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Penderecki 13/11/07 16:23 Page 12 570450 bk Penderecki 13/11/07 16:23 Page 12 Aus den Psalmen Davids entstand 1958, wurde im Gesangslinien ihre Richtung erhält. Der dritte Satz (aus September des folgenden Jahres in Krakau uraufgeführt Psalm 43) beginnt mit aggressiven Rhythmen des und ist eines der Werke, die zeigen, dass Penderecki auf Schlagzeugs und des Klaviers, die einen weitgehend PENDERECKI dem Terrain der Neuen Musik angekommen war. Der syllabischen, unwiderstehlich vorandrängenden Titel ist insofern bezeichnend, als der Komponist nur Chorpart antreiben. Gestimmtes Schlagzeug bildet am Textauszüge verwendet und dabei nicht versucht, das Anfang des vierten Satzes (aus Psalm 143) den denkbar Wesen dieser Worte einzufangen, sondern vielmehr größten Kontrast, bevor der Chor verhalten einsetzt. Symphony No. 8 etwas von ihrer Natur zu beschwören und eine knappe Allmählich verdichtet sich die Harmonik, wodurch sich Chorsuite zu konstruieren. auch der Ausdruck intensiviert, derweil sich die Musik Das Schlagzeug leitet den ersten Teil ein, in dem in einem stetigen, trotzigen Crescendo steigert. So endet Dies irae • Aus den Psalmen Davids Ausschnitte aus Psalm 28 verwendet werden. Dringlich das Werk mit einer Geste, die derjenigen des Anfangs wiederholte Phrasen und geflüsterte Fragmente entspricht. Kaune • Rehlis • Drabowicz • Luban´ska • Minkiewicz • Br∏k kontrastieren mit klagendem Gesang, zu dem das Schlagzeug am Ende eine skelettierte Stütze liefert. Der Richard Whitehouse zweite Satz (aus Psalm 30) erklingt in trauerhafter, Warsaw National Philharmonic Choir and Orchestra unbegleiteter Polyphonie, deren leicht dissonante Deutsche Fassung: Cris Posslac Harmonik durch die sanft sich entfaltenden Antoni Wit 8.570450 12 570450 bk Penderecki 13/11/07 16:23 Page 2 Symphony No. 8, ‘Lieder der Vergänglichkeit’ 36:28 auch am Anfang des achten Satzes über Hesses Im des Internationalen Denkmals für die Opfer des Nebel, womit eine Parallele zwischen den voneinander Faschismus von Oswieçim, dem ehemaligen 1 Nachts (Mezzo-soprano, Choir) 3:45 getrennt stehenden Bäumen und der Isolation der Konzentrationslager Auschwitz-Birkenau. Dort fand im Text by Joseph von Eichendorff (1788-1857) Menschen bei ihrer Wanderung durchs Leben gezogen April 1967 unter der Leitung von Krzysztof Missona 2 Ende des Herbstes (1. Strophe) (Choir) 0:55 wird. Den verzückten Ton ergänzt der geheimnisvoll auch die Uraufführung statt. Text by Rainer Maria Rilke (1875-1926) huschende Hintergrund des Orchesters, das aber eine Dies irae besteht aus drei klar voneinander 3 Bei einer Linde (Baritone) 2:47 neue Unmittelbarkeit gewinnt, wenn der Sopran einsetzt abgegrenzten Teilen, die eine durchgehende Steigerung Text by Joseph von Eichendorff und der Chor sich in erwartungsvoller Stimmung wieder beschreiben. Der erste Teil, Lamentatio, verwendet 4 zu Worte meldet. Der neunte Satz bringt einen weiteren Texte der polnischen Dichter Wladyslaw Broniewski Flieder (Baritone) 2:41 Text von Hermann Hesse. Vergänglichkeit beschreibt (Leichen) und Tadeusz Rozewitzc (Ein Zopf), die ein Text by Karl Kraus (1874-1936) die menschliche Schwäche mit den beunruhigten Ausschnitt aus Louis Aragons