Polish composers. Outstanding Polish composers: who they are and what they are famous for

Polish classical music was largely shaped by the Romantic tradition. Its founder was Fryderyk Chopin (1810 - 1849), whose works combined romantic motifs with Polish folklore. Stanisław Moniuszko (1819 - 1852), the author of national operas and song cycles, which are successfully performed today in theaters and concert halls, as well as within the framework of the Moniuszko Festival in Kudowa-Zdrój, went in the same direction. The influence of Chopin's work is also felt in the Polish school of piano playing. Great virtuoso pianists - Jozef Hoffman, Arthur Rubinstein, Ignacy Jan Paderewski played Chopin with special feeling.

The two decades between the world wars were marked by the initiative to organize international competitions, including today one of the oldest violin competitions in the world. Henryk Wieniawski (an outstanding violin virtuoso), held in Poznań since 1935, or the International Piano Competition. Fryderyk Chopin in Warsaw (since 1927), where Dmitry Shostakovich, Janusz Olejniczak, Christian Zimerman made their debuts. Among composers, the leading place at that time was occupied by Karol Szymanowski (1882 - 1937), the creator of bright, emotional music, often colored with folklore motifs (an example is the Harnassy ballet). Szymanowski's music has recently gained great popularity in Europe, thanks to Sir Simon Rattle, conductor of the Birmingham Symphony Orchestra, who actively popularizes the works of the Polish composer (recording a number of albums commissioned by the recording company EMI).

After World War II, Polish composers, working under strong political pressure, were forced to compose works by certain dates. Some emigrated (Roman Palester, Andrzej Panufnik, Roman Maciejewski), others, not wanting to obey the system, turned to folklore or abstract musical ideas. Thanks to this, outstanding works not related to politics were born, such as Lutosławski’s First Symphony, the works of Grazyna Bacewicz or Bolesław Szabelski. The situation changed after 1956 with the advent of the political “thaw”. Polish composers quickly found themselves in new creative conditions. At an extraordinary pace, works were born that developed popular trends in Europe in an original way. Among them, the works of Tadeusz Baird and Kazimierz Serocki stood out. On the initiative of these composers, the still existing International Festival of Contemporary Music "Warsaw Autumn" was organized in 1956, which is considered one of the most prestigious on the European continent.

Just as quickly, revolutionary aesthetic ideas were born - for example, the so-called sonorism, that is, a composition technique that relies exclusively on sound shades. The pioneer of sonorism was Krzysztof Penderecki (b. 1933), who paved a completely new path in the development of modern European music. Penderecki's avant-garde creativity initially made a shocking impression on many with its frank use of sounds not only from the musical range, but also from the surrounding reality: natural noises, rumble, the screech of a saw, the knock of a typewriter (Fluorescence). In turn, Witold Lutoslawski (1913 - 1994) delved into the search for perfection of form and sophistication of sound. His music is polyphonic, rich and multifaceted compositions, enchanting sound combinations and not devoid of dramatic tension (Third and Fourth Symphonies, Piano Concerto).

The leading representative of the musical avant-garde is also considered Wojciech Kilar (b. 1932), who today writes mainly music for films, as well as the author of works for orchestra: Riff 62 (1962), Generique (1963) Diphtongos (1964). Among Kilyar’s most famous works is Krzesana’s symphonic poem (1974), a tribute to the composer’s passion for so-called musical minimalism (minimal musik), a movement characterized by parsimony of form and content. Kshesana's poem created a sensation in its time and today is one of the favorite works of both performers and music lovers. The composer still uses minimalist techniques, using a spare but extremely expressive musical language, which evokes strong emotions in listeners. This applies to works inspired by folk melodies (mainly the folklore of the Polish highlanders), works on religious themes, and music for feature films.

Major works of Krzysztof Penderecki

1991 "King Ubu" - opera buffe based on A. Jerry
1984 Polish Requiem for voice, two choirs and orchestra

1980 Second Symphony "On Christmas Eve" for symphony orchestra

1986 "Black Mask" - one-act opera
1978 "Paradise Lost" by D. Milton

1977 Concerto per violino ed orchestra No. 1
1974 "Magnificat" for bass, vocal ensemble, three choirs and orchestra
1971 "Matins" for voice, two choirs and orchestra

1962 "Fluorescences" for large symphony orchestra
1960 "Elegy to the Victims of Hiroshima" for 52 string instruments

1959 "Emanations" for two string orchestras
1958 "Psalms of David" for choir, strings and percussion

Sinfonia Varsovia

Krzysztof Penderecki is the director of the Sinfonia Varsovia orchestra, created in 1984 on the basis of the Polish Chamber Orchestra, and is one of the best in the world. The first permanent guest conductor of the Sinfonia Varsovia orchestra was Yehudi Menuhin, currently replaced by José Cura. Having an almost unlimited repertoire, the orchestra gives concerts all over the world, performing with the best conductors (among them Mstislav Rostropovich, Jerzy Maksymyuk) and artists (José Carreras, Placido Domingo, Andreas Vollenweider).

A departure from avant-gardeism in favor of rapprochement with wider circles

music lovers is reflected in the works of Henryk Mikołaj Górecki (b. 1933). Górecki, an ardent supporter of uncompromisingness in his youth, gradually evolved towards mysticism, as vivid evidence of which was the Third Symphony, written in 1976. A few years later, it achieved unprecedented popularity in the media. This happened with the help of the US recording company Elektra Nonesuch, which recorded Górecki's Third Symphony performed by the American singer Dawn Upshaw and the London Sinfonietta orchestra. The work took leading positions in American and English ratings and took 5th place in the ranking of the most popular musical works of 1993 in the UK. The English radio station Classic FM, at the request of listeners, constantly broadcast fragments of this work by Gurecki. The third symphony was listened to by sophisticated music lovers and people who seemed far from classical music - school youth, truck drivers... Gurecki's simple but passionate music did not leave anyone indifferent, invading the world of the main human feelings.

