Penderecki Krzysztof, *23 November 1933 Dębica, †29 March 2020 Kraków, Polish composer and conductor. In 1951, he moved to Krakow, where he privately studied the violin with S. Tawroszewicz and the theory of music and composition with F. Skołyszewski, whose artistic and intellectual personality had a significant impact on the development of Penderecki’s musical imagination and his decision to become a composer. In 1952–54, he attended the Secondary Music School in Kraków; he studied composition with A. Malawski (1954–57), and after his death, with S. Wiechowicz (1957–58) at the State Higher School of Music (now the Academy of Music) in Kraków, where he later taught composition classes in 1958–66. He continued his teaching activities in 1966–68 at the Folkwang-Hochschule für Musik in Essen and in 1973–78 as a professor at Yale University in New Haven. In 1968–70, he was a scholarship holder of the Deutscher Akademischer Austauschdienst (DAAD) in Berlin; in 1972–87, he was the rector of the Academy of Music in Krakow; in 1987–90, he was the artistic director of the Krakow Philharmonic; from 1993, he was the artistic director of the Festival Casals in San Juan (Puerto Rico); since 1997, musical director of Sinfonia Varsovia (with which Penderecki’s own album was recorded, among others). On 17 October 1971, he made his debut as a conductor in Donaueschingen, performing his piece Actions, and in April 1972, he recorded seven of his pieces with the Great Symphony Orchestra of the Polish Radio and Television in Katowice for the Electric and Musical Industries (EMI) company, and from then on he started intensive conducting activities (approx. 40–50 concerts annually); he conducted renowned orchestras (including Münchner Philharmoniker, Sinfonieorchester des Norddeutschen Rundfunks in Hamburg, Sinfonieorchester des Mitteldeutschen Rundfunks in Leipzig, Japanese Radio Orchestra (NHK) in Tokyo, Osaka Philharmonic Orchestra, London Symphony Orchestra, Sinfonia Varsovia, Philadelphia Orchestra, New York Philharmonic Orchestra) presenting their own works and those of other composers (especially Beethoven, Mendelssohn, Dvořák, Stravinsky, Prokofiev, Shostakovich, Bartók); since 1988, he was a principal guest conductor of the Sinfonieorchester des Norddeutschen Rundfunks in Hamburg. His first great success as a composer was winning the first three prizes in 1959 (for Strophes, Emanations and Psalms of David) at a composition competition organised by the Polish Composers’ Union. Penderecki’s music presented at the International Festival of Contemporary Music “Warsaw Autumn” (Strophes, 1959) aroused the interest of outstanding personalities from the West German musical world (including H. Strobel, H. Moeck, H. Hübner), which resulted in orders for subsequent works and performances of his music abroad (e.g. performance of Anaklasis in Donaueschingen, 1960). Penderecki soon gained a reputation as one of the most inventive composers in terms of innovative sound effects and new ways of notating them (including the UNESCO Award for Threnody). The extraordinary success of St Luke Passion resulted in an avalanche of honours and distinctions, as well as prestigious orders for further works. Penderecki’s music, constantly present in global musical life, enjoys extraordinary interest and recognition. In 1980, 1983 and 1984, together with his wife Elżbieta Penderecka, he organised private music festivals with outstanding performers in his residence in Lusławice, during which, among others, the work of young composers, especially from Eastern Europe, was promoted. From 1997, Elżbieta Penderecka organised the annual L. van Beethoven Easter Festival in Krakow (2001 included in the European Festivals Association in Geneva), in which Penderecki participated as a conductor and composer. Penderecki was also the honorary chairman of the International K. Penderecki Chamber Music Competition in Krakow. He published his reflections on contemporary culture in the book Labirynt czasu. Pięć wykładów na koniec wieku (Warsaw 1997; extended English translation Labyrinth of Time. Five Addresses for the End of the Millennium, Chapel Hill 1998).
Domestic awards: 1959, 1st, 2nd and 3rd prizes at the 2nd Competition of Young Composers of the Polish Composers’ Union; 1962 1st prize at the A. Malawski composition competition in Krakow (for Kanon); 1962 3rd degree award of the Ministry of Culture and Art; 1968 and 1983 Polish National Award; 1970 Polish Composers’ Union award; 1995 Pro Baltica award, Toruń, 1995 TV Polonia award; 1998 special award of the Business Center Club; 2000 Fryderyk Award (Seven Gates of Jerusalem, CD Accord); 2001 Statuette of Golden Hipolit of the Cegielski Society in Poznań; 2002 Award of the Great Cultural Foundation
Foreign awards: 1961 and 1993 UNESCO award; 1966 Grosser Kunstpreis des Landes Nordrhein-Westfalen; 1967 and 1968 Prix Italia; 1968 K. Jurzykowski Prize; 1977 Herder Prize; 1978 Prix Arthur Honegger; 1983 Sibelius Prize; 1985 Premio Lorenzo Magnifico; 1987 Wolf Prize in Arts; 1988, 1999 and 2001 Grammy Award; 1992 University of Louisville Grawemeyer Award for Music Composition; 1992 two Grammy Award nominations; 1995 and 1996 Emmy Award; 1997 Crystal Award of the World Economics Forum in Davos; 1998 European Prize in the field of culture awarded by Kultur-Fördergemeinschaft der Europäischen Wirtschaft in Basel; 1999 Music Prize of the city of Duisburg; 1999 AFIM Indie Award; 2000 MIDEM Classical Award as Best Living Composer of the Year; 2000 Waterloo Regional Arts Council; 2001 Prince of Asturias Award for Art; 2002 Romano Guardini Prize of the Catholic Academy in Bavaria; 2003 Staatspreis des Landes Nordrhein-Westfalen; 2003 Preis der Europäischen Kirschenmusik at the Festival Europäische Kirchenmusik in Schwäbisch-Gmünd.
Decorations, titles: 1967 Sibelius Gold Medal awarded by the jury of the H. Cohen Prize; 1968 Venezuelan Order of the Column; 1981 Médaille de la Ville de Paris; 1986 Stefania Niekrasz Medal of the Union of Polish Musicians Abroad; 1989 Gold Medal of the M. de Falla Academy de Bellas Artes in Granada; 1990 Ordre de Saint Georges de Bourgogne; 1990 Das Grosse Verdienstkreuz des Verdienstordens der Bundesrepublik Deutschland; 1992 Golden Star of the Interprom Grand Prix; 1992 Österreichisches Ehrenzeichen für Wissenschaft und Kunst; 1993 the Commander’s Cross with Star of the Order of Polonia Restituta; 1993 Ordre du Mérite Culturel of the Principality of Monaco; 1996 the title of Commandeur dans l’Ordre des Arts et des Lettres; 2000 Ordine al Mérito della Repubblica Italiana; 2003 Judaica Foundation Medal; 1995 the title of Leader of the Promotion of Polish Culture ‘95; 1995 honorary citizen of Strasbourg; 2000 Adopted Citizen of Puerto Rico; 2004 title of Małopolska Citizen of the Year ‘03 (with H.M. Górecki).
Honorary doctorates – 1972 Rochester University, 1977 Saint Olaf College in Northfield (Minnesota), 1979 University of Bordeaux, 1979 University of Leuven, 1984 Georgetown University in Washington, 1985 University of Belgrade, 1987 Universidad Autónoma de Madrid, 1987 Adam Mickiewicz University, 1993 University of Warsaw, 1994 Academy of Music in Krakow, 1994 F. Chopin Academy of Music in Warsaw, 1994 Universidad Católica Argentina in Buenos Aires, 1995 University of Glasgow, 1998 Jagiellonian University, 1999 University of Cluj, 1999 Duquesne Univesity in Pittsburgh, 1999 Academie de Muzica “Gheorghe Dima,” 2000 Universität Luzern, 2003 Yale University in New Haven, 2003 University of Saint Petersburg, 2003 University of Leipzig.
Memberships of artistic and scientific academies and associations – Royal Academy of Music in London, Accademie Nazionale di S. Cecilia in Rome, Kungliga Musikaliska Akademien in Stockholm, Akademie der Künste in Berlin, Academie Nacional de Bellas Artes in Buenos Aires, Academie Internationale de Philosophie et de 1’Art in Bern, Polish Academy of Sciences, Academie Nationale des Sciences, Belles-lettres et Arts in Bordeaux, Royal Irish Academy of Music in Dublin, American Academy of Arts and Letters, Academie Scientiarium et Artium Europaea in Salzburg, Institute for Advanced Study University in Bloomington, The Kościuszko Foundation in New York, Gesellschaft der Musikfreunde in Vienna, Academy for Performing Arts in Hong Kong; honorary professor of conservatories in Moscow and Beijing; corresponding member of the Bayerische Akademie der Schönen Künste in Munich.
Philosophical and artistic views
From the perspective of over 40 years of Penderecki’s artistic activity, one can notice changes in his compositional technique (mainly related to changes in aesthetic preferences and different shaping of sound quality), as well as the stability of his philosophical and artistic views. These stable features of his artistic attitude concern such issues as, among others, 1. the concept of a musical work (as an expressive, architectural structure and dramatised narrative); 2. the problem of the social functioning of a work of art (the belief in the need to establish contact between the creator and the recipient of a musical work); 3. the message of a work of art (affirmation of the biblical vision of the world and man, obliged to make moral choices between good and evil). Penderecki advocates a musical culture in which the idea of combining music with the expression of various human emotions and the tradition of worshipping the Judeo-Christian God with song is continued. Penderecki’s artistic personality is characterised by the courage to be himself in a world dominated by conformism, nihilism or programmatic indifference regarding basic questions about the meaning of human existence, hardships of life and suffering. Through his art, the composer encourages reflection on the causes of evil and the horror of the apocalypse (e.g. in the opera Paradise Lost), and at the same time, he wants his music to awaken evangelical hope in the final victory of good over evil and faith in the sense of the efforts of “people of goodwill,” and also the immortality of the human self, confirmed by the resurrection of Christ (St Luke Passion, Utrenja, Credo). For this reason, he carefully selected the lyrics for his vocal-instrumental works, and when co-creating librettos for musical performances, he clearly emphasised their ideological message. A characteristic feature of Penderecki is his Renaissance versatility of interests, manifested, among others, by a passion for ancient culture, poetry, history of literature, painting and architecture. Penderecki’s artistic personality was also shaped by his love of nature, manifested in the desire to co-create a harmonious whole from various creations of nature by composing the park and garden surrounding the house in Lusławice, taking into account the time and dynamics of growth of trees and shrubs and the rich diversity of their shapes. Penderecki confessed that “composing a garden has a lot in common for me with composing a piece of music. Constructivist imagination and the ability to think as a whole are essential both here and there. The garden is, after all, a mathematised nature, just as music is a mathematised emotion” (Labirynt…, p. 39). Contrary to 20th-century (modernist) artistic tendencies pushing the idea of abstract art, indifferent to the beauty of sensually perceived shapes of nature, Penderecki believed that an artist as a creator of culture should – like this symbolic tree – on the one hand, “be rooted” in cultural tradition, and on the other hand, “touch what is above,” to ask questions that are fundamental to people regarding the sphere of values and, in a new way, to continue the trend of European culture that stimulated reflection on the meaning of human life and death presented in the Bible. It is significant that in the youthful Psalms of David (1958), the composer combined music with the praise-prayer text of biblical psalms (To You I call, O King of Heaven…), and in Strophes (1959), using the words of Isaiah (5:20–21): “Woe to those who call evil good and good evil,” he clearly defined his attitude to Nietzsche’s philosophy “beyond good and evil.” In the 1990s, Penderecki – both through his works and statements – clearly emphasised the idea that the main disease and contamination of the culture dominating in the modern world is the “replacement of drama with indifference,” because asking questions about the origin of evil has become silent, and the existential problems with which man had been struggling for centuries, were reduced to “wanderings of language from which the concept of truth and untruth was banished,” so “only homo religiosus can count on salvation” (Labirynt…, pp. 47, 40). The composer therefore promoted the idea of the culture-forming role of ecumenically treated Christianity (Catholic-Protestant Passion, Orthodox Utrenja, Old Testament Canticum canticorum Salomonis, New Testament Magnificat), believing that the rebellion against Christianity “found its expression in two great ideas of the 19th century, which – despite all the differences between them – undoubtedly embodied the same Promethean expectations. On the one hand, I mean the philosophy of power and the superman by F. Nietzsche, and on the other – the philosophy of liberation and self-creation of humanity formulated by K. Marx. Yet again in the history of man, it was confirmed that an attempt to leave God, and especially an audacious will to be equal to Him, ends in a terrible and pathetic fall” (Kulturotwórcza moc chrześcijaństwa, “Tygodnik Powszechny” 1988 no. 1). Biblical stories from both the Old and New Testaments, the poetic expression of David’s psalms and the Christian credo became an important inspiration for Penderecki’s musical imagination, especially in cantata and oratorio pieces. His works (e.g. the operas The Devils of Loudun or The Black Mask) also stimulate reflection on hypocrisy, cant and lack of unity among Christians, which contributed to the spread of a pessimistic vision of man’s fate. “My art, growing from deeply Christian roots, strives to rebuild the metaphysical space of man shattered by the cataclysms of the 20th century,” Penderecki wrote, being aware that “restoring the sacred dimension of reality is the only way to save man. Art should be a source of difficult hope” (Labirynt…, p. 68). According to Penderecki, the threat to contemporary culture is both “sterile” avant-garde music, written on the occasion of various hermetic festivals, and the so-called mass art. He wanted to shape a culture in which the relationship between art and the idea of beauty, goodness and truth would be restored.
