It starts off like something that Shostakovitch would do, then..........ALL PENDERECKI. So interesting how he can take one small motif and create such a wonderful composition. Like Beethoven did with that little number........5
wonderful concerto. Bravo Mr Penderecki, for putting the musical materials and idioms at service of the great art. Few composers have the balls to do this: you and Ligeti for example!!!
wonderful unique piece... brings us the key to the future with something amazing oldstyle inside our soul. Thanks Mr Penderecki, You are a Genius. And bravissimo to all musicians, only people who invest Years to study understands how difficult is to perform such perfection.
Here I get the harmonic and the dyspharmic. After all, it is the modern classical music. It's really nice music that will certainly please most. But I personally lack the violence and wildness that Alfred Schnittke has in his music, his great contradictions make only musicians so intense. Here, things are more soft and smooth, which will probably please many, than me. Thanks for sharing with us!
I don't see anything of masterity in this work, simply because he replicates structures that already exists, see, it sounds like prokofiev mixed with ligeti and philip glass
Hah! at 12:35 he even uses Gia Kancheli's melodic motif. This work is typical postmodern piece, something which Schnittke named poly-stylistic (like his symphony no.1), compiling multiple musical textures from different composers into one postmodern narrative which sounds quite attractive by the way (I would call it a collage of past reminiscences). For instance, one can hear Russian school very distinctively and mostly Prokofiev and Shostakovitch.
Più lo ascolto e più mi rendo conto che questo concerto è un capolavoro assoluto. Gli ultimi 5 minuti poi sono da pelle d'oca!!!! Un capolavoro assoluto!!!!
This last phase of compositions by Penderecki has very interesting works such as this Concerto for Piano, The Seven Gates of Jerusalem, Serenade for Strings, Violin Concerto No. 2 ... Although I still prefer his phase of the 1960s with works such as Kanon, De Natura Sonoris 1 and 2, Fluorescences, Threnody for the Victims of Hiroshima, Anaklasis, Sonata for Cello ... considered their "radical" phase with contemporary compositions. I also like his transition phase between 1973 and 1974 with works such as Symphony No. 1, Intermezzo for 24 Strings and Jacob's Awakening. From his Violin Concerto No. 1 of 1976 he sought influences on Brucker and Wagner and it was so beginning its current phase of compositions.
Ma naïveté musicale me rend incompréhensibles les avis et commentaires qui portent au pinacle ou vouent aux gémonies cette oeuvre....Je me contente d'aimer-beaucoup.....-!
Penderecki es uno de los compositores del siglo XX que supo evolucionar su lenguaje sin perder nunca una brutal carga dramática. Este concierto es una belleza.
A very interesting composer with the fortitude to take a new direction with which he can reconstitute western music. God bless him. At first I was not blown away nevertheless after a few times listening to this I was fascinated. He was anyway the greatest amongst the Avantgarde composers.
I enjoyed this piece, even though it is not in the Pendercki style that I, sort of, expected. I think it just shows that this composer is a genius, and even capable of writing brilliant music in various styles. I love his earlier style, by the way, but why does he have to be restricted to it?
Penderecki had a major shift in the nineties to the erlay two thousands. He shifted from atonal and experimental music to a more neo-romantic style. However, his later pieces do follow his previous, in regards to timbre, mood, and structure.
Epeolatry1 --I agree with you. I have seen many composers evolve, in and out of tonality and form. There is a process, in which each composition is, in a way, a reaction to the last one. I am a composer and I too have seen my music (and me) go through many stages.
Estaba escuchando el concierto para piano No. 1 de Nyman y el No. 2 Philip Glass, luego vengo y escucho esto... Penderecki calla estrepitosamente ese par de pianos!
A soundtrack to an upcoming movie. A 33 min story to be added as a text line. "As they found their way through the swirling smoke that engulfed the city, Linda knew they had to run, but also be very careful, when they left the car at the foothills, she kept the necessary in her handbag... Last night they had danced to the tune of an old tango, but today, the dance had another name: survival... She kissed Brady and left..."
If this is your first time listening to it, your reaction is not surprising. This is not the sort of light and catchy tune that you're meant to fall in love with the first time you hear it. Nobody would think of using it in an advert, etc. Someone in another comment said it's an acquired taste: try giving it another listen some time ;)
What an interesting piece. I`d not heard it before. My only beef with it is that during some fortissimo sections I realized that the piano was somewhere in the mix and mostly buried in the melange. But, wow, some really unique timbres for a piano concerto.