Major works of Henryk Mikołaj Górecki

1993 "Come Down, Holy Spirit" for a cappella choir

1992 Flute Concerto

1991 Second String Quartet "Quasi una fantasia"
1988 First string quartet “It’s already getting dark”

1987 "Totus Tuus" for a cappella choir
1982 Lullabies and dances for violin and piano
1980 Mazurkas for piano
1976 Third Symphony "Plain Songs" for soprano and orchestra
1974 "Amen" for a cappella choir
1972 Second Symphony "Copernican" for soprano, baritone, choir and orchestra

1971 "Ad Matrem" for soprano, choir and orchestra

1962 Genesis-Elementi per tre archi

1959 Second Symphony "1959" for symphony orchestra and percussion

1958 "Epitaph" for choir and instrumental ensemble

In an atmosphere of reckoning with the avant-garde past, many composers turned to forgotten traditional ideals. This was especially evident in the works of Pavel Szymanski and Pavel Miketyn. Their works are characterized by original associations with the stylistics of classicism, romanticism and even baroque (Sonnets of Miketyn after Shakespeare), far from simplified inheritance. The purpose of this aesthetic position is an attempt to give new meaning to classical art in the context of modern culture, which places both composers among musical postmodernists.

The dialogue with tradition is also noticeable in Penderecki's recent works, which draw directly from cultural archetypes. This is especially felt in the composer’s oratorios and operas (The Devils of Loudun, Paradise Lost, Black Mask), which are bestsellers in modern operatic works. In 2001, the heir to the Spanish throne, Prince Philip, personally presented Krzysztof Penderecki with the prestigious Prince of Austria Prize for the Arts. This prize was awarded for the composer's innovative talent, which allows him to harmoniously combine different musical genres.

The longest symphony in the world is the Symphony-Concerto by Boguslav Schaeffer, written in 1997, the performance of which lasts more than two hours. This work left behind the former leader in this field - the author of the First Symphony, Gavergal Brian (b. 1931). Schaeffer is also known (especially in German culture) as a theorist and musicologist - a specialist in the field of modern music, as well as the author of avant-garde, very witty plays (Script for three actors, etc.)

Among Polish pianists there are many gifted with abilities atypical for musicians. Ignacy Jan Paderewski, being a renowned piano virtuoso, did not hesitate to become the head of the first Polish government of the independent Polish-Lithuanian Commonwealth. Arthur Rubinstein and Mieczyslaw Horszowski performed successfully in concerts at the age of almost 100 years. Józef Hofmann invented car brushes and paper clips, and Janusz Olejniczak played Chopin in Andrzej Zulawski's film La note bleue.

The record for selling a single edition of a CD recording a performance of a contemporary work (in the field of serious music) - more than 1 million copies - belongs to the Third Symphony of Henryk Mikołaj Górecki, published by Elektra Nonesuch.

At the end of the 50s. Krzysztof Penderecki sent three works of his own composition to one of the competitions, although according to the terms of the competition only one was required. He wrote the notes of the first composition with his left hand (with which, by the way, he always writes), the notes of the second were already written with his right hand, and the composer gave the third composition to another person to rewrite - all this was done to increase the chances of winning a prize (which at that time was a trip to study abroad and scholarship). It turned out that all three compositions received awards: the first and two second!

It is worth recalling the recent premieres of such operas as The Ignorant and the Madman by Pavel Miketyn, Balthasar by Zygmunt Krause (who permanently lives and works in Paris), and Antigone by Bernadette Matusczak. Operas by contemporary Polish composers, along with classics of the genre, are staged by leading directors, including Mariusz Treliński, Ryszard Peryt and Krzysztof Nazar. The annual Wratislavia Cantans festival in Poland always features large vocal and instrumental forms: from Gregorian chorales to Gospel & Negro Spirituals, from musical classics to the avant-garde, performed by world-class orchestras, choirs, ensembles and soloists under the baton of such outstanding conductors as Antoni Wit, Kazimierz Kord, Jacek Kasprzyk, Tadeusz Strugala. One of the best conductors with a bright personality, Jerzy Maksymyuk, mainly gives concerts abroad, enthusiastically including new, hitherto unknown works in the repertoire of the ensembles he leads. Maksimyuk has conducted the most renowned orchestras in the world, including the BBC Scottish Symphony Orchestra from Glasgow, earning the honorary title of Conductor Laureate of this orchestra.

On the Polish music scene, leading positions are occupied by vocalists - Teresa Zylis-Gara, Ewa Podles, Kira Boreczko, Wieslaw Ochman, Romuald Tesarovich. Despite the fact that many of them permanently reside abroad, like composers Zygmunt Krause and Hanna Kulenty, violinist Bartholomew Nisiel, harpsichord virtuoso Elzbieta Chojnacka, pianists Krystian Zimerman and Piotr Andrzejewski, the close ties with the cultural heritage of Poland do not break. This is reflected in the repertoire of the above-mentioned vocalists and musicians. It is also worth remembering foreign artists living in Poland. Among them, for example, are such famous musicians as Nigel Kennedy, a world-famous violinist (from Krakow by choice), or the Brazilian conductor José Maria Florencio Junior.

The most interesting music events in Poland

Jazz Jambory. International Jazz Festival, Warsaw, October.

Warsaw Summer Jazz Days. Summer Jazz Festival, Warsaw.

Gdynia Summer Jazz Days. Gdynia, July.

Rava Blues Festival. Katowice, October.

Wratislawia Cantans. International Festival of Oratorios and Cantatas, Wroclaw, October.

International Festival of Church Music. Hajnowka, May.

Warsaw autumn. International Festival of Contemporary Music, Warsaw, September.

International Chopin Festival. Duszniki-Zdroj, July and August.

Jazz, pop music, rock

What characterizes modern pop music? First of all, her life is now regulated not so much by the canons of art, but by the principles of the market. Light music has become a branch of gigantic production, in which there are specific rules. But in addition to international recording concerns, there are small companies that produce discs with music that does not need advertising hype. They say about this kind of music: club music, non-commercial, addressed to a narrow circle of fans. Thanks to such “niches,” the picture of mass culture sparkles with thousands of musical colors and shades. Polish artists also contribute to their creation.