Changes in compositional aesthetics
Penderecki’s extensive compositional output includes 4 operas, several monumental vocal-instrumental works, over 20 pieces for orchestra, several for solo instrument and orchestra, many chamber works and for solo instrument. There are various proposals for the periodisation of the composer’s works in musicological papers. Tomaszewski (1994) distinguished 6 phases, naming them as follows: 1. “strong entrance,” 1958–60 (Psalms of David phase); 2. “time of trials and experiences,” 1960–66 (Threnody phase); 3. “breakthrough and first synthesis,” 1965–71 (Passion phase); 4. “interlude: the years of sublimation,” 1971–75 (Magnificat phase); 5. “time of dialogue with the discovered past,” 1976-85 (Paradise Lost phase); 6. “on the threshold of the great synthesis,” 1985–93 (Black Mask phase). Robinson (1998) writes about 5 stylistic phases called: “prelude,” “explosions” (e.g. Threnody, Anaklasis), “consolidations” (e.g. Stabat Mater, Passion, The Devils of Loudun), “retrospectives” (including Violin Concerto No. 1, Paradise Lost), “synthesis” (pieces composed in the 1990s). Chłopicka (2000) distinguishes 8 phases combined with the definition of various goals of compositional research: 1. “individual language” (1958–62, from Emanations to Fluorescences); 2. “universal values” (1963–74, from Passion to Magnificat); 3. “the lost paradise of music” (1974–80, from Paradise Lost to Symphony No. 2); 4. “national identity” (1980–84, from Te Deum to Polish Requiem); 5. “extreme tensions” (1984–86, in the circle of Black Mask); 6. “new experiences” (1986–92, between Sinfonietta and Ubu Rex); 7. “classical beauty” (1992–95, from Clarinet Quartet to Violin Concerto No. 2); 8. “great synthesis” (since 1995 – Seven Gates of Jerusalem, Credo). The subsequent phases are also associated with such concepts as: “dramatized sonorism,” “between sonorism and polyphony,” “in the circle of neo-romanticism,” “between the symphonic-oratorio style and the Polish religious tradition,” “between expressionism and postmodernism,” “classical play convention and postmodern play of conventions,” “in the circle of new lyric poetry,” “monumental symphonic and oratorio style.” I believe that three phases of development can be distinguished in Penderecki’s over 40 years of creative activity. The first one, associated with the aesthetics of the avant-garde, i.e. youthful fascination with experimental instrumental and vocal sounds, lasted until the mid-1970s. During his studies, Penderecki adopted the idiom of neoclassicism but was looking for other models. He studied the works of Bartók, Stravinsky, and Messiaen, as well as the scores of Nono, Webern and Boulez because his generation associated the future of music with the aesthetics and compositional technique promoted at the International Summer Courses of New Music in Darmstadt. In his early works, Penderecki accepted the validation of non-euphonic sound effects, but he quickly rejected the concept of music proposed there, because – as he claimed – “they were interested primarily in points, and I was interested in lines” (A. Orga, 1973, p. 39). To obtain non-selective acoustic effects associated with the concept of line, band, sound block, and cluster, Penderecki unconventionally treated traditional instruments, especially strings. The differences between Penderecki and the Darmstadt avant-garde also concerned such important issues as 1. the way of shaping musical time – Boulez, Stockhausen and other representatives of the Darmstadt avant-garde preferred constant diversity in composition giving the impression of a sequence of unrelated sound effects, while Penderecki believed that “form, in which something new is happening constantly from beginning to end is not a form at all” (T.A. Zieliński, 1963) and never broke with the idea of music shaped under the rules of a dramatised narrative leading to a culmination and with the effect of similarity and contrast; 2. the artist-recipient relationship (while the Darmstadt avant-garde decided that work accepted by a wider audience was not art, Penderecki was convinced that an artist should create works that find social resonance and connect people in the name of the message associated with a given work). The reference in Passion to European ideological and artistic traditions, on the one hand, became an opportunity for him to overcome the gap between the contemporary artist and the recipient, and on the other hand, it contributed to calling him the “Trojan horse” of the avant-garde. Symphony No. 1 (1973) is a work about which the composer said: “I collected in it all my experiences from the years of ‘storm and stress,’ at the same time closing the avant-garde period in my work” (Labirynt…, p. 76). The decisive breakthrough in Penderecki’s aesthetic views was the break with the Promethean concept of avant-garde art, so the title of the work The Dream of Jacob composed in 1974, the score of which contains the motto „Zaprawdę, Pan jest na tym miejscu, a jam nie wiedział” [“When Jacob woke from his sleep, he saw that God had been there. He had not known it”] (Genesis 28; 17), has a symbolic meaning. This work marks the beginning of the second phase of Penderecki’s work, lasting until the early 1990s. This period of youthful fascination with technological progress combined with the non-euphonic, experimental instrumental and vocal sound is called by the composer his Iliad, while the search for a new type of euphonic sound and “tamed” expression and discovering cultural roots – his Odyssey. At that time, the composer preferred the aesthetics of late romanticism marked by theatrical gesture and heroic pathos (operas Paradise Lost and Black Mask, Polish Requiem, Symphonies No. 2 and No. 4), he emphasised expressive-lyrical melodic motifs and euphonious sound arrangements, as well as virtuoso instrumental effects (e.g. Cello Concerto No. 2, Viola Concerto, Cadenza for viola, Prelude for clarinet). The beginning of the third phase of Penderecki’s work is marked, on the one hand, by Sanctus composed in 1993 (the complementary part of Polish Requiem), which features the since-then preferred type of musical expression combined with the impression of emotional balance and joyful serenity, and on the other hand, by the opera buffa Ubu Rex (1991), where reference to musical tradition is, among others, a means to achieve the effect of absurd grotesque. However, the third phase of Penderecki’s work was dominated by instrumental works, especially chamber works, which also featured a tone of playful scherzo and inner silence. Penderecki stated: “I turn to chamber music, recognising that more can be said with a hushed voice, condensed in the sound of 3–4 instruments” (Labirynt…, p. 14). The composer compared his Quartet for clarinet and strings (1993) to an intimate meeting of four friends and stated that “it is probably a farewell to the type of heroic music” (Muzyka Krzysztof Pendereckiego…, 1996, p. 118) that dominated the previous period of his work. His latest works are chamber works (the above-mentioned Quartet, String Trio, Sextet, Sonata No. 2 for violin and piano), orchestral works (Sinfonietta per archi, Sinfonietta No. 2 for clarinet and strings, Serenade for strings, Symphonies No. 3 and No. 5), and concert works (Flute Concerto, Violin Concerto No. 2, Piano Concerto, Concerto grosso), as well as vocal and instrumental pieces (Seven Gates of Jerusalem and Credo), bring a synthesis of the composer’s previous experience in building musical drama and expressive architectural shape. The songs composed since the beginning of the 1990s are a testimony to the search for classical beauty in linearly tuned sounds and euphonic harmonies in a condensed and sparse form. They are also a manifestation of the desire to develop a new type of universal musical language, characterised by lightness, transparency, accuracy and at the same time a wealth of diversity. In Penderecki’s statements, the symbol of this constant search effort is the time maze. “I am constantly searching. I often veer to the side. I enter the maze. I’m looking for other ways. […] I am returning to tradition” (A. Ginał, 1998, p. 14). “It seems to me that only through […] transmutation of everything that has already existed can one recover the true and natural – universal language of music” (Labirynt…, p. 15).
Penderecki’s creative ideas
Ways of shaping sound – The transformation of Penderecki’s compositional aesthetics is associated with various ways of shaping sound preferred in subsequent phases of his work. Although Penderecki’s early instrumental and vocal-instrumental works are dominated by anti-euphonic (sonoristic) acoustic effects, the composer treated the musical composition as a dramatised narrative in which (like dramatis personae) clearly contrasted sound ideas take part. He then emphasised two types of contrast: 1. between a continuous sound (line, block-cluster) and a quasi-chaotic sequence of acoustic impulses, and 2. between a sound effect (of a specific pitch) and a quasi-noise effect (of an unspecified pitch), extracted from traditional and non-traditional (in European culture) percussion instruments, various objects, including instruments that have previously been a source of sounds of a certain pitch (such as strings). The non-traditional way of using vocal voices included, among others, extracting the highest and lowest sounds, the effect of shouting, whistling, laughing, the sound of breathing, and the “percussive” attack of consonants and vowels. This concept of music required a new type of notation, which is why scores from the 1960s are rich in graphic symbols referring to the unconventional articulation of sound and noise effects and the method of determining their duration. In Strophes and Emanations, the duration of sounds is determined by traditional rhythmic values combined with a smooth change of tempo marked by a line connecting various metronomic numbers. In Quartet No. 1, Threnody and Fluorescences, the notation is based on the so-called “net of time” (the duration of subsequent episodes is specified in seconds). In scores recorded from the mid-1960s to the mid-1970s (De natura sonoris I, Passion, Utrenja, Kosmogonia), the idea of a stable “net of time” was combined with traditional markings of metre (e.g. 2/4) and tempo (e.g. Vivace, Lento), which allowed performers to treat this measure of time a bit more freely. In the 1970s, when Penderecki took up the position as a conductor, his scores (Symphony No. 1, The Dream of Jacob, Magnificat) started to contain graphic signs (for the conductor) regulating the sequence of sound events within a section of the score separated by a vertical line. In the second and third periods of his work, a gradual rehabilitation of quasi-euphonic chords and melodic sound patterns can be noticed. In the late 1970s and the 1980s, Penderecki preferred sound effects resulting from multi-notes with a specific interval structure and sound duration. For example, in Symphony No. 1 (Arche 1, no. 4) there is a long-lasting thirteen-note sound in which sounds placed in the middle pitch register are repeated in a faster movement than those in the high and low registers. A similar way of shaping a long-lasting, “shimmering” sound can be noticed, among others, in the Magnificat (part 5, no. 5); the components of the twelve-note melody sung by the choir are repeated in uniform movement, but with different rhythm values. The interval structure of this chord is symmetrical: up the pitch scale, first all intervals from the augmented fourth to the minor second, and then from the minor second to the augmented fourth, are used. In the second period of his work, Penderecki also preferred multi-notes with a tritone-second structure (The Dream of Jacob, Symphony No. 1, No. 3, Te Deum, No. 22, 20, Paradise Lost), as well as a consonance combining a tritone with the major-minor triad (called ‘a Penderecki’s chord’ by theoreticians). Interpretations of Paradise Lost state that this chord characterises “the world of man,” and the above-mentioned consonance composed of a series of tritones spaced a minor second apart is “the world of evil, the satanic circle” (R. Chłopicka, 2000, p. 90). In works composed in the third period of his work, quasi-euphonic polyphonic chords are usually repeated steadily and function as an expressive culmination or a “vertical theme,” contrasted with a linear-melodic progression. For example, in Sinfonietta per archi, one can notice an alternation of an 11-fold repetition of a 13th note with a monophonic sound course. The construction of these multi-notes is, for example, the result of combining consonant intervals (thirds, fourths and fifths) with a cluster within a third (Symphony No. 5, no. 18) or separating clusters within a fourth with intervals of thirds (Symphony No. 5, no. 36). But since the 1990s, the composer has clearly preferred the effect of 3–4-note chords, which are a set of consonant intervals. In the context of the wealth of various “sound ideas” presented in Penderecki’s scores, some sounds acquire a specific meaning – both formal and symbolic. They include a long-lasting sound with a specific pitch (e.g. Symphony No. 1, Dynamis 1; Symphony No. 5, No. 65), consonance of fifths or traditional major triads (E-flat major on the words “Gloria” in Magnificat and “sun” in Kosmogonia, D major on the words “Gloria” in The Seven Gates of Jerusalem and “heavenly kingdom” in the Hymn to St. Daniel, A-flat major on the word “Dominus” in the Te Deum). These “cathartic” sounds often appear at the end of many of Penderecki’s works (e.g. C major in Polymorphia and Te Deum, D major in Stabat Mater, E major in Passion and Seven Gates of Jerusalem, G major in Flute Concerto, D major in the Credo). In Penderecki’s works, melodic lines (acting as themes) usually have a quasi-polyphonic character due to the alternation of large and small intervals (e.g. a minor seventh and a minor second in Symphony No. 2, no. 7) or two interval jumps in the opposite direction on the pitch scale (e.g. in Symphony No. 5, no. 6 and 8, the downward strokes of the minor seventh are separated by the upward strokes of the sixth). Penderecki also uses cantus prius factus, i.e. melodies that have some symbolic meaning in a given culture and refer listeners to a specific sphere of values; e.g. in Symphony No. 2: Christmas, this function is fulfilled by a 4-note structure resembling the initial motif of the well-known carol Silent Night. Penderecki’s expressive quotation became – starting from Paradise Lost – an almost constant means of his musical poetics. In this opera, the composer recalls, along with the original text, the opening fragment of the melody of Dies irae, which opens a series of visions depicting a man-made apocalypse. A different emotional and associative perspective is provided by the quoted J.S. Bach’s chorale (O grosse Lieb’). In works from the 1980s, a specific quote, used as a symbol, appears at the culmination point of the work (e.g. the hymn Boże coś Polskę in Te Deum or the chorale Aus tiefer Not in Black Mask) or constitutes the basis for its shaping (e.g. the supplication Święty Boże and arrangement of the Dies irae sequence in Polish Requiem). In Credo, in the central part of “Crucifixus,” the composer used the Protestant chorale Aus tiefer Not, Improperia Popule meus and two Polish passion songs: Któryś za nas cierpiał rany and Ludu, mój ludu. In Symphony No. 5 (called the Korean Symphony), a Korean melody repeated many times as the theme of the passacaglia, which was associated with the idea of national independence during the Japanese occupation, has a symbolic and emotional meaning. The composer also uses self-quotes; in the opera Black Mask, there is a fragment from the Polish Requiem, i.e. the beginning of the arrangement of the Dies irae sequence. Reaching for musical antefacts, Penderecki uses – similarly to Strawiński – the technique of discontinuity editing, i.e. he successively juxtaposes (sometimes simultaneously) fragments of various melodies; e.g. in Polish Requiem, he interweaves (and then simultaneously juxtaposes) subsequent motifs of the Święty Boże supplication and the melody with the Latin text Recordare Jesus pie, and in Credo (in “Crucifixus”) the musical continuum is the result of interweaving fragments of the above-mentioned Polish religious songs and German chorale.
The art of counterpoint, dramatised narrative and architectural construction – the character of Penderecki’s composition technique is determined by, among others, the ability to subordinate a rich sound imagination to the discipline related to the art of counterpoint, combined with the concept of canon, fugue, and especially passacaglia. Penderecki emphasised that he owes it to his first teacher, F. Skołyszewski, for making him realise how important it is to “think in lines, not chords” (P. Ćwikliński and J. Ziarno, 1993, p. 49). An example of a new way of using the canon principle in avant-garde works is, among others, Canon for string orchestra and tape, consisting of the simultaneous presentation of a given sequence of sound ideas and its retrograde version (from a tape) or a fragment of Threnody (no. 6–9), where four patterns of sequences of seven unconventional sound and noise effects are imitated in four subsequent groups of instruments, creating a homogeneous weave of acoustic effects. In Penderecki’s early works, the principle of imitative counterpoint was used mainly to obtain the impression of “dense” and “moving” sound blocks. The composer stated that: “it is the sound layers, not the melodic lines, that are subject to imitation or backward movement” (T.A. Zieliński, 1963). Because of the values of the discipline related to “scheduling certain phenomena in time” Penderecki used the idea of Grundgestalt in the works composed in the 1960s, i.e. the concept of subordinating musical notation to a series of elements. For example, in Dimensions of Time and Silence, the organisation of effects of unspecified pitch, such as the recitation of consonants and vowels, is subordinated to pre-compositional series: 9 consonants (GTKBDGPKD) and 12 vowels (OYIAEUOIYAEU) with their mirror images, and the notation of sounds of a specific pitch – 12-tone series of pitch classes (A-flat-G-A-F-F-sharp-E-E-flat-D-flat-D-B-flat-C-B), in which the sequence of interval classes has features of mirror symmetry. 12-tone series of pitch classes (and series symmetrical to them) determined sound courses (mainly horizontal), among others, in Psalms of David (parts 2 and 4) and in some fragments of Passion (e.g. in the hymn “O Crux, ave” two 12-tone series are used; one of them creates a sequence of only two interval classes, a minor second and a minor third, and in the other a semantically marked sequence of sounds B-flat-A-C-B appears). In Magnificat (Part 2), the composer treated the idea of a two-theme fugue in a new way. Although he used basic methods of modifying themes (transposition, augmentation, diminution, stretto, inversion, retrograde, inversion retrograde), these repeated many times and modified themes (a, b) are the result of a “polyphony of sound layers” creating a selective sequence of sounds. Theme (a) is an internally “shimmering” sound block always presented in the vocal voices, which is a bundle of seven rhythmically differentiated linear passages, limited to the swinging repetition of two notes separated by a third and together creating a stable multi-tone with a third-second structure. In subsequent repetitions (no. 1, 3, 13, 14, 18), the modification of this theme consists in the transposition of polyphony, a change of performance means (solo or choral voices), augmentation of movement and simultaneous presentation (stretto). The contrasting second theme (b), created from a bundle of five quasi-melodic lines, is initially presented in the group of wind instruments (no. 6), then appears in retrograde (no. 6a) and in inversion (in solo voices, no. 7 ), in inversion retrograde (in chorus, no. 8), in stretto (no. 9) and in augmentation (no. 15). The composer juxtaposes the “themes” composed in this way with non-selective, quasi-glissando or repetitive sound blocks (no. 2, 5, 11 and 10, 16, respectively) acting as a connector; in this way, an expressive musical structure with symmetry features is created (ABA1). Due to the non-traditional treatment of the idea of the fugue theme (W. Schwinger, 1989), these non-selective sound courses are also combined with the concept of the fugue theme in some interpretations (therefore the fugue is interpreted as having three themes). Penderecki particularly prefers the passacaglia, which appears, among others, in St. Luke Passion (Popule meus, B-A-C-H theme) and Magnificat (part 5, the theme is the repetition of the sound D), is also used in Polish Requiem (Recordare Jesu pie) and stage music (e.g. in Paradise Lost, in the scene of apocalyptic visions), and it dominates in symphonic music. In Symphony No. 3, the theme of the passacaglia (part 3) is the repetition of the note D, interrupted by pauses, and in Symphony No. 5 (no. 22–26, 58–60, 89–92) – a four-note Korean melody with a stable rhythmic pattern repeated four times. Modifying the theme mainly involves changing the sound quality; it is played – in different pitch registers – by trombones, horns, bells, celesta, oboe, strings (with variable articulation), in diminution, augmentation, and stretta. By repeating various “sound versions” of the theme and the accompanying “counterpoints,” the composer emphasises both the effect of similarity and contrast. What is significant in Penderecki’s music is the way in which form is shaped as a dramatised narrative and an expressive architectural structure in which relations of similarity and contrast are subordinated to the principles of proportion and symmetry. The composer confessed: “For me, the form of the work and its organisation in time are the basis of its artistic meaning” (A. Orga, 1973, p. 40). Penderecki’s musical language highlights contrasts, in line with the thesis accepted in literary theory that “meaning is based on difference.” Features of a clear (usually symmetrical) structure are present in both his early works (so-called sonoristic works) and those related to the aesthetics of romanticism or classicism, works lasting short (e.g. 5’–10’) and long (80’–180’). The dramaturgy of Penderecki’s works is based on contrasting static narrative sections with more dynamic phases in which growing tension leads to a dramatic culmination. According to the composer, the principles of good shaping of musical narrative are close to the narrative of a literary text, which, according to U. Eco, requires mastering the art of anticipation, retrospection, the art of delay and digression, the art of continuation and returning to an abandoned thread; Penderecki stated: “Eco talks about principles that I could consider as my own” (R. Chłopicka, 2000, p. 180). According to cultural researchers, “stories” are the basic method of “creating meaning;” the narrative-dramaturgical nature of the musical continuum, so typical of Penderecki, inspired by the idea of shaping a literary narrative, favours obtaining the impression of the “sense and meaning” of musical time. The composer did not accept the avant-garde postulate regarding the constant novelty and changeability of sound and noise events. In his early compositions, he proposed a new, often shocking type of sounds – both for performers and audiences, but at the same time, he continued the classical idea of music as dramatic action because he was convinced that “only the means change in music: the sound material and the way of forming it, but the general principles regarding […] the logic and economy of the process and the authenticity of the experience contained in the written notes remain the same” (T.A. Zieliński, 1963). Penderecki suggestively highlights the effect of the “beginning” and the “ending” referring to the beginning, which is usually a recapitulation of more important sound ideas (e.g. in Polish Requiem, Symphony No. 7). In the formal structure of recent instrumental works, there is a clear predilection for beginning and ending with slow fragments (Concerto grosso, Flute Concerto, Clarinet Concerto), as well as a tendency to distinguish the middle parts of extended vocal-instrumental and instrumental works (e.g. “Crucifixus” in Credo, Sanctus in Polish Requiem, Passacaglia in Symphony No. 3). Penderecki also uses the already mentioned technique of discontinuity editing, which gives the impression of two interrupted musical actions and highlights the effect of a musical narrative leading to a culmination, but marked by anticipations and multiple returns; e.g., the structure of a single-movement Concerto grosso is based on the series of contrasting sections, but the return of developed and modified motifs gives, on the one hand, the effect of an “interrupted” narrative with a distinct dramaturgy (culminating in Allegretto giocoso), and on the other hand, it serves to shape a “balanced” musical form that is a harmony of what is similar and different.
Experiments and dialogue with a tradition of instrumental music – Penderecki’s sonic imagination was largely influenced by his avant-garde experiments with an ensemble of string instruments in works written for various numbers of strings: 52 (Threnody), 48 (Polymorphia), 24 (Intermezzo), for 2 string orchestras with different tunings (Emanations), for string ensemble and tape (Kanon) and for traditional quartet (1960, 1968). The search for a new type of sound contrast between long-lasting, non-selective sound blocks and short-term acoustic effects, as well as a varied relationship between the duration of these sound-noise ideas (requiring a new type of musical notation) also included an instrumental ensemble consisting of a group of strings and percussion (Anaklasis) and concerned the group of wind instruments (Pittsburgh Overture), also in combination with percussion (Prelude), a full orchestra with extensive percussion (De natura sonoris I, II), a jazz band (Actions), as well as an ensemble of human voices combined with a group of instruments (Dimensions of Time and Silence). The composer was also interested in electronic sound sources (Psalmus, Ekecheiria), but – as if contrary to the avant-garde tradition of associating “music from tape” with the impersonal “objet sonore” – he preferred the colour and expression of the recorded human voice. Penderecki’s works use as an unconventional source of acoustic effects, among others, ferro (hanging rail, anvil), a typewriter, an alarm siren (Symphony No. 1), an ocarina set (The Dream of Jacob) or tubaphones (Symphony No. 7), but his innovative explorations were mainly manifested in the diverse articulation of traditional instruments and the human voice (e.g. steady breathing of the choir, division of syllables between individual voices). The composer usually gave avant-garde instrumental pieces programmatic titles referring to the symbolism of light (Fluorescences, Emanations), to the idea of “the nature of all things” (De natura sonoris; cf. Lucretius’ De rerum natura or corps sonore in Rameau’s music theory), as well as to contemporary history (Threnody for the Victims of Hiroshima) or allegorical images (according to Penderecki, the names of the movements of Symphony No. 1, Arche and Dynamis, were inspired by a mosaic with the image of Angels that bore these Greek names). Later orchestral works are named symphony, sinfonietta, serenade or concerto, and chamber works are named by the number of performers (trio, quartet, sextet). A cycle of symphonies occupies an important place in Penderecki’s work. In the 1990s, the composer confessed: “I reach for the form of a symphony to absorb and process the experience of our century” (Labirynt…, p. 59). The four-movement Symphony No. 1 (Arche 1, Dynamis 1, Dynamis 2, Arche 2), the summa of avant-garde explorations, was yet another attempt to “build the world anew.” Symphony No. 2, completed seven years later, is a single movement but internally diverse (Moderate, Maestoso, Furioso, Allegretto, Grave, Maestoso), however, is a clear reference to the tradition of late symphonism from the Romantic period and an attempt to musically describe the drama of existence. The monumental, five-movement Symphony No. 3 (Introduction, Adagio, Passacaglia, Scherzo, Rondo), composed for seven years (1988–95), is a proposal of a great synthesis and a universal musical language. The one-movement symphonies No. 4 and No. 5 are further examples of the desire to save what was most valuable in the artistic achievements of previous generations in contemporary musical creation: a rich scale of diverse expression of artfully shaped sound ideas, expressive construction and dramaturgy of musical narrative leading to a culmination, the skill and discipline of the art of counterpoint, as well as the economics of the musical means used. In concerts, strings are preferred as solo instruments: violin (Capriccio per violino e orchestra, 3 concertos), viola, cello (Sonata, 2 concertos, Concerto grosso), and an instrument called violino grande. Penderecki became interested in the flute and oboe already in the 1960s (Fonogrammi, Capriccio per oboe e 11 archi), but it was only in the 1990s that he wrote the Flute Concerto and the Clarinet Concerto. The piano, an instrument less susceptible to articulatory and expressive experiments, was ignored for a long time. Although Penderecki composed a piece for a keyboard instrument (Partita) in the early 1970s, it was not until 2002 that he wrote the Piano Concerto. Traditionally understood chamber music has also aroused his interest only in recent years. In 1993, the composer stated: “For me, the source of reaching the prima matter of music is chamber music” (Labirynt…, p. 15). He then wrote the Clarinet Quartet, a piece referring, among others, to the Beethoven idiom (Scherzo) and reminiscent of the mood of slow movements from Schubert’s works (Serenade). Sextet is a continuation of this aesthetic attitude. Among Penderecki’s instrumental works, his solo miniatures for violin, cello, clarinet and tuba are also noteworthy.
Verbal text as an ideological message and inspiration for shaping the sound – in cantata and oratorio works, Penderecki prefers Latin (in Dies irae he even used fragments of poetry by Aeschylus, P. Valéry, L. Aragon, W. Broniewski and T. Różewicz translated into Latin) and the Old Church language; he also uses Polish words of religious songs but treats them as interpolations in Latin texts; texts in Polish appear only in Psalms of Dawid (translated by J. Kochanowski) and in youthful songs (poetry of L. Staff, K.I. Gałczyński, K. Przerwa-Tetmajer), while texts in various languages, ancient and modern, were used only in Strophes and Cosmogony. Penderecki, through an appropriate combination of carefully selected heterogeneous sentences and lines or through abbreviations and interpolations within the selected verbal text, defines both the main ideological message of his music and the expressive “scenario” which he subordinates to an expressive musical structure, e.g. Psalms of David is like a personal conversation with God, Strophes is a sequence of one-sentence aphorisms of ancient sages (by Menander, Sophocles, Omar Khayyam) and prophets (Isaiah, Jeremiah), which are a reflection on the mystery of human existence, and Cosmogony is a compilation of maxims (by Ovid, Sophocles, Leonardo da Vinci, J. Gagarin) highlighting man’s eternal desire to understand the world and break away from the earth. In his cantata and oratorio works, Penderecki used the Latin text of the Bible (Passion, Seven Gates of Jerusalem, Canticum canticorum), mass texts (Polish Requiem, Credo), hymns (Magnificat, Te Deum, Veni Creator, Hymn to St. Adalbert), antiphons (Benedicamus Dominoes), and sequences (Stabat Mater). In Passion (lasting approximately 80’), the composer referred to the tradition of liturgical dramas and the works of J.S. Bach. The verbal text is a compilation of fragments of the Gospel of Luke and three quotations from the Gospel of John, interwoven – following the Baroque tradition – with the texts of Lent hymns, psalms, sequences and antiphons. Penderecki chose only those lines that he considered dramatic and dramaturgically necessary; modifications to the text lead to a condensation of the sequence of Passion events and a shift in emphasis from narrative to dialogue. His Passion begins with the scene on the Mount of Olives and ends with the death of Christ on the cross. Thanks to the introduction of the narrator’s part, the words of the spoken text are clear and contrasted with the musical text in the solo and choral parts, where only the words of the greatest importance (e.g. “O Crux…,” “Deus meus…,” “Domine clamabo…”) are highlighted and often repeated, and the remaining text is usually “hidden” in variously shaped sounds. Articulation is associated with terms such as recitando ad libitum, parlando, falsetto, Sprechgesang and sussurrando. The first part of Passion includes 13 fragments, the second 11. The expressive and compact structure of this monumental work is, among others, the result of diversifying the performing cast and emphasising contrasting musical means; narrative fragments (Nos 2, 5, 8, 10, 13, 14–15, 17, 21–23, 25) with a sonoristic sound are interspersed with fragments with a quasi-euphonic sound performed by a cappella choirs (Nos 12, 20, 24), orchestra and choirs (Nos 1, 6, 16), orchestra and solo voice (soprano, Nos 4, 11; bass, No. 9), orchestra, choirs and solo voice (baritone, No. 3; soprano, No. 18) or by the entire ensemble of performers (Nos 26–27). Symphony No. 7, titled Seven Gates of Jerusalem (lasting approximately 70’), refers to the meaning of the number 7, rich in symbolism in the Bible and Jewish tradition. The Latin text consists of fragments of the Old Testament: the Book of Psalms and the prophetic books (by Isaiah, Ezekiel, Jeremiah and Daniel), praising the majesty of the biblical God, referring to Jerusalem, prophesying the coming of the Messiah, and also reminding – in the words of Jeremiah – of man’s responsibility for choosing “the way of life” or “the way of death.” Repetitions of selected lines and the sounds associated with them help to emphasise the symmetrical musical structure. For example, the musical arrangement of a verse of Psalm XLVII (Magnus Dominus) creates the framework for both the first part of the work and the entire work (at the end of the seventh part, the text and music used in part 1 return). In parts 2 and 4, there is an analogous text of Psalm CXXXVI (If I forget thee, O Jerusalem) and a theme with a seven-fold sound repetition. Part 3, intended for three a cappella choirs, based on one of the most famous penitential psalms (De profundis clamavi…), has the character of a begging prayer for mercy. Part 5, however, is varied; it is framed by the joyful and powerful “Gloria” and “Hallelujah” dominated by staccato articulation; an important role here is played by a group of spatially arranged tubaphones (a new percussion instrument introduced by the composer: plastic pipes of various lengths). These extreme fragments are contrasted with two contemplative-lyrical segments forming a symmetrical arrangement aba1 (a – vocal: “Benedixit filiis tuis…” b – instrumental: expressive solo parts of the flute and horn). Part 6 has a different character, in which the narrator (in the national language of the listeners) predicts, with the words of Ezekiel, the creation of “dry bones” when “the spirit entered into them, and they came to life, and stood on their feet.” In Polish Requiem, Penderecki referred, on the one hand, to the tradition of the Missa pro defunctis, and on the other – through meaningful dedications – to the contemporary history of the Polish nation. Composed during the martial law period, it also fulfilled the social function of “comforting hearts.” In addition to the mass texts, Penderecki used fragments of the Psalms of David and the supplication Holy God as the theme of the passacaglia. The verbal text compiled by the composer contains numerous repetitions emphasising its ritual character and contributing to a clear musical structure (repetitive prayer phrases in Kyrie and Agnus Dei, the return of the Requiem aeternam antiphon in the Introitus, repetition of Recordare Jesu pie / Holy God and Libera me in the Finale, etc.). Penderecki freely combines the ideas of old contrapuntal techniques and the traditional way of shaping musical expression with a new type of sound effects (e.g. Sprechgesang, quasi un grido, quasi sussurrando), creating an original synthesis of cultural tradition and contemporary creative imagination. The structure of this long-lasting work (approx. 105’) is based on expressive contrast and similarity of sound. Variable performers and contrasting musical means emphasise the atmosphere of community prayer associated in the European tradition with the sound of a cappella choir (Agnus Dei), the expression of human lamento (Lacrimosa, Recordare), as if angelic “gloria” (Sanctus), and enhance the image of divine justice (Dies irae). The extended finale, which is a recapitulation of the main motifs and themes of the piece, ended with the words of the prayer “Fac eas, Domine, de morte transite ad vitam” (“Grant them, O Lord, to pass from death to the life”), however, conveys a message of hope. Credo (approx. 50’ long) refers to the musical traditions of interpreting the texts of the Latin liturgy of the mass but has a highly individual character. From the mass cycle, the composer selected only the text concluding the liturgy of the word. The ecumenical dimension of the profession of faith, common to the Churches of the East and the West, was emphasised by the inclusion of fragments of texts taken from various traditions: the Latin liturgy of Holy Week (hymns Pange lingua, Salve festa dies, antiphon Crux fidelis, improperia: Popule meus, Haec dies from Psalm CXVII and Et septimus angelus from the Book of Revelation), from the Polish Catholic tradition (a fragment of the song Ludu mój ludu and the pleading call Któryś za nas cierpiał rany from the Bitter Lamentations service) and the German Protestant tradition (psalm Aus tiefer Not). As in other works, the structure of the piece has an arched form, the extended centre of which constitutes the “Crucifixus” part. The musical means used reinforce the content and emotions contained in the sentence: “crucifixus etiam pro nobis sub Pontio Pilato passus et sepultus est.” Before this sentence appears in its entirety, the word “crucifixus” repeated many times is expressed in many ways: from a simple statement to a lament, from a whisper to a shout. Penderecki also uses complete verbal texts, e.g. the Latin text of the canticle Magnificat (with a small doxology attached: “Gloria Patri et Filio et Spiritui Sancto…”) or the hymn Te Deum. The composer’s intervention in the text itself concerns its division into parts, the system of repetitions of text sections, and the way of highlighting individual words or phrases. Magnificat (lasting approx. 40’) includes 7 parts diversified in terms of performers and musical means of expression (part 1 – choirs, 2 – vocal ensemble and choirs, 3 – vocal ensemble, 4 – solo bass, 6 – a cappella choirs, 7 – all contractors). In four parts (1, 3, 4, 6) only one verse was used, in part 2 (fugue) – two verses, and in part 5 (passacaglia) – three; in part 7, which is an extended finale, above-mentioned doxology appears. As in Passion, the composer highlights selected words (“magnificat,” “Dominum,” “misericordia”). The musical means emphasise the contrast of sound quality and expression combined with quasi-theatrical pathos and prayerful lament; innovative sounds (clusters, fast unrhythmical tremolo, the sound of breathing or whispering) are contrasted with quasi-euphonic effects (long-lasting unison or repetitions of a single sound, major-minor chords). The piece is framed by the long-lasting sound of one sound (as unison and a multiplied octave), which suggests the arc-shaped structure of the piece. In Te Deum (lasting approx. 35’) there are euphonic sound arrangements and melismas (e.g. on the words “Sanctum quoque Paraclitum Spiritum”), as well as the anthem Boże coś Polskę, which appears in the central part of the piece (playing a religious and patriotic function in the Polish tradition), contrast with the few, “noisy” musical means (such as sussurrando, Sprechgesang, accompanying the words of verse IX: “Te martyrum…”). The dominant chords here are those built in thirds, oscillating between major and minor. A special expressive and structural role is played by multi-note, often repeating melodic motifs (e.g. on the words “Dominum,” “Te Deum,” “laudamus”). In his vocal and instrumental works, Penderecki also used Old Church liturgical texts and hymns (Utrenja, Song of the Cherubim, Hymn to St. Daniil). The verbal text of Utrenja (part 1 The Entombment of Christ lasting approx. 50’, part 2 Resurrection approx. 