Difference between revisions of "Krzysztof Penderecki"
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==References== | ==References== | ||
| − | <blockquote>"Probably the most influential composer in terms of how many people imitated his style, in recent years, that award would go to [[Anton Webern|Webern]] first, for being the founder of the 'boop-beep' school and also to [[Krzysztof Penderecki|Penderecki]] because of the 'texture' music that a lot of people imitate. But I think that even his music grows out of some of the textural experiments that [[Edgard Varèse|Varèse]] did."</blockquote><div align=right>— [[Frank Zappa on Edgar Varèse]], DownBeat Magazine, November 21, 1981.</div> | + | <blockquote> ''"Probably the most influential composer in terms of how many people imitated his style, in recent years, that award would go to [[Anton Webern|Webern]] first, for being the founder of the 'boop-beep' school and also to [[Krzysztof Penderecki|Penderecki]] because of the 'texture' music that a lot of people imitate. But I think that even his music grows out of some of the textural experiments that [[Edgard Varèse|Varèse]] did."''</blockquote><div align=right>— [[Frank Zappa on Edgar Varèse]], DownBeat Magazine, November 21, 1981.</div> |
| + | '''Den Simms''': ''"Particularly, conducting the audience, where did your idea of doing that ... I know that you've been doing that for years, too. Is that just somethin' you thought up, or somethin'? How did you come about doin' that? That's my particular favorite, one of my favorite things you do."'' | ||
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| + | '''Frank Zappa''': ''"There's a school of European composition that deals with music as texture. Like Penderecki. Some of his stuff would fall into that, where it's not about the melody and the chords. It's about, if you take a group of instruments, and you have them doing different kinds of things all at the same time, it creates something that's more than a chord. It's a texture. It's a sound that's crawling with texture and it's wiggling. And it seemed to me that when an audience applause occurs, there's like, random texture, all the different beats are going at different rates, and that makes this one big sound that's called "Applause". But if you control the rate of the clapping or the location of the clapping you could use the sound of the applause as a musical thing. So I tried it one night and the audience liked it ..."'' | ||
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| + | (Quoted from ''[[They're Doing the Interview of the Century, Part 1]]'') | ||
[[Frank Zappa|Zappa]] mentioned Penderecki as one of his favorite composers in the interviews [[Humo Spoke With Zappa!]] and [[Martin Perlich interviews FZ]]. | [[Frank Zappa|Zappa]] mentioned Penderecki as one of his favorite composers in the interviews [[Humo Spoke With Zappa!]] and [[Martin Perlich interviews FZ]]. | ||
| − | Zappa named ''"The Devils Of Loudon"'' by Penderecki one of his 10 favorite records in ''[[Faves, Raves And Composers In Their Graves]]''. In [[Classical Zappa]] he also cites it as his favourite opera, because he ''"liked the enema scene."'' | + | Zappa named ''"The Devils Of Loudon"'' by Penderecki one of his 10 favorite records in ''[[Faves, Raves And Composers In Their Graves]]''. In [[Classical Zappa]] he also cites it as his favourite opera, because he ''"liked the enema scene."'' |
==See Also== | ==See Also== | ||
Revision as of 17:32, 28 September 2011
Krzysztof Penderecki (Polish pronunciation: [ˈkʂɨʂtɔf pɛndɛˈrɛt͡skʲi], born November 23, 1933) is a Polish composer and conductor. His avant-garde composition "Threnody to the Victims of Hiroshima" (1960) for string orchestra and his choral "St. Luke Passion" (1966) both featured novel compositional techniques, which made him a famous name. Since the 1970s Penderecki's style has changed to encompass a post-Romantic idiom.
References
"Probably the most influential composer in terms of how many people imitated his style, in recent years, that award would go to Webern first, for being the founder of the 'boop-beep' school and also to Penderecki because of the 'texture' music that a lot of people imitate. But I think that even his music grows out of some of the textural experiments that Varèse did."
Den Simms: "Particularly, conducting the audience, where did your idea of doing that ... I know that you've been doing that for years, too. Is that just somethin' you thought up, or somethin'? How did you come about doin' that? That's my particular favorite, one of my favorite things you do."
Frank Zappa: "There's a school of European composition that deals with music as texture. Like Penderecki. Some of his stuff would fall into that, where it's not about the melody and the chords. It's about, if you take a group of instruments, and you have them doing different kinds of things all at the same time, it creates something that's more than a chord. It's a texture. It's a sound that's crawling with texture and it's wiggling. And it seemed to me that when an audience applause occurs, there's like, random texture, all the different beats are going at different rates, and that makes this one big sound that's called "Applause". But if you control the rate of the clapping or the location of the clapping you could use the sound of the applause as a musical thing. So I tried it one night and the audience liked it ..."
(Quoted from They're Doing the Interview of the Century, Part 1)
Zappa mentioned Penderecki as one of his favorite composers in the interviews Humo Spoke With Zappa! and Martin Perlich interviews FZ.
Zappa named "The Devils Of Loudon" by Penderecki one of his 10 favorite records in Faves, Raves And Composers In Their Graves. In Classical Zappa he also cites it as his favourite opera, because he "liked the enema scene."
