³ ! ¹¯—D> ÜÌ\†Sío

555265bk Penderecki US 10/1/03 4:57 PM Page 5

Antoni Wit orchestral se développe alors, les trombones et les aux cordes, des coups de gong ajoutant par leurs timbales poussant la musique vers un éclat plein résonances à l’impression générale de mystère. Le DDD Antoni Wit, one of the most highly regarded Polish conductors, studied conducting d’âpreté, avant que le soliste n’introduise une soliste reprend le mouvement harmonique principal, with Henryk Czyz and composition with Krzysztof Penderecki at the Academy of atmosphère plus capricieuse. Des cordes nerveuses montant jusqu’au sommet de son registre. Après PENDERECKI 8.555265 Music in Cracow, subsequently continuing his studies with Nadia Boulanger in Paris. ondulent et s’enroulent chromatiquement jusqu’à ce que l’interruption d’un bref tutti rappelant Bruckner, l’élan He also graduated in law at the Jagiellonian University in Cracow. Immediately after le soliste se pose sur un accord tenu ; alors la musique se s’accélère avec une idée rythmique aux altos, rejoints completing his studies he was engaged as an assistant at the Warsaw Philharmonic stabilise relativement. Par-dessus la pulsation des par d’autres cordes et par les vents, puis par le soliste. Orchestra by Witold Rowicki and was later appointed conductor of the Poznan cordes, le soliste construit l’éclat le plus soutenu Cette vigoureuse activité contrapuntique se poursuit Philharmonic. He collaborated with the Warsaw Grand Theatre, and from 1964 to 1977 jusqu’ici, avant que la tenue ne reparaisse aux cordes. sans relâche jusqu’à ce qu’elle soit dissipée par une Violin Concertos Nos. 1 and 2 was artistic director of the Pomeranian Philharmonic, before his appointment as Les cuivres font retentir une réponse affligée et le tenue en accord aux cordes. Un discours plus lyrique director of the Polish Radio and Television Orchestra and Chorus in Cracow. From soliste mène l’ensemble jusqu’à un apogée. La musique s’impose alors, austère par son orchestration mais 1983 to 2000 he was the director of the Polish National Radio Symphony Orchestra in reparaît alors brièvement, annonçant une section ponctué de touches de percussions très imaginatives. Le Konstanty Kulka ¥ Chee-Yun Katowice, and from 1987 to 1994 he was the chief conductor and then first guest « scherzo » à la Chostakovitch sur des rythmes de soliste muse songeusement avec la clarinette, puis il conductor of the Orquesta Filarmónica de Gran Canaria. In 2002 he became General percussion répétés. Celle-ci est écourtée par la musique décrit soudain une spirale vers un éclat de tutti Polish National Radio Symphony Orchestra (Katowice) and Artistic Director of the Warsaw Philharmonic Orchestra. His international career funéraire, à laquelle le soliste répond avec la mélancolie passionné. Un passage fugué angulaire mène à une série has brought engagements with major orchestras throughout Europe, the Americas and appropriée. Une section plus pensive, voire résignée d’accords répétés avec un carillon d’orchestre et un Antoni Wit the Near and Far East. He has made nearly a hundred records, including an acclaimed s’ensuit, culminant dans un inquiétant passage de trilles gong, après quoi le discours lyrique reprend, avec un release for Naxos of the piano concertos of Prokofiev, awarded the Diapason d’Or and Grand Prix du Disque de la du soliste enchâssé dans les aigus des cordes, des vents accompagnement poignant des vents. Un mouvement Nouvelle Académie du Disque. In January 2002 his recording of the Turangalîla Symphony by Olivier Messiaen et de la harpe. Un impétueux mouvement de toccata fait apparenté à une toccata s’affirme aux altos et aux received the Cannes Classical Award at MIDEM Classic 2002. Antoni Wit is a professor at the F. Chopin Academy irruption, s’atténuant en rencontrant la musique funèbre percussions, par-dessus lequel le soliste adopte une of Music in Warsaw. avant qu’un soudain éclat de tutti ne vienne amorcer la posture de défi désinvolte. L’intensité s’accroît jusqu’à cadence du concerto. Celle-ci résume la plupart des un nouvel accord tenu, les violoncelles introduisant un idées mélodiques du soliste, brièvement interrompues passage plaintif pour le soliste au sommet de son Krzysztof Penderecki (b.1933) lorsque la musique de scherzo