36’) is a free compilation of the texts of the Orthodox liturgy of Good Friday (known as “taking of the shroud”), Holy Saturday and Sunday. Similarly to Passion, the expressive structure of the piece is highlighted by a clear differentiation of performance means, as evidenced by their arrangement in the subsequent fragments of the first part of Utrenja, entitled: Troparion (for 2 a cappella choirs), Wieliczanije (with a diversified cast of three segments: 1. instrumental, 2. for five solo voices and two “litany” choirs accompanied by instruments, 3. for two solo female voices singing the pleading “Pomyłuj menia Boże”), Irmos (for 2 a cappella choirs), Nie rydaj mienie, Mati (for 2 solo male voices with the accompaniment of instruments, ending with a choral quasi-litany), Stichira (for choirs and orchestra), which is an announcement of the resurrection and the culmination of the work ending with a reminder of the initial troparion about Joseph. In the second part of Utrenja, subsequent fragments (Troparion, Stichira, Kontakion) are shaped as if in “one breath,” interrupted by variously intoned news (whispering, shouting, glossolalia) that “Christ is risen.” The musical means used correspond to the emotional and sonic atmosphere of the Orthodox Easter rite (procession around the temple), accompanied by collective prayers, choir, singing, the sound of bells and the noise of various knockers and clanging. The connection with Orthodox culture is not limited to the text and the use of phonic features of the Old Church language; the composer’s individual style is combined with the character of Orthodox church music (static sound planes, ecstatic singing and joyful shouts). Encountering the authentic piece inspired Penderecki’s colourful imagination, highlighting the sound of vocal voices (frequent a cappella choirs) and an ensemble of wind instruments and percussion. The Old Church text of the Hymn to St. Daniil is a compilation of fragments of the liturgy dedicated to the saint who was the son of Alexander Nevsky. Penderecki contrasts the euphonious sound of the a cappella choir (the introductory segment of part 1, Adagio, the middle segment of part 2) with fragments intended for a rich instrumental ensemble, parts notated in a quasi-polyphonic or heterophonic technique – with homophonic parts emphasising three-note chords (major, minor, diminished), sound systems with proportional rhythmic relations and metric accents (often variable meters) – sound systems with a quasi-aleatoric organisation of time. In the finale (Part 3), the composer introduces the motif of the Dies irae sequence, characteristic of the Western religious tradition, and ends the piece with several repetitions of the D major chord, which emphasises the solemn mood of a glorious prayer expressing hope for eternal happiness. Works for a cappella choir, which use religious hymns from the Old Church (Song of the Cherubim) and Latin (Veni Creator, Benedicamus Domino), are a creative continuation of the tradition of musicalising the atmosphere of prayerful meditation and techniques used in sacred music. In his stage works, the composer used literary texts concerning the problem of evil manifested in hatred and violence recorded in history (The Devils of Loudun, Black Mask), also evil associated with absurd and cruel stupidity prevalent in the modern world “without value,” “beyond good and evil” (Ubu Rex); he also used a poem inspired by the biblical interpretation of the genesis and effects of moral evil (Paradise Lost). In the 1960s, when the avant-garde questioned the sense of the existence of traditional musical theatre, Penderecki composed The Devils of Loudun and called it an opera, which was considered a betrayal of the ideals of the avant-garde. This piece combines the features of a musical drama (the basis of solo parts is recitativo or quasi-arioso), an opera (ensemble, choirs, an extended finale), an oratorio (storytelling and commenting parts), a religious mystery play (ritualisation of action with the features of a morality play), an expressionist drama (scenes spoken, whispering, screaming, stuttering effect, etc.), but at the same time, it is a new proposal for musical theatre. The composer’s libretto was based on John Whiting’s drama The Devils (1961) and A. Huxley’s essay The Devils of Loudun (1952), recalling historical events in France (1634, priest Urban Grandier was burned at the stake as a sorcerer). Penderecki modifies the ideological message of Whiting’s drama, accepting the philosophy of existentialism. In his view, the drama concerns a fake trial and political murder of an innocent priest who, although he cynically mocked the principles of morality, at the hour of martyrdom – through a gesture of forgiveness to his persecutors – gave testimony to a truly Christian attitude, enabling reconciliation and peace. Penderecki generally preserves the structure of the drama but reduces stage plots, changes the sequence of events, juxtaposes scenes or omits them. These transformations lead to a change in the dramatic formula with its logical development of action into dramatic situations, understandable and expressive rather through the musical means used than through the details of the verbal text; music becomes a necessary commentary on external action. The way the human voice is used is not so much an element of operatic convention as a legitimate means of theatrical expression. The varied recitative has the form of Sprechgesang, it emphasises the intonation of speech, is its ironic-grotesque parody or hysterical perversion. The sung parts correspond to the lyrical and prayerful mood, and the spoken parts seem to emphasise the prosaic and commonplace character or theatrical situation, also characterised by instrumental effects; the choir takes part in the action or comments on it. The composer prefers sharp contrasts; he juxtaposes dramatic and grotesque, dignified and serious and comic scenes, combines pathos with vulgarity, a lyrical monologue with an aggressive and blasphemous episode. The starting point for the musical-dramatic structure of the opera is the structure of a classic drama: exposition (act I, scenes 1–10), development of events (act I from scene 11 and in act II, scenes 1–7), climax (scenes 9 –10; exorcism, arrest of Grandier), adventures (act III, scenes 1–5) and resolution (scenes 6–7; procession and death of Grandier). The structure of the entire piece highlights the effect of symmetry because Act III has the character of a musical reprise. The one-act opera Black Mask, based on a little-known expressionist drama by G. Hauptmann (Die schwarze Maske, 1928), refers to the historical situation of the mid-17th century, i.e. the psychological and cultural effects of fratricidal religious wars; Penderecki was fascinated by the vision of the Baroque dance of death and “the combination of the macabre and clowning” (Labirynt…, p. 71). The composer – in consultation with Harry Kupfer, director of the premiere in Salzburg – introduced some shortcuts and modifications; the change in the content of the libretto concerns mainly the fate of mayor S. Schuller, who commits suicide in the opera. The libretto highlights the atmosphere of increasing tension and panic in anticipation of a total catastrophe symbolised by the “dance of death,” the direct cause of which is the intrusion of this mysterious “black mask” (the silent character). The people in the drama represent the European society of that time, diverse in terms of religious denomination (Huguenot, Jansenist, Evangelical, Lutheran, Catholic, Jew, freethinker), nationality and languages (French, German, Italian, Dutch) and social status (nobleman, bourgeois, merchant, pastor, servants, runaway slave). But all the characters gathered at one table are egoists, full of envy, hypocrisy and fear leading to madness and destruction. The premonition of approaching death and the atmosphere of carnival fun are symbolised by fragments of evangelical chorales (Aus tiefer Not, O Haupt voll Blut), dances from the Baroque period (from Musikalische Taffellustigung), a fragment of the popular song Es ist ein Mönch von Baum gefallen, as well as extensive self-quotes (musical interpretation of a fragment of the text Dies irae from Polish Requiem). Penderecki exposes contrasting musical means, both in vocal parts (he introduces, among others, a spoken part) and instrumental parts (he uses aggressive clusters and noise effects, as well as delicate sounds of idiophones), in terms of shaping horizontal courses, vertical arrangements, and rhythmic organisation (e.g. ad libitum segments correspond to the bustle of conversation or hysterical panic). The composer expanded the drama’s climax (the scene of the monologue-confession of Benigna a former singer) and the finale (the death dance scene), in which the introductory motifs return. The opera Ubu Rex is a musical image of the world of absurd grotesque, in which the sense of the metaphysical dimension of human existence disappears. The libretto, based on A. Jarry’s play Ubu roi (from 1896), was prepared by the composer in cooperation with director J. Jarocki. Penderecki enhances the comic and grotesque effects and puts into the background the aggressiveness and vulgarity of the language of Jarry’s play (e.g. by shortening the text and limiting its audibility in ensembles). The character of Ubu embodies primitivism and rudeness, the dull and destructive force of stupidity that gives itself the right to break all norms and deny all values. Penderecki’s interest in Jarry’s work dates back to his student days (in the 1960s he wrote music for the play Ubu Rex for the Stockholm marionette theatre). The two-act work is framed by a Prologue and an Epilogue, based on similar musical material (Ubu’s sea voyage is accompanied by a sailing song from Wagner’s The Wandering Dutchman). The composer highlights the type of singing typical of the buffo manner: fast parlando, staccato articulation, coloratura; musical means characterise people and situations (e.g. the effect of the messenger’s comic stuttering, fast, non-selective sound courses, clusters appear in escape scenes). Two extensive collective scenes are of key dramatic importance: in act I, the Great Feast and Parades (the assassination of the king, Ubu taking power), in act II, the great “brainwash” (execution) scene; the dramatic climax takes place in a battle scene, rich in illustrative effects. The nature of the music often does not match the stage situation (e.g. a cheerful melody in an execution scene). The composer delights in juxtaposing contrasting musical segments (e.g. motifs full of jumps and sharp rhythms suddenly transform into the rhythm of a waltz or polonaise), and by alluding to different conventions (detached from their proper context), he proposes a grotesque game in which, for example, late romantic phrases, reminiscent of Wagner’s dramas, are combined with a banal text, and a virtuoso cadenza highlights the situational absurdity. The range of references includes musical styles, techniques and idioms from the baroque to the contemporary avant-garde (the style of J.S. Bach, reminiscences from the works of Mozart, Mussorgsky, Rossini, Verdi, Rimsky-Korsakov, Prokofiev, Stravinsky). Despite this postmodern play of conventions and the use of montage techniques, the opera has a compact dramaturgy, a logical narrative and a transparent musical structure. It is thanks to, among others, repetitions of melodic motifs (the song “about brainwash,” Wenn die Sonne… has an important structural and expressive function) or illustrative effects, quasi-rondo arrangements with a repeating refrain, as well as emphasising the features of the arch form in the structure of the opera. The musical spectacle Paradise Lost, called sacra rappresentazione by the composer, has a different character. The work continues the rich tradition of this genre, and at the same time is a proposal to enrich the oratorio tradition with theatrical effects and choreographic movement, and to give modern opera the character of a morality play. The libretto is a Ch. Fry’s adaptation of J. Milton’s epic poem Paradise Lost (1667) and the compilation proposed by the composer; the Puritan’s poem is interwoven with words from the Bible, the Dies irae sequence and the Protestant chant (O grosse Lieb’) arranged by J.S. Bach. Preceded by a prologue, Act I includes 22 scenes, Act II – 20 scenes. Penderecki’s work begins with the lamentation of people who, giving in to the temptation of “being as gods,” destroyed the current harmony of the world (connected with the concept of paradise), and ends with a dramatic vision of the future of the world (expressed in the form of a passacaglia based on the theme of Dies irae). Contrary to the pessimistic message of Milton’s epic, the composer ends the work with words of hope. Solo voices represent Christ, the world of people (Adam and Eve are also portrayed by dancers), figures from the world of angels, allegorical figures (Death, Sin); and the choir (mixed and children’s) has dramatic significance or comments on the action. The part of God – visually associated with a pillar of light – is a spoken voice, “unreal” by electronic means and counterpointed by quasi-synagogal, unison singing (with Hebrew text) and the sound of ocarinas; the character of the author – Milton (spoken part) is also introduced. The parts of fallen angels often feature Sprechgesang articulation and unconventional means of musical expression (screaming, hissing, whispering, loud breathing and other acoustic effects), while the parts of good angels are dominated by lyrical and jubilee singing. The musical interpretation of the human world is related to the exposure of such expressive categories as song cantabile, lyrical espressivo and dramatic arioso. Instrumental parts also play an important role in the structure of the work (including scenes of the creation of people and their wedding, related to choreographic gestures and pantomime) and numerous, varied choral parts, which give the work a monumental character.
Reception
Penderecki’s spectacular appearance in the international arena was influenced by his impressive debut as a composer (1959) and the recognition of the avant-garde musical environment, whose ideology and aesthetics the artist was able to oppose. Initially, attempts were made to connect Penderecki’s music with the revolutionary “musical left,” but the religious and moral aspects of his works, and then the increasingly clear preference for euphonic sound arrangements, clear construction and dramaturgy of sound events – enthusiastically accepted by music recipients – undermined this type of interpretation, which is why people began to say about the “betrayal of the ideals of the avant-garde.” During the period of domination of religiously indifferent or atheistic art, Penderecki demonstrated the need and possibility of enriching contemporary music with the type of religious associations and emotions traditional in European culture, as well as reflections on moral evil and the meaning of human existence. Moreover, the premiere of Passion – according to commentators – not only had the rank of a great artistic event but also played a significant role in the process of normalising relations between Poland and the then German Federal Republic. A significant influence on the reception of Penderecki’s music is the fact that he was an artist who reacted keenly to important contemporary events in social life (the election of the Polish Pope, the rise of Solidarity, the fall of communism, which was reflected in works such as Te Deum or Polish Requiem), as well as anniversaries of old events (e.g. the millennium of Christianity in Polish lands, the 700th anniversary of the cathedral in Münster, the 850th anniversary of the foundation of Moscow, or the 1000th anniversary of Gdańsk – St. Luke Passion, Hymn to St. Daniel, Hymn to St. Adalbert). It was Penderecki who received prestigious orders for musical works celebrating ceremonies related to historical anniversaries (e.g. the 3000th anniversary of Jerusalem, the 1200th anniversary of the cathedral in Salzburg, the 200th anniversary of the proclamation of the United States of America, the 200th anniversary of the declaration of the Rights of Man in France, the 50th anniversary of Korea’s liberation from Japanese domination, or the 25th anniversary of the founding of the United Nations), which resulted in such works as The Seven Gates of Jerusalem, Magnificat, Paradise Lost, Symphony No. 4 and No. 5 and Cosmogony. The reception of Penderecki’s music and its unique importance in contemporary musical life was also influenced by his activities as a conductor (allowing for an “authorial” presentation of music and direct contact with the audience), composing solo and chamber works or concertos for world-renowned solo instrumentalists and their presentation by excellent performers of instrumentalists and conductors, as well as wide acceptance of art recipients. Currently, Penderecki’s music is performed on all continents and enjoys extraordinary success. The German and American musical circles, where Penderecki also worked as a teacher, played a special role in the international promotion of his works. Many premieres – starting with Anaklasis – took place in Germany (Passion, Devils of Loudun, 2 movements of Utrenja, Cello Concerto No. 2, Polish Requiem, Ubu Rex); the first synthetic study of his work was published there (W. Schwinger 1979, 1994). Penderecki appeared on the music scene in the United States in 1962 when the LaSalle Quartet premiered the commissioned String Quartet No. 1; many other premieres also took place there (Pittsburgh Overture, Cosmogony, De natura sonoris II, Partita, Paradise Lost, Symphony No. 2, Song of the Cherubim, Sonata for violin and piano and others). The 50th anniversary of the composer’s birth was celebrated in Washington (including the participation of M. Rostropovich, who performed the Second Cello Concerto), and in 1992, he was awarded the particularly prestigious Grawemeyer Award (for Symphony No. 4). His works are also very popular among American music theorists; since 1998 – on the initiative of R. Robinson and in cooperation with the Polish musicological community – “Studies in Penderecki” has been published (vol. 1, Princeton 1998, vol. 2, Princeton 2003). In Poland, Penderecki’s works have become part of concert life, and there are numerous international scientific symposia and festivals devoted to Penderecki’s music. On the occasion of the 65th anniversary of the composer’s birth, a great festival of Penderecki’s music was held in Krakow (lasting 22 days), including 18 concerts, the opera premiere of The Black Mask (staged by K. Nazar), 2 art exhibitions; interest in this event went far beyond the circle of musicians and music lovers. In the Age of Jazz concert series entitled Penderecki… Jazz in 2002 (in Krakow and Warsaw), jazz transcriptions of Penderecki’s works (including Prelude for clarinet, 1987; Per Slava for cello, 1986; Sonata for violin and piano, 1953) were presented. The composer’s 70th birthday resulted in further festivals of his music in Poland and abroad (including 2–14 July 2003 in Colmar, France), as well as international musicological conferences in Leipzig and Kraków, devoted to reflection on Penderecki’s music and its cultural context (K. Penderecki. Musik in Context – 17–19 October 2003, Institute of Musicology of the University of Leipzig; K. Penderecki. Music of the intertextual era – 12–14 December 2003, Academy of Music in Krakow, Jagiellonian University, Polish Academy of Arts and Sciences, as part of the Krzysztof Penderecki Days). There is a significant presence and enormous interest in Penderecki’s music in the countries of the Far East, especially in Japan, Korea and China. Penderecki’s works of various genres foster existential reflection and aesthetic contemplation and also restore the joy of making music and creating a human community through music.