Gedicht Auschwitz 5 Frühlingsnacht (Baritone) 3:46 Stimmen von Sopran und Chor, die Blechbläser und voneinander trennt. Dem feierlichen Einsatz der Text by Hermann Hesse (1877-1962) Schlagzeug durch eine unterschwellige Tragik Männerstimmen und tiefen Streicher folgt ein klagendes 6 Ende des Herbstes (2. Strophe) (Choir) 0:50 verstärken. Sopransolo nebst heftigen Akkordballungen des vollen Text by Rainer Maria Rilke Der zehnte Satz enthält die letzte Strophe aus Rilkes Chores. Das schicksalsschwere Schlagzeug unterstreicht 7 Sag’ ich’s euch, geliebte Bäume? (Soprano, Choir) 4:01 Ende des Herbstes mit ihren düsteren Andeutungen der die knirschenden Dissonanzen der tiefen Streicher, Text by Johann Wolfgang von Goethe (1749-1832) Sterblichkeit: Der Chor singt diesen Text und gelangt zu bevor Mezzosopran und Chor ihre volltönende Antwort 8 Im Nebel (Soprano, Choir) 2:56 einem Höhepunkt, dem sich ein schmerzliches Solo der singen. Die Solostimme wird danach von kantigen Basstrompete als Postludium anschließt. Der Bariton Einwürfen der Blechbläser begleitet. Am Ende obliegt Text by Hermann Hesse setzt wieder im vorletzten Satz ein, und zwar mit den es dem Chor, dem Abschnitt den Anstrich eines 9 Vergänglichkeit (Soprano, Choir) 2:03 Worten des Rilke-Gedichtes Herbsttag; dabei wird die angstvollen Gebets zu geben. Text by Hermann Hesse Schilderung des kommenden Niedergangs, den diese Der zweite Teil, Apokalypse, verwendet Ausschnitte 0 Ende des Herbstes (3. Strophe) (Choir) 1:55 Jahreszeit mit sich bringt, durch die Beschränkung des aus Psalm 116 und der Offenbarung (Kapitel 2, 6, 7, 11- Text by Rainer Maria Rilke Orchesters auf tiefe Holzbläser und Streicher betont. 13 und 19) sowie aus den Eumeniden des Aischylos. ! Herbsttag (Baritone) 2:41 Der abschließende zwölfte Satz ist zugleich der Dem Chor kommt mit seinem Flüstern und Schreien Text by Rainer Maria Rilke umfänglichste: In O grüner Baum des Lebens spricht eine emphatische Bildhaftigkeit zu, die von den brutalen @ O grüner Baum des Lebens Achim von Arnim von dem Lebensbaum, den jeder Interjektionen der Blechbläser und des Schlagzeugs (Soprano, Mezzo-soprano, Baritone, Choir) 8:07 Mensch im Herzen trägt und der im Angesicht des noch intensiviert werden. Der Solobass beginnt dann Todes den Weg zum ewigen Leben zeigt. In diesem mit einem gewichtigen, von Blech und Pauken Text by Achim von Arnim (1781-1831) Finale werden alle Mitwirkenden erstmals gemeinsam durchsetzten Monolog. Mit den tiefen Blechbläsern und Dies irae 25:22 eingesetzt. Die Musik steigert sich zu einer intensiven, Streichern geht es zu dem finster starrenden Höhepunkt fugierten Streicherpassage, die von dem finsteren des Werkes, der von irrwitzigen Gesten des Chores und # I. Lamentatio 10:39 Basstrompetensolo abgeschnitten wird. Dann steuern dem schrillen Heulen einer Sirene gekrönt wird. $ II. Apocalypsis 10:33 der Chor und nach diesem die Solisten auf die Der dritte Teil, Apotheose, verwendet Worte der % III. Apotheosis 4:10 eigentliche Klimax des gesamten Werkes zu, bevor es in Offenbarung und des Paulus-Briefes an die Korinther stark kontrastierenden Passagen weitergeht, bis das sowie die letzte Zeile aus Paul Valérys Le Cimetière Aus den Psalmen Davids 10:55 Orchester in