Penderecki mixes structure with abandon
By Simon Frank, Associate Editor
Issue date: 2/4/10 Section: Film & Music
As part of this year's New Music Festival, the Music Faculty presented a series of free concerts, focusing on the work of Polish composer Krzysztof Penderecki. Best known for his piece "Threnody for the Victims of Hiroshima," Penderecki specializes in unleashing breathtaking and unexpected sounds from string instruments. The free concert presented by the Faculty of Music at Walter Hall on Jan 27 showcased a fine selection of solo and ensemble pieces. Admittedly, the concept of New Music may not appeal to all - the rigor and formalism of classical music combined with abrasive avant-garde sounds do not spell mass appeal. However, for those willing to take a risk, it was a rewarding evening of innovative yet classically grounded music.
The night began with cellist Winona Zelenka performing the solo piece "Per Slava." It was an effective introduction to the work of Penderecki: interspersing more melodic moments with sudden changes and uncertain, thick timbres, the piece did not jar but still managed to introduce unusual moments and impressive musicianship by Zelenka. The next piece, "Sonata No. 1 for Violin and Piano" was written when Penderecki was a young man and rested on the interplay between delicate violin playing and thick, almost forceful piano playing. The violin part had a flavour reminiscent of Eastern European folk music and Bartok, grounded by the occasional repetitive piano interjection.
However, the most inventive and impressive piece of the night was "Capriccio per Siegfried Palm," a solo cello piece performed by David Hetherington. Encompassing endless tempo changes and countless extended techniques, the piece required intense concentration on Hetherington's part, and he delivered. "Capriccio" began with cello playing in the normal fashion, but soon progressed into Hetherington's rhythmically plucking, tapping the body of the cello, and bowing directly on the bridge. After moments of frantic bowing, quiet restrained gestures, and thick, intoxicating drones, the piece drew to a close as Hetherington delicately bowed beneath the bridge, producing an uncertain yet somehow sweet note. It was a breathtaking piece, unafraid of experimentation but still attached to melody and structure (albeit a complex one). Though the more unusual elements and techniques of the piece might have appeared unusual and even random out of context, they were validated by evident concentration and firm musicianship.
The night began with cellist Winona Zelenka performing the solo piece "Per Slava." It was an effective introduction to the work of Penderecki: interspersing more melodic moments with sudden changes and uncertain, thick timbres, the piece did not jar but still managed to introduce unusual moments and impressive musicianship by Zelenka. The next piece, "Sonata No. 1 for Violin and Piano" was written when Penderecki was a young man and rested on the interplay between delicate violin playing and thick, almost forceful piano playing. The violin part had a flavour reminiscent of Eastern European folk music and Bartok, grounded by the occasional repetitive piano interjection.
However, the most inventive and impressive piece of the night was "Capriccio per Siegfried Palm," a solo cello piece performed by David Hetherington. Encompassing endless tempo changes and countless extended techniques, the piece required intense concentration on Hetherington's part, and he delivered. "Capriccio" began with cello playing in the normal fashion, but soon progressed into Hetherington's rhythmically plucking, tapping the body of the cello, and bowing directly on the bridge. After moments of frantic bowing, quiet restrained gestures, and thick, intoxicating drones, the piece drew to a close as Hetherington delicately bowed beneath the bridge, producing an uncertain yet somehow sweet note. It was a breathtaking piece, unafraid of experimentation but still attached to melody and structure (albeit a complex one). Though the more unusual elements and techniques of the piece might have appeared unusual and even random out of context, they were validated by evident concentration and firm musicianship.
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