Literature:
Krzysztof Penderecki Itinerarium. Wystawa szkiców muzycznych, ed. Z. Baran, Kraków 1998 (exhibition catalogue 18 September–4 October 1998); C. Bylander Krzysztof Penderecki. A Bio-Bibliography, Westport 2004.
lectures:
Labirynt czasu. Pięć wykładów na koniec wieku, Warsaw 1997, English extended edition Chapel Hill 1998, contains lectures by Penderecki on the occasion of the awarding of honorary doctorates by the University of Warsaw (first published in “Tygodnik Powszechny” 1994, no. 1), the Academy of Music in Kraków (first published in “Plus Minus,” a weekly supplement of “Rzeczpospolita” 1994, no. 43), the Academy of Music in Warsaw (first published in “Plus Minus” 1994/95 no. 52, also in “Ruch Muzyczny” 1995 no. 1/2), in Glasgow (first published in “Plus Minus” 1995 no. 48), lecture given on 18 December 1996 in Munich (first published in “Plus Minus” 1996, no. 52), as well as a reprint of A. and Z. Baran’s interview with Penderecki Passio artis et vitae (first published in “Dekada Literacka” 1992, no. 11/12); Kulturotwórcza moc chrześcijaństwa, “Tygodnik Powszechny” 1988 no. 1 (lecture by Penderecki after receiving an honorary doctorate from the Adam Mickiewicz University, 1987).
interviews:
seminars:
seminar with the composer on the play by K. Urbański with music by Penderecki and on Paradise Lost and The Dream of Jacob, in: Muzyka w kontekście kultury, «Spotkania Muzyczne w Baranowie» vol. 1, ed. L. Polony, Kraków 1978 (fragments edited by M. Janicka-Słysz, “Ruch Muzyczny” 1986 no. 26); other seminars with Penderecki’s participation, see collective works.
collective works:
Koncepcja, notacja, realizacja w twórczości Krzysztofa Pendereckiego, materials from a seminar at PWSM in Krakow 28 January 1975, Kraków 1975, contains: R. Chłopicka Niekonwencjonalny materiał wokalny w twórczości Krzysztofa Pendereckiego, K. Droba Hierarchia czynników formalnych w twórczości Krzysztofa Pendereckiego, T. Malecka „Diabły z Loudun” Krzysztofa Pendereckiego, E. Mizerska-Golonek Muzyka koncertująca Krzysztofa Pendereckiego, J. Rychlik Punktualizm we wczesnej twórczości Krzysztofa Pendereckiego, seminar with Penderecki’s participation (articles by K. Droba, J. Rychlik and the seminar reprinted in “Muzyka”1976 no. 2);
Współczesność i tradycja w muzyce Krzysztofa Pendereckiego, materials from a seminar at the Academy of Music in Krakow 19–20 December 1980, ed. R. Chłopicka and K. Szwajgier, «Zeszyty Naukowe Akademii Muzycznej w Krakowie» no. 5, 1983, contains, among others, M. Gąsiorowska Krzysztofa Pendereckiego „Psalmy Dawida” na chór mieszany i perkusję, D. Jasińska Stabat Mater, K. Meyer Quartetto per archi No. 2, K. Bilica Treści „Ofiarom Hiroszimy – Trenu”, J. Rychlik Psalmus, K. Bilica Pozaekspresyjne porządki w „Kwartecie smyczkowym” (No. 1), B. Cisowska Ecloga VIII;
Festiwal muzyki Krzysztofa Pendereckiego, Kraków, Lusławice, Poznań 09–16 VI 1988, ed. K. Droba, Kraków 1988 (programme book);
Dni Krzysztofa Pendereckiego, program book of the festival and symposium on the 60th anniversary of Penderecki’s birth at the Academy of Music in Krakow 10–12 December 1993, ed. J. Berwaldt, Kraków 1993 and The Music of K. Penderecki. Poetics and Reception, materials from the symposium, ed. M. Tomaszewski, Kraków 1995, Polish ed. Muzyka Krzysztofa Pendereckiego. Poetyka i recepcja, ed. M. Tomaszewski, Kraków 1996, contains, among others, A. Chłopecki W gabinecie krzywych luster czyli Ubu w operze Pendereckiego, R. Chłopicka Polskie Requiem, I. Nikolska Z niektórych zagadnień twórczości symfonicznej lat osiemdziesiątych, E. Siemdaj Od „Tria” do „Sinfonietty”, articles by P.A. Castanet, C. Colombati, F. Fachmi, R. Goštautiené, R. Robinson, R. Shankovich and W. Schwinger regarding the reception of Penderecki’s music in Germany, France, Italy, Russia, Lithuania and the United States, and a seminar with Penderecki’s participation;
«Studies in Penderecki», 2 volumes, ed. R. Robinson and R. Chłopicka, Princeton (New Jersey), vol. 1, 1998, contains, among others, Penderecki’s speech My Iliad and Odyssey, M. Tomaszewski Penderecki’s Dialogues and Games with Time and Place on Earth, R. Robinson Penderecki’s Musical Pilgrimage, String Trio and Sinfonietta and Unpublished Research on Penderecki’s Music by Scholars from American and Canadian Universities, R. Chłopicka Stylistic Phases in the Work of Krzysztof Penderecki, W. Schwinger Changes in Four Decades. The Stylistic Paths of Krzysztof Penderecki, A. Winold Penderecki’s Violin Concerto No. 2. A Descriptive Analysis and Penderecki’s Violin Concerto No. 2. World Premiere, R. Shankovich Symphony No. 5 (Revised Version) and Performing Krzysztof Penderecki’s „Passio et Mors Domini nostri Jesu Christi secundum Lucam”. A Conductor’s Preparation, I. Nikolska Penderecki’s „Utrenya” in Moscow, M. Stachowski Penderecki’s Violin Concerto No. 2. Polish Premiere in Katowice, M. Piotrowska Krzysztof Penderecki i jego muzyka. Cztery eseje (refers to the book by M. Tomaszewski), list of works by Penderecki, vol. 2, 2003, contains, among others, M. Tomaszewski Listening to Penderecki, T.A. Zieliński The Penderecki Controversy, A. Chłopecki Polish Music 1958–1966. The Syndrome of the Double Opening, K. Szwajgier Penderecki and the Avant Garde, D. Mirka Penderecki’s Sonorism against Serialism, A. Jarzębska The Aesthetic Background of Penderecki’s Avant Garde Works. „Quartetto per archi” and Wordless Rhetoric, I. Lindstedt Between Dodecaphony and Sonoristics. Post-Serial Formulas in Penderecki’s Work, 1960–1962, J. Rychlik Krzysztof Penderecki’s „Psalmus”, R. Robinson The Evolution of Penderecki’s Orchestra from „ Threnody” to „Fluorescences”, R. Chłopicka Extra-Musical Inspirations in the Early Works of Krzysztof Penderecki, R.S. Hatten Structure and Spiritual Expression in Penderecki’s „Psalms of David”, N. O’Loughlin „Threnody” and Performance;
Krzysztof Penderecki’s Music in the Context of 20th-Century Theatre, materials from the symposium in Krakow 18–20 September 1998, ed. T. Malecka, Kraków 1999, contains, among others, R.S. Hatten Penderecki’s Operas in the Context of Twentieth-Century Opera, R. Robinson Elements of Synthesis in Penderecki’s „Symphony No. 7: Seven Gates of Jerusalem” (1996–97), Krzysztof Penderecki’s „Credo” (1996–98) and Some Problems of Instrumentation in Penderecki’s Opera „Paradise Lost” (1975–78), Z. Helman „The Devils of Loudun” by Krzysztof Penderecki. Geno.e-Form-Style, I. Lindstedt From Rossini to Contemporary Avantgarde. The Interplay of Conventions in K. Penderecki’s „Ubu Rex”, seminar with Penderecki’s participation On Producing Krzysztof Penderecki’s Works for the Stage;
Krzysztof Penderecki: Musik im Kontext, materials from a congress in Leipzig 2003, ed. H. Loos and S. Keym, Leipzig 2006, contains, among others, A. Jarzębska Krzysztof Penderecki’s „Ars Contrapuncti”;
Krzysztof Penderecki — muzyka ery intertekstualnej. Studia i interpretacje, ed. M. Tomaszewski and E. Siemdaj, Kraków 2005, contains, among others, T. Malecka Krzysztof Penderecki a kultura prawosławia w perspektywie intertekstualnej, M. Gmys Penderecki a Mahler. Próba parareli;
Twórczość Krzysztofa Pendereckiego. Od genezy do rezonansu, 7 volumes, Kraków, vol. 1: Początki i „mocne wejście” 1953–1960, ed. M. Tomaszewski, 2008, vol. 2: Czas prób i doświadczeń 1960–1966, ed. M. Tomaszewski, 2010, vol. 3: Przełom i pierwsza synteza 1966–1971, ed. M. Tomaszewski, 2010, vol. 4: Interludium: lata sublimacji 1972–1975, ed. M. Tomaszewski, 2010, vol. 5: Czas dialogu z „odnalezioną przeszłością” 1976–1985. Faza Raju utraconego i II Symfonii, ed. M. Tomaszewski and T. Malecka, 2013, vol. 6: Między musica adhaerens a musica libera 1985–1993. Faza Polskiego Requiem i Czarnej maski, ed. M. Tomaszewski and T. Malecka, 2013, vol. 7: Nowy początek 1993–. Faza Credo, Sekstetu i Pieśni przemijania, ed. M. Tomaszewski and T. Malecka, 2013.
The publisher of Penderecki’s works was Polskie Wydawnictwo Muzyczne (on the territory of Poland and the former socialist countries), Belwin-Mills in Melville, now in Miami – (7 pieces from 1959–67; on the territory of the United States, Canada and Mexico), Moeck-Verlag in Celle – (several works from 1958–67), and from 1969, B. Schotts Söhne in Mainz. On 1 February 1999 PWM transferred the copyright to Penderecki’s works to B. Schotts Söhne; Schott’s catalogues lack information regarding the release dates of some works.