I am a huge Penderecki fan. Been amassing some great stuff from the internet, lately. I've had these 2 albums: one is a 2-CD set and the other a single album. They're both excellent, but a little more "straight", for lack of a better term, not the intense, mind-blowing avant-garde of the 20th century "classical" circle. His violin concertos, piano sonatas and the works which have shown up on a few film soundtracks (Exorcist, The Shining, even a little in that Jeff Bridges film, Fearless) show that some of his stuff is perfect cinematic in its visceral beauty.
Listen to Freude (Klang hour No 2). Like something Mozart would have written. Its very warm and playful in spirit, with clear melodious phrases. Its the only piece I enjoy a lot from Stockhausen...
For all the wanna be-intellectuals here. Music is music - art is art! With all due respect for personal opinions Penderecki is someone who probably went through many changes in his life just as everyone else. Look at people like Stravinsky and Picasso. Do you think they sticked to one way of creating art? How boring it must be to not run riot in all artistic ways possible and embrace it.
"Music is Music and Art is Art" ? really??? can you be more fucking vague!!! A deep thinker you are. Just because somebody suffered and went through hell and back doesn't validate their so-called artistic production. Good art has its own merits regardless of the artist's personal issues, but when good art is either BECAUSE or IN SPITE OF personal turmoil then it is not just good but enjoyable on many different levels.This music couldn't be more run-of-the-mill in its shameless use of musical clichés and maudlin melodrama. It's color-by-numbers composition 101.
Zeit Geist I am not saying that somebody has to suffer or needs to have personal issues to make good art (this would be one of these "the tragic life of an artist"-cliches - that's silly.) I am talking about changes in making general experience and learning new things in life for example going to a cool concert and realizing that this music is awesome and being influenced by this music so maybe writing in the style of it at some point or a trip to another country and being influenced by the art of this country.
D. Dodoras " "the tragic life of an artist"-cliches - that's silly.)" That's not silly at all. Genius artists are gifted but also "cursed". For example, An artist has to be very sensitive-it's good and bad, and this can lead to tragic life.
"Music is music, and art is art" wow!! that's the most profound shit I ever heard since "Tricks Are For Kids" By the way you should also tag to that lamest of axioms another one very similar in its inaneness : "A Rose is a Rose". Although "A Cigar aint always a Cigar"
Saying that Penderecki made a marketing move isn't an opinion, not even criticism. It is a gossip-like bad journalism. Time will prove which is more authentic between composing meaningful music with elegant atmospheres or instructing the orchestra to play whatever they want
Wow. Comments indicate that this is a pretty divisive piece. Well, I'm a Penderecki fan and I find it neither the greatest thing he ever composed, nor the hot steaming pile of musical detritus some seem to think it is. Something really interesting is going on in the third movement. Something subversive, and perhaps a bit meta. I would recommend the Polish Requiem or Threnody for the Victims of Hiroshima as prime Penderecki.
Much fine , or rather middling stuff here . Penderecki 's tone here is playful and ironic not serious didacticism like Boulez which always impresses .This must be my tenth time listening to Barry douglas in this old-fashioned music .I like it more each time ! Melinda Wagner's Trombone concert whose score I just received is a knockout . Penderecki - His violin concerto I listen to more . I keep coming back to this recording I own the Zimmerman but it doesn't speak to me . I wouldn't believe it if someone aid it was the exact same score .Carter it aint and for that reason alone it isn't as interesting . Menotti and Barber both left wonderfully inventive concerti - maybe great stuff just takes time wheras Barber and Menotti are maybe too clear for the needs of the last 60 years .Both Zimmerman and Barry Douglas play this - it's language isn't new nor difficult but it's not very interesting . Boulez , Carl Vine , Bolcolm's Violin concerto if not his piano concerto stay with me . I'd like to know since the 1950's which piano concerti get programmed the most . There are tens of thousands of doctorate composition masters where are and why are so few new piano concerti given to us and which onesare truly remarkable ? Bernstein's huge thing really a symphony and certainly not Ned Rorem's 2 or thre e . I've heard Wuorinen's no.3 I hope one day like the Schonberg it will seem to have a reason for existing .
