Worthy of the composer’s trust, 21 November 2013
A quarter of an hour lasted the standing ovation after yesterday’s concert of the jubilee, Krzysztof Penderecki Festival. Conductor Jacek Kaspszyk, the soloists and the Warsaw Philharmonic Symphony Orchestra and Choir were its biggest heroes.
Let us start from the end, because it was in fact Symphony No. 7 – Seven Gates of Jerusalem performed in the finale which raised such emotions. The work, saturated with the magnitude of expression – a huge symphonic orchestration, with double or even treble set of winds, percussion, strings and additionally, sounding with ominous power, constructed especially for the purpose of this composition tubaphones, sends shivers down the spine. Penderecki got a commission in the mid-nineties to compose this work for the 3000th anniversary of the holy city. Finished in 1997 it finally took the form of an oratorio composed of seven parts, relating to the seven historical gates leading to the old part of the Holy City. Jacek Kaspszyk interpreted perfectly Penderecki’s score, painting before our eyes seven extraordinary images – once gloomy with a delicate note of shining hope, once dramatic and hasty, not allowing for a moment of rest, once rolling in a calm, pulsating rhythm, though leading to a final, ecstatic explosion. Led by the new artistic director, Warsaw Philharmonic Orchestra and Choir played marvelously. Also the soloists delighted, especially Izabela Matuła, Agnieszka Rehlis, Wojciech Gierlach and Alberto Mizrahi (in the role of the narrator), who enraptured with a sonorous, resounding voice.
A moment earlier, the same stage hosted AUKSO orchestra from Tychy and the The Katowice City Singers’ Ensemble – Camerata Silesia. Under the baton of Marek Moś, the artists performed Strophes for soprano, reciting voice and 10 instruments and Psalms of David. These works, for which Krzysztof Penderecki received first prizes at the Second Competition held by the Polish Composers' Association for young Polish Composers in 1959, belong to the period of strict avant-garde in the composer’s artistic output. And they are terribly difficult for the performers, especially the vocalists. The bigger applause goes to Silesian singers, who performed fantastically the Strophes and the opening piece of the evening, Canticum Canticorum Salomonis. Unofrtunately, a bad aftertaste was left after listening to the Psalams of David, though not because of the artists performing on the stage. Just before the beginning, when the conductor already had raised his arms, sounds of musicians from the second orchestra rehearsing in the dressing rooms started coming from behind the stage. The situation repeated during the performance. It disturbed, ruining completely the dramatic effect and reception of the entire work. A great pity, because the artists led by Marek Moś were excellent.
On Thursday afternoon there was another concert, this time at the Chamber Hall of Warsaw Philharmonic we heard: the youthful Violin Sonata No. 1 and written almost 40 years later Violin Sonata No. 2, which Krszysztof Penderecki wrote on commission from the outstanding violinist Anne-Sophie Mutter. The program was completed with a surprise – PPP (“Penderecki’s Party Piece”) a work written especially on the occasion of the master’s birthday by Krzysztof Penderecki’s friend and excellent composer Paul Patterson. The afternoon concert can be called the festival stage of the youth, because all of the abovementioned compositions were performed by musicians of the young generation. It started with the youngest, who are just beginning to appear on international stages and win competitions. Penderecki’s Party Piece was performed by the duo: Aleksandra Kuls – violin and Aleksandra Świgut – piano. Right after them on the stage appeared more experienced and award-winning artists: Agata Szymczewska – violin and Justyna Danczowska – piano (Violin Sonata No. 1). Both duos delighted with their youthful verve, and at the same time professional and perfectionist approach to the musical text. Listening to those young, playing with passion, artists on the stage of the jubilee Krzysztof Penderecki Festival gives hope that the music of the Maestro, who now celebrates his 80th birthday, will survive centuries. Similar impressions left the performance of slightly older, but still numbered among the younger generation of musicians – violinist Julian Rachlin and pianist Itamar Golan. Rahlin already performed three times at this year’s festival, each time reaching for very serious, difficult works, seems to become Krszysztof Penderecki’s favorite. It is not surprising, because in the interpretation of Violin Sonata No. 2, together with Golan, he proved that he is worthy of the composer’s great trust.
Tomasz Handzlik
Let us start from the end, because it was in fact Symphony No. 7 – Seven Gates of Jerusalem performed in the finale which raised such emotions. The work, saturated with the magnitude of expression – a huge symphonic orchestration, with double or even treble set of winds, percussion, strings and additionally, sounding with ominous power, constructed especially for the purpose of this composition tubaphones, sends shivers down the spine. Penderecki got a commission in the mid-nineties to compose this work for the 3000th anniversary of the holy city. Finished in 1997 it finally took the form of an oratorio composed of seven parts, relating to the seven historical gates leading to the old part of the Holy City. Jacek Kaspszyk interpreted perfectly Penderecki’s score, painting before our eyes seven extraordinary images – once gloomy with a delicate note of shining hope, once dramatic and hasty, not allowing for a moment of rest, once rolling in a calm, pulsating rhythm, though leading to a final, ecstatic explosion. Led by the new artistic director, Warsaw Philharmonic Orchestra and Choir played marvelously. Also the soloists delighted, especially Izabela Matuła, Agnieszka Rehlis, Wojciech Gierlach and Alberto Mizrahi (in the role of the narrator), who enraptured with a sonorous, resounding voice.
A moment earlier, the same stage hosted AUKSO orchestra from Tychy and the The Katowice City Singers’ Ensemble – Camerata Silesia. Under the baton of Marek Moś, the artists performed Strophes for soprano, reciting voice and 10 instruments and Psalms of David. These works, for which Krzysztof Penderecki received first prizes at the Second Competition held by the Polish Composers' Association for young Polish Composers in 1959, belong to the period of strict avant-garde in the composer’s artistic output. And they are terribly difficult for the performers, especially the vocalists. The bigger applause goes to Silesian singers, who performed fantastically the Strophes and the opening piece of the evening, Canticum Canticorum Salomonis. Unofrtunately, a bad aftertaste was left after listening to the Psalams of David, though not because of the artists performing on the stage. Just before the beginning, when the conductor already had raised his arms, sounds of musicians from the second orchestra rehearsing in the dressing rooms started coming from behind the stage. The situation repeated during the performance. It disturbed, ruining completely the dramatic effect and reception of the entire work. A great pity, because the artists led by Marek Moś were excellent.
On Thursday afternoon there was another concert, this time at the Chamber Hall of Warsaw Philharmonic we heard: the youthful Violin Sonata No. 1 and written almost 40 years later Violin Sonata No. 2, which Krszysztof Penderecki wrote on commission from the outstanding violinist Anne-Sophie Mutter. The program was completed with a surprise – PPP (“Penderecki’s Party Piece”) a work written especially on the occasion of the master’s birthday by Krzysztof Penderecki’s friend and excellent composer Paul Patterson. The afternoon concert can be called the festival stage of the youth, because all of the abovementioned compositions were performed by musicians of the young generation. It started with the youngest, who are just beginning to appear on international stages and win competitions. Penderecki’s Party Piece was performed by the duo: Aleksandra Kuls – violin and Aleksandra Świgut – piano. Right after them on the stage appeared more experienced and award-winning artists: Agata Szymczewska – violin and Justyna Danczowska – piano (Violin Sonata No. 1). Both duos delighted with their youthful verve, and at the same time professional and perfectionist approach to the musical text. Listening to those young, playing with passion, artists on the stage of the jubilee Krzysztof Penderecki Festival gives hope that the music of the Maestro, who now celebrates his 80th birthday, will survive centuries. Similar impressions left the performance of slightly older, but still numbered among the younger generation of musicians – violinist Julian Rachlin and pianist Itamar Golan. Rahlin already performed three times at this year’s festival, each time reaching for very serious, difficult works, seems to become Krszysztof Penderecki’s favorite. It is not surprising, because in the interpretation of Violin Sonata No. 2, together with Golan, he proved that he is worthy of the composer’s great trust.
Tomasz Handzlik