Instrumental:
orchestra:
Fluorescences, 1962, dedication: Südwestfunk-Orchester, premiere: Donaueschingen 21 October 1962, Südwestfunk-Orchester Baden-Baden, conductor H. Rosbaud, publication: 1962 Moeck/1968 PWM
De natura sonoris No. 1, 1966, dedication: O. Tomek, premiere: Royan 7 April 1966, Orchestre Philharmonique de l’ORTF, conductor A. Markowski, publication: 1967 Moeck/1969 PWM
De natura sonoris No. 2, 1971, dedication: Z. Mehta, premiere: New York 3 December 1971, Juilliard Orchestra, conductor J. Mester, publication: 1972 Schott/1973 PWM
Symphony No. 1, 1973, premiere: Peterborough 19 July 1973, London Symphony Orchestra, conductor K. Penderecki; Warsaw Autumn Festival 22 September 1973, Warsaw National Philharmonic Orchestra, conductor W. Rowicki, publication: 1975 Schott/1977 PWM
The Dream of Jacob / Als Jakob erwachte, 1974, dedication: Prince of Monaco Rainier III, premiere: Monte Carlo 14 August 1974, Orchestre National de l’Opéra de Monte Carlo, conductor S. Skrowaczewski, publication: 1975 Schott/1976 PWM
Adagietto from Paradise Lost, 1979, premiere: Osaka 8 April 1979, NHK Symphony Orchestra, conductor K. Penderecki, publication: 1979 Schott/1981 PWM; version for English horn and string orchestra, 2007, premiere: 9 September 2007 Grafenegg, horn J. Strassl, Tonkünstler-Orchester Niederösterreich, conductor K. Penderecki, publication: Schott (cop. 2007)
Symphony No. 2: Christmas, 1980, dedication: Z. Mehta, premiere: New York 1 May 1980, New York Philharmonic Orchestra, conductor Z. Mehta; Warsaw Autumn Festival 27 September 1981, Warsaw National Philharmonic Orchestra, conductor K. Penderecki, publication: 1980 Schott
Symphony No. 3: Passacaglia and Rondo, 1988, premiere: Lucerne 20 August 1988, Luzerner Festspielorchester, conductor K. Penderecki; Warsaw Autumn Festival 19 September 1988, Krakow Philharmonic Orchestra, conductor G. Levine, publication: 1988 Schott; whole (5 parts), 1995, premiere: Munich 8 December 1995, Münchner Philharmoniker Orchestra, conductor K. Penderecki; Warsaw Autumn Festival 27 September 1996, Polish National Radio Symphony Orchestra, conductor A. Wit, publication: 1996 Schott
Adagio, version for string orchestra, premiere: Prague 10 September 2013, Česká Filharmonie, conductor J. Bělohlávek, publication: 2013 Schott
Adagio (Symphony No. 4), 1989, dedication: L. Maazel, premiere: Paris 26 November 1989, Orchestre National de France, conductor L. Maazel, publication: 1989 Schott
Symphony No. 5: Korean, 1992, dedication: to listeners from the Far East, premiere: Seul 14 August 1992, KBS symphonic orchestra in Seul, conductor K. Penderecki, publication: 2007 Schott
Epitaph Artur Malawski in memoriam for string orchestra and timpani, 1958, dedication: A. Malawski im memoriam, premiere: Kraków September 1958, Krakow Philharmonic Orchestra, conductor M. Baranowski, publication: Schott (cop. 2008)
Anaklasis for string orchestra and percussion, 1960, dedication: H. Strobel, premiere: Donaueschingen 16 October 1960, Südwestfunk-Orchester Baden-Baden, conductor H. Rosbaud, publication: 1960 Moeck/1960 PWM
Canon for string orchestra and 2 tapes, 1962, dedication: J. Krenz, premiere: Warsaw Autumn Festival 21 September 1962, Polish National Radio Symphony Orchestra in Katowice, conductor J. Krenz, publication: 1974 Schott
Pittsburgh Overture for wind band, pump organ, piano and percussion (including 6 timpani), 1967, premiere: Pittsburgh 30 June 1967, American Wind Symphony Orchestra, conductor R.A. Boudreau; Warsaw Autumn Festival 21 September 2012, Warsaw National Philharmonic Orchestra, conductor P. Rophé, publication: 1967 Peters
Prelude for wind band, percussion and string basses, 1971, dedication: J. Elsendoorn, premiere: Amsterdam 4 July 1971, Het Radio Blazerensemble, conductor H. Vonk, publication: Schott
Actions for jazz ensemble, 1971, premiere: Donaueschingen 17 October 1971, international jazz orchestra The New Eternal Rhythm Orchestra, conductor K. Penderecki
Entrata for 4 horns, 3 trumpets, 3 trombones, tuba and timpani, 1994, premiere: Cincinnati 4 November 1994, Cincinnati Symphony Orchestra, conductor K. Penderecki, publication: 1999 Schott
Burlesque Suite from the opera Ubu Rex for wind orchestra, percussion and string bass, edition: H. Brauel, 1995, premiere: Meran 19 October 1996, Landesblasorchester Südtirol, conductor M. Luig, publication: 1998 Schott
Luzerner Fanfare for 8 trumpets and percussion, 1998, premiere: Lucerne 18 August 1998, Luzerner Trompeten-Ensemble, conductor W. Ashkenazy, publication: Schott (cop. 1998)
Fanfarria Real, 2003, premiere: Tenerife 27 September 2003, Orquesta Sinfónica de Tenerife, conductor V.P. Pérez, publication: Schott (cop. 2009)
Licheń-Fanfare for wind instruments, 2006, premiere: Licheń 2 July 2006, members of the Polish National Radio Symphony Orchestra, publication: 2013 Schott
Danziger Fanfare for brass instruments, timpani and percussion, 2008, dedication: L. Wałęsa, premiere: Gdańsk 5 July 2008 Polish National Radio Orchestra, conductor K. Penderecki, publication: 2011 Schott
Prelude for Peace for brass instruments, timpani and percussion, 2009, premiere: Kraków 1 September 2009, World Orchestra for Peace, conductor W. Gergiev, publication: Schott (cop. 2009)
De natura sonoris No. 3, 2012, premiere: 15 June 2012 Copenhagen, Danmarks Radio Symfoniorkestret, conductor Th. Dausgaard, publication: Schott (cop. 2012)
Stettiner Fanfare for brass instruments, 2014, dedication: Philharmonic in Szczecin, publication: [2016] Schott
Polonaise, 2015, premiere: Warsaw 1 October 2015, Warsaw National Philharmonic Orchestra, conductor J. Kaspszyk, publication: Schott (cop. 2015)
Polonaise, 2018, premiere: Warsaw 9 August 2018, Beethoven Academy Orchestra, conductor J.-L. Tingaud, publication: Schott (cop. 2018)
for string orchestra:
Emanations for 2 string orchestras, 1958, dedication: T. Ochlewski, premiere: Darmstadt 7 September 1961, Sinfonie-Orchester des Hessischen Rundfunks, conductor M. Gielen, publication: 1961 Moeck/1970 PWM
Threnody to the Victims of Hiroshima for 52 string instruments (former title: 8’37”), 1960, premiere: Warsaw Autumn Festival 22 September 1961, Krakow Philharmonic Orchestra, conductor A. Markowski, publication: 1961 PWM/Belwin-Mills
Polymorphia for 48 string instruments, 1961, dedication: H. Moeck, premiere: Hamburg 16 April 1962, Sinfonieorchester des Norddeutschen Rundfunks, conductor A. Markowski; Warsaw Autumn Festival 26 September 1963, Krakow Philharmonic Orchestra, conductor A. Markowski, publication: 1963 Moeck/1970 PWM
3 Pieces in an Old Style (from the movie The Saragossa Manuscript): 1. Aria, 2. Minuet No. 1, 3. Minuet No. 2, 1963, premiere: Kraków 11 June 1988, Polish Radio Chamber Orchestra Amadeus, conductor A. Duczmal, publication: 1989 Schott/1991 PWM
Aria, also version for mixed choir, 1963, publication: [2014?] Schott
Intermezzo for 24 string instruments, 1973, premiere: Zurich 30 November 1973, Zürcher Kammerorchester, conductor E. de Stoutz; Warsaw Autumn Festival 20 September 1978, Polish Chamber orchestra, conductor J. Maksymiuk, publication: Schott
Sinfonietta per archi (2nd version of String Trio from 1991), 1992, premiere: Warsaw 16 February 1992, Sinfonia Varsovia, conductor K. Penderecki, publication: 1992 Schott
Serenade: 1. Passacaglia, 1996, premiere: Lucerne 20 August 1996, Festival Strings Lucerne, conductor R. Baumgartner; 2. Larghetto, 1997, premiere: Lucerne 31 August 1997, Festival Strings Lucerne, conductor R. Baumgartner, publication (whole): 1997 Schott
De profundis, 1998, premiere: Salerno 10 September 1998, Sinfonia Varsovia, conductor K. Penderecki
Agnus Dei, cf. compositions for choir a cappella
Ciaccona in memoriam Giovanni Paolo II from Polish Requiem 2005, premiere: 17 September 2005 Wrocław, Polish National Radio Symphony Orchestra, conductor K. Penderecki, publication: Schott (cop. 2005); version for violin and viola/cello, 2009, premiere: 9 September 2009 Dubrovnik, violin J. Jansen, viola J. Rachlin, publication: 2011 Schott; version for 6 cellos, 2015, premiere: 26 September 2015 Kronberg, F. Helmerson, J.-E. Gustafsson, K. Yamagami, E.-S. Hong, T. Mørk, P. Ferrández, publication: [2016] Schott
Adagio from Symphony No. 3, cf. compositions for orchestra
Sinfonietta No. 3, 2012, dedication: P. Hanser-Strecker, premiere: Munich 16 June 2012, Münchener Kammerorchester, conductor A. Liebreich, publication: Schott (cop. 2012)
for solo instruments and orchestra:
Fonogrammi for flute and chamber orchestra, 1961, dedication: A. Markowski, premiere: Venice 24 April 1961, flute S. Marona, Krakow Philharmonic Chamber Orchestra, conductor A. Markowski, publication: 1974 Moeck
Violin Concerto (withdrawn by composer, partly used inCapriccio per violino e orchestra, 1967), 1963, premiere: Zagreb 14 May 1963, violin T. Michalak, Krakow Philharmonic Chamber Ensemble, conductor A. Markowski
Sonata per violoncello e orchestra, 1964, dedication: S. Palm, premiere: Donaueschingen 15 October 1964, cello S. Palm, Südwestfunk-Orchester Baden-Baden, conductor E. Bour; Warsaw Autumn Festival 29 September 1965, cello S. Palm, Poznan Philharmonic Orchestra, conductor A. Markowski, publication: 1966 PWM/Belwin-Mills
Capriccio per oboe e 11 archi, 1965, dedication: H. Holliger, premiere: Lucerne 26 August 1965, oboe H. Holliger, Festival Strings Lucerne, conductor R. Baumgartner; Warsaw Autumn Festival 23 September 1976, oboe H. Holliger, Polich Chamber Orchestra, conductor J. Maksymiuk, publication: 1968 Moeck/1968 PWM
Capriccio per violino e orchestra, 1967, dedication: H. Strobel, premiere: Donaueschingen 22 October 1967, violin W. Wiłkomirska, Südwestfunk-Orchester Baden-Baden, conductor E. Bour, publication: 1968 Moeck/1969 PWM
Concerto per violino grande e orchestra, 1967, premiere: Östersund 1 July 1967, violin B. Eichenholz, Stockholm Philharmonic Orchestra, conductor H. Czyż; second version as Cello Concerto No. 1, 1972, dedication: S. Palm, premiere: Edinburgh 2 September 1972, cello S. Palm, Scottish National Orchestra, conductor A. Gibson; Katowice 1 June 1974, cello H.J. Scheitzbach, Polish National Radio and Television Symphony Orchestra, conductor K. Penderecki, publication: 1972 Moeck
Partita for harpsichord, electric guitar, bass guitar, harp, string bass and orchestra, 1971, dedication: F. Blumental, premiere: Rochester 11 February 1972, harpsichord F. Blumental, orchestra Eastman Philharmonia, conductor W. Hendl; Warsaw Autumn Festival 24 September 1972, harpsichord F. Blumental, Warsaw National Philharmonic Orchestra, conductor A. Markowski, publication: 1972 Schott; second version (composed for E. Chojnacka, with solo cadence), 1991, premiere: Munich 5 January 1992, harpsichord E. Chojnacka, orchestra Münchner Philharmoniker, conductor K. Penderecki; Warsaw Autumn Festival 25 September 1992, harpsichord E. Chojnacka, Sinfonia Varsovia, conductor R. Dufallo, publication: Schott
Violin Concerto No. 1 1977, dedication: I. Stern, premiere: Basel 27 April 1977, violin I. Stern, Basler Sinfonie-Orchester, conductor M. Atzmon; Warsaw Autumn Festival 15 September 1979, violin K.A. Kulka, Polish National Radio and Television Symphony Orchestra, conductor K. Penderecki, publication: 1980 Schott/1981 PWM; revised version, 1988, publication: 1992 Schott
Cello Concerto No. 2, 1982, dedication: M. Rostropowicz and Berliner Philharmoniker Orchestra, premiere: Berlin 11 January 1983, cello M. Rostropowicz, Berliner Philharmoniker Orchestra, conductor K. Penderecki, publication: 1983 Schott
Concerto for viola (cello/clarinet/saxophone) and orchestra, 1983, premiere: Caracas 24 July 1983, viola J. Vazquez, Maracaibo Symphonic Orchestra, conductor E. Rahn, publication: 1987 Schott; version with chamber orchestra, 1984, premiere: Moscow 20 October 1985, viola G. Zhislin and his chamber orchestra; version for cello and orchestra, premiere: Wuppertal 15 December 1989, cello B. Pergamenschikow, Sinfonieorchester Wuppertal, conductor P. Gülke; Warsaw Autumn Festival 17 September 1993, cello B. Pergamenschikow, Sinfonia Varsovia, conductor K. Penderecki; version for clarinet and orchestra, premiere: Boulder 9 July 1995, clarinet O. Orbach, Colorado Music Festival Orchestra, conductor G. Bernstein; version for saxophone and orchestra: premiere: Częstochowa 19 September 2013, saxophone P. Gusnar, Częstochowa Philharmonic Orchestra, conductor A. Klocek
Concerto for flute and chamber orchestra, 1992, dedication: J.-P. Rampal, premiere: Lausanne 11 January 1993, flute J.-P. Rampal, Orchestre de Chambre de Lausanne, conductor K. Penderecki; Warsaw Autumn Festival 17 September 1993, flute I. Grafenauer, Sinfonia Varsovia, conductor K. Penderecki, publication: 1993 Schott; version for clarinet and chamber orchestra, 1995, premiere: Prague 7 March 1996, clarinet Sh. Kam, Česká Filharmonie, conductor K. Penderecki
Metamorphosen. Violin Concerto No. 2, 1992–95, dedication: A.-S. Mutter, premiere: Leipzig 24 June 1995, violin A.-S. Mutter, Sinfonieorchester des Mitteldeutschen Rundfunks, conductor M. Jansons; Katowice 21 December 1995, violin A. Park, Polish National Radio Symphony Orchestra, conductor K. Penderecki, publication: Schott (cop. 1996)
Sinfonietta No. 2 for clarinet and string orchestra (orchestration of Quartet for clarinet and string trio, 1993), 1994, premiere: Bad Kissingen 13 July 1994, clarinet P. Meyer, Sinfonia Varsovia, conductor K. Penderecki, publication: 1996 Schott
Music for recorders, marimba, percussion and string instruments, 2000, premiere: Hanover 25 June 2000, recorders B. Engelmann, S. Riemann and A. Wetzki, marimba M. Klimasara, Warsaw National Philharmonic Orchestra, conductor M. Hurshell, publication: 2000 Schott
Concerto grosso for 3 cellos and orchestra, 2001, dedication: Ch. Dutoit, premiere: Tokio 22 June 2001, cellos B. Pergamenschikow, T. Mørk, Han-Na Chang, NHK Symphony Orchestra, conductor Ch. Dutoit, publication: 2001 Schott (piano reduction)
Piano Concerto: Resurrection, 2002, dedication: M.-J. Kravis, premiere: New York 9 May 2002, piano E. Ax, Philadelphia Orchestra, conductor W. Sawallisch; Warsaw Autumn Festival 28 September 2002, piano B. Douglas, Polish Radio National Symphonic Orchestra, conductor G. Chmura, publication: Schott (cop. 2002); revised version, 2007, premiere: Cincinnati 7 December 2007, piano B. Douglas, Cincinnati Symphony Orchestra, conductor K. Penderecki
Largo for cello and orchestra, 2003, dedication: M. Rostropowicz, premiere: Vienna 19 June 2005, cello M. Rostropowicz, Wiener Philharmoniker Orchestra, conductor S. Ozawa; revised version, 2007, publication: 2017 Schott (piano reduction C.-D. Ludwig)