Listening to this changed me. I heard Penderecki in a whole new way. I didn't hear a wrong note. I didn't hear atonality. I don't know what I heard. score read along available here www.schott-music.com/shop/9/show,168415.html
I just don't understand why KP went in this direction --- with tremulous full diminished chords no less a la Prokofiev et al. What remains consistent between this KP and the old --- a flare for the dramatic. KP shows that drama as such does not depend upon a tonal system. Not sure why he repudiated his earlier works. Any thoughts on that?
It _is_ derivative, in part from other composers such as Bartok, and in part from Penderecki's own early-period works. But that doesn't neatly add up to "inferior." There is no logical reason why pieces of music should not reprise earlier works or "quote" from other composers: imaginative imitation is not the same as plagiarisation. This kind of mean-minded criticism is unique to the late-20th century and the present day. Neither Bach nor Mozart would have understood such an attitude.
Sorry but actually bach and mozart Are Good examples for pastiche too :))) and it is norhing Bad.. just Natural.. music is about emotions ideas.. they remain the same through 1000 years but the form to express them can be updated
Oh my goodness folks, listen... The sixties are over, right? It is not anymore a sin composing with some major thirds. Maybe it's time to shut the mind a little bit and open our ears. This concertro could not be a masterwork, but who cares... I'd love traiting the orchestra and the soloist the way Mr. Penderecki does. And, please folks, it's not "an imitation of Mahler". It is not at all, the traitment of the orchestra is totally different - if you only listen but without mental superstructures which even Boulez, finally, got to refuse. You can like it, you cannot like it. That's all. End of the story. Oh, by the way, just to stop some silly replies from connoisseurs: yes, I know something about music; yes, I am a musician, I am a violinist and I am currently studying composition. And, yes, I LOVE the music of the young Penderecki. I really love it. I DO NOT shout my love for his "early" music in public, secretly listening Britney Spears (or whoever) in the closet. I really love it, publicly and when sitting on the toilet. I find it unbelievable. But I am lucky enough to not need to have a musical faith.
Whoa! Though this is a lot more conventional than I anticipated, I still hear in it an honest and urgent reckoning with evil ... The only more willfully monstrous piano concerto I can think of is Mosolov's, which is much more chaotic. Speaking of the reckoning with evil -- does anyone know the source of the almost Lutheran-sounding chorale theme that seems to be deployed (unsuccessfully!) as a talisman against the piece's more brutal and aggressive first theme?
Penderecki est comme Messiaen, profondément croyant en un avenir meilleur, hors de ce monde et par conséquent, pétri de doutes quant à l'avenir de l'humanité - sa vision de l'humain est profondément pessimiste et sa musique s''en ressent diablement si j'ose dire !! Sa passion selon St Luc est et reste admirable autant que méconnue ......
Now that you have humiliated Penderecki the whole world expects from you personally to compose a symphony or a concerto that will define or era..After all, you are the ultimate judge of music and our last authentic composer...KOMPONIST
The new music Tonal Scale is as thus: 12 7 5 2 3 : 1 4 5 9 14 Not 12 with 7 & 5 BUT 14 with 9 & 5 [2^(1/14)] These are the Tonal Scales growing from f (by cycles of fifths): All Scales build from the first mode: equivalent to Lydian f White keys are = & Black keys are | 12 with 7 & 5 [2^(1/12)] =|=|=|==|=|= {1,8,3,10,5,12,7,2,9,4,11,6} 1thru7are= 8thru12are| 7 with 5 & 2 [2^(1/7)] ===|==| {1,3,5,7,2,4,6} 1thru5are= 6&7are| 5 with 2 & 3 [2^(1/5)] =||=| {1,3,5,2,4} 1&2are= 3thru5are| Now evolving up the other end 5 with 4 & 1 [2^(1/5)] ==|== {1,3,5,2,4} 1thru4are= 5is| 9 with 5 & 4 [2^(1/9)] =|=|=|==| {1,8,3,7,5,9,2,4,6} 1thru5are= 6thru9are| 14 with 9 & 5 [2^(1/14)] =|=|===|=|===| {1,12,3,14,5,7,9,11,2,13,4,6,8,10} 1thru9are= 10thru14are| Joseph Yasser is the actual originator of the realization, that scales develop by cycles of fifths. www.seraph.it/blog_files/623ba37cafa0d91db51fa87296693fff-175.html