Recording discs today is not particularly difficult, and the worldwide availability of almost any musical recording has become commonplace. What makes Polish musicians stand out in this vast space, which may indicate their creative originality? What factors become decisive when an American, French or Japanese music lover chooses a record of Polish music from among millions of discs, and the public in Hamburg, London or Moscow, with all the wealth and variety of entertainment in these cities, goes to a concert of Polish artists? Is it only today that Polish pop music transcends cultural and geographical boundaries without hindrance, or has this been the case in the past?

The post-war history of light music in Poland began with a passion for jazz. Jazz dominated the stage until 1950. Then the communists in power decided that jazz was nothing more than a manifestation of sympathy for the enemy ideology. Jazz was officially condemned, and a ban was imposed on playing and listening to this music. And only in the mid-50s. Along with the “ideological thaw,” the first shoots of creative freedom appeared. In 1956, jazz enthusiasts, led by the rebellious writer Leopold Tyrmand (who later emigrated), organized Poland's first international jazz festival. Today it is known as Jazz Jamboree and enjoys the reputation of the oldest jazz festival in Europe.

One of the pioneers of Polish jazz was Krzysztof Komeda (1931 - 1969). A physician by training, pianist and composer by heart, Komeda was the leader of many jazz groups, the author of countless standards, and one of the most original composers to write music for cinema in the 60s.

The peak of creative activity in creating one's own musical style occurred in Poland in the 60s. Then talented young people came to literature, cinema, theater, pop and jazz - not only in Poland, but all over the world. The wild imagination and creative courage of the then debutants were most fully and vividly reflected in the biographies of jazz masters - violinist and composer Michal Urbaniak, vocalist Urszula Dudziak, pianist Adam Makowicz, trumpeter Tomasz Stańko, saxophonist Jan "Ptaszyn" Wroblewski, pianist, trumpeter and trombonist Andrzej Kurilewicz. They all started their careers in the early 60s. and in the 70s. have already become seasoned artists. Today, in the oversaturated landscape of styles, fashions and trends, their music is perceived as a figment of the imagination of the brightest personalities who have enormous authority in creative circles.

Michal Urbaniak (b. 1943) is the most frequently mentioned Polish jazz musician. The circulation of his records, published in the country and abroad, exceeds 1.5 million copies. The surname Urbaniak is also found on the covers of several dozen albums recorded together with world jazz stars, including: Marcus Miller, Billy Cobham, Ron Carter, Joe Zawinul, Wayne Shorter, Stefan Grappelli, Miles Davis. Michal Urbaniak surprised them, first of all, with his openness to everything new, his ability to combine jazz with rock music and hip-hop style. Even a violin in the hands of Urbaniak sounds different, its sounds are enriched by electronics, and the method of sound extraction that a musician uses can make the sound of this instrument similar to the sound of a saxophone or a human voice.

In turn, the voice of Urszula Dudziak (b. 1943) is undoubtedly one of the most interesting instruments of modern jazz. In 1958, Dudziak became a soloist with Krzysztof Komeda's band. A few years later, the singer abandoned traditional jazz vocals and began experimenting with electronic voice converters. Thus, she became the founder of a new style in jazz singing, and she still has no equal in this area. The singer has an amazingly powerful voice, unique intonation, performance technique and enormous creative potential, which she demonstrated in one of her greatest hits, Papaya.

Adam Makovich (b. 1940) gained worldwide fame among jazz pianists. The works of George Gershwin, performed by him, delighted not only the American public. The musician received special permission from Ira Gershwin, the brother of the outstanding composer, for individual interpretations of standards. Makovich's playing, like a mirror, reflects almost the entire history of the role of the piano in jazz. It contains: Teddy Wilson's swing, the incredible speed with which Art Tatum's fingers ran across the keys, Errol Garner's own style, Oscar Peterson's elegance. Adam Makovich is more laconic than Keith Jarrett and jazzier than Chick Corea. All this together, combined with virtuoso performance technique, improvisational imagination, and Chopin’s Slavic sweep, paints a one-of-a-kind musical picture worthy of exhibition in the best concert halls in the world.

Tomasz Stańko (b. 1942) - winner of the prestigious Deutschen Schallplattenkritik 2000 and European Jazz Prize 2002 awards, has held the title of the first trumpet player in Europe for three decades. In 1962, he began playing as part of the Jazz Darings quartet, which he founded together with Adam Makovich. Apparently, this was the first European band playing free jazz, which, according to one of the German critics, made a successful translation from Ornette Coleman's language into their own. Soon Stanko embarked on a difficult but individual creative path, achieving what truly outstanding musicians are distinguished by - poetic unpredictability and explosive expression. It seems there is a worthy candidate to fill the throne vacated by Miles Davis. Especially if you take into account the warm reception that the US audience gave the Polish trumpeter in November 2002.

Saxophonist Zbigniew Namysłowski (b. 1939), one of the most prominent creative personalities of the European jazz scene, also enjoys international fame. He became the first Polish jazzman to record the album Lola abroad, published in 1967 by the Decca record company. This fact was noted in the ranking conducted by the editors of Down Beat magazine (1st place in the category “Talent Deserving Wide Recognition”). Namyslovsky writes music for films, composes works for his own concert repertoire, records solo discs, and also actively develops jazz themes, using motifs drawn from Polish folklore.

The wonderful saxophonist and violinist Zbigniew Seifert (1946 - 1979) passed away too early. In 1967 - 1973 he played with the Tomasz Stańko Quintet. Later he gave concerts and recorded records abroad, most often in Germany, with the jazz groups of Albert Mangelsdorff, Chris Ginze, Charlie Mariano, with the Free Sound ensemble, Joachim Kühn and McCoy Tyner. In 1976, he recorded his first original album, Man of the Light, which brought him worldwide fame. But the disease discovered then did not allow all creative plans to be realized. Zbigniew Seifert managed to record with a group of outstanding American jazzmen, including John Scofield, Eddie Gomez and Jack DiJohnette, the twentieth and, as it turned out, the last Passion record, which still surprises with the originality and expression of the sound of violin instruments.

