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The Penderecki Family Comes from Iran
The author conducts linguistic research to support the thesis that the surname of the outstanding Polish composer Krzysztof Penderecki is of Iranian origin. The name was formed by adding the suffix –i (Persian suffix indicating origin) to the word root Fenderesk, which is the name of the district in the Iranian province of Golestân on the Caspian Sea, where the Armenian minority still resides. In the Persian language there is a correspondence between the letter P and F. This confirms the Penderecki family’s tradition that their ancestor came from Isfahan, he initially bore the name Pendereski (Fenderesk-i) and was of Persian-Armenian origin.
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Trzęsiok, Marcin. „Siglind Bruhn i pieśniowe symfonie o przemijaniu“. Res Facta Nova. Teksty o muzyce współczesnej, Nr. 22 (31) (15.12.2021): 168–71. http://dx.doi.org/10.14746/rfn.2021.22.13.
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This article discusses Siglin Bruhn’s book “Dunkel ist das Leben”. Liedsinfonien zur Vergänglichkeit von Mahler bis Penderecki (2020). It summarises the main theses of the book, i.e., the content of the selected symphonies about transience (Mahler, Zemlinsky, Shostakovich, Penderecki) and the methodological decision to base analyses primarily on the vocal line shown in a particular typographic arrangement that reflects the formal structure of poetry. The review focuses specifically on the analyses of two late vocal symphonies by Krzysztof Penderecki (Sixths and Eighth), which Siglind Bruhn’s book subjects for the first time to such complex scholarly interpretation.
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Nikolskaya, I. I. „Penderecki’s Passing Away. A Few Comments About His Creative Legacy“. Art & Culture Studies, Nr. 1 (2021): 124–41. http://dx.doi.org/10.51678/2226-0072-2021-1-124-141.
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In the article devoted to the passing away of the outstanding Polish composer K. Penderecki (1933–2020), an overview of the creative path and legacy of the master-experimenter is undertaken in all its large-scale diversity. The stylistic and aesthetic modifications of K. Penderecki’s art are recorded with approving of the most important creative principle of his composer biography — the constant overcoming of the aesthetic traditions’ limits. Long-term professional contacts between the author and the composer, which give the study a special personal intonation, allow to clarify the master’s creative method’ features and the aesthetic-outlooking foundations of his art.
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Tomaszewski, Mieczysław. „Penderecki między sacrum a profanum“. Pro Musica Sacra 11 (30.10.2013): 111. http://dx.doi.org/10.15633/pms.557.
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AbstractThis article transcribes an interview with the great Polish composer Krzysztof Penderecki and is one of the last interviews that Penderecki gave before his death on 29 March 2020. It traces the composer's career, from his early musical education to the Ninth Symphony on which he was working at the time of his death, and focuses on the composition of his Threnody for the Victims of Hiroshima, the St Luke Passion and the Polish Requiem.
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Clarke, Colin. „Krzysztof Penderecki - ‘PATHS THROUGH THE LABYRINTH: The composer Krzysztof Penderecki’. C MAJOR (2013) DVD 715408“. Tempo 68, Nr. 270 (04.09.2014): 96–97. http://dx.doi.org/10.1017/s0040298214000527.
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O’Loughlin, Niall. „Characterization in the Operas of Penderecki“. Musicological Annual 51, Nr. 2 (17.06.2015): 127–37. http://dx.doi.org/10.4312/mz.51.2.127-137.
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Characterization in the four operas of Krzystof Penderecki is well developed. It includes specified melodic intervals for characters, distorted vocal lines, the use of coloratura singing and various forms of chanting and speaking.
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Bota, João Victor. „O processo criativo musical envolvido na transcrição da composição Agnus Dei de Krzysztof Penderecki“. Revista Música Hodie 17, Nr. 2 (22.05.2018): 177. http://dx.doi.org/10.5216/mh.v17i2.49314.
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O presente artigo trata da pesquisa do estilo de orquestração observável em composições musicais de Krzysztof Penderecki, que foram analisadas para que eu pudesse transcrever a música Agnus Dei do compositor polonês para banda sinfônica. Durante a pesquisa preliminar das obras orquestrais de Penderecki e a feitura da transcrição propriamente dita, escrevi um "diário de transcrição" (termo inspirado na prática de diversos tradutores que escrevem diários a respeito do ato de traduzir), que mapeou tanto os desafios enfrentados, quanto as soluções que foram encontradas durante meu processo criativo. Neste artigo essas informações estão presentes e justificam as decisões que foram tomadas ao escolher determinados recursos de orquestração.
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Drewniak, Janusz. „Biblijne i liturgiczne wątki w twórczości Krzysztofa Pendereckiego“. Ruch Biblijny i Liturgiczny 60, Nr. 2 (30.06.2007): 117. http://dx.doi.org/10.21906/rbl.341.