est subrepticement registre, par-dessus le scintillement des cordes et des réintroduite. Le mouvement de toccata met fin à la percussions. La tension augmente, le soliste paraissant Concerto pour violon et orchestre n¡ 1 cadence et l’apogée du concerto est atteint avec une agité tandis que la musique traverse un passage Ç Metamorphosen È Concerto pour violon et orchestre n¡ 2 intervention menaçante des cuivres. Le soliste relâche la tranchant et souvent dansant, regorgeant de pizzicatos et La Symphonie n¡1 de Krzystof Penderecki (1973) symphonies et les concertos prenaient de plus en plus tension dans un épilogue sombre et alarmant, l’alto solo d’indications sul ponticello. L’énergie rythmique (Naxos 8.554567) fut l’apogée de son engagement d’importance dans sa production créatrice. et les basses apportant leur soutien en sourdine, et le s’accroît, interrompue par la cadence, qui tire le auprès de l’avant-garde européenne de l’après-guerre. D’abord conçu pour comporter plusieurs concerto se termine. meilleur parti des capacités techniques du soliste. Le Déjà, dans son Magnificat (1974) et son poème mouvements, le Concerto pour violon n¡1 fut La technique de composition Ç de métamorphose È, mouvement de danse reparaît soudain, mais un accord symphonique L’éveil de Jacob (1975), l’emphase se finalement réalisé en un vaste mouvement unique, qui transforme les motifs et les idées mélodiques au fur de tutti freine brutalement l’élan du morceau et un porte sur l’expression avec son ancrage harmonique même si on peut détecter des vestiges de la conception et à mesure que la musique progresse, joue un rôle passage fantomatique pour le soliste par-dessus les dans les univers sonores fin XIXème de Wagner et de originale dans les fréquents changements d’atmosphère essentiel dans cet ouvrage ainsi qu’elle le fera dans la basses et les timbales, coloré par les interventions de Bruckner. Cette transition fut menée à bien avec le et de rythme de l’ouvrage. Par-dessus des basses et des plupart des Ïuvres orchestrales de Penderecki pendant vents, mène le concerto à son apogée, bref mais Concerto pour violon n¡1 (1974-76), commande de timbales haletantes, le matériau musical de base émerge un quart de siècle. En effet, Metamorphosen est le titre passionné, et à sa résolution finale, les tintements des l’Allgemeine Musikgesellschaft de Bâle, qui provoqua avec peine aux cordes, s’éteignant dans les rêveries de de son Concerto pour violon n¡2 (1992-95), commande cloches et du gong enveloppant ces pages de conclusion une controverse considérable dans les nouveaux cercles la clarinette et des altos. Le soliste apparaît sur cette de la Radio centrale allemande ; il fut créé par fatalistes d’une aura d’incertitude. Cette conclusion musicaux à la suite de sa création du 27 avril 1977 par toile de fond, développant les idées entendues jusqu’ici l’orchestre de cette radio sous la direction de Mariss n’est pas aussi sinistre que la conclusion du Concerto Isaac Stern, à qui il est dédié, avec l’Orchestre en une séquence mélodique ascendante. La tension Jansons, avec Anne-Sophie Mutter, à qui le concerto est n¡1, mais elle n’est guère optimiste. symphonique de Bâle et Moshe Atzmon. La réponse déborde en une idée funèbre aux cordes et aux timbales, dédié. Ici encore, un vaste mouvement unique comporte officielle du compositeur, Ç On peut encore utiliser les sur laquelle le soliste tisse une cantilène plus lyrique plusieurs sections intégrées, avec cette fois une plus formes anciennes pour faire de la musique nouvelle È, mais toujours passionnée avant de se retirer lentement, grande différentiation de tempo et d’orchestration. Richard Whitehouse devait presque devenir une devise alors que les laissant place aux soupirs des cordes. Un puissant tutti L’ouvrage débute par un mouvement oscillatoire Traduction : David Ylla-Somers 8.555265 5 6 8.555265 555265bk Penderecki US 10/1/03 4:57 PM Page 2

Krzysztof Penderecki (b.1933) pensively with the clarinet, then suddenly spirals to an sul ponticello writing. Rhythmic energy increases, Chee-Yun Concerto for Violin and Orchestra No. 1 impassioned tutti outburst. An angular fugal passage curtailed by the cadenza, which exploits the soloist’s An Avery Fisher Career Grant recipient and Young Concert Artists International ‘Metamorphosen’ Concerto for Violin and Orchestra No. 2 leads to a repeated chord sequence with tubular bells technical capacity to the full. The dance motion strikes Auditions winner, the violinist Chee-Yun has performed with many of the world’s and gong, after which the lyrical discourse is resumed back in, but a tutti chord puts paid to the momentum, foremost orchestras, including the Philadelphia Orchestra, the London Philharmonic, Krzystof Penderecki’s First Symphony (1973) (Naxos music now briefly returns, presaging a Shostakovich- with poignant accompaniment from woodwind. A and a ghostly passage for the soloist over basses and the Toronto Symphony, the Houston Symphony, and the National Symphony. Among 8.554567) brought to a climax his involvement with the like ‘scherzo’ section over repeated percussion rhythms. toccata-like motion now asserts itself on violas and timpani, filling out with woodwind contributions, her career highlights are performances at the Kennedy Center’s gala farewell to post-war European avant-garde. Already in his This is curtailed by the funereal music, to which the percussion, over which the soloist strikes a pose of proceeds to bring the concerto to its brief but Mstislav Rostropovich, the Mostly Mozart Festival’s tour of Japan, a national tour with Magnificat (1974) and tone poem Jacob’s Awakening soloist responds in suitably plangent terms. A more nonchalant defiance. This builds intently to a further impassioned climax and final resolution, bells and gong the San Francisco Symphony, performances across three continents of the Penderecki (1975) the emphasis is on an expression with its pensive, even resigned section ensues, culminating in held chord, cellos ushering in a plaintive passage for the strokes shrouding these fatalistic closing pages in an Violin Concerto No. 2 with the composer at the podium, and the première of Lou harmonic roots in the late nineteenth century sound an eerie passage of solo trills against high-lying strings, solo violin at the top of its register, against a shimmer of aura of uncertainty. Not so bleak as the close of the First Harrison’s Suite for Violin and String Orchestra with Michael Tilson Thomas. Chee- world of Wagner and Bruckner. This transition was woodwind and harp. A driving toccata motion bursts in, strings and percussion. Tension increases, the soloist Concerto, then, but hardly affirmative in its demeanour. Yun’s first public performance, at the age of eight, took place in her native Seoul after completed with the First Violin Concerto (1974-6), petering out in the face of the funereal music, before a sounding agitated as the music moves through a spiky she had won the Grand Prize of the Korean Times Competition. When she was thirteen commissioned by the Allgemeine Musikgesellschaft of sudden tutti outburst initiates the concerto’s cadenza. and often dance-like passage, replete with pizzicato and Richard Whitehouse she went to the United States and was invited to perform the Vieuxtemps Concerto No. Basle, which caused considerable controversy in new This sums up most of the soloist’s melodic ideas, 5 in a Young People’s Concert with the New York Philharmonic. Two years later she music circles following its première on 27th April 1977 interrupted briefly when the scherzo music steals back appeared as soloist with the New York String Orchestra under Alexander Schneider at by Isaac Stern, to whom it is dedicated, with the Basle in. The toccata motion ends the cadenza, and the Carnegie Hall and the Kennedy Center in Washington, D.C. In Korea, Chee-Yun Symphony Orchestra and Moshe Atzmon. The concerto’s climax is reached with baleful brass writing. Konstanty Kulka studied with Nam Yun Kim. After moving to the United States she worked with composer’s stated response, that “We can still use old The soloist winds down the tension into a bleak and Dorothy DeLay, Hyo Kang and Felix Galimir at the Juilliard School. Her recording awards include nomination for The Polish violinist Konstanty Kulka was born in 1947 in Gdansk. At forms to make new music”, was to become almost a comfortless epilogue, solo viola and basses in muted Best Début in the first annual Cannes Classical Awards at the MIDEM international music convention. In 1993, the age of eight he began