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Journal articles on the topic 'Penderecki'

Author: Grafiati

Published: 4 June 2021

Last updated: 20 February 2023

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1

Pisowicz, Andrzej. "Pendereccy wywodzą się z Iranu." Lehahayer 6 (December 31, 2019): 341–46. http://dx.doi.org/10.12797/lh.06.2019.06.10.

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The Penderecki Family Comes from Iran The author conducts linguistic research to support the thesis that the surname of the outstanding Polish composer Krzysztof Penderecki is of Iranian origin. The name was formed by adding the suffix –i (Persian suffix indicating origin) to the word root Fenderesk, which is the name of the district in the Iranian province of Golestân on the Caspian Sea, where the Armenian minority still resides. In the Persian language there is a correspondence between the letter P and F. This confirms the Penderecki family’s tradition that their ancestor came from Isf

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2

Trzęsiok, Marcin. "Siglind Bruhn i pieśniowe symfonie o przemijaniu." Res Facta Nova. Teksty o muzyce współczesnej, no. 22 (31) (December 15, 2021): 168–71. http://dx.doi.org/10.14746/rfn.2021.22.13.

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This article discusses Siglin Bruhn’s book “Dunkel ist das Leben”. Liedsinfonien zur Vergänglichkeit von Mahler bis Penderecki (2020). It summarises the main theses of the book, i.e., the content of the selected symphonies about transience (Mahler, Zemlinsky, Shostakovich, Penderecki) and the methodological decision to base analyses primarily on the vocal line shown in a particular typographic arrangement that reflects the formal structure of poetry. The review focuses specifically on the analyses of two late vocal symphonies by Krzysztof Penderecki (Sixths and Eighth), which Siglind Bruhn’s b

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3

Nikolskaya, I. I. "Penderecki’s Passing Away. A Few Comments About His Creative Legacy." Art & Culture Studies, no. 1 (2021): 124–41. http://dx.doi.org/10.51678/2226-0072-2021-1-124-141.

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In the article devoted to the passing away of the outstanding Polish composer K. Penderecki (1933–2020), an overview of the creative path and legacy of the master-experimenter is undertaken in all its large-scale diversity. The stylistic and aesthetic modifications of K. Penderecki’s art are recorded with approving of the most important creative principle of his composer biography — the constant overcoming of the aesthetic traditions’ limits. Long-term professional contacts between the author and the composer, which give the study a special personal intonation, allow to clarify the master’s cr

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4

Tomaszewski, Mieczysław. "Penderecki między sacrum a profanum." Pro Musica Sacra 11 (October 30, 2013): 111. http://dx.doi.org/10.15633/pms.557.

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5

Woodman, Alexander. "AN INTERVIEW WITH KRZYSZTOF PENDERECKI." Tempo 74, no. 294 (September 1, 2020): 77–84. http://dx.doi.org/10.1017/s0040298220000406.

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AbstractThis article transcribes an interview with the great Polish composer Krzysztof Penderecki and is one of the last interviews that Penderecki gave before his death on 29 March 2020. It traces the composer's career, from his early musical education to the Ninth Symphony on which he was working at the time of his death, and focuses on the composition of his Threnody for the Victims of Hiroshima, the St Luke Passion and the Polish Requiem.

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6

Clarke, Colin. "Krzysztof Penderecki - ‘PATHS THROUGH THE LABYRINTH: The composer Krzysztof Penderecki’. C MAJOR (2013) DVD 715408." Tempo 68, no. 270 (September 4, 2014): 96–97. http://dx.doi.org/10.1017/s0040298214000527.

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7

O’Loughlin, Niall. "Characterization in the Operas of Penderecki." Musicological Annual 51, no. 2 (June 17, 2015): 127–37. http://dx.doi.org/10.4312/mz.51.2.127-137.

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Characterization in the four operas of Krzystof Penderecki is well developed. It includes specified melodic intervals for characters, distorted vocal lines, the use of coloratura singing and various forms of chanting and speaking.

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8

Bota, João Victor. "O processo criativo musical envolvido na transcrição da composição Agnus Dei de Krzysztof Penderecki." Revista Música Hodie 17, no. 2 (May 22, 2018): 177. http://dx.doi.org/10.5216/mh.v17i2.49314.

