His decision to move on was partly political: The Polish avant-garde movement had created an unhealthy illusion of freedom in a country living under Communism, he said. But it was also artistic: Experimentation had reached an impasse, he told a Canadian interviewer in 1998, because “we discovered everything!”)