www.academia.edu/4163545/A_Theory_of_Evolving_Tonality_by_Joseph_Yasser www.musanim.com/Yasser/ The chromatic scale we use today is divided by 2^(1/12) twelfth root of two Instead of moving to the next higher: the 19 tone scale 2^(1/19) nineteenth root of two I decided to go all the way down and back up the other end: So 12 - 7 = 5 & 7 - 5 = 2 & 5 - 2 = 3 Now we enter to the other side: 2 - 3 = -1 & 3 - -1 = 4 & -1 - 4 = -5 & 4 - -5 = 9 & -5 - 9 = -14 ignoring the negatives we have 1 4 5 9 14 Just follow the cycles how each scale is weaved together, as shown above. Each scale has its own division within the frequency doubling, therefore the 14 tones scale is 2^(1/14) fourteenth root of two
Being one of the wealthiest composers off the back of his own works (I said wealthy from their own compositions so Getty doesn't count), I wouldn't be surprised if these opinions faze him not one iota. His later neo-romantic phase is not my tastes and upon superficial analysis one might conclude his core material and their consequent outworking follow commonly used practices and therefore render a fairly artificial result. However, so what?! What do you think he's trying to achieve?! Is he here to impress you?! Who are you?! Who am I for that matter?! He's probably writing the music he wants to write. Is there no room for staying true to one's own artistic impulses, however derivative or cosmetic?! I would expect this be the most life-sustaining quality of being a composer. Do you think he really cares what any of us think?! What I find odd is that we take such offense to someone else's own contrary expression. I'm aggravated by this precious self-important narrow-mindedness. What have you contributed? Worry about that.
This is a very fine, at time exciting and beautiful work.
R.I.P.
It starts off like something that Shostakovitch would do, then..........ALL PENDERECKI. So interesting how he can take one small motif and create such a wonderful composition. Like Beethoven did with that little number........5
Mój ukochany Maestro Penderecki i jego dzieło...
Thanx so much TheWelleshCompany for sharing...
wonderful concerto. Bravo Mr Penderecki, for putting the musical materials and idioms at service of the great art. Few composers have the balls to do this: you and Ligeti for example!!!
I hit the"like"button because there isn't a "Love"Button. Thanks for posting it complete. I HAVE to buy this CD!
wonderful unique piece... brings us the key to the future with something amazing oldstyle inside our soul. Thanks Mr Penderecki, You are a Genius. And bravissimo to all musicians, only people who invest Years to study understands how difficult is to perform such perfection.
Here I get the harmonic and the dyspharmic. After all, it is the modern classical music. It's really nice music that will certainly please most. But I personally lack the violence and wildness that Alfred Schnittke has in his music, his great contradictions make only musicians so intense. Here, things are more soft and smooth, which will probably please many, than me.
Thanks for sharing with us!
Merci M. Penderecki! LOVE
Another great composition by a master.
I don't see anything of masterity in this work, simply because he replicates structures that already exists, see, it sounds like prokofiev mixed with ligeti and philip glass
No one:
Penderecki: “Time to visit hell.”
Barry Mortichesky -- Wow....Heavy! But what's it even Mean?
Hah! at 12:35 he even uses Gia Kancheli's melodic motif. This work is typical postmodern piece, something which Schnittke named poly-stylistic (like his symphony no.1), compiling multiple musical textures from different composers into one postmodern narrative which sounds quite attractive by the way (I would call it a collage of past reminiscences). For instance, one can hear Russian school very distinctively and mostly Prokofiev and Shostakovitch.
how much i love this piece i cant describe.
Più lo ascolto e più mi rendo conto che questo concerto è un capolavoro assoluto. Gli ultimi 5 minuti poi sono da pelle d'oca!!!! Un capolavoro assoluto!!!!
I hear so much of Prokofiev's 3rd piano concerto in the middle section, I think this is a wonderful piece.
yeah, he was a fan of Prokofiev. Of Shostakovich too, he was friends with that guy
Amazing. I am now aware that I MUST worship Penderecki at all costs... Interesting, I never knew that. Cheers!