Polish jazz, using a universal musical language, quickly and effectively made its way into the world. The condition for overcoming geographical boundaries for Polish song was the destruction of linguistic language barriers. This only happened at the turn of the 80s and 90s, when branches of international recording concerns began to play an important role on the Polish music market.

She successfully debuted in the difficult and rather tightly closed British music market for foreigners in the mid-80s. Barbara Tshetshelevskaya (b. 1954), and the US public was the first to approve of her songs inspired by Brazilian rhythms, sometimes with noticeable notes of swing. Today, Barbara Tshetshelevska is well known in the world as Basia - a pop singer, jazz vocalist, composer and lyricist who won the hearts of Americans with a solo concert on Broadway, that sanctuary of artists. Thanks to the records, Bass was heard in other parts of the world. Her songs lead the charts, and almost every disc receives gold or platinum status.

Young and beautiful

Records of two Polish pop stars of the younger generation - Edita Gorniak (b. 1972) and Anna Maria Jopek (b. 1970), published by international concerns, are sold out by music lovers on all continents. Western managers (including John Beach, who looked after Queen for many years) decided to introduce the charming and talented Polish artists to the world. Edita Gurniak took second place in the Eurovision Song Contest in Dublin (1994), performed in a duet with the famous tenor José Carreras at a charity concert, and the English and German media called her “the biggest discovery of the last decade.” Edita Gurnyak has all the ingredients to take the place of Liza Minnelli or Whitney Houston in the future: exotic beauty, a magnificent voice and great stage talent. In turn, Anna Maria Jopek received an award for performing skills from the hands of Michel Legrand himself, and Pat Metheny saw her as a partner for joint recordings of vocal and jazz compositions. Charm, the ability to present herself on stage, the ability to subtly feel jazz, as well as the tenderness of this singer’s performance harmonize very effectively with the sound of Metheny’s guitar.

Alas, Polish rock has achieved the least success on the international stage. He found it difficult to compete with the British giants. However, a lot has changed in recent years. The English version of the Myslovitz album was popularized by the band's concerts in London. The demanding and knowledgeable audience in rock and roll appreciated the charm of the Poles, recognizing the group with the MTV European Music Award 2002 in the category “The Best Polish Act”. It is worth noting that this category appeared in this competition quite recently.

The death metal band Vader is one of the few Polish bands of this genre that has gained worldwide recognition. Vader was born in 1985, and five years later began to have an international career with the support of the German record label Earache Rec. Since 1993, the group has given concerts in Poland at the most important rock festivals, as well as abroad - in Europe, Japan, the USA and Canada. Most of the albums from the group's discography received foreign re-releases, which enjoyed great success in Europe and Japan.

Polish records published by independent studios, popularizing ethnic music that is fashionable all over the world, are gaining great popularity abroad. A valuable acquisition for enthusiasts of ethno and folk styles will be the recordings of the Trebunie Tutki group. The ensemble of Polish highlanders from the area of Bialy Dunajec continues and develops family musical traditions that date back almost a hundred years. The ensemble's professional debut took place in 1991. It was a joint concert with the legendary Jamaican band Twinkle Brothers, playing in the roots-reggae style. The CD W Sherwood recorded together is recognized as one of the best world music albums released in the 10 years of existence of the World Music Charts Europe - an organization of producers from 11 member countries of the European Broadcasting Union (EBU). Another joint album, Best Dub/Greatest Hits, is no less popular. The literally trance-inducing sound of string instruments, enchanting melodies and rhythmic “demonstration performances” of the multi-talented Norman Grant give an extraordinary effect of a roll call and complete mutual understanding of two musical cultures.

It is also worth getting acquainted with the work of De Press, a punk-folk group founded in 1980 in Oslo (Norway) on the initiative of Andrzej Dziubek and Norwegian musicians Jorn Christensen and Ola Smortheim. The repertoire of this group consists of songs inspired by the folklore of the Polish highlanders, arranged in punk, hard rock or ska rhythms. Musicians from Sweden, Belarus and Russia work closely with De Press.

Fans of original sounds can without a twinge of conscience recommend the recordings and concerts of The Cracow Klezmer Band quartet - an extraordinary group of young virtuosos (accordion, violin, clarinet, double bass, percussion instruments). Dynamic compositions and innovative arrangements make The Cracow Klezmer Band one of the most interesting phenomena of the modern radical movement, reviving national Jewish music. But the quartet is not limited only to Jewish melodies, but uses elements of Balkan, Arab, Gypsy, and Slavic musical traditions in its compositions. The team from Krakow has successfully performed with such celebrities as Brave Old World, Anthony Coleman and Sephardic Tinge, The Klezmatics or Dave Krakauer Klezmer Madness. The music of The Cracow Klezmer Band charmed John Zorn himself, a star of modern music, an artist in tireless creative search. In 2000, the famous New York company TZADIK released the debut album of Krakow musicians called De Profundis, and a year later another album appeared - The Warriors.

The image of Polish music will be incomplete if we do not remember Polish composers - authors of music for films. Their achievements have been known for a long time and have received numerous awards. After Bronislaw Kapera, Henryk Wars, who had already passed away, conquered Hollywood with his music in the 50s. In the 60s, Krzysztof Komeda's brilliant Hollywood career was interrupted by a tragic incident. Today, many famous films are decorated with the music of Ian A.P. Kaczmarek, Zbigniew Preisner and Wojciech Kilar - composers who made a great contribution to the achievements of American and European cinema.

Polish composers are the authors of music for films that have become world bestsellers.

Wojciech Kilar - films: The Pianist (2002), Death and the Maiden (1994), dir. R. Polyansky; Portrait of a Lady (1996), dir. D. Campion; Dracula (1992), dir. F. Coppola.

Zbigniew Preizner - films: Three Colors (1993-4), The Double Life of Veronica (1991), dir. K. Kieslowski; The Secret Garden (1993), dir. A. Holland; Damage (in Russian box office - Obsession (1992), directed by L. Malle.

Yan A.P. Kaczmarek - films: Unfaihtful (2001), dir. A. Line; Bliss (1997), rez. L. Young; Washington Square (1997), dir. A. Holland.

