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270 Booklet Layout 1 PENDERECKI Bruno Fidrych © Faustyczna pasja niszczenia jeszcze nigdy nie posunęła się tak daleko. […] Dla człowieka, który odwykł od świętości, natura jest jednak tworem martwym, pozbawionym transcendentalnych odniesień. I niewiele pomoże tu ekologiczny racjonalizm. Śmierć drzew, lasów, tropikalnych dżungli to nie jest tylko problem biologiczny. Kultura, która grzeszy przeciwko lasom, podcina własną rację bytu. Krzysztof Penderecki, 1995 Tak powstała teza Krzysztofa Pendereckiego o „desakralizacji natury”, która w sferze twórczości muzycznej zakiełkowała ideą VI Symfonii, początkowo mającej nosić tytuł Elegia na umierający las. Andrzej Sułek, fragment eseju The Faustian destructive passion has never gone so far in history. […] To humans who are no longer used to contact with the sacrum, nature is but an lifeless entity, devoid of transcendental associations. Ecological rationalism can be of little use in this context. The death of trees, woods, tropical jungles – is not merely a biological problem. A culture that sins against forests undermines its own raison d’être. Krzysztof Penderecki, 1995 Penderecki advances here his thesis concerning the ‘desacralisation of nature’, which, in his work as a composer, gave rise to the idea of Symphony No. 6, which originally received the subtitle Elegy for a Dying Forest. Andrzej Sułek, an excerpt from the essay KRZYSZTOF PENDERECKI (ur./b. 1933) 6. Sinfonie „Chinesische Lieder”* (2008–17) [26‘42] für Bariton und Orchester nach Gedichten von Li-Tai-Po, Thu-Fu, Ly-Y-Han, Thang-Schi-Yie-Tsai und Tschan-Jo-Su in der Nachdichtung von Hans Bethge Symphony No. 6 “Chinese Songs”* for baritone and orchestra based on poems by Li-Tai-Po, Thu-Fu, Ly-Y-Han, Thang-Schi-Yie-Tsai and Tschan-Jo-Su in the German adaption by Hans Bethge 1 I. Die geheimnisvolle Flöte / The Mysterious Flute 5‘23 2 II. In der Fremde / In a Foreign Land 2‘04 3 III. Auf dem Flusse / On a River 3‘32 4 IV. Die wilden Schwäne / Wild Swans 1‘31 5 V. Verzweiflung / Despair 2‘12 6 VI. Mondnacht / Moonlit Night 4‘12 7 VII. Nächtliches Bild / Night View 4‘25 8 VIII. Das Flötenlied des Herbstes / Autumn Flute Song 3’20 Concerto per clarinetto ed archi, percussione e celesta** [20‘21] Concerto for Clarinet, Strings, Percussion and Celesta** 9 Lento quasi recitativo 6‘31 10 Vivace 4‘52 11 Tempo I (Lento) 3‘10 12 Vivo 2‘54 13 Lento (Tempo I) 2‘51 Total time: 47‘14 * WORLD PREMIERE RECORDING ** A transcription of Concerto per viola ed orchestra (1983) VI Symfonia „Pieśni chińskie” 4 Wojciech Rajski – dyrygent / conductor Stephan Genz – baryton / baritone Joanna Kravchenko – erhu Polska Filharmonia Kameralna Sopot / Polish Chamber Philharmonic Orchestra Sopot Flety / Flutes Fagot / Bassoon Grażyna Zbijowska Grzegorz Popławski Natalia Egielman (piccolo, altowy / alto) Waltornie / Horns Oboje / Oboes Leszek Salwa Wojciech Merena Mariusz Nowak Dominik Wroniszewski Piotr Kowalski Zbigniew Kaliciński Różek angielski / Cor anglais Dominik Wroniszewski Trąbki / Trumpets Stanisław Majerski Klarnety / Clarinets Tomasz Witek Krzysztof Zbijowski (A i B / in la, si ) Andrzej Wojciechowski (basowy / bass) Puzon / Trombone Jacek Bałka Symphony No. 6 “Chinese Songs” 5 Perkusja / Percussion II Skrzypce / 2nd Violins Bartłomiej Sutt Jacek Koprowski Piotr Sutt Grażyna Kasprzyk-Głaszcz Igor Falecki Arkadiusz Połetek Bismarck Fernandez Anna Strojek Justyna Światkowska Celesta Joanna Bieńkowska Natalia Zaleska Altówki / Violas Harfa / Harp Karol Jurewicz Juliusz Wesołowski Marta Szyryńska-Krot Bogusław Fuks I Skrzypce / 1st Violins Aneta Szybowicz Paweł Kapica – koncertmistrz / concertmaster Wiolonczele / Cellos Anna Wieczerzak – II koncertmistrz / Alicja Leoniuk-Kit 2nd concertmaster Magdalena Miotke-Bajerska Anna Biadasz-Dolińska Grażyna Michalec Bożena Budzich Maria Szagżdowicz Marta Westfalewicz Robert Naściszewski Kontrabasy / Double basses Szymon Naściszewski Jędrzej Kacprzyk Maciej Młóciński Koncert na klarnet, smyczki, perkusję i celestę 6 Wojciech Rajski – dyrygent / conductor Andrzej Wojciechowski – klarnet / clarinet Polska Filharmonia Kameralna Sopot / Polish Chamber Philharmonic Orchestra Sopot I Skrzypce / 1st Violins II Skrzypce / 2nd Violins Paweł Kapica – koncertmistrz / Jacek Koprowski concertmaster Grażyna Kasprzyk-Głaszcz Anna Wieczerzak – II koncertmistrz / Arkadiusz Połetek 2nd concertmaster Anna Strojek Anna Biadasz-Dolińska Anna Gospodarek Bożena Budzich Marta Westfalewicz Concerto for Clarinet, Strings, Percussion and Celesta 7 Altówki / Violas Kontrabasy / Double basses Karol Jurewicz Sebastian Wyszyński Marta Szyryńska-Krot Agnieszka Olszewska Bogusław Fuks Aneta Szybowicz Perkusja / Percussion Michał Jastrzębski Wiolonczele / Cellos Maciej Lange Alicja Leoniuk-Kit Mateusz Wiczyński Magdalena Miotke-Bajerska Grażyna