This last phase of compositions by Penderecki has very interesting works such as this Concerto for Piano, The Seven Gates of Jerusalem, Serenade for Strings, Violin Concerto No. 2 ... Although I still prefer his phase of the 1960s with works such as Kanon, De Natura Sonoris 1 and 2, Fluorescences, Threnody for the Victims of Hiroshima, Anaklasis, Sonata for Cello ... considered their "radical" phase with contemporary compositions. I also like his transition phase between 1973 and 1974 with works such as Symphony No. 1, Intermezzo for 24 Strings and Jacob's Awakening. From his Violin Concerto No. 1 of 1976 he sought influences on Brucker and Wagner and it was so beginning its current phase of compositions.
marvelous penderecki
Ma naïveté musicale me rend incompréhensibles les avis et commentaires qui portent au pinacle ou vouent aux gémonies cette oeuvre....Je me contente d'aimer-beaucoup.....-!
The finale is very Beethoven-ian in spirit. I love the whole thing.
Penderecki es uno de los compositores del siglo XX que supo evolucionar su lenguaje sin perder nunca una brutal carga dramática. Este concierto es una belleza.
A very interesting composer with the fortitude to take a new direction with which he can reconstitute western music. God bless him. At first I was not blown away nevertheless after a few times listening to this I was fascinated. He was anyway the greatest amongst the Avantgarde composers.
Wonderful concerto!!!!
Thank you very much for the upload. A living legend of the modern symphonic music..
Thank you for this excellent choice
Beautiful !
Thanks
I enjoyed this piece, even though it is not in the Pendercki style that I, sort of, expected. I think it just shows that this composer is a genius, and even capable of writing brilliant music in various styles. I love his earlier style, by the way, but why does he have to be restricted to it?
Penderecki had a major shift in the nineties to the erlay two thousands. He shifted from atonal and experimental music to a more neo-romantic style. However, his later pieces do follow his previous, in regards to timbre, mood, and structure.
@@ameliawright6947 The shift took place in the mid-seventies
wonderfully imposing !
This is one of the best
Leave it up to Penderecki to write a piano concerto about the Resurrection....
Oh my gosh! Such an extraordinary concert! of course, coming from that beautiful mind!!!
Epeolatry1 --I agree with you. I have seen many composers evolve, in and out of tonality and form. There is a process, in which each composition is, in a way, a reaction to the last one. I am a composer and I too have seen my music (and me) go through many stages.
Thanks for the upload. A very interesting work both lyrical and engaging.
I simply cannot believe how Penderecki's chromaticism has developed over the years. Incredible transformation.
Incridible❤
Estaba escuchando el concierto para piano No. 1 de Nyman y el No. 2 Philip Glass, luego vengo y escucho esto... Penderecki calla estrepitosamente ese par de pianos!
Thank you very much for posting this!
Una magnífica obra musical 👌
There's hope for us all!
some romantic harmonies and tunes in this work very gutsy Bravo!
A soundtrack to an upcoming movie. A 33 min story to be added as a text line. "As they found their way through the swirling smoke that engulfed the city, Linda knew they had to run, but also be very careful, when they left the car at the foothills, she kept the necessary in her handbag... Last night they had danced to the tune of an old tango, but today, the dance had another name: survival... She kissed Brady and left..."
If this is your first time listening to it, your reaction is not surprising. This is not the sort of light and catchy tune that you're meant to fall in love with the first time you hear it. Nobody would think of using it in an advert, etc. Someone in another comment said it's an acquired taste: try giving it another listen some time ;)
Very intense !
So, SO special! Bravo to all! 😀
so beautiful!!!!!
Excellente musique !!! Bravo .....
I'm 16 and for me it is the best music I can listen to.
Masterpiece
I am a two-day-old embryo and this is my favourite music! Fuck this generation!
Cogratulations. Good choice. Good music.
Have mercy of the 39 idiots that disliked this composition...
Let yourself fly into a wonderful meditative state with this sort of music.
stunning
Brutal. I love it
7:28. I didn't know beauty could be so shocking.
it's perfect!
Emozione pura!!!
One of my all time favorites.
Penderecki es un genio, me encanta el talento que tiene y como desarrolla cualquier motivo musical convirtiéndolo en una Obra Maestra.
Es genial, poder disfrutar de música, como la del MAESTRO PENDERECKI, que crea una atmósfera de suspenso y otras sensaciones...
Addicted!
What an interesting piece. I`d not heard it before. My only beef with it is that during some fortissimo sections I realized that the piano was somewhere in the mix and mostly buried in the melange. But, wow, some really unique timbres for a piano concerto.