Michal Lorenz - films: Bandit (1997), dir. M. Deicher; Exit in Red (1996), dir. Yu. Bogaevich; Blood and Wine (1996), dir. B. Rafelson.

Krzysztof Komeda - films: Knife in the Water (1961), Cul-de-sac (1966), Rosemary's Baby (1968), dir. R. Polyansky; Kattorna (1965), dir. H. Carlsen.

Today, November 23, the outstanding Polish composer and conductor Krzysztof Penderecki celebrates his 80th birthday. His musical talent and innovation made an invaluable contribution to the development of musical art. The legacy of world musical classics would be incomplete without the works of Krzysztof Penderecki and other equally brilliant contemporary Polish composers, whom we decided to talk about.

2013-11-22 23:00

Krzysztof Penderecki

Krzysztof Penderecki is a bright figure of modern world musical culture: composer, conductor, teacher (and outstanding in all guises). He is one of the highest paid, sought-after composers of our time. Penderecki writes mainly only to order, without hesitation to be opportunistic, which, in general, is correct.

The composer studied violin and piano since childhood. At the end of the 1940s, Krzysztof played in the city brass band, and later organized his own orchestra, in which he performed as a violinist and conductor. In his early work, Penderecki experimented a lot and used completely new methods of musical expression - unconventional ways of singing and playing musical instruments, imitating various screams, moans, whistles, and whispers using musical means. The main artistic task of the composer in his early works was to achieve the maximum emotional impact on the listener, and the main themes were suffering, pain, and hysteria. To convey his non-standard musical concept, Penderecki specially invented new signs and used them in scores.

Since the mid-1970s, Penderecki's musical style has evolved towards greater traditionalism and gravitated towards neo-romanticism. The composer pays main attention to large vocal-symphonic and symphonic works. One of them, “Polish Requiem,” was created by the composer over several decades (1980-2005). Krzysztof Penderecki takes great interest in Russian culture, which is expressed in his works - “Glory to Saint Daniel, Prince of Moscow” (1997), “The Passion of John” (based on texts from the Bible, Bulgakov and Dostoevsky; currently unfinished) and oratorio based on texts by Sergei Yesenin (not finished, exact title unknown).

The work of Penderecki's last decades is marked by a rapprochement with the traditions of the 19th century and remains one of the most sought-after among the heritage of music of the late 20th century today.

Zbigniew Preisner

Zbigniew Preisner is one of the most talented composers of our time, who has written many beautiful melodies. He never formally studied music, but studied music on his own, buying records and reconstructing compositions, rewriting passages and pieces to express his admiration or improve upon the original. He soon met the young Polish film director Antoni Krause, who asked him to write original music for his film The Weather Forecast. This experience marked the beginning of Preisner's career as a film composer. Through Krause, Preisner met Krzysztof Kieślowski, who was looking for a composer to work on the music for his film Without End. This work became the beginning of further many years of cooperation and lasting friendship. In 1988, Preisner agreed to write music for all ten episodes of Kieślowski's Decalogue. Some of them assign Preisner's music to the fictional Dutch composer Van Den Budenmaer. This is due to the fact that in the “Decalogue” Kieślowski wanted to use several compositions by Mahler that had never been recorded in Poland (it would have cost a fortune to record them), and Preisner suggested the following solution: “ I(Preisner - editor's note) I’ll write something different, different. If it doesn't work out, you'll have to buy the rights to Mahler. If I write lousy music, let's say it's not me, it's Van Den Budenmaier. And if I write a good one, it will be mine».

Hollywood film producers also paid attention to the composer, and in 1991 Preisner wrote music for films by Louis Mandoka, John Irving, Agnieszka Holland and many others.

The composer defines his style as “romanticism” and refers to the works of Paganini and Sibelius, as well as to Polish romantic composers. He describes his own works as “creations” because he believes that his music is neither classical nor traditional film music. It's something in between.

Wojciech Kilar

Kilyar began composing music in the late 1950s. He adhered to traditional forms, and the influence of Igor Stravinsky, Dmitri Shostakovich, and Sergei Prokofiev was felt in his work. But in the 1960s, together with Krzysztof Penderecki and Henryk Górecki, Wojciech became a pioneer of the Polish musical avant-garde.

By the age of 30, Kilyar was considered a successful classical composer, but his individual style developed somewhat later - in the 70s. One of his most significant works of this period is considered to be “Krzesany” (1974).

Currently, Kilyar is known primarily as a film composer. He has composed music for more than 150 films directed by famous directors, including Roman Polanski and Francis Ford Coppola. Moreover, Wojciech managed to work with the latter on the cult film “Dracula”. It was Kilyar who was asked to compose the musical accompaniment for the Lord of the Rings trilogy by Peter Jackson.

Henryk Mikolaj Górecki

In 1952, Henryk Mikolaj Górecki began his studies at the Rybnik Higher Music School and completed the four-year course in 3 years. His works were first performed in 1958. In 1960, the composer was already in the forefront of the avant-garde. Since 1968, Henryk has been teaching composition at the Katowice Higher School of Music.

True fame came to Górecki in the early 1990s, when his “Symphony of Sorrowful Songs” (Symphony No. 3, 1976) was performed by the American singer Don Upshaw and the London Sinfonietta: more than a million records with their recording were sold around the world. Written for solo soprano and orchestra, the symphony tells the story of the suffering that Nazism caused to Poland.

Despite the commercial success of the 3rd Symphony, Górecki did not continue to write music in the same style. In the 1990s and 2000s, his name most often appeared in connection with his collaboration with the American Kronos Quartet. For this ensemble he composed such compositions as “Songs are Sung” (inspired by the poetry of Velimir Khlebnikov), “Concerto-Cantata” and “Kleines Requiem für eine Polka”.

Gurecki is a legend of modern academic music. He lived a hard life and came a long way as a composer - from avant-garde works in the spirit of serialism and sonorism to neo-romantic compositions that belong to sacred minimalism, a direction also represented by Arvo Pärt, Peteris Vasks and Gia Kancheli.