Michalec Celesta Natalia Zaleska SPIS TREŚCI 8 Esej ‒ Andrzej Sułek 10 Pieśni chińskie ‒ teksty (DE, EN, PL) 37 Krzysztof Penderecki 53 Wojciech Rajski 61 Stephan Genz 67 Andrzej Wojciechowski 75 Joanna Kravchenko 81 Polska Filharmonia Kameralna Sopot 85 CONTENTS 9 Essay ‒ Andrzej Sułek 11 Chinese Songs ‒ texts (DE, EN, PL) 37 Krzysztof Penderecki 53 Wojciech Rajski 61 Stephan Genz 67 Andrzej Wojciechowski 75 Joanna Kravchenko 81 Polish Chamber Philharmonic Orchestra Sopot 85 10 PENDERECKI Spotykają się tu dwa muzyczne porządki – postrzegane tak zarówno w najszerzej pojmowanym kontekście dziejów muzyki, jak i w uniwersum twórczości Krzysztofa Pendereckiego. Wyłączając operę, która wszakże zajmuje terytorium odrębne, są to dwa największe w sferze sztuki dźwięku porządki formalne: symfonii i koncertu. A zarazem dwie fundamentalne idee: współpracy i rywalizacji. 11 PENDERECKI Two musical orders meet in the programme of this album, both with reference to the most broadly conceived music history and to the universe of Krzysztof Penderecki’s output. Apart from the opera, which holds its own separate place, they are the two largest-scale formal orders in the musical art: those of the sym- phony and the concerto, which represent two fundamental ideas: respectively, those of co-operation and of competition. PENDERECKI VI Symfonia 12 Symfoniczny szlak w twórczości Krzysztofa Pendereckiego jest nie tylko jednym z najważniejszych wątków jego kompozytorskiego dorobku, lecz także najbar- dziej bodaj fascynującym. Sam kompozytor wielokrotnie zaznaczał i podkreślał odrębność swojej symfoniki zarówno w panoramie polskiej twórczości tego gatunku, jak i w rozległej perspektywie muzyki świata zachodniego. Pamiętam sprzed laty jedną ze swoich rozmów przeprowadzonych z Krzysztofem Pende- reckim, który wyznał, że chciałby zamknąć swój symfoniczny katalog liczbą dzie- więciu dzieł, a zarazem, że zbliżanie się do tej liczby napełnia go obawą, budzi ro- dzaj egzystencjalnego lęku. Kontekst historyczny nadaje bowiem symfonicznej „dziewiątce” wymiar szczególny i symboliczny przede wszystkim za sprawą Beethovenowskiego opus, które stanowi niewzruszony kamień milowy w dziejach muzyki, a jednocześnie jest świadectwem pojemności gatunku i ewolucyjnego potencjału formy. Przyjmuje się, że po dziewięć symfonii pozostawili także Bruckner i Mahler (choć w pierwszym przypadku wliczając w to także jedną nie- ukończoną, a w drugim – pomijając dzieło niekompletne). Z kolei Dvořákowi skru- pulatni biografowie w poczet dziewięciu zaliczyli również jego wczesnych pięć symfonii, których sam kompozytor nie uznawał za godne opublikowania. Choć więc liczba dziewięć nabrała w historii symfoniki rangi symbolicznej, to nie ma powodu, by przypisywać jej znaczenie fatalistyczne ani tym bardziej magiczne. Krzysztof Penderecki z gatunkiem symfonicznym zmierzył się po raz pierwszy na początku lat 70. Czyli dość późno. Ukończona w 1973 roku I Symfonia PENDERECKI Symphony No. 6 13 Krzysztof Penderecki’s symphonic writing is one of the most important ele- ments of his output as a composer, and possibly the most fascinating one. The composer himself frequently emphasised the autonomous identity of his symphonic oeuvre both in the context of Polish works in this genre and in the broad perspective of Western music. In one of the interviews I conducted with him many years ago, he confessed that he would like to have nine symphonies in his catalogue, and that at the same time, as he is coming closer to this number, it fills him with a kind of existential fear. Time has bestowed on the symphonic ‘nine’ a special symbolic significance, first and foremost because of Beethoven’s symphonies, which constitute a milestone achievement in mu- sic history, but also evidence of the genre’s wide scope and this form’s evolu- tionary potential. Bruckner and Mahler are also traditionally assumed to have written nine symphonies each (though in the case of the former, one of those nine is unfinished, while the latter wrote one more incomplete work in this genre). The fastidious biographers of Dvořák included among his nine sym- phonies also five early ones which the composer himself found unworthy of publication. As we can see, though the number nine has acquired a symbolic status in the history of symphonic music, there is no reason to treat it as a portent of doom, or, even less, as a magical figure. Penderecki first came to grips with the symphonic genre in the early 1970s, that is – relatively late. His Symphony No. 1, completed in 1973, was a major PENDERECKI VI Symfonia 14 stanowiła ważny punkt graniczny na jego drodze twórczej. Z jednej strony była zwieńczeniem etapu sonorystycznej rewolty, który jako nurt estetyczny trwale wpisał się w panoramę muzyki XX wieku. Z drugiej – poprzez zachowanie
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