This giant has also collaborated with a great jazz cornetist...monsieur Don Cherry!
TheFunkyKingston and Jonny Greenwood from Radiohead too!
Thanks for the info!!!
I am a huge Penderecki fan. Been amassing some great stuff from the internet, lately. I've had these 2 albums: one is a 2-CD set and the other a single album. They're both excellent, but a little more "straight", for lack of a better term, not the intense, mind-blowing avant-garde of the 20th century "classical" circle. His violin concertos, piano sonatas and the works which have shown up on a few film soundtracks (Exorcist, The Shining, even a little in that Jeff Bridges film, Fearless) show that some of his stuff is perfect cinematic in its visceral beauty.
это гениальная музыка..
Cudo! Genialne!
nie inaczej.
the best piano concerto in XXI century
Lutosławski
@@Jakublisowski Agreed
Ligeti? Schoenberg? Lutoslawski?
@@Jakublisowski yes
@@segmentsAndCurves XXI bro
Keith Emerson .
Inferno !!....... ;-)
😊😊😊
Listen to Freude (Klang hour No 2). Like something Mozart would have written. Its very warm and playful in spirit, with clear melodious phrases. Its the only piece I enjoy a lot from Stockhausen...
Ending of the concerto reminds me of 'The Great Gate of Kiev' by Mussorgsky :))
I was just going the post the same thing. Kind of a post-modern version.
I think the conductor is Antoni Witt and the Orchestra is the Warsaw Philharmonic.
Master Werk👏
For all the wanna be-intellectuals here. Music is music - art is art! With all due respect for personal opinions Penderecki is someone who probably went through many changes in his life just as everyone else. Look at people like Stravinsky and Picasso. Do you think they sticked to one way of creating art? How boring it must be to not run riot in all artistic ways possible and embrace it.
"Music is Music and Art is Art" ? really??? can you be more fucking vague!!! A deep thinker you are. Just because somebody suffered and went through hell and back doesn't validate their so-called artistic production. Good art has its own merits regardless of the artist's personal issues, but when good art is either BECAUSE or IN SPITE OF personal turmoil then it is not just good but enjoyable on many different levels.This music couldn't be more run-of-the-mill in its shameless use of musical clichés and maudlin melodrama. It's color-by-numbers composition 101.
Zeit Geist I am not saying that somebody has to suffer or needs to have personal issues to make good art (this would be one of these "the tragic life of an artist"-cliches - that's silly.) I am talking about changes in making general experience and learning new things in life for example going to a cool concert and realizing that this music is awesome and being influenced by this music so maybe writing in the style of it at some point or a trip to another country and being influenced by the art of this country.
D. Dodoras " "the tragic life of an artist"-cliches - that's silly.)" That's not silly at all. Genius artists are gifted but also "cursed". For example, An artist has to be very sensitive-it's good and bad, and this can lead to tragic life.
"Music is music, and art is art" wow!! that's the most profound shit I ever heard since "Tricks Are For Kids" By the way you should also tag to that lamest of axioms another one very similar in its inaneness : "A Rose is a Rose". Although "A Cigar aint always a Cigar"
*stuck
Gracias
Saying that Penderecki made a marketing move isn't an opinion, not even criticism. It is a gossip-like bad journalism. Time will prove which is more authentic between composing meaningful music with elegant atmospheres or instructing the orchestra to play whatever they want
Wow. Comments indicate that this is a pretty divisive piece. Well, I'm a Penderecki fan and I find it neither the greatest thing he ever composed, nor the hot steaming pile of musical detritus some seem to think it is. Something really interesting is going on in the third movement. Something subversive, and perhaps a bit meta.
I would recommend the Polish Requiem or Threnody for the Victims of Hiroshima as prime Penderecki.
Penderecki era grande anche quando glissava a tutto spiano ma per fortuna ora ha potuto scrivere musica come questa
This sounds so different from all his other compositions.
Epic mood change at 27:06. I love it.
