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Born in Debica, Poland in 1933, Krzysztof Penderecki took up both piano and violin at an early age. From the age of 18, he studied composition with Franciszek Skolyszewski at the Krakow Conservatory, alongside studies of philosophy, history, and literary history at the university in the same city. Starting in 1954, he undertook further study of composition with Artur Malawski, and later with Stanislas Wiechowicz (after the death of Malawski in 1957), at the Krakow Academy of Music.
Following the premiere of Strophen in 1959 at Warsaw Autumn, Penderecki gained recognition as a significant figure in contemporary music. Subsequent works, such as Dimensionen der Zeit und der Stille (1959-60), Fluorescences (1961-62), and String Quartet No. 1 (1960), cemented his reputation internationally.
Pendereckiâs music up to the late-1970s is replete with sonic effects while remaining compositionally economical. It is characterised by powerful gestural figures constructed from âultra-chromaticâ clusters, glissandi, and chance elements, as well as by the use of novel extended techniques (notably in the strings). The radicalism and novel timbres in works such as Emanations (1959), Anaklasis (1960), Threnody to the Victims of Hiroshima (1960), Dies Irae (Auschwitz Oratorium) (1967), Polymorphia (1961), and De natura sonoris No. 1 (1966) led to comparisons with the works of Xenakis and Ligeti. However, in contrast to these two composers, Penderecki frequently drew inspiration from his religious convictions, as evidenced by sacred works such as Stabat Mater (1962), which would later be incorporated into St Luke Passion (1966) and Utrenja (1969).
Later, without diminishing his standing as a pre-eminent composer, Penderecki gradually abandoned the avant-gardist elements in his musical language, adopting a musical style which would draw considerable criticism from his peers but which also brought about a much broader acceptance of his works. This new period was marked by neo-tonality, in the form of a post-romantic, even Brahmsian style â as in Requiem (2005) â which resembled New German Simplicity (albeit with a religious dimension, an element that remained present throughout his career).
While teaching at the Essen Conservatory (1966-68), Penderecki composed his first opera, The Devils of Loudun, a work which counts among the crowning achievements of his first period, premiered in 1969 at the Hamburg Opera and subsequently toured internationally to great acclaim. Three further operas followed: Paradise Lost after John Milton, premiered in 1978 in Chicago; The Black Mask, based on a play by Gerhart Hauptmann, premiered in 1986 at the Salzburg Festival; and Ubu Rex after Alfred Jarry, premiered in Munich in 1991.
Penderecki was the recipient of numerous accolades, notably for his concertos, chamber works, and vocal music. He was also awarded honourary doctorates and professorial chairs from universities around the world.
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