Andrzej Panufnik

Andrzej graduated from the Warsaw Conservatory in composition and music theory. In 1938-39 he studied to become a conductor at the Vienna Opera. During the occupation, he continued to write music, earning a living by playing the piano in Warsaw cafes in a duet with composer Witold Lutoslawski. During the days of the Warsaw Uprising, he left the capital, leaving all his scores at home to certain death. Fortunately, Andrzej managed to restore some of them.

After the end of the war, Panufnik became the chief conductor of the Krakow Philharmonic, and in 1946 - director of the Warsaw Philharmonic. After irresolvable disagreements and refusal to accept the ideology of socialist realism, the composer emigrated to England in 1954.

On May 23, 2013, the world premiere of Nacho Duato’s one-act ballet “The Invisible” to the music of Panufnik took place on the stage of the Mikhailovsky Theater. The choreographer admitted that the music of the Polish composer haunted him for three whole years. And finally, he staged a ballet about what we cannot see, but we can feel. And he even came up with costumes himself to more accurately convey his emotions.

Frederic Chopin - Polish composer and pianist, one of the greatest musical geniuses (February 22, 1810 - October 17, 1849)

Frederic Franciszek Chopin was born on February 22 (according to other sources, March 1) 1810 in Zelazowa Wola near Warsaw. He grew up surrounded by music and already at the age of 5 he confidently performed simple pieces. Soon the famous musician V. Zhivny became his teacher. A sensitive and experienced teacher instilled in his student a love of classical music

Chopin successfully graduated from the Lyceum and the Higher School of Music, where his studies were led by the composer I. Elsner.

During his studies, Frederic wrote many piano works. By this time he was already recognized as the best pianist in Poland. Critics highly appreciated his work, and ladies appreciated his excellent manners. Chopin traveled extensively throughout Europe, gave concerts and composed new works. Sergei Kuznetsov plays 24 Chopin preludes

Since 1831, Chopin lived constantly in Paris, amazing him with his original mazurkas and polonaises - genres that reflected Slavic dance rhythms and the harmony of Polish folklore. He was highly regarded as a pianist, especially when he performed his own music Pianoforte: Peter Schmalfuss All 14 Chopin Waltzes op.18 "Grande valse brillante" 5:07 op.34 n.1 "Valse brillante" 9:59 op. 34 n.2 15:09 op.34 n.3 17:10 op.42 "Grande valse" 21:13 op64 n.1 "Valzer dell minuto" 23:02 op.64 n.2 26:31 op.64 n.3 29:09 op.69 n.1 33:35 op.69 n.2 36:53 op.70 n.1 39:12 op.70 n.2 41:36 op.70 n.3 44: 34 in mi minore op.postuma

In the most significant works of Chopin of the Parisian period, heroic-dramatic images predominate; the music is saturated with the depth of experience, the strength and breadth of images. 24 etudes

The tragic culmination of Chopin’s works was the famous “Funeral March,” which became part of funeral rituals throughout the world.

Grigory Sokolov plays Chopin Sonata, B-flat minor, Op. 35 (3/3)

The years 1838-1846 marked the peak of the composer's creativity. It was during this period that his most perfect and significant works were created in various genres of piano music. Fryderyk Chopin. Concerto No. 1 for piano and orchestra

He continued to give concerts, but much less often, limiting himself to performing in a narrow circle of friends, devoting himself entirely to composing. F. Chopin. Concerto No. 2 in F minor. Nikolay Lugansky

In recent years, Chopin's life was complicated by a difficult financial situation and lung disease. He almost stopped writing, and Chopin gave his last concert in the fall of 1848 in London in favor of Polish emigrants.

Many famous artists and writers of that time worshiped Chopin: All nocturnes

composers Franz Liszt, Robert Schumann, Felix Mendelssohn, Adolf Meyerbeer, Ignaz Moscheles, Hector Berlioz, singer Adolf Nurri, poets Heinrich Heine and Adam Mickiewicz, artist Eugene Delacroix, journalist Agathon Giller and many others.

Frederic Chopin died on October 17, 1849 in Paris, where he was buried in the Père Lachaise cemetery. The composer's heart, according to his dying will, was transported to Warsaw and walled up in one of the columns of the Church of the Holy Cross.

Mazurkas 00:00 - Op.6 09:27 - Op.7 20:39 - Op.17 36:34 - Op.24 50:06 - Op.30 01:01:06 - Op.33 01:13:01 - Op.41 01:23:25 - Op.50 01:34:48 - Op.56 01:49:25 - Op.59 02:01:13 - Op.63 02:08:20 - Op.posth. 67 02:15:49 - Op.posth.68 02:25:28 - Mazurka Notre Temps 02:31:45 - Mazurka à Emile Gaillard 02:34:26 - Mazurka No.55 - Op.S1 No.2a - in G (BI 16) 02:35:42 - Mazurka No.56 - Op.S1 No.2b - in Bb (BI 16) 02:37:17 - Mazurka No.59 - Op.P2 No.1 - in Bb ( BI 73) 02:38:38 - Mazurka No.61 - Op.P2 No.3 - in C (BI 82) 02:40:51 - Mazurka No.63 - Op.7 No.4 - in Ab (first version ) 02:42:01 - Mazurka No.64 - Op.A1 No.1 - in D (Mazuerek) (BI 4)

F.Chopin - Polonaise op.40 no.1 (Military), F.Chopin - Polonaise op.40 no.1

This is delight, the Soul rushes to the sky and freedom, and happiness, and joy without boundaries!!! I will finish the review post about the work of F. Chopin with my favorite fantasy.

When Horowitz plays, the world must stop at his feet. November 1, 1989 "Bliss! Diamond, fluttering sound, ease and grace, elegance and the finest understanding of the Chopin style of music! The middle part of Fantasie -Impromptu was performed at a more agile tempo and a light sound approaching non legato. The pianist convinced me with just such an interpretation middle part - the work won in integrity, sounded in one breath “like a fleeting vision". In many other interpretations, the middle part sounded slow and too cantabile, which lulled listeners and destroyed the unity of the composition. So why did I chase other interpretations? I think not in vain. After that, I consciously returned to Horowitz, appreciating him as an outstanding pianist and musician. When listening to new performers, it is useful to periodically return to the masters of the past - after all, their art has stood the test of time, and this testifies to the truth of their talent and skill." Svetlana Davydova

THE GREAT POLISH COMPOSER PIANIST-VIRTUOSO, TEACHER, INNOVATOR, SINGER OF ONE INSTRUMENT, UNRUNCHED AND MY FAVORITE FREDERIC CHOPIN

Frederic Chopin

- Polish composer and pianist, one of the greatest musical geniuses

Frederic Franciszek Chopin

in Zelazowa Wola near Warsaw.

He grew up surrounded by music and already at the age of 5 he confidently performed simple pieces. Soon the famous musician V. Zhivny became his teacher. A sensitive and experienced teacher instilled in his student a love of classical music

Chopin successfully graduated from the Lyceum and the Higher School of Music, where his studies were led by the composer I. Elsner.

In the most significant works of Chopin of the Parisian period, heroic-dramatic images predominate; the music is saturated with the depth of experience, the strength and breadth of images.

24 studies

The tragic culmination of Chopin’s works was the famous “Funeral March”, which became part of funeral rituals all over the world.

iflash=420,315,http://www.youtube.com/embed/aHXkVEAjB6o]

Grigory Sokolov plays Chopin Sonata #2, B-flat minor, Op. 35 (3/3)

He continued to give concerts, but much less often, limiting himself to performing in a narrow circle of friends, devoting himself entirely to composing. F. Chopin.

Concerto No. 2 in F minor.

Nikolay Lugansky

Many famous artists and writers of that time admired Chopin:

All nocturnes

composers:

Franz Liszt, Robert Schumann, Felix Mendelssohn, Adolf Meyerbeer, Ignaz Moscheles, Hector Berlioz, singer Adolf Nourri, poets Heinrich Heine and Adam Mickiewicz, artist Eugene Delacroix, journalist Agathon Hiller and many others.

where he was buried in the Père Lachaise cemetery.

The composer's heart, according to his dying wish, was transported to Warsaw

and walled up in one of the columns of the Church of the Holy Cross.

F.Chopin - Polonaise op.40 no.1 (Military), F.Chopin - Polonaise op.40 no.1

Bliss!

Diamond, fluttering sound, ease and grace, elegance and the finest understanding of the Chopin music style!

The middle part of Fantasie -Impromptu was performed at a more agile tempo and light,

approaching non legato sound.

The pianist convinced me with just such an interpretation of the middle movement - the work won in integrity, sounded in one breath “like a fleeting vision.”

In many other interpretations, the middle section sounded slow and too cantabile, which lulled listeners and destroyed the unity of the composition. So why did I chase other interpretations?

I think it’s not in vain. After that, I consciously returned to Horowitz and appreciated him as an outstanding pianist and musician. When listening to new performers, it is useful to periodically return to the masters of the past - after all, their art has stood the test of time, and this testifies to the truth of their talent and skill." Svetlana Davydova

Frederic CHOPIN, the greatest Polish composer and pianist, was born on March 1, 1810.

CHOPIN, FRYDERYK FRANCISZEK (French Chopin, Frderic Franois; Polish Szopen, Fryderyk Franciszek) (1810-1849), Polish composer and pianist who lived and worked in France for a long time (that is why the French transcription of his name was established). Chopin is one of the few composers who actually composed only for the piano. He wrote neither an opera nor a symphony, he was not attracted to a choral group, and there is not a single string quartet in his heritage. But his countless piano pieces in a variety of forms - mazurkas, polonaises, ballads, nocturnes, etudes, scherzos, waltzes and the rest - are universally recognized masterpieces. Chopin was a true innovator, often departing from classical rules and norms. He created a new harmonic language and discovered forms designed to accommodate new, romantic content.

Life. Fryderyk Chopin was born in 1810, apparently on February 22, in Zelazowa Wola near Warsaw. His father Nicolas (Mikolay) Chopin, a French emigrant, served as a tutor and school teacher; Mom was raised in a noble family. Already as a child, Chopin showed bright musical abilities; at the age of 7 he began to be taught to play the piano, and in the same year the small-scale polonaise he composed in G minor was published. Soon he became the favorite of all the aristocratic salons of Warsaw. In the rich houses of the Polish nobility, he acquired a taste for luxury and emphasized sophistication of manners.

In 1823, Chopin entered the Warsaw Lyceum, continuing to study music privately with Joseph Elsner, director of the Warsaw Conservatory. In 1825 he was invited to appear before the Russian Emperor Alexander I, and after that he received an award - a diamond ring. At the age of 16, Chopin was admitted to the conservatory; her graduation in 1829 formally completed Chopin's musical education. That same year, in an effort to introduce his art to publishers and the public, Chopin gave two concerts in Vienna, where critics praised his works and ladies praised his excellent manners. In 1830, Chopin played three concerts in Warsaw, and after that he went on a trip to Western Europe. While in Stuttgart, Chopin learned of the suppression of the Polish uprising. It is believed that the fall of Warsaw became the occasion for the composition of a C minor etude, what is called “revolutionary”. This happened in 1831, and then Chopin never returned to his homeland.

Listen or download Frederic Chopin Waltz op.64 No.2 for free on Prostopleer

In 1831 Chopin settled in Paris. He loved to perform in the homes of his friends and patrons, although he often spoke of them with irony. He was highly regarded as a pianist, especially when he performed his own music in small home gatherings. Throughout his life, he gave no more than three dozen public concerts. His performing style was unique: according to contemporaries, he was distinguished by his extraordinary rhythmic will - Chopin was, so to speak, a pioneer of rubato, he articulated a musical phrase with great taste, prolonging some sounds by shortening others.

Listen or download Waltz N2 in B minor I can play for free on Prostopleer

In 1836, Chopin went to the Czech Republic to see his parents. While in Marienbad, he became interested in a young Polish woman, Maria Wodzinska. However, their engagement was soon called off. In the autumn of the same year in Paris, he met an outstanding woman - Baroness Dudevant, about whose life there was countless gossip in Paris and who by that time had acquired wide literary fame under the pseudonym Georges Sand. Chopin was then 28 years old, Madame Sand - 34. Their union lasted eight years, and they spent most of this time at the writer’s family estate in Nohant. The winter of 1838-1839, spent with George Sand in Mallorca (Balearic Islands), became a nightmare for Chopin, who was not in good health. The combination of bad weather and disorder in the household seemed to have a detrimental effect on his lungs, already affected by tuberculosis.