Much fine , or rather middling stuff here . Penderecki 's tone here is playful and ironic not serious didacticism like Boulez which always impresses .This must be my tenth time listening to Barry douglas in this old-fashioned music .I like it more each time ! Melinda Wagner's Trombone concert whose score I just received is a knockout . Penderecki - His violin concerto I listen to more . I keep coming back to this recording I own the Zimmerman but it doesn't speak to me . I wouldn't believe it if someone aid it was the exact same score .Carter it aint and for that reason alone it isn't as interesting . Menotti and Barber both left wonderfully inventive concerti - maybe great stuff just takes time wheras Barber and Menotti are maybe too clear for the needs of the last 60 years .Both Zimmerman and Barry Douglas play this - it's language isn't new nor difficult but it's not very interesting . Boulez , Carl Vine , Bolcolm's Violin concerto if not his piano concerto stay with me . I'd like to know since the 1950's which piano concerti get programmed the most . There are tens of thousands of doctorate composition masters where are and why are so few new piano concerti given to us and which onesare truly remarkable ? Bernstein's huge thing really a symphony and certainly not Ned Rorem's 2 or thre e . I've heard Wuorinen's no.3 I hope one day like the Schonberg it will seem to have a reason for existing .
powinno mieć więcej otwarć niż ,,Żono moja,, ,cudo
Listening to this changed me. I heard Penderecki in a whole new way. I didn't hear a wrong note. I didn't hear atonality. I don't know what I heard. score read along available here www.schott-music.com/shop/9/show,168415.html
I just don't understand why KP went in this direction --- with tremulous full diminished chords no less a la Prokofiev et al. What remains consistent between this KP and the old --- a flare for the dramatic. KP shows that drama as such does not depend upon a tonal system. Not sure why he repudiated his earlier works. Any thoughts on that?
let us know about other pieces of the same kind-quality
BELLO
Замечательно, в целом звучит в духе авангарда 20-х.
Начало напоминает "Валькирию", вступление.
Immense
It _is_ derivative, in part from other composers such as Bartok, and in part from Penderecki's own early-period works. But that doesn't neatly add up to "inferior." There is no logical reason why pieces of music should not reprise earlier works or "quote" from other composers: imaginative imitation is not the same as plagiarisation. This kind of mean-minded criticism is unique to the late-20th century and the present day. Neither Bach nor Mozart would have understood such an attitude.
Nothing wrong with quoting or adapting from other composers or from your own earlier works. Not all good pieces are totally original..
What is your point in making this post? You have simply repeated what I said.
That was the point.
Sorry but actually bach and mozart Are Good examples for pastiche too :))) and it is norhing Bad.. just Natural.. music is about emotions ideas.. they remain the same through 1000 years but the form to express them can be updated
Stravinsky said that some of his best music and musical ideas he stole from others.
I'm waiting for all of the people that knock this to show me their work.
I think classical music fans are even more critical than jazz fans.
"Gothic Metal" is a funny tag you've chosen :-)
Oh my goodness folks, listen... The sixties are over, right? It is not anymore a sin composing with some major thirds. Maybe it's time to shut the mind a little bit and open our ears. This concertro could not be a masterwork, but who cares... I'd love traiting the orchestra and the soloist the way Mr. Penderecki does. And, please folks, it's not "an imitation of Mahler". It is not at all, the traitment of the orchestra is totally different - if you only listen but without mental superstructures which even Boulez, finally, got to refuse. You can like it, you cannot like it. That's all. End of the story. Oh, by the way, just to stop some silly replies from connoisseurs: yes, I know something about music; yes, I am a musician, I am a violinist and I am currently studying composition. And, yes, I LOVE the music of the young Penderecki. I really love it. I DO NOT shout my love for his "early" music in public, secretly listening Britney Spears (or whoever) in the closet. I really love it, publicly and when sitting on the toilet. I find it unbelievable. But I am lucky enough to not need to have a musical faith.
best piano concerto since 1950
no, the best is Schnittke's Piano concerto (1960)
No, it's Penderecki's Piano Concerto!
Shchedrin's 2nd Concerto from 1966 is pretty cool too! but yeah Penderecki's is tops
,hi, define "best", according to what?compared to what?what are your own criteria/ion? that would be interesting...
I love this concerto, but I'll take Barber as my favorite since 1950. I also love Rautavaara. But this one is still great, no doubt.
Whoa! Though this is a lot more conventional than I anticipated, I still hear in it an honest and urgent reckoning with evil ... The only more willfully monstrous piano concerto I can think of is Mosolov's, which is much more chaotic.
Speaking of the reckoning with evil -- does anyone know the source of the almost Lutheran-sounding chorale theme that seems to be deployed (unsuccessfully!) as a talisman against the piece's more brutal and aggressive first theme?
