PENDERECKI Chamber Works
View record and artist detailsRecord and Artist Details
Composer or Director: Krzysztof Penderecki
Genre:
Chamber
Label: Dux Recordings
Magazine Review Date: 02/2015
Media Format: CD or Download
Media Runtime: 60
Mastering:
DDD
Catalogue Number: DUX0780
Tracks:
Composition | Artist Credit |
---|---|
(3) Miniatures |
Krzysztof Penderecki, Composer
Krzysztof Penderecki, Composer Marek Szlezer, Piano Roman Widaszek, Clarinet |
Cadenza |
Krzysztof Penderecki, Composer
Krzysztof Penderecki, Composer Maria Machowska, Violin |
Chaconne, 'In memoria Giovanni Paolo II' |
Krzysztof Penderecki, Composer
Artur Rozmyslowicz, Viola Krzysztof Penderecki, Composer Maria Machowska, Violin |
Per Slava |
Krzysztof Penderecki, Composer
Jan Kalinowski, Cello Krzysztof Penderecki, Composer |
Capriccio |
Krzysztof Penderecki, Composer
Krzysztof Penderecki, Composer Tadeusz Tomaszewski, Horn |
Prelude |
Krzysztof Penderecki, Composer
Krzysztof Penderecki, Composer Roman Widaszek, Clarinet |
Sextet for Clarinet, Horn, String Trio & Piano |
Krzysztof Penderecki, Composer
Artur Rozmyslowicz, Viola Jan Kalinowski, Cello Krzysztof Penderecki, Composer Marek Szlezer, Piano Maria Machowska, Violin Roman Widaszek, Clarinet Tadeusz Tomaszewski, Horn |
Author: Ivan Moody
There are virtuoso presents to performers, such as the Capriccio per Radovan (2012), written for the dedicatee of Penderecki’s Horn Concerto (2008), Radovan Vlatkovic´, and Per Slava (2008), for Rostropovich, and other gifts and tributes. The Prelude for solo clarinet, for example, was written in 1987 as a gift to Paul Patterson (the composer’s name has been accidentally omitted in the English translation of Marcin Krajewski’s detailed booklet-notes but it is there in the Polish), all outstandingly performed by these six Polish musicians who come together in the substantial Sextet, completed in 2000. This is an intriguing and unusual work, new to me. Krajewski rightly points out its connection with Schubert’s Octet, Beethoven’s Septet and, chiefly, Shostakovich. Much of the material sounds like a distant echo of the Russian composer although it is put to quite different use in general, though some obsessive moments in the first movement and the dance-like material of the second are sufficient to suggest a deliberate homage.
These fine performances have been excellently recorded at the European Music Centre in Lusawice, and heard together in this way cast an unusual and fascinating light on Penderecki’s work. Highly recommended.
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