Krzysztof Penderecki: Piano Concerto “Resurrection” (2007)

Classical Music Discord: Original BiliBili Upload: 【【潘德列茨基】钢琴协奏曲“复活” (Krzysztof Penderecki: Piano Concerto ’Resurrection’) (2001/07)】 Krzysztof Penderecki ( 1933 - 2020 ) Krzysztof Eugeniusz Penderecki (Polish: [ˈkʂɨʂtɔf pɛndɛˈrɛt͡skʲi]; 23 November 1933 – 29 March 2020) was a Polish composer and conductor. His best known works include Threnody to the Victims of Hiroshima, Symphony No. 3, his St Luke Passion, Polish Requiem, Anaklasis and Utrenja. Penderecki’s oeuvre includes four operas, eight symphonies and other orchestral pieces, a variety of instrumental concertos, choral settings of mainly religious texts, as well as chamber and instrumental works. Piano Concerto “Resurrection” ( 2007 ) Penderecki’s Piano Concerto was written during 2001-2, in honour of Marie-Joseé Kravis. A major revision was undertaken five years later. Comprising ten movements played without pause, this renews Penderecki’s direct involvement with the ‘grand’ concerto tradition—notably of the Russian lineage that had its culmination in Rachmaninov and Prokofiev—while its subtitle, ‘Resurrection’, is made musically explicit by the plainsong-like idea (which was conceived in the aftermath of the ‘9/11’ terrorist attack) that only gradually makes its way into the foreground before emerging at full strength during the climactic stages. Agitated figures on lower strings are joined by percussion before the soloist enters in like fashion, soon taking over the foreground before the activity is diverted by dramatic gestures from the orchestra. With the initial impulsiveness restored, the music drives onward to a forceful climax for soloist and orchestra, after which the momentum rapidly tails off and a plaintive idea for cor anglais emerges against wistful arabesques from the soloist and soulful harmonies for orchestra. At length the earlier impetus is regained and another forceful climax is arrived at before being suddenly curtailed to leave brusque gestures between the soloist and an array of percussion, with sardonic woodwind also making its presence felt. A further climax is denied by the implacable intervention of brass and lower strings, the soloist continuing in uncertainty against an atmospheric background with lower woodwind and tuned percussion in evidence before a sudden acceleration brings renewed activity in the guise of a strutting march that soon collapses into a more conciliatory response from orchestra, with the soloist soon joining the brass in a baleful statement of intent which is reinforced by strings and woodwind on the way to an imploring climax. The soloist now takes up the agitated opening idea which is presently deflected by the orchestra into another marchlike episode, then into a hectic tutti that culminates in a powerful restatement of the plainsong that has been heard at least twice before. Tension now subsides before a short unaccompanied passage for the soloist leads into a climactic statement of the plainsong on the whole orchestra, which is left resounding into a welter of bell and percussive sounds. The soloist counters this with peremptory gestures that involve the orchestra in a series of irascible exchanges, but a further implacable response from brass and strings leads to a more subdued interplay with woodwind sounding a note of wistfulness prior to a hushed return of the plainsong on strings and percussion. Any lasting reconciliation is to be denied, however, by a final surge of activity that sees the work through to its brutally decisive close. “I set about writing the ’Concerto’ in June and was half-way through it after a few months; it was something like a capriccio. But after 9/11 the conception changed completely. I decided to write a darker, more serious work. I cut out some of the material, went back to a certain point in the structure and added a chorale which first appears roughly at one-third of the music and reappears twice, the last time at the end of the Concerto. It is then played rather slow, allegro moderato, and after a few faster strokes the Concerto ends.“ — Krzysztof Penderecki Instrumentation for Piano and Orchestra Performer Lukasz Borowicz / Polish Radio Symphony Orchestra, Warsaw / Florian Uhlig The music published in my channel is exclusively dedicated to divulgation purposes and not commercial. This within a program shared to study classic educational music which involves thousands of people around the world. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform me immediately before you submit a claim to Youtube, and it will be my care to immediately remove the video accordingly. Your collaboration will be appreciated. #classicalmusic #sheetmusic