to study the violin with Ludwik Gbiorczyk, motto as symphonies and concertos moved to the support, and the ending is reached. Chee-Yun returned to Korea to receive the Nan Pa award, that country’s highest musical honour, while in the and in both the Secondary School of Music and Music Academy in forefront of his creative output. The compositional technique of metamorphosis, United States she was invited to perform at the White House for President Clinton and his guests in honour of the Gdansk he worked under the direction of Stefan Herman. In 1971 he Although originally planned as a multi-movement transforming motifs and melodic ideas as the music recipients of the National Medal of the Arts. work, the First Violin Concerto was eventually realised progresses, is central to this work as it is to most of graduated with honours at the highest grade. While still at school, he as a single-movement span, though vestiges of the Penderecki’s orchestral works over the next quarter of a participated in the Nicolò Paganini International Competition in Genoa initial conception are detectable in the frequent changes century. Metamorphosen is, indeed, the title of his where he received a diploma with a special distinction. Since 1967 he Polish National Radio Symphony Orchestra of mood and pace. Over heaving basses and timpani, the Second Violin Concerto (1992-5), commissioned by has appeared in over 1500 concerts and recitals throughout the world. basic musical material emerges effortfully on strings, Central German Radio, and first performed by its He has collaborated as a soloist with such orchestras as the Berlin The Polish National Radio Symphony Orchestra was founded in 1935 in Warsaw through the initiative of the well- subsiding into the musing of clarinet and violas. Against orchestra conducted by Mariss Jansons, with Anne- Philharmonic Orchestra, Chicago Symphony, Minneapolis, London known Polish conductor and composer Grzegorz Fitelberg, under whose direction the orchestra worked until the this backdrop the soloist appears, elaborating the ideas Sophie Mutter, to whom the concerto is dedicated. Symphony Orchestra, the Concertgebouw in Amsterdam and has outbreak of World War II. In March 1945 the eminent Polish conductor Witold Rowicki revived it in Katowice, and heard so far into an upward-striving melodic sequence. Again a large single movement falls into several performed at such prominent music festivals as those in Lucerne, Bordeaux, Berlin, Brighton, Prague, Barcelona, in 1947 Grzegorz Fitelberg became its artistic director, on his return to Poland. After his death in 1953, the Tension spills over into a funereal idea on strings and continuous sections, now with a greater differentiation Flanders, Warsaw and many others. He has made many records for radio, television and gramophone companies. orchestra was headed by some of the best-known Polish conductors, including Jan Krenz (1953-68) and Kazimierz timpani, over which the soloist spins a more lyrical, of tempo and orchestration. His recordings include, among others, concertos by Vivaldi, Mozart, Mendelssohn, Glazunov, Lalo, Bartók, Kord (1969-73). From 1983 and for the next seventeen years Antoni Wit was the orchestra’s artistic director. In though still impassioned cantilena, before ebbing away The work opens with an oscillating motion on Prokofiev, Beethoven, Brahms, Karlowicz, Penderecki, Hindemith and Szymanowski. He has participated in September 2000 Joanna Wnuk-Nazarowa was appointed director-manager and for the 2001/2002 season Gabriel to a sighing motion in strings. A powerful orchestral strings, resounding gong strokes adding to the sense of recordings of Polish contemporary music by composers such as Penderecki, Lutos1awski, Knapik, Bloch, Chmura was appointed music director of the orchestra. The orchestra has made numerous archival recordings for tutti now develops, trombones and timpani urging the mystery. The solo violin takes up the prevailing Jablonski, among others, and received a Polish Radio Special Award for his recordings of Karol Szymanowski. In Polish Radio, among them many world première recordings, as a result of cooperation with many Polish and music to a jagged outburst, before the soloist introduces harmonic motion, climbing to the top of its register. A 