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Krzysztof Penderecki (born 1933) is considered to be one of the most outstanding contemporary composers. The religious theme is often taken to be an inspiration for his vocal-instrumental output. Penderecki presents in his compositions the religious and moral problems related to the human nature and existence. The principal issues in his activity are a trial to find a reason of evil and misfortune and also the vision of ordeal. The composer makes use of not only biblical and liturgical texts but also religious poetry mainly in latin language. His religious output has a concert character thanks to the musician language and composing techniques. His own commentaries concerning his compositions prove that his religious activity is an artistic confession of his faith.
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Skrukwa, Marek. „Biblical Inspirations in the Works of Krzysztof Penderecki: At the Crossroads of Theology and Music“. Perspektywy Kultury 26, Nr. 3 (01.10.2019): 47–66. http://dx.doi.org/10.35765/pk.2019.2603.06.
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By taking up Biblical themes in his oeuvre, Krzysztof Penderecki effectuated the idea of returning art to its Christian roots. Analyses of selected fragments of his outstanding works (Seven Gates of Jerusalem and Passion According to St. Luke) show that the composer performed a peculiar, apt and suggestive “translation” of Biblical content into musical language, using contemporary compositional techniques as well as alluding at times to the tradition of J.S. Bach.
In the above compositions, Penderecki utilized the sound of the instruments, assigning them symbolic meaning and even experimenting with their construction (tubaphone). He also introduced a spatially-distributed orchestra, assigning the human voice its original, purely declamatory function, without limitations of rhythm or meter. The composer thus took steps to theatricalize the musical work, in order to enable a deeper reception of the Biblical content by the audience.
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La recherche a pour theme krzysztof penderecki : style et materiaux. Elle s'organise et se presente sous trois angles d'approche correspondant aux trois parties respectivement intitulees : "histoire", "analyse", "concept". Dans la premiere, on se propose de donner quelques precisions sur la vie musicale en pologne apres la deuxieme guerre mondiale et sur l'evolution de la composition contemporaine de la musique dite savante. Dans la seconde partie, on procedera a l'analyse des elements du langage, du "sonorisme" et des rapports qu'entretient la partie musicale avec son equivalent litteraire. Enfin la troisieme partie destinee au concept de l'espace sonore va s'interesser a la dialectique du continu et du discontinu du discours sonore et aux relations qu'entretiennent la forme ecrite et la forme vecue de l'oeuvre de penderecki. La recherche, dont la methode est analytique, pour davantage de clarte dans l'evolution stylistique de penderecki, suit l'ordre chronologique de la publication des oeuvres The theme of this research is k. Penderecki, his style and materials. Its organisation appears according to three different approaches corresponding to three different chapters. History analysis concept the first part intends to present a few pieces of information about musical life in poland after world war ii. It will also explain how the contemporaneous composition of the so-called scholarly music has evolved so far. A second part will carry out an analysis of the elements of language and of "sonorism" as well as of the relationship between the musical element and its litterary equivalent. In the end, the third part, intended for the idea of sound space will be the matter of the dialectif of continuum and discontinuity of sound expression and for the relationship between written representation and real life representation ofpenderecki's works. To make penderecki's stylistic evolution lighter, this research, with its analytic method, follows the chronology of his works publication
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Mirka, Danuta. „The sonoristic structuralism of Krzysztof Penderecki /“. Katowice : Music Academy, 1997. http://catalogue.bnf.fr/ark:/12148/cb369654996.
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Loos, Helmut, und Stefan Keym. „Krzysztof Penderecki: Musik im Kontext: Konferenzbericht Leipzig 2003“. Gudrun Schröder Verlag, 2006. https://ul.qucosa.de/id/qucosa%3A70554.