geisterhaftem Schlagzeug verklingt und der marin („Der Friedhof am Meer“). Den nachdrücklichen ^ I. Psalm 28 (27) 3:03 Chor nach oben im Nichts verschwindet. Äußerungen des Tenors und der Sopranistin schließt & II. Psalm 30 (29) 1:54 Das Oratorium Dies irae ist zwar für eine sich der Chor an, indessen die Musik wütend * III. Psalm 43 (42) 2:11 vergleichbare Besetzung komponiert, musikalisch aber emporwogt und dann in den tiefen Streichern erstirbt. ( IV. Psalm 143 (142) 3:48 eine ganz andere Angelegenheit. Das Anfang 1967 Der Chor allein rezitiert die letzten, schicksalhaften vollendete Werk entstand als Auftrag zur Enthüllung Worte: „Wir wollen versuchen, zu leben.“ 8.570450 2 11 8.570450 570450 bk Penderecki 13/11/07 16:23 Page 10 Krzysztof Penderecki (geb. 1933) Krzysztof Penderecki (b. 1933) Symphonie Nr. 8 • Dies irae • Aus den Psalmen Davids Symphony No. 8 • Dies irae • Aus den Psalmen Davids Die Symphonik bildet seit langem einen Schwerpunkt in Mezzosopran und Chor, zu der sogar die Glocken Symphonies have long been central to the compositions parallel to the onset of human experience. The text is Krzysztof Pendereckis Schaffen. Seine 1973 vollendete läuten. Im zweiten Satz hat Penderecki die erste Strophe of Krzysztof Penderecki. Completed in 1973, his First taken by a baritone, his imploring manner mirrored by the erste Symphonie [Naxos 8.554567] bezeichnete den aus Rainer Maria Rilkes Ende des Herbstes vertont: Auf Symphony [Naxos 8.554567] marks the culmination of orchestra, with sighing phrases on strings and plaintive Höhepunkt seiner „avantgardistischen“ Phase und führte kraftvolle Weise tönt in Chor und Orchester die his ‘avant-garde’ phase as well as taking the colouristic oboe solo at the close. zugleich das koloristische Idiom der Werke, die in dem Warnung vor dem unvermeidlichen Wandel, wobei das idiom of the pieces from the preceding decade to its The fourth movement again features a baritone in a voraufgegangenen Jahrzehnt entstanden waren, an seine tiefe Blech im Vordergrund steht. Der dritte Satz findet limits. By the time his Second Symphony [Naxos setting of Karl Kraus’s Flieder (Lilac) which, in telling of Grenzen. Als dann 1980 seine zweite Symphonie zu Eichendorff zurück: Bei einer Linde ist eine 8.554492] appeared in 1980, Penderecki was in the midst the renewal of natural as well as human life, is notable for [Naxos 8.554492] erschien, befand sich der Komponist Reflexion über die Vergänglichkeit des Frühlings, in of a ‘neo-Romantic’ phase, with its allusions to late- its skirling woodwind and incisive strings in music that is mitten in einer neoromantischen Phase, die immer dem der Mensch seine ersten Erfahrungen sammelt. Der nineteenth-century music. The next three symphonies more animated in expression. The baritone remains for wieder auf die Musik des späten 19. Jahrhunderts Text ist dem Bariton übertragen, dessen flehentlicher each mine aspects of the stylistic pluralism he has since the fifth movement, a setting of Hermann Hesse’s anspielte. Die anschließenden drei Symphonien Ton sich im Orchester mit den seufzenden Streichern pursued. The Third Symphony [Naxos 8.554491] was not Frühlingsnacht (Spring
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