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O presente artigo trata da pesquisa do estilo de orquestração observável em composições musicais de Krzysztof Penderecki, que foram analisadas para que eu pudesse transcrever a música Agnus Dei do compositor polonês para banda sinfônica. Durante a pesquisa preliminar das obras orquestrais de Penderecki e a feitura da transcrição propriamente dita, escrevi um "diário de transcrição" (termo inspirado na prática de diversos tradutores que escrevem diários a respeito do ato de traduzir), que mapeou tanto os desafios enfrentados, quanto as soluções que foram encontradas durante meu processo criativ

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9

Drewniak, Janusz. "Biblijne i liturgiczne wątki w twórczości Krzysztofa Pendereckiego." Ruch Biblijny i Liturgiczny 60, no. 2 (June 30, 2007): 117. http://dx.doi.org/10.21906/rbl.341.

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Krzysztof Penderecki (born 1933) is considered to be one of the most outstanding contemporary composers. The religious theme is often taken to be an inspiration for his vocal-instrumental output. Penderecki presents in his compositions the religious and moral problems related to the human nature and existence. The principal issues in his activity are a trial to find a reason of evil and misfortune and also the vision of ordeal. The composer makes use of not only biblical and liturgical texts but also religious poetry mainly in latin language. His religious output has a concert character thanks

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10

Skrukwa, Marek. "Biblical Inspirations in the Works of Krzysztof Penderecki: At the Crossroads of Theology and Music." Perspektywy Kultury 26, no. 3 (October 1, 2019): 47–66. http://dx.doi.org/10.35765/pk.2019.2603.06.

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By taking up Biblical themes in his oeuvre, Krzysztof Penderecki effectuated the idea of returning art to its Christian roots. Analyses of selected fragments of his outstanding works (Seven Gates of Jerusalem and Passion According to St. Luke) show that the composer performed a peculiar, apt and suggestive “translation” of Biblical content into musical language, using contemporary compositional techniques as well as alluding at times to the tradition of J.S. Bach. In the above compositions, Penderecki utilized the sound of the instruments, assigning them symbolic meaning and even exper

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11

Cyran, Krzysztof. "Wymiary czasu, dźwięku i ciszy. Krzysztof Penderecki i sacrum." Pro Musica Sacra 19 (October 30, 2021): 75. http://dx.doi.org/10.15633/pms.4114.

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12

Perron, Alain. "Panorama." Circuit 10, no. 1 (October 2, 2002): 41–52. http://dx.doi.org/10.7202/004686ar.

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Résumé L’auteur trace ici un parcours chronologique de sa carrière de compositeur. Il en ressort que le hautbois est l’instrument privilégié pour ce créateur qui découvrit en Pologne, lors de stages d’études avec Penderecki, une autre façon d’être. De Québec à Winnipeg, en passant par la Pologne, pour enfin revenir à Québec — au fil d’oeuvres souvent symphoniques —, c’est un parcours original qui est présenté.

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13

Мейер, Кшиштоф. "Krzysztof Penderecki. A Few Touches to the Young Musician's Portrait." Музыкальная академия, no. 2(770) (June 23, 2020): 6–12. http://dx.doi.org/10.34690/49.

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14

Mirka, Danuta. "To Cut the Gordian Knot: The Timbre System of Krzysztof Penderecki." Journal of Music Theory 45, no. 2 (2001): 435. http://dx.doi.org/10.2307/3653444.

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15

Cevallos, Semitha. "Claudio Santoro e a Polônia." Revista Música 19, no. 2 (December 22, 2019): 285–308. http://dx.doi.org/10.11606/rm.v19i2.163237.

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Há muitos escritos sobre a presença do compositor brasileiro, Claudio Santoro na Rússia, Alemanha e França. No entanto, pouco se pesquisou sobre sua passagem pela Polônia em 1955 e posteriormente sobre o uso de uma linguagem bem próxima a do sonorismo, característica do início da obra de Krzystof Penderecki, e a do aleatorismo controlado, presente na criação de Witold Lutosławski. Estes estilos oriundos da vanguarda polonesa estão presentes em muitas composições brasileiras dos anos 1960, incluindo obras de Santoro, como a peça Interações Assintóticas.