Concerto grosso No. 2 for 5 clarinets and orchestra, 2004, premiere: Madrid 3 June 2004, clarinets P. Meyer, M. Lethiec, M. Fröst, E. Ferrando, V. Alberola, Orquesta Sinfónica de Madrid, conductor K. Penderecki, publication: Schott
Concerto for horn and orchestra: Winterreise, 2008, revised 2009, dedication: R. Vlatković, premiere: Bremen 5 May 2008, horn R. Vlatković, Bremer Philharmoniker Orchestra, conductor K. Penderecki, publication: 2014 Schott (piano reduction A. Ouzounoff)
Concerto doppio for violin, viola (cello) and orchestra, 2012, dedication: J. Rachlin, premiere: Vienna 22 October 2012, violin J. Jansen, viola J. Rachlin, Symphonieorchester des Bayerischen Rundfunks, conductor M. Jansons, publication: 2013 Schott (piano reduction O. Kroupowa, M. Kroupa); version for violin and cello, premiere: Naantali 4 June 2013, violin E. Vähälä, cello A. Noras, Sinfonia Lahti, conductor O. Kamu; version for flute, clarinet and orchestra, 2017, premiere: 19 November 2018 flute P. Gallois, clarinet M. Lethiec, Polish Orchestra Sinfonia Iuventus, conductor T. Strugała, publication: Schott; version for accordion, 2017, edition: M. Frąckiewicz, premiere: Gdańsk 12 January 2018, accordion M. Frąckiewicz, Polish Baltic Philharmonic Orchestra, conductor V. Papian, publication: [2022] Schott (piano reduction)
Concertino for trumpet and orchestra, 2015, premiere: 3 May 2015 Saarbrücken, trumpet G. Boldoczki, Saarländisches Staatsorchester, conductor D.R. Coleman, publication: 2017 Schott (piano reduction C.-D. Ludwig)
chamber:
Quartetto per archi, 1960, dedication: J. Zarzycki, premiere: Cincinnati 11 May 1962, LaSalle Quartet; Warsaw Autumn Festival 17 September 1962 LaSalle Quartet, publication: 1961 PWM/Belwin-Mills
Quartetto per archi No. 2, 1968, dedication: H. Strobel, premiere: Berlin 30 September 1970, Quatuor Parrenin, publication: 1971 Schott/1973 PWM
Der unterbrochene Gedanke for string quartet, 1988, dedication: “Arno Volk in memoriam,” premiere: Frankfurt am Main 4 February 1988, Kreuzberger Streichquartett, publication: 1991 Schott/1992 PWM
String Trio (see alsoSinfonietta per archi, 1994), 1991, dedication: Deutsches Streichtrio, premiere: Metz 15 November 1991, Deutsches Streichtrio, premiere: Vivace – 8 December 1990 Kraków, Deutsches Streichtrio, whole – 15 November 1991 Metz, Deutsches Streichtrio, publication: 1991 Schott
Quartet for clarinet and string trio, 1993, dedication: Å. Holmquist, premiere: Lübeck 13 August 1993, clarinet Sh. Kam, violin Ch. Poppen, viola K. Kashkashian, cello B. Pergamenschikow, publication: [1993] Schott; version for clarinet and string orchestra, cf. Sinfonietta No. 2 (compositions for solo instrument and orchestra); version for 4 saxophones, editor: H. White, 1999, premiere: 2 October 1999 Dresden, Raschèr Saxophone Quartet, publication: Schott (cop. 2004)
Sextet for clarinet, horn, violin, viola, cello and piano, 2000, premiere: Vienna 7 June 2000, clarinet P. Meyer, horn R. Vlatković, violin J. Rachlin, viola J. Baszmiet, cello M. Rostropowicz, piano D. Alexeev, publication: Schott (cop. 2011)
Quartetto per archi No. 3 “Blätter eines nicht geschriebenen Tagebuches” 2008, premiere: Warsaw 21 November 2008, Shanghai Quartet, publication: 2011 Schott; version for string quintet, 2013, premiere: Prades 6 August 2014, Talich Quartet, string bass J. Dybał, publication: 2014 Schott; version for string orchestra, cf. Sinfonietta No. 3
Cadenza to Brandenburg Concerto No. 3 by J.S. Bach for alto, cello and harpsichord, 2007, publication: 2009 Schott
Serenata for 3 cellos, 2007, dedication: to my wife Elżbieta, premiere: Kraków 16 November 2007, A. Noras, I. Monighetti, A. Bauer, publication: [2008] Schott
Agnus Dei for 8 cellos, cf. compositions for choir a capella
Sonata for violin and piano (withdrawn by composer), 1953, premiere: Houston 7 January 1990, violin Ch. Edinger, piano Ch. Eschenbach, publication: [1992] Schott
Three Miniatures for clarinet and piano, 1956, dedication: W. Kosieradzki, premiere: Kraków 17 November 1958, clarinet W. Kosieradzki, piano Z. Jeżewski, publication: 1959 PWM/Belwin-Mills
Three Miniatures for violin and piano, 1959, dedication: T. Ochlewski, premiere: Kraków June 1960, violin H. Jarzyński, piano K. Penderecki, publication: 1962 PWM/Belwin-Mills
Mensura sortis for 2 pianos, 1963, premiere: 6 May 1964, Radio Bremen, Alfons and Alois Kontarsky
Vivace for bassoon/bass clarinet and rototoms, 1994, dedication: J. Frantz, publication: [2018] Schott
Sonata No. 2 for violin and piano, 1999, dedication: A.-S. Mutter, premiere: London 29 April 2000, violin A.-S. Mutter, piano L. Orkis; Warsaw Autumn Festival 20 September 2003, violin K. Danczowska, piano S. Cierpik, publication: [2003] Schott
Duo concertante for violin and string bass, 2010, dedication: A.-S. Mutter and R. Patkoló, premiere: Hanover 9 March 2011, violin A.-S. Mutter, string bass R. Patkoló, publication: 2012 Schott
String Quartet No. 4, 2016, premiere: 11 December 2016 London, Belcea Quartet
solo:
Capriccio for cello, 1968, dedication: S. Palm, premiere: Bremen 4 May 1968, S. Palm; Warsaw Autumn Festival 27 September 1970, S. Palm, publication: 1969 Schott/1973 PWM
Capriccio for tuba, 1980, dedication: Z. Piernik, premiere: Kraków 20 June 1980, Z. Piernik, publication: 1987 Schott
Cadenza per viola sola (from Concerto for viola), 1984, dedication: G. Zhislin, premiere: Lusławice 10 September 1984, G. Zhislin, publication: 1986 Schott/1988 PWM; version for violin, editor: Ch. Edinger, 1986, premiere: Warsaw 28 October 1986, Ch. Edinger, publication: 1989 Schott/1996 PWM
Per Slava for cello, 1986, dedication: M. Rostropowicz, premiere: Warsaw Autumn Festival 20 September 1986, I. Monighetti, publication: 1987 Schott/1990 PWM
Prelude for clarinet, 1987, dedication: P. Patterson, premiere: Manchester 1 December 1987, J. Patton, publication: 1988 Schott/1990 PWM
Divertimento for cello (Serenade, Scherzo, Notturno), 1994, dedication: B. Pergamenschikow, premiere: Cologna 28 December 1994, B. Pergamenschikow, publication: 1998 Schott; new version entitled Suite, 2013, dedication: A. Noras, publication: [2014] Schott: part 3 Sarabande, premiere: Bad Kissingen 9 January 2001, B. Pergamenschikow, version for viola, 2000, dedication: J. Baszmiet, publication: 2011 Schott; part 4: Tempo di valse, premiere: Kronberg 21 October 2004, C. Bohórquez, version for viola, 2013, publication: 2014 Schott; part 6: Aria, premiere: Giverny 2 September 2006, M. Strauss; part 5: Allegro con bravura, premiere: Paris 25 February 2010, A. Noras; part 1: Preludio, premiere: Helsinki 16 January 2013, participants of the International Paulo Cello Competition, Finnish National Opera Orchestra; part 2: Serenade, 7 Scherzo and 8 Notturno, cf. above
Violoncello totale for cello, 2011, premiere: 27 June 2011 Moscow, participants of the 14th International P. Tchaikovsky Competition, publication: Schott (cop. 2011)
Capriccio per Radovan “Il sogno di un cacciatore” for horn, 2012, dedication: R. Vlatković, premiere: Santander 20 July 2012, R. Vlatković, publication: 2013 Schott
Capriccio for violin, 2008, premiere: 7 February 2010 Worms, violin J. Riepl, publication: 2013 Schott
Tanz for violin, 2009, dedication: “für Janine,” publication: [2010] Schott; version for viola, 2010, publication: 2011 Schott; version for cello, publication: 2016 Schott
La follia for violin, 2013, premiere: 14 December 2013 New York, A.-S. Mutter, publication: 2016 Schott
Vocal and vocal-instrumental:
for choir a cappella:
Stabat Mater for 3 mixed choirs (composition added to St Luke Passion), words from 6 fragments of sequences, 1962, dedication: Krakow Philharmonic Choir, premiere: Warsaw 27 November 1962, Polish National Philharmonic Choir, conductor A. Szaliński, publication: 1963 PWM/Belwin-Mills
Eclogue 8 for 6 male voices, lyrics: fragment of the song 8 from Virgil’s Bucolics, 1972, premiere: Edinburgh 21 August 1972, The King’s Singers; Warsaw Autumn Festival 19 September 1976, The King’s Singers, publication: 1974 Schott/1974 PWM
Agnus Dei for 8-voice mixed choir (composition added to Polish Requiem), 1981, dedication: “in memory of Cardinal Primate Stefan Wyszyński,” premiere: Warsaw 31 May 1981, Polish Radio and Television Choir from Krakow, conductor A. Wit, publication: 1983 Schott/1982 PWM; extended version, premiere: Nuremberg 21 June 1982, choir Süddeutschen Rundfunks Stuttgart, conductor K. Penderecki; version for string orchestra, editor: B. Pergamenschikow, 1994, premiere: Kraków 4 December 1994, Sinfonietta Cracovia, conductor B. Pergamenschikow, publication: 1994 Schott; version for 8 cellos, 2007, premiere: Kronberg 3 October 2007, Cello-Ensemble, conductor Frans Helmerson, publication: 2008 Schott
Cheruwimskaja pieśń (Song of the Cherubim) for 8-voice mixed choir, words from the Old Church liturgy, 1986, dedication: M. Rostropowicz, premiere: Washington 27 March 1987, Choral Arts Society, conductor K. Penderecki, publication: 1987 Schott/1988 PWM
Veni Creator for mixed choir, hymn, 1987, dedication: Universidad Autónoma de Madrid, premiere: Madrid 28 April 1987, Polish National Philharmonic Choir, conductor K. Penderecki, publication: 1989 Schott/1989 PWM
Benedicamus Domino for 5-voice male choir, 1992, lyrics: antiphony Benedicamus from the Engelberg Abbey and psalm CXVII, 1992, dedication: Margrit and Hans Meyer, premiere: Lucerne 18 April 1992, Taverner Consort, conductor A. Parrott, publication: 1993 Schott
Benedictus (Benedictum Dominum) for mixed choir, 1993, premiere: Stockholm 11 November 1995, Stockholm Philharmonic Choir, conductor K. Penderecki, publication: Schott cop. 2013
Benedictus (part of Benedictus composed for Canada International Choral Festival, included to Missa brevis) for children’s or female choir, 2002, dedication: granddaughter Marysia, premiere: Toronto 31 May 2002, Toronto Children’s Chorus, conductor K. Penderecki; revised version, 2008
Kaczka pstra for two children’s or female choirs, 2009, dedication: granddaughter Marysia, premiere: Warsaw 14 June 2009, Polish Chamber Choir, publication: [2011] Schott
O gloriosa virginum for 8-voice mixed choir, 2009, dedication: J.A. Abreu, premiere: Caracas 21 November 2009, Coral Nacional Juvenil Simón Bolívar de Venezuela, conductor K. Penderecki, publication: [2011] Schott
Missa brevis for mixed choir, 2012, premiere: Benedictus, cf. above, whole – Leipzig 6 January 2013, Thomanerchor Leipzig, conductor G.Ch. Biller, publication: 2014 Schott
My też pastuszkowie, Christmas carol for mixed choir, 2015, publication: [2016] Schott
Domine, quid multiplicati sunt (psalm III) for mixed choir, 2015; premiere: New York 26 May 2015, “Hover” State Chamber Choir, conductor S. Hovhahnnisyan, publication: [2015] Schott
songs for voice andpiano:
Cisza, lyrics from the collection Wiklina by L. Staff, 1955, performed, among others, in Lusławice, June 1988, baritone A. Hiolski, piano M. Paderewski
Niebo w nocy, lyrics from the collection Wiklina by L. Staff, 1955, performed in Lusławice, June 1988, baritone A. Hiolski, piano M. Paderewski
Oddech nocy, lyrics from the collection Dziewięć muz by L. Staff, 1958
Prośba o wyspy szczęśliwe, lyrics from the collection Rękopisy liryczne by K.I. Gałczyński, 1957, premiere: Kraków circa 1957 soprano Z. Stachurska
Liryki afrykańskie, uncompleted, Hottentot words edited by R. Stopa, 1960
Czyś ty snem była, lyrics from the collection Z dawnej przeszłości by K. Przerwa-Tetmajer, 1981, dedication: M. Tomaszewski, premiere: Kraków 26 March 1987, baritone J. Mechliński, piano E. Knapik, published in: Księga jubileuszowa M. Tomaszewskiego, ed. T. Malecka, Kraków 1984
for choir and orchestra:
Psalms of David for mixed choir, percussion, 2 pianos, celesta, 4 string basses and harp, lyrics: fragments of psalms XXVIII, XXX, XLIII, CXLIII in Polish translation by J. Kochanowski, 1958, premiere: Kraków 9 October 1959, Krakow Philharmonic Choir and Orchestra, conductor A. Markowski (recorded earlier, Polish Radio Choir and Orchestra, conductor J. Gert), publication: 1960 Moeck/1959 PWM
Dimensions of Time and Silence [Wymiary czasu i ciszy] for 40-voice mixed choir, percussion and strings, lyrics: text from a so-called magic square and groups of consonants, 1960, dedication: J. Patkowski, premiere: Warsaw Autumn Festival 18 September 1960, Krakow Philharmonic Choir and Chamber Ensemble, conductor A. Markowski; second version: lyrics: groups of consonants and vowels, 1961, premiere: Vienna June 1961, RIAS-Kammerchor, die reihe ensemble, conductor F. Cerha, publication: 1961 Moeck/1962 PWM
Cantata in honorem Almae Matris Universitatis Iagellonicae sescentos abhinc annos fundatae for 2 mixed choirs and orchestra, lyrics: dedication, 1964, premiere: Kraków 10 May 1964, Warsaw National Philharmonic Choir and Orchestra, conductor W. Rowicki, publication: 1967 PWM/Belwin-Mills
Canticum canticorum Salomonis for 16-voice vocal ensemble and chamber orchestra with super-sized percussion, words from the Old Testament, 1973, dedication: E. Breisach, premiere: Lisbon 5 June 1973, NCRV Vocaal Ensemble, Les Percussions de Strasbourg, Orquestra da Fundaçâo Gulbenkian, conductor W.A. Albert, publication: 1975 Schott/1975 PWM
Hymn to Saint Daniil (subtitle: Sława swjatomu Daniiłu kniazju moskowskomu) for 8-voice mixed choir and orchestra, lyrics: fragments of liturgy from the Feast of Saint Daniil, 1997, premiere: Moscow 4 October 1997, choir and orchestra TV-6 “Russian Philharmonic,” publication: Schott conductor K. Penderecki
Hymn to Saint Adalbert for mixed choir and orchestra, 1997, dedication: Gdańsk on the occasion of the city’s 1000th anniversary, premiere: Gdańsk 18 October 1997, Krakow Philharmonic Choir, Sinfonia Varsovia, conductor K. Penderecki, Schott (cop. 1997)
Ein feste Burg ist unser Gott for mixed choir, brass instruments, percussion and string orchestra, 2010, dedication: the city of Cieszyn, premiere: 27 August 2010 Cieszyn, Polish Radio National Symphonic Orchestra, Choir of the K. Szymanowski Philharmonic in Krakow, conductor K. Penderecki, publication: [2010] Schott
for solo voices and orchestra:
Strophes for soprano, reciting voice and 10 instruments, lyrics: fragments of texts by Menander, Omar Khayyam, Oedipus Rex by Sophocles, and the Books of Isaiah and Jeremiah, 1959, dedication: A. Markowski, premiere: Warsaw Autumn Festival 17 September 1959, soprano Z. Stachurska, reciter F. Delekta, Silesian Philharmonic Chamber Orchestra, conductor A. Markowski, publication: 1960 PWM/Belwin-Mills
Drei Chinesische Lieder (Three Chinese Songs, included to 6th Symphony) for baritone and orchestra, lyrics: Li-Tai-Po, Thang-Schi-Yie-Tsai and Tschan-Jo-Su in translation by Hans Bethge, 2008, premiere: Ieper 31 December 2008, baritone Th. Bauer, Sinfonietta Cracovia, conductor K. Penderecki, publication: 2008 Schott