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Am 17. Oktober 2003 verlieh die Fakultät Geschichte, Kunst- und
Orientwissenschaften der Universität Leipzig Krzysztof Penderecki
'als einem Repräsentanten polnischer Kultur im Widerstand gegen
den Kommunismus in Anerkennung seiner Verdienste um die Weiterentwicklung
der Neuen Musik seit den 1950er-Jahren sowie die
deutsch-polnischen Kulturbeziehungen und die Verständigung zwischen
den beiden Ländern' die Ehrendoktorwürde. Aus diesem Anlass fand vom 17. bis 19. Oktober 2003 am Institut für Musikwissenschaft der Leipziger Universität eine internationalewissenschaftliche Konferenz statt.:Einleitung
Krzysztof Penderecki: Rede anlässlich der Verleihung der Ehrendoktorwürde der Universität Leipzig am 17. Oktober 2003
Mieczysław Tomaszewski: Krzysztof Penderecki. Wandlungen und Knotenpunkte des schöpferischen Weges
Ann Gebuhr: Near the Center of the Labyrinth: Krzysztof Pendereckiin the New Millenium
Regina Chłopicka: Krzysztof Penderecki's St. Luke Passion, Polish Requiem and Credo in the Context of Polish History
Teresa Malecka: Elements of Russian Orthodox Culture in the Oeuvre of Krzysztof Penderecki as Exemplified in Utrenya I and II
Allmuth Behrendt: Offen für Veränderung. Modifizierung einer Werkgestalt am Beispiel von Krzysztof Pendereckis Oper Die Teufel von Loudun
Stefan Keym: Krzysztof Pendereckis 'Sacra Rappresentazione' Paradise Lost und das religiöse Musiktheater im 20. Jahrhundert
Bettina Dissinger : Das musikalische Zitat bei Krzysztof Penderecki - Verwendung und Wirkung
Alicja Jarzębska: Krzysztof Penderecki's 'Ars Contrapuncti'
Daniela Philippi: Traditionelle Muster als Material. Zur Konzeption der 3. Symphonie Krzysztof Pendereckis
Ewa Siemdaj : Types of Climaxes in Krzysztof Penderecki's Symphonic Works
Małgorzata Janicka-Słysz : The Idea of Dramaturgy in Instrumental Concertos of Krzysztof Penderecki
Rainer Cadenbach: Gattungsbeiträge oder was? Pendereckis Kammermusik für Streicher
Roman Kowal: Krzysztof Penderecki's Actions and the Polish Jazz Awakening of the 1950s and 1960s
Peter Andraschke: Penderecki in Donaueschingen
Stefan Weiss: Penderecki und Ligeti: Zur Rezeption der Klangkomposition in der BRD
Dieter Gutknecht: Zur Uraufführungsgeschichte der Lukas-Passion von Krzysztof Penderecki (nach den Unterlagen des Westdeutschen Rundfunks Köln)
Helmut Loos: Krzysztof Penderecki im deutschen 'Spiegel'
Ray Robinson: Recapitulation through Synthesis: Penderecki's Reception in the United States
Milan Slavický: Auswirkungen der 'polnischen Schule' auf die tschechische Musik der 1960er-Jahre
Hartmut Krones: Krzysztof Penderecki und Wien
Krzysztof Droba: Penderecki nach Iwaschkin
Magdalena Chrenkoff : Krzysztof Penderecki in Polish Musicological Writings of the Last Decade (1992 - 2003)
Martina Homma: 'Sozialistischer Realismus' und '11. September?' Über Reaktionen und Überreaktionen auf Krzysztof Pendereckis Klavierkonzert (2002)
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Tomaszewski, Mieczysław. „Krzysztof Penderecki: Wandlungen und Knotenpunkte des schöpferischen Weges“. Gudrun Schröder Verlag, 2006. https://ul.qucosa.de/id/qucosa%3A70676.
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Kelly, Michael. „An Exploration of Pitch Organization in Krzysztof Penderecki’s Passion According to Saint Luke“. University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1296593846.
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Gottwald, Clytus. „Krzysztof Penderecki und Karlheinz Stockhausen“. In Neue Musik als spekulative Theologie, 125–46. Stuttgart: J.B. Metzler, 2003. http://dx.doi.org/10.1007/978-3-476-02923-2_7.
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Hentschel, Frank. „Das Unheimliche in Krzysztof Pendereckis Als Jakob erwachte… Zur Wirkung Neuer Musik im Horrorfilm“. In Musik und Emotionen, 211–25. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05663-4_8.
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This chapter examines the sonic amplification of some of the opposition’s most charismatic leaders. Through Solidarity’s decade, speeches and ceremonies on public stages shaped a broad audience. In December 1980 a monument was unveiled to commemorate a violently squelched 1970 protest. The playback of Krzysztof Penderecki’s Lacrimosa (1980) over loudspeakers at this event is contextualized with the Party’s relationship to Penderecki and the composer as a public figure. The 1970 protest also unfolds across interpretations of a ballad, “Janek Wiśniewski Fell.” This vernacular song’s use in leftist media, in films, and within electronic music opens up a discussion of trauma, memory, and place in counterpoint to the commemorative work done at the unveiling. The chapter concludes with a musical study of Lech Wałęsa through media networks. His charisma invigorated Joan Baez, who wrote songs for him and traveled to Gdańsk to perform for the opposition.
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Pons, Lionel. „Acceptions du comique dans Ubu Rex de Krzysztof Penderecki“. In L’humour en musique, et autres légèretés sérieuses depuis 1960, 129–47. Presses universitaires de Provence, 2017. http://dx.doi.org/10.4000/books.pup.29908.
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Mutter, Anne-Sophie. „WITOLD LUTOSłAWSKI UND KRZYSZTOF PENDERECKI – GLÜCKHAFTE BEGEGNUNG UND SEELENVERWANDTSCHAFT“. In Mein Polen, meine Polen, 137–40. Harrassowitz, O, 2016. http://dx.doi.org/10.2307/j.ctvc76zqv.25.
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Konferenzberichte zum Thema "Penderecki":
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Swidnicka, Iwona Hanna. „THE SEQUENCE DIES IRAEIN THE ARTISTIC OUTPUT OF BAIRD, PENDERECKI AND MEYER“. In 4th International Multidisciplinary Scientific Conference on Social Sciences and Arts SGEM2017. Stef92 Technology, 2017. http://dx.doi.org/10.5593/sgemsocial2017/hb61/s16.64.