I love this more than Katy Perry! I also enjoy watermelon, but only on the second Tuesday of every September. Yum!
1:17 I think I heard this melody in his viola concerto ?
Amazing! Where sheets can be found though?
Starts off a little like Primus' tune Mr. Krinkle. Might make a good mash-up......
I believe he said that Lutoslawski humiliated Penderecki, and that Lutoslawski was the authentic composer. I dont see the need in bashing his opinion.
is there a score on utube,anyone know?
did john williams take some inspiration from here for jaws?
Penderecki est comme Messiaen, profondément croyant en un avenir meilleur, hors de ce monde et par conséquent, pétri de doutes quant à l'avenir de l'humanité - sa vision de l'humain est profondément pessimiste et sa musique s''en ressent diablement si j'ose dire !! Sa passion selon St Luc est et reste admirable autant que méconnue ......
You can definitively hear the Elvis influences here.
Now that you have humiliated Penderecki the whole world expects from you personally to compose a symphony or a concerto that will define or era..After all, you are the ultimate judge of music and our last authentic composer...KOMPONIST
I'm English.
El final es diferente en comparación a la partitura ',:/
There are two versions of the piece, this is the earlier one
The new music Tonal Scale is as thus: 12 7 5 2 3 : 1 4 5 9 14
Not 12 with 7 & 5 BUT 14 with 9 & 5 [2^(1/14)]
These are the Tonal Scales growing from f (by cycles of fifths):
All Scales build from the first mode: equivalent to Lydian f
White keys are = & Black keys are |
12 with 7 & 5 [2^(1/12)] =|=|=|==|=|= {1,8,3,10,5,12,7,2,9,4,11,6} 1thru7are= 8thru12are|
7 with 5 & 2 [2^(1/7)] ===|==| {1,3,5,7,2,4,6} 1thru5are= 6&7are|
5 with 2 & 3 [2^(1/5)] =||=| {1,3,5,2,4} 1&2are= 3thru5are|
Now evolving up the other end
5 with 4 & 1 [2^(1/5)] ==|== {1,3,5,2,4} 1thru4are= 5is|
9 with 5 & 4 [2^(1/9)] =|=|=|==| {1,8,3,7,5,9,2,4,6} 1thru5are= 6thru9are|
14 with 9 & 5 [2^(1/14)] =|=|===|=|===| {1,12,3,14,5,7,9,11,2,13,4,6,8,10} 1thru9are= 10thru14are|
Joseph Yasser is the actual originator of the realization,
that scales develop by cycles of fifths.
www.seraph.it/blog_files/623ba37cafa0d91db51fa87296693fff-175.html
www.academia.edu/4163545/A_Theory_of_Evolving_Tonality_by_Joseph_Yasser
www.musanim.com/Yasser/
The chromatic scale we use today is divided by 2^(1/12) twelfth root of two
Instead of moving to the next higher: the 19 tone scale 2^(1/19) nineteenth root of two
I decided to go all the way down and back up the other end:
So 12 - 7 = 5 & 7 - 5 = 2 & 5 - 2 = 3
Now we enter to the other side:
2 - 3 = -1 & 3 - -1 = 4 & -1 - 4 = -5 & 4 - -5 = 9 & -5 - 9 = -14
ignoring the negatives we have 1 4 5 9 14
Just follow the cycles how each scale is weaved together, as shown above.
Each scale has its own division within the frequency doubling,
therefore the 14 tones scale is 2^(1/14) fourteenth root of two
Being one of the wealthiest composers off the back of his own works (I said wealthy from their own compositions so Getty doesn't count), I wouldn't be surprised if these opinions faze him not one iota. His later neo-romantic phase is not my tastes and upon superficial analysis one might conclude his core material and their consequent outworking follow commonly used practices and therefore render a fairly artificial result. However, so what?! What do you think he's trying to achieve?! Is he here to impress you?! Who are you?! Who am I for that matter?! He's probably writing the music he wants to write. Is there no room for staying true to one's own artistic impulses, however derivative or cosmetic?! I would expect this be the most life-sustaining quality of being a composer. Do you think he really cares what any of us think?! What I find odd is that we take such offense to someone else's own contrary expression. I'm aggravated by this precious self-important narrow-mindedness. What have you contributed? Worry about that.