Category: Daily Dispatch

One of the most important composers of the second half of the 20th century has died.

In 1960, Polish master Krzysztof Penderecki rode an atomic blast that leveled Soviet-sanctioned socialist realism in music and propelled him into the forefront of the avant-garde. “Threnody for the Victims of Hiroshima” became an international sensation.

A follow-up, “Polymorphia,” for 48 violins, was creepy enough that it was selected by director William Friedkin for inclusion in the soundtrack to “The Exorcist.” For both works, Penderecki abandoned traditional notation and invented his own system of graphic notation inspired by electroencephalograms. Dense clusters, microtones and glissandi prevail.

Over the decades, filmmakers have been drawn to Penderecki’s early concert works to enhance their own eerie, anxious, and otherworldly visions. His music was used in “The Shining,” “Wild at Heart,” “Twin Peaks,” and “Shutter Island.” He provided an original score for the cult classic “The Saragasso Manuscript” (1965), based on a trippy 1815 picaresque, in itself way ahead of its time, by Jan Potocki. It’s said that “The Saragasso Manuscript” was Jerry Garcia’s favorite movie.

In the 1970s, Penderecki, while still employing avant-garde techniques, began to explore more recognizable harmonic relations, and by 1980, he leveled off into a more widely approachable style. He felt the avant-garde had tumbled too far down the formalistic rabbit hole. The pendulum had swung too wide; the solution had become the problem. It had served its purpose as a big “eff you” to Soviet authoritarianism, but now he was ready to settle down and write music.

He abandoned the undeniably striking stunt compositional style of his youth – on which his fame principally rests – and in the works of his maturity everything is laid bare. There is not much in his later music to frighten the horses, but prolonged exposure might make them a little gloomy.

Critics began to offer comparisons to the works of Dmitri Shostakovich. Penderecki was seldom ingratiating – I am hard-pressed to think of a sunny Penderecki piece – but he was always a master of his craft.

He composed four operas, eight symphonies, concertos, chamber and solo instrumental music, and choral settings of mainly religious texts. His “St. Luke Passion” made a big impression in Rome, though he himself attended a minority Armenian church.

Penderecki was 86 years-old.

The first time I encountered “Threnody for the Victims of Hiroshima” (1960), it was like nothing I had ever heard before. This is not comforting music, but it is unforgettable.

“Polymorphia” (1961), with score in graphic notation:

“St. Luke Passion” (1966):

Symphony No. 3 (1988-95), Penderecki embraces the Romantic tradition:

“Resurrection” Concerto (2002), written in response to the terrorist attacks of 9/11: