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Krzysztof Penderecki (b. 1933): Three Pieces in Old Style • Serenade strings from which various soloists emerge in a subtle having a piquant cadenza that gradually draws Artur Pachlewski Intermezzo • Sinfoniettas Nos. 1 and 2 • Capriccio for Oboe and Strings variation of texture, the mood at first calming then strings back into the fray, but an underlying humour intensifying as the movement drives onward to a brief persists through more confrontational stages to a close ́ Artur Pachlewski is among the most outstanding Polish clarinettists of recent years. Kryzsztof Penderecki was born in Dubica, a small town works featured here extend across a period of over three climax which is followed by an equivocal close. The which seems literally to vanish into thin air. Colleagues and critics bear witness to his fine technique, great musicality and a between Kraków and L’vov, and studied at Kraków’s decades, and represent each of the main phases with ensuing Vivace is its complement in almost every respect A transcription of the Quartet [8.557052], unique versatility that allows him to move freely between classical, romantic and Academy of Music and Jagiellonian University. He first which the composer has been associated. – the trenchant initial activity opening out into brusque Sinfonietta No. 2 (1994) received its first hearing in Bad contemporary music. He completed his studies at the Chopin Accademy of Music in established himself at the Warsaw Autumn Festivals of Composed as music for the film The Manuscript contrapuntal activity, followed by spectral pizzicato writing Kissingen on 13th July 1994 from clarinettist Paul Meyer Warsaw (diploma with distinction), at the European Mozart Accademy and with 1959 and 1960. Quickly becoming part of the European Found in Saragossa, the Three Pieces in Old Style (1963) that presages a final headlong surge. with Sinfonia Varsovia conducted by the composer. Eduard Brunner in Germany, and has appeared as a soloist with Polish and foreign

avant-garde, he achieved fame with his Threnody [Naxos are instances of a stylistic pastiche that must have Given its première by the Zurich Chamber Orchestra Among the most substantial of Penderecki’s later Photo: Ewa Mackos orchestras in repertoire from Telemann and Mozart to Penderecki. He has also 8.554491] in which he imparted a keen expressivity to his seemed the more disconcerting given Penderecki’s with its dedicatee Edmond de Stoutz in Zurich on 30th orchestral works, it unfolds over four highly contrasted performed with such chamber music ensembles as the Wilanów, Silesian, Camerata then ‘sonorist’ musical language. The St Luke Passion standing at that time as a leading younger composer of November 1973, the Intermezzo for 24 strings (1973) is movements. The opening Notturno begins with a plaintive and Royal String Quartets, the BBC Singers, and Ensemble Ricercare. He has made [8.557149] proved how successful this idiom could be in the European avant-garde, though their recourse to among Penderecki’s final works written in the radical idiom clarinet solo that becomes even more expressive once recordings for many labels, with releases receiving three nominations for Fryderyk sacred music and he continued to be inspired directly by procedures of that era anticipates the stylistic plurality that he had pioneered over the preceding fifteen years – the strings have entered, though the textures remain Awards and the Supersonic Pizzicato Award in Luxembourg. A recording of such timeless religious themes, as is witnessed by his such as the composer was to embrace a decade hence. its sound-world closely related to that of the First sparse right through to the austere final bars. The Zielinski’s Concerto Inquieto for clarinet and orchestra by the Polish Radio Orchestra cantatas, oratorios and operas. The opening Aria represents a decidedly late-Romantic Symphony. The wavering initial gestures gradually merge Scherzo that follows is set in motion with a pulsating with Artur Pachlewski as soloist is scheduled for release on the Polish Radio label. During the mid-1970s this involvement with tradition take on its Baroque archetype. There follow two into a kaleidoscopic interplay that exploits aspects of rhythm that draws clarinet and strings into an animated www.arturpachlewski.com became deeper, Penderecki entering into dialogue with Menuettos: the first is a lively number of robust rhythms timbre and texture to the full. Near its mid-point the music though also sardonic dialogue, while the ensuing music that he ‘rediscovered’ for himself. He internalised and engaging humour, while the second is more obviously takes on greater solidity before suddenly alighting on a Serenade inhabits an unexpectedly neo-classical vein the post-Romantic tradition and combined it with the related to the original dance measure and is redolent of string cluster of great density, soon thinning out to a unison with the witty play that emerges on its underlying waltz technical achievements of his earlier music. Major works the galante style from the late Baroque era. chord which itself disperses into fragmentary gestures. rhythm. Much the most substantial section, the final written in this new style include concertos for violin The two movements of the Serenade (1996-7) were The Capriccio for oboe and eleven strings (1964) is Abschied opens in elegiac uncertainty before it unfolds as [8.555265], cello and viola [both 8.572211], the Second conceived as well as first performed separately, the first the earliest piece featured on this disc. Given its première might the slow movement of a full-blown concerto: at one Jean-Louis Capezzali Symphony [8.554492], the opera Paradise Lost, the Te complete account given by Rudolf Baumgartner with the by Heinz Holliger, with the Lucerne Festival Strings and point a violin ascends to the top of its register, after which Deum [8.557980] and A Polish [8.557386/7]. Lucerne Festival Strings in Lucerne on 31st August 1997. Rudolf Baumgartner, in Lucerne on 26th August 1965, it the clarinet continues with a mournful solo that sees the Jean-Louis Capezzali studied at the Versailles Conservatory in France, where he Further formal and stylistic investigation led to the It begins with a stern Passacaglia whose progress is gives evidence of a lighter side to Penderecki’s thinking strings wind down to a point of near stasis – the two ‘solo’ received a gold medal and an honour prize. In 1979, after he receiving the National synthesis of the modern with the traditional. This inspired informed by the echoing motif heard at the outset, and found in several instrumental works from the period. The instruments then uncertainly trading gestures over remote Certificate of Aptitude to become an oboe professor, he was awarded the position of operas of stylistic diversity such as the expressionist which reappears as the movement nears its emotional initial gestures centre on a single note obsessively lower strings which presently bring about a calm yet Principal Oboe with the Concert Lamoureux Orchestra in Paris. He was a prizewinner Black Mask and the post-modern . Compositions apex before dying away uncertainly. There follows a repeated by oboe and strings alike, with the latter having ultimately unresolved conclusion. at the Geneva (silver medal, 1982) and Prague (1986) international competitions. In drawing on this new aesthetic included Symphonies Nos. Larghetto whose soulful initial bars set the tone for this recourse to a wide range of playing techniques. A third of 1984 he was appointed Principal Oboist of the Radio France Philharmonic Orchestra 3, 4 and 5 [the latter on 8.554567] and the oratorios study in gravely undulating string textures, at length the way through this dialogue becomes more equable, Richard Whitehouse based in Paris. In 1988 he was named oboe professor at the Paris National

Seven Gates of Jerusalem [8.557766] and reaching a climax thrown into relief by an eloquent violin Photo: Denis Gliksman Conservatory of Music, and in the same year he was also appointed oboe professor [8.572032], all of these associated with both a condensed solo which returns to the opening introspection. at the Lyon National Conservatory of Music where he currently teaches. In 2009, he expression as well as a purified array of technical means. A transcription of the String Trio, Sinfonietta No. 1 was appointed oboe professor at the Haute Ecole of Music in Lausanne. Jean-Louis The present disc focusses on Penderecki’s music for (1992) was first heard in Warsaw on 17th February 1992 Capezzali also enjoys a career as a soloist and chamber musician, appearing with strings, a notable sub-category of his orchestral output with Sinfonia Varsovia conducted by the composer. The leading ensembles and performing at music festivals throughout the world. In his that runs across almost the whole of his composing piece falls into two very different movements which, master classes he represents the French School of oboe playing. He has given the career. Together with other of his Polish contemporaries, between them, add up to an unlikely unity whose sum is premières of many new contemporary works, including the Chinese composer he initially deployed strings in terms of their unorthodox nevertheless greater for its overt polarity. It begins with an Qigang Chen’s Extase which he has recorded for Virgin. sonorities and ability to create textures no less striking Allegro molto whose aggressive opening chords are than those achieved by wind or percussion. Later, contrasted starkly with a lengthy and increasingly however, re-engagement with earlier musical eras often impassioned viola solo. Further alternation of these two found him invoking rather more traditional idioms. The six ideas brings about a fugitive motion between groups of

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Warsaw Philharmonic Chamber Orchestra The Warsaw Philharmonic Chamber Antoni Wit, one of the most highly regarded Polish conductors, studied PENDERECKI Orchestra draws upon the rich and old conducting with Henryk Czyz at the Academy of Music in Kraków. He tradition whereby individual artists from the then continued his musical studies with Nadia Boulanger in Paris. He also full Warsaw Philharmonic would get together graduated in law at the Jagiellonian University in Kraków. Immediately to make their own chamber music. The first after completing his studies he was engaged as an assistant at the Sinfoniettas • Oboe Capriccio chamber ensembles were formed at the Warsaw Philharmonic Orchestra by Witold Rowicki. After winning second beginning of the twentieth century. In the prize in the International Herbert von Karajan Conducting Competition in Three Pieces in Old Style • Serenade • Intermezzo 1960s and 1970s, the National Philharmonic Berlin (1971), he became an assistant conductor to the patron of that