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16

Gebuhr and Hatten. "The Inspiration of Krzysztof Penderecki: A Personal Retrospective from the United States." Indiana Theory Review 37 (2021): 151. http://dx.doi.org/10.2979/inditheorevi.37.1.05.

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17

Murphy, Scott. "A Model of Melodic Expectation for Some Neo-Romantic Music of Penderecki." Perspectives of New Music 45, no. 1 (2007): 184–222. http://dx.doi.org/10.1353/pnm.2007.0015.

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18

Dudkiewicza, Emilia. "K. Penderecki, Concerto per viola (sassofono) ed orchestra, Concerto per violino solo ed orchestra no. 2 Metamorphosen, seria: Penderecki Special Edition, wyk. P. Gusnar, S. Krylow, Polska Orkiestra Sinfonia Iuventus, K. Penderecki, M. Tworek – dyr. Wydawnictwo Dux Recording Producers (DUX 1344), Warszawa 2016/2017." Seminare. Poszukiwania naukowe 2018(39), no. 2 (May 30, 2018): 217–28. http://dx.doi.org/10.21852/sem.2018.2.23.

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19

Saliers, Don E. "Death Set to Music: Masterworks by Bach, Brahms, Penderecki, Bernstein. Paul S. Minear." Journal of Religion 69, no. 2 (April 1989): 294–95. http://dx.doi.org/10.1086/488112.

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20

Searby, Mike. "Ligeti the Postmodernist?" Tempo, no. 199 (January 1997): 9–15. http://dx.doi.org/10.1017/s0040298200005544.

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The stylistic changes in György Ligeti's music since 1960 have in some ways mirrored those in the wider contemporary music world. In his music of the 1960s he displays an experimental and systematic approach to the exploration of sound matter which can also be seen in the contemporaneous music of composers such as Xenakis, Penderecki and Stockhausen. In the 1970s his music shows a more eclectic approach, particularly the opera Le Grand Macabre (1974–7) in which there is much plundering of past styles – such as allusions to Monteverdi, Rossini, and Verdi. From this work onward there would appea

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21

Ryzhinsky, Alexander S. "Utrenya by Krzysztof Penderecki: Concerning the Question of the Influence of the Musical Traditions of Orthodox Christianity." Music Scholarship / Problemy Muzykal'noj Nauki, no. 1 (2022): 71–82. http://dx.doi.org/10.33779/2782-3598.2022.1.071-082.

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The object of research in article is Krzysztof Penderecki’s large-scale work Utrenya composed in 1970–1971 after the composer’s visit to The Trinity Lavra of St. Sergius. The author analyzes the textual basis of the composition, explaining the principles of selection of the verbal texts, and describes the relationships between individual techniques of the position of the words to the music with the tendencies in the development of choral music in the 1950s and 1960s. Analysis of textural and timbre features of the composition reveals three main sources of the technical compositional solutions:

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22

Beaudoin, Paul. "A Tribute to Krzysztof Penderecki: Marking the Composer’s 80th Birthday dir. by Michael Beyer." Notes 71, no. 3 (2015): 552–53. http://dx.doi.org/10.1353/not.2015.0027.

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23

Molero, Esteve. "¿Cómo y por qué se lee la música?" Folia Humanística 2, no. 5 (May 15, 2021): 46–60. http://dx.doi.org/10.30860/0080.

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La música no siempre se ha escrito. En la cultura occidental, la plasmación de las notas musicales en una partitura no llegó hasta la Edad Media, de la mano de Guido de Arezzo. ¿Por qué antes no se escribía? ¿Cuál fue la necesidad de propició ponerla por escrito? ¿Cómo se concretó un lenguaje tan abstracto como el musical en un sistema de signos, señales y símbolos? Además de responder a estas cuestiones, el artículo aborda la organización de la música modal clásica (de tradición oral), así como lenguajes modernos de difícil concreción escrita (como el swing del jazz o las propuestas estéticas

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24

Никольская, Ирина Ильинична. "Polish Symphonism of the Second Half of the 20 Century: Henryk Mikolaj Gorecki. Krzysztof Penderecki." Музыкальная академия, no. 2(778) (June 30, 2022): 30–63. http://dx.doi.org/10.34690/234.

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Уточняя критерии симфонического жанра, выдвинутые в трудах отечественных музыковедов, автор статьи рассматривает оркестровые сочинения известных польских композиторов второй половины XX века. Произведения Х. М. Гурецкого и К. Пендерецкого характеризуются как индивидуальные, в чем-то абсолютно противоположные проекты, открывающие новые возможности для дальнейшей эволюции жанра симфонии. Гурецкий сочетает монументальность в трактовке формы, в выборе исполнительских составов с крайне ограниченным кругом средств музыкального языка, работает на предельных контрастах динамики, темпа, метроритма, фак

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25

Richardson, Paul A. "Book Review: III. Ministry Studies: Death Set to Music: Masterworks by Bach, Brahms, Penderecki, and Bernstein." Review & Expositor 85, no. 3 (August 1988): 599–600. http://dx.doi.org/10.1177/003463738808500366.

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26

Bobek, Wojciech. "KRZYSZTOF PENDERECKI ARBORETUM IN LUSŁAWICE – A SYNERGY OF CULTURAL HERITAGE AND EXCEPTIONAL VALUES OF NATURAL DIVERSITY." Space&FORM 2022, no. 52 (December 11, 2022): 185–208. http://dx.doi.org/10.21005/pif.2022.52.d-01.

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Penderecki's Arboretum in Lusławice is an example of the creative and unique work of an outstanding composer, visionary and lover of trees. Based on the historic park was created, a new, outstanding work, a collection combining a huge number of taxa into elements of garden composition, based on significant achievements of garden art of classical culture. The high natural and cultural values seamlessly blend with the historical park and the surroundings of the Lusławice Manor. The property is a rare example today of creative development of the historic layout with new elements, without simultan

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27

Poast, Michael. "Color Music: Visual Color Notation for Musical Expression." Leonardo 33, no. 3 (June 2000): 215–21. http://dx.doi.org/10.1162/002409400552531.

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In this article, the author de-scribes Color Music, an alternative notation system for musical expres-sion. The system uses colors and shapes-powerful tools of expres-sion-in conjunction with sound to form a new language for musical no-tation. The author briefly describes the history of color/sound relation-ships since the time of Aristotle and discusses the use of color in scores by Alexander Scriabin, Arnold Schoenberg, John Cage, Krzysztof Penderecki, Gyorgy Ligeti, Olivier Messiaen and other contemporary composers who recognized color as a tool of expression for musical no-tation. He also

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28

Kwapień, Joanna. "Etnomuzykologia Solidarności. Wokół "Musical Solidarities: Political Action and Music in Late Twentieth-Century Poland" Andrei F. Bohlman." Res Facta Nova. Teksty o muzyce współczesnej, no. 22 (31) (December 15, 2021): 161–67. http://dx.doi.org/10.14746/rfn.2021.22.12.

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The article discusses the book Musical Solidarities by Andrea F. Bohlman. In her monograph she describes the history of Solidarity, placing sound at the centre of her analysis. The methods she uses allow her to examine historical facts holistically: she reaches for fieldwork as well as voice analysis, specific music motifs, and the influence of Polish musicians and composers on social attittudes in the 1980s. She offers an interesting analysis of the songs that acompanied the protests and the phenomenon of Stefan Bratkowski’s “Gazeta Dźwiękowa” [Sound Gazette] and its influence on the listener

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29

Lucas, Sarah. "Subject-Position and Béla Bartók’s Music for Strings, Percussion, and Celesta (1936) in Stanley Kubrick’s The Shining (1980)." Hungarian Cultural Studies 15 (July 19, 2022): 146–51. http://dx.doi.org/10.5195/ahea.2022.468.

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Twentieth-century art music composed by Bartók, Ligeti and Penderecki constitutes a large portion of the soundtrack for Stanley Kubrick’s 1980 film adaptation of Stephen King’s novel, The Shining. This music was not written for the film, and the use of these pieces might leave listeners doubtful as to the legitimacy of a connection between them and the scenes in the movie they were used to enhance. However, in the case of the Bartók work excerpted in the film – Music for Strings, Percussion and Celesta (1936) – an analysis of the subject-position of the music allows for another interpretation.

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30

Halec, Barbara. "Professor Jan Szyrocki – the pioneer of the West Pomeranian choral art." Konteksty Kształcenia Muzycznego 4, no. 1 (October 19, 2017): 57–69. http://dx.doi.org/10.5604/01.3001.0010.5351.

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The article presents the figure of Jan Szyrocki, a conductor, pedagogue and music culture promoter, connected with Szczecin for most of his life. He was the founder of the “Słowiki” Boys’ Choir, the “Berżeretki” Girls’ Choir and, first and foremost, the Choir of the University of Technology in Szczecin, which he cooperated with continually for 50 years. The article also describes Jan Szyrocki’s contribution to the establishment of the International Choral Festival in Międzyzdroje and “In terra pax” Choral Academy, as well as his collaboration with renowned composers (e.g. Andrzej Koszewski, Kr

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31

Borchers, Sebastian. "Polish Music Published by Moeck 1958 to 1967 – a (Failed?) Transfer from East to West." Res Facta Nova. Teksty o muzyce współczesnej, no. 21 (30) (December 15, 2020): 48–68. http://dx.doi.org/10.14746/rfn.2020.21.4.

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From the end of the 1950s, the West German publisher Moeck officially represented the state-led music publishing house PWM ‘in the West’ with the permission of the Polish Ministry of Culture. Beside the distribution of score editions and orchestral performance materials by the PWM, Moeck also represented the interests of Polish composers in the Federal Republic of Germany directly in his own catalogue. Among the first authors of the new series of editions were Kotoński, Lutosławski, Penderecki, Serocki and Szalonek. They belonged to a circle that regularly participated in West German musical l

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32

Malecka, Teresa. "Mieczysław Tomaszewski. Muzykolog wolny, niezależny i zaangażowany." Res Facta Nova. Teksty o muzyce współczesnej, no. 20 (29) (December 15, 2019): 7–16. http://dx.doi.org/10.14746/rfn.2019.20.1.

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The article discusses the culture-creating activities of Mieczysław Tomaszewski (1921–2019) at the Polish Music Publishing House and within the context of Musical Encounters at Baranów Sando- mierski (1976–1981). The text is mainly concerned with Tomasze-wski’s publications relating to twentieth-century Polish composers: Karol Szymanowski, Witold Lutosławski, Krzysztof Penderecki and Henryk Mikołaj Górecki. The reflections of the Polish musicologist are closely entwined with the theoretical conceptions developed by himself: the conception of Wort-Ton, the method of integral interpre-tation of

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33

Shchetynsky, Oleksandr. "Borrowed and Original Techniques in the Trio by Leonid Hrabovsky." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 132 (November 29, 2021): 106–20. http://dx.doi.org/10.31318/2522-4190.2021.132.249978.

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Relevance of the study. During several years that preceded the creation of the Trio (1964), Leonid Hrabovsky wrote many other works in various genres and forms, ranging from suites and a sonata for solo instruments, a song cycle, and a cappella choruses, to large-scale compositions for orchestra and for mixed choir with orchestra, and even two one-act operas (piano scores). The composer’s stylistic priorities had been rapidly and strikingly evolving from “social realism with a human face” as evident in the Four Ukrainian Songs, towards a much more radical “sharp” expressionism and constructivi

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34

Dalos, Anna. "Ein symphonisches Selbstbildnis: Über Zoltán Kodálys Symphonie in C (1961)." Studia Musicologica 50, no. 3-4 (September 1, 2009): 203–20. http://dx.doi.org/10.1556/smus.50.2009.3-4.1.

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After the revolution in 1956, the cultural policy in Hungary shifted to allow a new openness toward Western-European movements: consequently 1956–1967 became one of the most important transitional periods of Hungarian music history. Composers turned away from the tradition of the foregoing thirty years, determined by the influence of Bartók and Kodály, imitating rather the works of Schoenberg, Berg, Webern, Boulez, Nono, Lutosławski, Penderecki and Stockhausen. In this context the 78-year-old Zoltán Kodály’s Symphony, written in 1960–1961 for the Swiss Festival Orchestra and dedicated to the m

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35

Kiwała, Kinga. "Aspects of Intertextuality in the Works of the ‘Stalowa Wola Generation’ (Eugeniusz Knapik, Andrzej Krzanowski, Aleksander Lasoń)." Interdisciplinary Studies in Musicology, no. 19 (December 31, 2019): 155–72. http://dx.doi.org/10.14746/ism.2019.19.11.

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In the panorama of Polish music of the 2nd half of the 20th century the works of Silesian composers stand out. They were born in 1951 and thus they are referred to as the ‘Generation 51’ or the ‘Stalowa Wola Generation’ (from the place of their debut at the Festival ‘Young Musician for the Young City’ in Stalowa Wola in 1976): Eugeniusz Knapik, Aleksander Lasoń and Andrzej Krzanowski. They constituted the first generational phenomenon of such significance in Polish music since the debut of ‘Generation 33’ (Krzysztof Penderecki, Henryk Mikołaj Górecki and others). The musical style of these you

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36

Mikolon, Anna. "Composition trends in polish vocal lyric. Musical language features in polish songs after the mid-20th century based on selected examples." Notes Muzyczny 2, no. 12 (December 13, 2019): 175–98. http://dx.doi.org/10.5604/01.3001.0013.7176.

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The subject for analysis were works for voice and piano by selected Polish composers of the 20th and 21st centuries, e.g. Grażyna Bacewicz, Tadeusz Baird, Henryk Czyż, Henryk Mikołaj Górecki, Henryk Hubertus Jabłoński, Wojciech Kilar, Zygmunt Krauze, Szymon Laks, Witold Lutosławski, Juliusz Mieczysław Łuciuk, Wojciech Łukaszewski, Paweł Łukaszewski, Maciej Małecki, Paweł Mykietyn, Edward Pałłasz, Konrad Pałubicki, Krzysztof Penderecki, Witold Rudziński, Marian Sawa, Kazimierz Serocki, Tadeusz Szeligowski and Romuald Twardowski. An important matter for the author was to determine whether there

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37

Schuler, Manfred. "Pendereckis Hommage an Mozart." Die Musikforschung 45, no. 3 (September 22, 2021): 279–82. http://dx.doi.org/10.52412/mf.1992.h3.1210.

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38

Bolesławska-Lewandowska, Beata. "„Łzy lejąca” w arcydziełach muzyki polskiej XX wieku." Sympozjum 25, no. 1 (40) (2021): 67–82. http://dx.doi.org/10.4467/25443283sym.21.006.13719.

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„Mother weeping” in the masterpieces of Polish music of the 20th century The theme of the sorrowful mother has been present in music for centuries. The medieval sequence Stabat mater dolorosa brought many excellent interpretations. As far as the music of Polish composers in the 20th century is concerned, the first name to be mentioned is Karol Szymanowski and his masterpiece: Stabat Mater, Op. 53 (1926). This work, using a text in Polish and referring to folklore, set one direction for the interpretation of the theme of the sorrowful mother in the Polish music of the last century. It was conti

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39

MURPHY, SCOTT. "In the Beginning of Penderecki's Paradise Lost." Twentieth-Century Music 10, no. 2 (August 12, 2013): 231–48. http://dx.doi.org/10.1017/s1478572213000030.

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AbstractInstead of using Milton's famous opening lines, librettist Christopher Fry begins the text for Krzysztof Penderecki's opera Paradise Lost with the invocation that opens Book III, which alludes to acts of creation both biblical and literary. While the primordial effects of Penderecki's instrumental introduction to the opera parallel this allusion in easily discernible ways, his melodic lines used within this introduction also parallel this allusion in ways understood using recent theoretical perspectives on the composer's neo-Romantic style. These melodies exhibit a rare feature of para

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Wee, Cecilia. "London, Sadler's Wells: Penderecki's ‘Ubu Rex’." Tempo 58, no. 230 (October 2004): 55–56. http://dx.doi.org/10.1017/s0040298204220319.

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A multimedia explosion of musical styles, political satire and dramatic intrigue, the Polish National Opera ended their trio of Polish operas in April 2004 at Sadler's Wells with Krzysztof Penderecki's Ubu Rex. Based on Alfred Jarry's absurdist play, Ubu Roi – in other words Poles (1888), Ubu Rex (1991) resonates well with Poland's political situation in 2004, prompting us to read the opera as an insightful exploration into the identity of a nation navigating the legacy of Soviet rule and its emerging future in Europe.

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Kozak, Mariusz. "Experiencing Structure in Penderecki’s Threnody: Analysis, Ear-Training, and Musical Understanding." Music Theory Spectrum 38, no. 2 (2016): 200–217. http://dx.doi.org/10.1093/mts/mtw015.

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Rickards, Guy. "Copenhagen and Bregenz: Penderecki's ‘The Devils of Loudun’ and Glanert's ‘Solaris’." Tempo 67, no. 265 (July 2013): 70–73. http://dx.doi.org/10.1017/s004029821300048x.

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As with the symphony, the rites have been read over opera as a form many times, yet even in the 21st century it stubbornly refuses to lie down and die. Three recent premières exemplify the basic strength of the genre: a revision of a radical 20th-century icon, and two wholly new works, one based on a psychological science-fiction classic (twice turned into a feature film), the other on a historical, post-medieval King of Sweden. What links the three together is the psychological examination of the events portrayed.

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Milewski, Barbara. "Review: Krzysztof Penderecki's Music in the Context of 20th‐Century Theatre: Studies, Essays and Material." Music and Letters 83, no. 4 (November 1, 2002): 657–60. http://dx.doi.org/10.1093/ml/83.4.657.

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Rickards, Guy. "Hindemith, et al. - HINDEMITH ‘Artist & Educator’: 41 Pieces for 2 violins from ‘Geigen-Schulwerk’; Sonatas for solo violin, op. 31 nos. 1–2. Ida Bieler (vln), Georg Sarkisjan (vln 2). Coviello Contemporary COV61114. - ‘Icelandic String Quartets’. PÁLSSON: Theme with Variations and Fugue. NORDAL: From Dream to Dream. HAUKUR TÓMASSON: A Long Shadow. MAGNÚSSON: String Quartet No 21. 1Stefania Ólafsdóttir (vla). Ethos String Quartet. Smekkleysa SKM65. - PENDERECKI: String Trio; String Quartets Nos. 1–3; Der unterbrochene Gedanke for string quartet; Clarinet Quintet1. 1Arkadiusz Adamski (cl), DAFÔ String Quartet. Dux 0770. - PISTON: String Quartets Nos. 1, 3 & 5. Harlem String Quartet. Naxos 8.559630. - POHJOLA: String Quartets Nos. 1–4. Kamus String Quartet. Alba SACD ABCD 334. - ‘Bow 56’. OLOFFSON: Higgs Boson: Capriccio for string sextet and electronics. PARMERUD: String Quintet No 1. HÅKAN LARSSON: Marks, for string quintet. ANDERS NILSSON: Host, for string sextet. Uppsala Chamber Soloists. Phono Suecia PSCD 190." Tempo 67, no. 264 (April 2013): 87–92. http://dx.doi.org/10.1017/s0040298213000247.

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Kryspin-Seifert, Dorota. "Krzysztof Penderecki „Sextett“." Österreichische Musikzeitschrift 55, no. 5 (January 2000). http://dx.doi.org/10.7767/omz.2000.55.5.28.

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"Krzysztof Penderecki: a bio-bibliography." Choice Reviews Online 42, no. 10 (June 1, 2005): 42–5592. http://dx.doi.org/10.5860/choice.42-5592.

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Pacheco Sánchez, Manuel. "Guerra y memoria: Nono, Penderecki, Britten." Revista de Filología Románica 33 (May 8, 2017). http://dx.doi.org/10.5209/rfrm.55874.

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Dézsy, Thomas. "Lutoslawski und Penderecki dirigieren eigene We'ke." Österreichische Musikzeitschrift 44, JG (January 1989). http://dx.doi.org/10.7767/omz.1989.44.jg.251.

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Baier, Christian. "Krzysztof Penderecki: Die Teufel von Loudun." Österreichische Musikzeitschrift 50, no. 1 (January 1995). http://dx.doi.org/10.7767/omz.1995.50.1.48.

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McCosker, Anthony, and Rowan Wilken. "Café Space, Communication, Creativity, and Materialism." M/C Journal 15, no. 2 (May 2, 2012). http://dx.doi.org/10.5204/mcj.459.

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IntroductionCoffee, as a stimulant, and the spaces in which it is has been consumed, have long played a vital role in fostering communication, creativity, and sociality. This article explores the interrelationship of café space, communication, creativity, and materialism. In developing these themes, this article is structured in two parts. The first looks back to the coffee houses of the seventeenth and eighteenth centuries to give a historical context to the contemporary role of the café as a key site of creativity through its facilitation of social interaction, communication and information

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