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Krzysztof Penderecki

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  1. 1.
    Symphony No. 3: Passacaglia - Allegro moderato - Polish National Radio Symphony Orchestra, Antoni Wit
    6:460:30
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    Threnody to the Victims of Hiroshima - Cracow Philharmonic Orchestra, Wojciech Czepiel
    9:300:30
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    Penderecki: Threnody for the Victims of Hiroshima - Jonny Greenwood, AUKSO Orchestra
    9:060:30
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    Sonata No. 2 per violino e pianoforte: 5. Andante - Anne-Sophie Mutter, Lambert Orkis
    4:170:30
One of the best known, most listened to, and most popular composers of the late twentieth and early twenty-first centuries, Krzysztof Penderecki has undergone a marked evolution in compositional style.
After achieving fame with such astringent, often anguished, scores as his Threnody for the Victims of Hiroshima (1960) and Passion According to St. Luke (1965), both of which stretched traditional harmonic language and orchestral techniques, beginning in the mid-1970s, Penderecki followed a personal imperative in moving toward more conventional tonal music. His Symphony No. 2 embraced pre-serialist notions of melody and harmony. His fertile exploration of a more traditional language, described by some as Neo-Romanticism, has continued to characterize his works since that time.
Penderecki was given violin and piano lessons as a child. He studied art and literary history and philosophy at the local university while also attending the Kraków Conservatory. He privately studied composition before he entered the Kraków State Academy of Music in 1954. In 1959, three of his compositions, each submitted under pseudonyms, won first prizes in a competition sponsored by the Polish Composer's Union. Fame rapidly followed. Both his Threnody and St. Luke Passion received worldwide performances in numbers rare for contemporary works, especially those written with such demanding techniques: glissandi, tonal clusters, unpitched sounds, spoken interjections, aleatoric effects, and shouting. Commissions came in quick succession, a corollary career as a lecturer developed, and in 1972, Penderecki began to conduct his own works. The first of Penderecki's stage works, The Devils of Loudon, became a European sensation in 1969, receiving numerous performances and generating considerable controversy. A second opera, one of epic scale, was commissioned by the Chicago Lyric Opera. Paradise Lost (after Milton) was mounted in 1976 in an immensely expensive production seen in Chicago and Italy. Die schwarze Maske was premiered in 1986, followed in 1991 by the comic work Ubu Rex.
Penderecki has received numerous international honors and awards. He holds honorary professorships in many of the world's most prestigious conservatories and schools of music, as well as several honorary doctorates, and he has been recognized with national orders from such nations as Germany, Austria, and his native Poland. He won the prestigious Grawemeyer Award for his Adagio for Large Orchestra in 1992. He won Grammy Awards for his Cello Concerto No. 2 (1987), his Violin Concerto No. 2: Metamorphosen (1998) and his Credo, for chorus (2001)
Since his conducting debut, he has been a respected podium figure, leading both his own works and a variety of music by other composers. The North German Radio Symphony Orchestra, Hamburg engaged him as principal guest conductor. Though not extraordinarily prolific, Penderecki has amassed a sizeable catalog of orchestral works, chamber music, concertos, and choral works. He wrote eight symphonies between 1973 and 2008 and has devoted increasing attention to choral settings of religious texts.

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