Symphony No. 6 “Chinesische Lieder” (Chinese Songs) for baritone, erhu and orchestra, lyrics: Li-Tai-Po, Thu-Fu, Ly-Y-Han, Thang-Schi-Yie-Tsai and Tschan-Jo-Su in translation by Hans Bethge, 2008–2017; premiere: Guangzhou 24 September 2017, baritone Yuan Chenye, Guangzhou Symphony Orchestra, conductor Long Yu, publication: 2017 Schott
for solo voices, choir and orchestra:
Passio et mors Domini nostri Iesu Christi secundum Lucam for 3 solo voices, reciting voice, 3 mixed choirs, boys’ choir and orchestra, lyrics: fragments of the Gospel of Luke (from acts 22 and 23) and the Gospel of John (act 19), psalms, hymns, laments, improperia, Stabat Mater, 1965, dedication: “to my wife Elżbieta”, premiere: Münster 30 March 1966, soprano S. Woytowicz, baritone A. Hiolski, bass B. Ładysz, reciter R.J. Bartsch, Tölzer Knabenchor, choir and orchestra Kölner Rundfunk, conductor H. Czyż, publication: 1967 Moeck/1967 PWM
Dies irae for 3 solo voices, mixed choir and orchestra, lyrics: fragments of psalm CXIV, the Book of Revelation, Aeschylus’ Eumenides, the First Epistle to the Corinthians by Paul the Apostle, La cimetière marin by P. Valéry, Auschwitz by L. Aragon, Ciała by W. Broniewski, Warkoczyk by T. Różewicza, apart from Eumenides – performed in Greek – texts are in a Latin translation by T. Górski, 1967, dedication: “oratorium ob memoriam in perniciei castris in Oświęcim necatorum inexstinguibilem reddendam”, premiere: Oświęcim 16 April 1967, soprano D. Ambroziak, tenor W. Ochman, bass B. Ładysz, Krakow Philharmonic Choir and Orchestra, conductor K. Missona, publication: 1968 Moeck/1967 PWM
Kosmogonia for 3 solo voices, mixed choir and orchestra, lyrics: fragments from the Book of Genesis, Sophocles’ Antigone, Lucretius’ De rerum natura, Ovid’s Metamorphoses, Leonardo da Vinci’s Sul volo, M. Copernicus’ De revolutionibus…, De docta ignorantia by Nicholas of Cusa, A i principi de l’universo by G. Bruno and words of first cosmonauts – J. Gagarin and J. Glenn, 1970, premiere: New York 24 October 1970, soprano J. Neal, tenor R. Nagy, bass B. Ładysz, Rutgers University Choir, Los Angeles Philharmonic Orchestra, conductor Z. Mehta, publication: 1970 Schott/1973 PWM
Morning Prayer / Utrenja: I. The Entombment of Christ for 5 solo voices, 2 mixed choirs and orchestra, words from the Orthodox liturgy, 1970, dedication: E. Ormandy, premiere: Altenberg 8 April 1970, soprano S. Woytowicz, alto K. Szczepańska, tenor L. Devos, bass B. Ładysz, basso profondo B. Carmeli, Norddeutscher Rundfunkchor, choir and orchestra Kölner Rundfunk, conductor A. Markowski, publication: 1972 Schott/1977 PWM; II. The Resurrection of Christ for 5 solo voices, 2 mixed choirs, boys’ choir and orchestra, words from the Gospel of St. Matthew (from chapter 28) and the Orthodox liturgy, 1971, premiere: Münster 28 May 1971, soprano S. Woytowicz, alto K. Szczepańska, tenor L. Devos, bass B. Ładysz, basso profondo B. Carmeli, Tölzer Knabenchor, Norddeutscher Rundfunkchor, choir and orchestra Kölner Rundfunk, conductor A. Markowski, publication: Schott (cop. 1971)
Magnificat, canticle for bass, 7-voice male vocal ensemble, 2 mixed choirs, boys’ choir and orchestra, 1974, premiere: Salzburg 17 August 1974, bass P. Lagger, Schola Cantorum Stuttgart, Wiener Sängerknaben, choir and orchestra Österreichischer Rundfunk, conductor K. Penderecki, publication: 1976 Schott/1980 PWM
Vorspiel, Visionen und Finale from the opera Paradise Lost for 6 solo voices, mixed choir and orchestra, 1979, premiere: Salzburg 10 August 1979, soprano U.M. Flake, mezzo-soprano D. Soffel, counter-tenor J.P. Thomas, tenor S. Jerusalem, baritone B. Brinkmann, baritone S. Vogel, choir and orchestra Österreichischer Rundfunk, conductor L. Segerstam
Te Deum for 4 solo voices, 2 mixed choirs and orchestra, lyrics: hymn and song Boże, coś Polskę, 1980, dedication: Pope John Paul II, premiere: Assisi 27 September 1980, soprano S. Woytowicz, mezzo-soprano E. Podleś, tenor P. Raptis, bass B. Ładysz, Choir and Orchestra of the Polish Radio and Television in Krakow, conductor K. Penderecki; Warsaw Autumn Festival 21 September 1981, soprano J. Gadulanka, alto E. Podleś, tenor W. Ochman, baritone A. Hiolski, Choir and Orchestra of the Polish Radio and Television in Krakow, conductor A. Wit, publication: 1980 Schott/1987 PWM
Lacrimosa for soprano, mixed choir and orchestra (included to Polish Requiem), lyrics: fragments of sequence Dies irae, 1980, premiere: Gdańsk 16 December 1980, soprano J. Gadulanka, Choir and Orchestra of the Polish Radio and Television in Krakow, conductor A. Wit, publication: 1982 Schott/1981 PWM
Polish Requiem for 4 solo voices, 2 mixed choirs and orchestra, lyrics: requiem and Święty Boże, 1980–84, dedication: individual parts dedicated to the memory of Katyń 1940, Father M. Kolbe, Auschwitz 1941, the Warsaw Ghetto 1943, the Warsaw Uprising 1944, Cardinal S. Wyszyński, premiere: Lacrimosa and Agnus Dei – cf. above; fragments – Warsaw Autumn Festival 22 September 1984, soprano J. Gadulanka, alto J. Rappé, tenor H. Grychnik, bass L. Mróz, Choir and Orchestra of the Polish Radio and Television in Krakow, conductor A. Wit, whole – Stuttgart 28 September 1984, soprano Ph. Bryn-Julson, mezzo-soprano D. Soffel, tenor R. Karczykowski, bass S. Dean, Radio-Sinfonieorchester Stuttgart, Staatsoper choir in Württemberg, Südfunk-Chor, conductor M. Rostropowicz, publication: 1984 Schott; version extended with Sanctus, 1993, premiere: Stockholm 11 November 1993, soprano K. Dalayman, mezzo-soprano B. Svendén, tenor Z. Terzakis, bass K. Rydl, Stockholm Philharmonic Orchestra and Choir, conductor K. Penderecki, publication: [1993] Schott; version extended with Ciaccona, 2005, premiere: Wrocław 17 September 2005, soprano I. Kłosińska, alto J. Rappé, tenor A. Zdunikowski, bass P. Nowacki, Polish Radio Choir, Polish Radio National Orchestra, Camerata Silesia, conductor K. Penderecki, publication: 2005 Schott
Agnus Dei for 4 solo voices, mixed choir and orchestra (10th movement of Requiem der Versöhnung, composed by 14 composers commisioned by H. Rilling and Internationale Bachakademie in Stuttgart on the occasion of 50th anniversary of the end of World War II, 1995, premiere: Stuttgart 15 August 1995, soprano D. Brown, mezzo-soprano I. Danz, tenor Th. Randle, bass A. Schmidt, Israel Philharmonic Orchestra, Gächinger Kantorei Stuttgart, Krakow Chamber Choir, conductor H. Rilling, publication: Schott 1995
Seven Gates of Jerusalem (Symphony No. 7) for 5 solo voices, reciting voice, 3 mixed choirs and orchestra, lyrics: psalms XLVII (XLVIII), XCV (XCVI), CXXXVI (CXXXVII), CXXIX (CXXX), CXLVII, fragments from Books of Isaiah, Ezekiel, Jeremiah and Daniel, 1996, dedication: “Ad majorem Dei gloriam et eius sanctae civitatis laudem aeternam,” premiere: Jerusalem 9 January 1997, soprano M. Nicolesco and S. Greenberg, alto J. Rappé, tenor J. Szapovalov, bass R. Hagen, reciter B. Carmeli, radio choirs from Munich, Stuttgart and Leipzig, Symphonieorchester des Bayerischen Rundfunks and Jerusalem Symphony Orchestra, conductor L. Maazel, publication: 1996 Schott; see also De profundis for string orchestra
Credo for 5 solo voices, boys’ choir, mixed choir and orchestra, lyrics: Credo, hymns Pangue lingua and Salve festa dies, antiphony Crux fidelis, fragments of Lenten Lamentations, Improperia, psalms CXVII (CXVIII) and CXXIX (CXXX), Book of Revelation, 1998, dedication: H. Rilling, premiere: Eugene (Oregon) 11 July 1998, soprano J. Banse and M. Vargas, counter-alto M. Simpson, tenor Th. Randle, bass Th. Quasthoff, Oregon Bach Festival Chorus and Orchestra, Phoenix Boys Choir, conductor H. Rilling, publication: 1998 Schott
Symphony No. 8 “Lieder der Vergänglichkeit” / Songs of Transience for 3 solo voices, mixed choir and orchestra, lyrics: J.W. Goethe, A. von Arnim, J. von Eichendorff, K. Kraus, R.M. Rilke, H. Bethge, H. Hesse, B. Brecht, 2005, dedication: M. Tomaszewski, premiere: Luxemburg 26 June 2005, soprano O. Pasiecznik, mezzo-soprano A. Rehlis, baritone W. Drabowicz, Europa Chor Akademie, Orchestre Philharmonique du Luxembourg, conductor B. Tovey; extended version, 2007, premiere: 24 October 2007 Pekin, soprano O. Pasiecznik, mezzo-soprano A. Rehlis, baritone V. Juozapaitis, Europa Chor Akademie, Chinese Philharmonic Orchestra, conductor K. Penderecki, publication: 2007 Schott
Kaddish for soprano, tenor, reciting voice, male choir and orchestra, 2009, lyrics: Abraham Cytryn, fragments from the Book of Lamentations, the Book of Daniel and the Kaddish, premiere: Łódź 29 August 2009, soprano O. Pasiecznik, tenor and reciter A. Mizrahi, reciter D. Olbrychski, Choir and Orchestra of the Grand Theater in Łódź, Choir of the Philharmonic in Łódź, conductor K. Penderecki, publication: 2015 Schott
„Powiało na mnie morze snów…”. Pieśni zadumy i nostalgii [A sea of dreams did breathe on me… Songs of reverie and nostalgia] for soprano, mezzo-soprano, baritone, mixed choir and orchestra, 2010, lyrics S. Korab-Brzozowski, K.I. Gałczyński, Z. Herbert, B. Leśmian, T. Miciński, A. Mickiewicz, C.K. Norwid, K. Przerwa-Tetmajer, L. Staff, A. Wat, K. Wierzyński, S. Witwicki, premiere: Warsaw 14 January 2011, Polish National Philharmonic, soprano W. Chodowicz, mezzo-soprano A. Rehlis, baritone M. Godlewski, Sinfonia Varsovia, conductor V. Gergiev, publication: 2010 Schott
Dies illa for 3 solo voices, 3 mixed choirs and orchestra, 2014, words from Dies irae, premiere: Brussel 9 November 2014, soprano J. Rusanen, mezzo-soprano A. Rehlis, bass N. Didenko, singers from 39 choirs, Brussels Philharmonic Orchestra, conductor A. Mustonen, publication: [2014] Schott
Scenic:
operas:
The Most Valiant Knight, children’s opera in 3 acts, with M. Stachowski, text: E. Szelburg-Zarembina, 1965, premiere: Poznań, Teatr Lalki i Aktora „Marcinek”, 15 May 1965, director: W. Wieczorkiewicz, conductor J. Przybylski
Die Teufel von Loudun / The Devils of Loudun, 3-act, libretto: the composer based on the play by J. Whiting which was based on A. Huxley’s The Devils of Loudun, German translation E. Fried, 1969, dedication: H. Czyż, premiere: Hamburg, Staatsoper, 20 June 1969, director K. Swinarski, conductor H. Czyż, publication: 1969 Schott/1969 PWM; revised version, 2012, premiere: Copenhagen, Det Kongelige Teater, 12 February 2013, director K. Warner, conductor L. Friend, publication: [2016] Schott
Paradise Lost, sacra rappresentazione, 2-act, libretto: Ch. Fry based on J. Milton’s Paradise Lost, German translation H. Wollschläger, 1976–78, premiere: Chicago, Lyric Opera, 29 November 1978, director I. Perry, conductor B. Bartoletti; Warsaw Autumn Festival 21 September 1979, Württembergische Staatsoper, director A. Everding, conductor J. Kulka, publication: 1979 Schott; see also Adagietto from Paradise Lost for orchestra and Vorspiel, Visionen und Finale for 6 solo voices, mixed choir and orchestra
Die schwarze Maske / The Black Mask, 1-act, libretto: H. Kupfer and the composer based on Die schwarze Maske by G. Hauptmann, Polish translation A. Libera and J. Szpotański, 1984–86, premiere: Salzburg, festival theatre, 15 August 1986, director H. Kupfer, conductor W. Nelsson, publication: 1986 Schott/1993 PWM
Ubu Rex, opera buffa, 2-act with prologue and epilogue, libretto: J. Jarocki and the composer based on Ubu roi by A. Jarry, 1991, premiere: Munich, Bayerische Staatsoper, 6 July 1991, director A. Everding, conductor M. Boder, publication: 1991 Schott; see also Musik aus “Ubu Rex” for orchestra and Burlesque Suite for wind orchestra, percussion and string bass
music for theatre plays (the city and year refer to the staging):
Bramy raju [The Gates of Paradise] by J. Andrzejewski, Kraków 1961 (music from Threnody used)
Bracia Karamazow [The Brothers Karamazov] by F. Dostoyevsky, Warsaw 1963
Matka by S.I. Witkiewicz, Kraków 1964
Przychodzę opowiedzieć by J. Broszkiewicz, Kraków 1964
Komu bije dzwon [For Whom the Bell Tolls] by E. Hemingway, Gdańsk 1964
Ballada polska by B. Drozdowski, Warsaw 1964
Nieboska komedia [The Undivine Comedy] by Z. Krasiński, Kraków 1965
Wyszedł z domu by T. Różewicz, Kraków 1965
Sławna historia o Troilusie i Kressydzie [Troilus and Cressida] by Shakespeare, Warsaw 1965
music for puppet theatre (the city and year refer to the staging), including:
Czarodziejski garnek, text U. Damm-Wendler, Bielsko-Biała 1957
Tomcio Paluszek, text J. Zaborowski based on Brothers Grimm, Bielsko-Biała 1958
Świniopas, [Svinedrengen] text J. Żylińska based on H.Ch. Andersen, Bielsko-Biała 1958
Szewc Dratewka, text M. Kownacka, Kraków 1958
Diamentowa rosa, text A. Borodin, Łódź 1958
Przygody warszawskiego misia, text K. Jeżewska, Łódź 1958
O Zwyrtale muzykancie, text J. Wilkowski, Warsaw 1958, new version, Lublin 1963
Dzieci pana majstra, text Z. Rogoszówna, Lublin 1959
Pająk, text U. Damm-Wendler, Katowice 1959
Dziadek zmrużoczko, text J. Morawska, Łódź 1959
Najdzielniejszy z rycerzy, text E. Szelburg-Zarembina, Bielsko-Biała 1959
Kuglarz w koronie, text Z. Nawrocka, Łódź 1960
Baśń o górniku Bulandrze, text G. Morcinek, Katowice 1960
O młynku Sampo i cudownej lutni, text based on Kalewala, Łódź 1960
Srebrna przygoda, text H. Ryl, Łódź 1960
Pieśń o lisie, text J.W. Goethe, Poznań 1961
Jak się Hania mała z misiem dogadała, text G. Landau, Łódź 1961
Tygrysek, text H. Januszewska, Poznań 1961
Achilles i panny, text A.M. Swinarski, Kraków 1962
Nal i Damayanti, text wg Mahabharaty, Łódź 1962
Roland Szalony, text J. Gorczycka, Poznań 1962
Pinokio, text C. Collodi, Bielsko-Biała 1962
Pan Twardowski, text A. Świrszczyńska, Łódź 1962
Królowa śniegu [The Snow Queen], text E. Szwarc based on H.Ch. Andersen, Poznań 1962
Miś Tymoteusz, text J. Wilkowski, Rabka 1963
Lis Włóczykita, text J. Zaborowski, Rabka 1963
Ubu le roi, text A. Jarry, Stockholm 1964
Kowal, text G. Morcinek, Katowice 1964
Czarodziejski młyn, text J. Afanasjew, Bielsko-Biała 1965
Biją dzwony, text Z. Wojciechowski, Poznań 1966
film music, including Rękopis znaleziony w Saragossie, directed by W. Has, 1963, short films
Electronic:
on tape:
Psalmus 1961, premiere: Stockholm 10 April 1961 (transformation of H. Łukomska’s voice, production at the Polish Radio Experimental Studio under the supervision of J. Patkowski)
Brygada śmierci for reciting voice and tape, text J. Smoter based on L. Weliczker, 1963, concert performance: Warsaw 20 January 1964, reciter T. Łomnicki
Aulodia 1972 (transformation of the flute voice performed by B. Świątek)
Ekecheiría, text Pindar, 1972, premiere: 26 August 1972 Munich at the opening of the Olympic Games (voice transformation of B. Ładysz and of others, production at the Polish Radio Experimental Studio under the direction of E. Rudnik)