Listen or download Frédéric Chopin Nocturne No. 2 for free on Prostopleer In 1847, Chopin's relationship with George Sand decisively deteriorated as a result of the musician's interference in his girlfriend's relationship with her children from her first marriage. This situation, together with a progressive illness, plunged Chopin into a state of black melancholy. He made his last appearance in Paris on February 16, 1848. Eight days later, a revolution broke out, overthrowing King Louis Philippe. The composer's friends took him to England, where, already ill, he played for Queen Victoria and gave a few concerts - the final one took place on November 16, 1848. A week later he returned to Paris. Unable to give lessons any longer, Chopin was forced to accept generous support from his Scottish admirer Jane Stirling. The composer's sister, Ludwika, came from Poland to care for the sick man; His French friends did not neglect him either. Chopin died in his Parisian apartment on Place Vendôme on October 17, 1849. In accordance with his wishes, at the funeral service in the Church of St. Madeleine heard fragments of Mozart's requiem.

Music. Chopin's compositional technique is unconventional and largely deviates from the rules and techniques accepted in his era. Chopin was an unsurpassed creator of melodies; he was one of the first to introduce hitherto unknown Slavic modal and intonation elements into Western music and thus undermined the inviolability of the classical modal-harmonic system that had developed by the end of the 18th century. The same applies to rhythm: using the formulas of Polish dances, Chopin enriched Western music with new rhythmic patterns. He developed purely individual - laconic, self-contained musical forms that best suited the nature of his equally original melodic, harmonic, rhythmic language.

Impromptu

Piano pieces of small forms. These plays can be conditionally divided into two groups: predominantly “European” in melody, harmony, rhythm and clearly “Polish” in color. The first group includes most of the etudes, preludes, scherzos, nocturnes, ballads, impromptu, rondos and waltzes. Mazurkas and polonaises are specifically Polish.

Chopin composed about three dozen etudes, the purpose of which is to help the pianist overcome specific artistic or technical difficulties (in particular, in performing passages in parallel octaves or thirds). These exercises belong to the highest achievements of the composer: similar to Bach's Well-Tempered Clavier, Chopin's etudes are brilliant music that brilliantly reveals the capabilities of the instrument; didactic tasks fade into the background and are often not even remembered.

Although Chopin first mastered the genres of piano miniatures, he did not limit himself to them. So, during the winter spent in Majorca, he created a cycle of 24 preludes in all major and minor keys. The cycle is built on the principle “from small to large”: the first preludes are laconic vignettes, the last are real dramas, the range of moods is from complete serenity to violent outbursts. Chopin wrote 4 scherzos: these large-scale pieces, full of courage and energy, take pride of place among the masterpieces of piano literature. His pen includes more than twenty nocturnes - beautiful, dreamy, poetic, lyrical revelations. Chopin is the author of several ballads (this is a genre of a programmatic nature), his work also includes impromptu, rondo; His waltzes are especially popular.

"Polish" genres. Chopin amazed Paris with his original mazurkas and polonaises - genres that reflected Slavic dance rhythms and harmonic language common to Polish folklore. These charming, colorful pieces brought a Slavic flavor to Western European music, which changed the harmonic, rhythmic and melodic schemes that the great classics of the 18th century. left to their followers. Chopin composed more than fifty mazurkas (their prototype is a Polish dance with a three-beat rhythm, similar to a waltz) - small pieces in which typical melodic and harmonic turns sound Slavic, and sometimes something oriental is heard in them. Like everything written by Chopin, the mazurkas are pianistic and require great skill from the performer - moreover, they do not contain obvious technical difficulties. Polonaises are larger than mazurkas both in length and texture. The fantasy polonaise and the polonaise known as the “military” polonaise would have been entirely enough to give Chopin one of the first places among the most original and skillful authors of piano music.

Revolutionary sketch

Large forms. From time to time, Chopin turned to major musical forms. Perhaps his highest achievement in this area should be considered an excellently structured and very convincing in terms of dramaturgical fantasy in F minor, composed in 1840-1841. In this work, Chopin found a model of form that fully corresponded to the nature of the thematic material he had chosen, and thus solved a problem that was beyond the power of many of his contemporaries. Instead of adhering to classical examples of sonata form, he allows the design of the composition, the melodic, harmonic, and rhythmic features of the material to prepare the structure of the whole and the methods of development. In the barcarolle, Chopin's only work of this genre (1845-1846), the whimsical, flexible melody in the 6/8 time signature characteristic of Venetian gondolier songs varies against the background of a constant accompaniment figure (in the left hand).

Chopin created three piano sonatas. The first, in C minor (1827), is a work for youth that is not often performed today. The second, in B minor, appeared a decade later. Its third movement is a funeral march that is famous all over the world, and the finale is a whirlwind of octaves, close to “the wind howling over the graves.” Considered unsuccessful in form, the Second Sonata, performed by great pianists, appears as a strikingly complete work. Chopin's last sonata, B-flat minor (1844), has a cross-cutting structure that unites its four movements, and is one of Chopin's crowning achievements.

Other writings. Chopin also wrote a number of works for piano and orchestra and a few chamber pieces. For piano and orchestra, he created Andante spianato and a polonaise in E-flat major, two concertos (E minor and F minor), a Rondo-Cracowiak, and also variations on a Mozart theme La ci darem la mano (aria from the opera Don Giovanni). Together with cellist O.J. Franchomme, he composed the Grand Concert Duo for cello and piano on themes from Meyerbeer’s opera Robert the Devil, a sonata in G minor, an introduction and a polonaise for the same composition, and also a trio in G minor for piano, violin and cello. Chopin created a number of songs for voice and piano based on Polish texts. All works with orchestra reflect the author's inexperience in the field of instrumentation.