1981 in Paris he received the Grand Prix du Disque for his recording of Szymanowski’s two violin concertos. He foreign contemporary composers. It has also recorded nearly 160 compact discs for Polish and foreign record a more capricious mood. Agitated strings slither around brief, Brucknerian tutti subsides, then momentum has played Penderecki’s concertos many times in Europe and North America, mainly under the direction of the companies. The five Piano Concertos by Prokofiev (8.550566 & 8.550565) under Antoni Wit with the soloist Kun chromatically, until the soloist alights on a held chord, increases with a rhythmic idea on violas, joined by other composer himself. He takes part in many foreign tours with Polish orchestras, and is directly connected with the Woo Paik for Naxos were awarded the Diapason d’Or and the Grand Prix du Disque de la Nouvelle Académie du and the music attains some degree of stability. Over strings and woodwind, then by the soloist. This Warsaw National Philharmonic Orchestra where, since 1984, he has held a regular position as a soloist. It is with Disque 1992. Their recording of Messiaen’s Turangalîla Symphony (8.554478-79) under Antoni Wit for Naxos was pulsating strings, the soloist builds the most sustained vigorous contrapuntal activity continues unabated, until this orchestra, mainly conducted by Witold Rowicki and later by Kazimierz Kord, that he has toured the whole awarded the 2002 Cannes Classical Award. The orchestra has collaborated with leading conductors and soloists and outpouring so far, before the held chord reappears on dissipated by a held chord in the strings. A more lyrical world many times. Konstanty Kulka has received many honours, among others awards from the Ministry of Culture has toured most European countries as well as Iran, Lebanon, Japan, Hong Kong, China, Mongolia, Australia, New strings. Brass sound a plangent response, and the soloist discourse now sets in, austere in scoring, but touched by and Fine Arts, the award of the Polish Foreign Office for services to the popularisation of Polish culture abroad, Zealand, South Korea, Taiwan, the United States, Canada and Brazil, receiving enthusiastic critical and audience drives the music to a climactic peak. The capricious some imaginative percussion writing. The soloist muses many honorary titles and other occasional distinctions. acclaim. 8.555265 2 3 8.555265 4 8.555265 555265bk Penderecki US 10/1/03 4:57 PM Page 2

NAXOS PENDERECKI: Orchestral Works Volume 4 8.555265 h 2003 & g 2003 HNH International Ltd. Booklet notes in English • Notice en français Made in Canada 77:32 DDD 7 47313 52652 9 8.555265 Playing Time www.naxos.com ) 39:16 38:16 2 ius (b.1949) (by kind permission) ã ) ¥ Chee-Yun, Violin ( Violin ) ¥ Chee-Yun, 1 (b.1933) Krzysztof PENDERECKI (A pastel, 1996 by Stasys Eidrigievi Triangle), t Orchestral Works Volume 4 Volume Works Orchestral à Sponsored by Polish Ministry of Culture and National Heritage rójk T iolin and Orchestra No. 2 iolin and Orchestra Concerto for No. 1 and Orchestra Violin ‘Metamorphosen’ for Concerto V Producer, Engineer &Producer, Editor: Beata Jankowska ¥ Booklet Notes:Whitehouse Richard Konstanty Kulka, Violin ( Violin Konstanty Kulka, 2 1 Recorded at the Grzegorz Fitelberg Concert Hall, Katowice, Poland, from 22nd to 26th May, 2000 Poland, from 22nd to 26th May, Concert Hall, Katowice, Recorded at the Grzegorz Fitelberg Cover Painting:

Polish National Radio Symphony Orchestra (Katowice) ¥ Antoni Wit Antoni (Katowice) ¥ Polish National Radio Symphony Orchestra

Krzysztof Penderecki’s violin concertos represent an expressive and powerful and expressive an represent concertos violin Penderecki’s Krzysztof harmony. century nineteenth in late rooted yet progressive, music; his of aspect evolve and constantly ideas musical suggests, second concerto title to the As the movement both single they are Although the works. throughout transform traditional rôle of take the tempo mood and changes of frequent works, be revived that old forms must maxim consistent with Penderecki’s movements, in order new music. to create

AXOS N PENDERECKI: PENDERECKI: Orchestral Works Volume 4 Volume Works Orchestral 8.555265 555265r Penderecki US 10/1/03 5:19 PM Page 1 PM Page 5:19 10/1/03 US Penderecki 555265r