Photo: A. & J. Deluga-Góra Chamber Musicians ensemble under Karol competition. Later he was appointed conductor of the Poznań Teutsch achieved success playing concerts Philharmonic, collaborated with the Warsaw Grand Theatre, and from Artur Pachlewski, Clarinet • Jean-Louis Capezzali, Oboe worldwide. Other ensembles made up of 1974 to 1977 was artistic director of the Pomeranian Philharmonic, before musicians from the Warsaw Philharmonic his appointment as director of the Polish Radio and Television Orchestra also gained international recognition. In the and Chorus in Kraków, from 1977 to 1983. From 1983 to 2000 he was Warsaw Philharmonic Chamber Orchestra • Antoni Wit 1990s the string ensemble gave concerts with managing and artistic director of the National Polish Radio Symphony eminent soloists such as Konstanty A. Kulka Orchestra in Katowice, and from 1987 to 1992 he was the chief conductor and Nigel Kennedy, making records and TV and then first guest conductor of the Orquesta Filarmónica de Gran programmes. During the celebration of the Canaria. In 2002 he became managing and artistic director of the Warsaw Philharmonic’s centenary, the Warsaw Philharmonic Chamber Orchestra was reactivated under the patronage Warsaw Philharmonic Orchestra and Choir. Since the season 2010/11, of Antoni Wit. The ensemble consists of leading instrumentalists from the Warsaw Philharmonic, including former he has been first guest conductor with the Orquesta Sinfónica de Navarra members of Karol Teutsch’s ensemble. The artistic director of the orchestra is Jan Lewtak, who graduated from the F. in Pamplona. His international career has brought engagements with Chopin Music Academy in Warsaw after violin studies under Zenon Brzewski and Mirosław Ławrynowicz. The winner of major orchestras throughout Europe, the Americas and the Near and Far several violin competitions and of the Radio and Television Committee Award, he has already made a significant Photo: Krzysztof Niesporek East. He has made over 200 records, including an acclaimed release for contribution to chamber music in . Naxos of the piano concertos of Prokofiev, awarded the Diapason d’Or and Grand Prix du Disque de la Nouvelle Académie du Disque. In January 2002 his recording of the Turangalîla Symphony by Olivier Messiaen (8.554478-79) Violin I Violin II Viola Cello was awarded the Cannes Classical Award at MIDEM Classic 2002. In 2004 he received the Classical Internet Award. Jan Lewtak Marian Kowalski Marek Iwański Kazimierz Koślacz He has completed for Naxos a CD series of Szymanowski’s symphonic and large-scale vocal-instrumental works, each (Soloist on 568@#) Anna Bednarczyk (Soloist on 8@) (Soloist on 678@) rated among ‘discs of the month’ by CD magazines (Gramophone, BBC Music Magazine). He also received the Record Marcin Mazurek Magdalena Smoczyńska Ryszard Groblewski Angelica Wais Academy Award 2005 of Japanese music magazine Record Geijutsu for Penderecki’s Polish Requiem (Naxos), and Krystyna Wilczyńska Paweł Rybkowski (Soloist on 6) Andrzej Wiltos four Fryderyk Awards of the Polish Phonographic Academy. He has received six GRAMMY® nominations for Marek Powideł Marzena Dopytalska-Sójka Krzysztof Szczepański Piotr Sapilak Penderecki’s St Luke Passion in 2004 (8.557149), A Polish Requiem in 2005 (8.557386-87), Seven Gates of Jerusalem Piotr Tadzik Grzegorz Groblewski Jacek Toczyski in 2007 (8.557766), in 2009 (8.572031) and Karol Szymanowski’s Stabat Mater in 2008 (8.570724) and Agnieszka Lewandowska Jan Aniołek Agnieszka Duź-Dymus Double bass Symphonies Nos. 1 and 4 in 2009 (8.570722). In 2010 Antoni Wit won the annual award of the Karol Szymanowski Grzegorz Osiński Katarzyna Borzucka Janusz Długokęcki Foundation for his promotion of the music of Szymanowski in his Naxos recordings. Antoni Wit is professor at the Dobrosława Siudmak-Nur Barbara Duda-Szproch Marcin Wiliński Fryderyk Chopin University of Music in Warsaw.

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