ANAKLASIS PENDERECKI PDF
Penderecki: Anaklasis, Threnody for the Victims of with Wilkomirska, Wanda on CD. Order from your preferred classical music CD store – ArkivMusic. Composer:Krzysztof Penderecki; Original title: Anaklasis na orkiestrę smyczkową i 6 grup perkusyjnych; year of completion: ; instrumentation: string. Krzysztof Penderecki, Polish Radio National Symphony Orchestra, London Symphony Orchestra, Wanda Wilkomirska – Penderecki: Anaklasis; Threnody; etc .
| Author: | Grolkis Mazurg |
| Country: | Luxembourg |
| Language: | English (Spanish) |
| Genre: | Relationship |
| Published (Last): | 17 May 2012 |
| Pages: | 353 |
| PDF File Size: | 14.42 Mb |
| ePub File Size: | 6.22 Mb |
| ISBN: | 133-7-59613-877-3 |
| Downloads: | 40989 |
| Price: | Free* [*Free Regsitration Required] |
| Uploader: | Kagazahn |
Anaklasis is a musical composition for 42 string instruments and percussioncomposed in by the Anaklxsis composer Krzysztof Penderecki b. It was first performed at the Donaueschingen Festival in West Germany in At this first performance, anaklasix was well received by the audience who demanded an encore.
The title of the piece, Anaklasis means “Refraction of Light”. This idea is expressed through the continuous modulation of timbre in the piece. Additionally, Anaklasis is a metrical term used in Greek poetry.
Penderecki: Anaklasis, Threnody for the Victims of Hiroshima, Capriccio, Etc. / Penderecki
Penderecki’s biographer, Wolfram Schwinger noted that, “Penderecki has indeed admitted, in his programme note for Donaueschingen when Anaklasis was first performed, that this metrical definition inspired the rhythmic procedure of the central section, and led to the ideas of rotation and arhythmical progressions as factors governing the rhythms generally.
Schwinger said of the piece, it is “a document of extreme differentiated and multifarious composition in sound-patterns, a work of the most complicated noise-structures. Special effects he uses in the piece include dropping of a pencil on the strings of the piano and stroking the strings with jazz brushes.
The form of the pieces is tripartite, with an A section which is strings alone, a B section which is percussion alone, and a C section which is a mixture of the two. The A section begins with five solo strings which begin and add to a pianissimo tone cluster in sequence starting with a solo viola’s a. Larger groups of strings superimpose sforzandi on these entrances. Penderecki uses a large variety of articulations and string techniques to vary the color and texture of the first section which is characterized by continuity of noise and sound.
Groups of strings play clusters of pitch, some definite and some indefinite, which contrast in timbre by the use of harmonicstremolovibratocol legnopizzicatoand sul ponticello. In addition to timbre, the strings contrast in dynamic and register. Penderecki carefully transitions into the percussion B section with relative smoothness in opposition to the contrast in timbre.
The B section generally has a somewhat smooth and even sound, but this is created by an extremely complex combination of rhythmic microstructures.
On a micro anaklaeis, the section is characterized by rhythmic cancrizanscanons, and other procedural units. As with the A section, a large variety of timbres are executed through the large number of instruments and playing techniques. The piece transitions into the C section by reducing the orchestra in sequence until it is only ten violins playing pppp in a tight tone cluster.
Anaklasis – Three composers – Ninateka
In this last section, Penderecki blends the strings and percussion with a combination of percussion sounds, string tremolo glissandiand unconventional piano techniques.
The piece ends with a chord played pizzicato on the inside of the piano.
The piece is scored for 20 violins8 violas8 celli6 double bassescelestaharppiano, and a large percussion section including xylorimbacongaswooden-drumsvibraphonebongosbellscymbalsglockenspieltom-tomstrianglegongtam-tamand timpani to be played by six percussionists.
Additionally, the pianist is responsible for playing wooden claves or rumba-sticks. The tempi in the beginning and end of the piece are noted in durations of seconds. The middle section uses more conventional metronome marks which range from quarter note equals 44 to quarter note equals From Wikipedia, the free encyclopedia. Divertimento cello Prelude for Clarinet.
Requiem of Reconciliation Agnus Dei only. List of compositions by Krzysztof Penderecki. Retrieved from ” pehderecki Compositions by Krzysztof Penderecki. Wikipedia articles needing page number citations from October Views Read Edit View history.
This page was last edited on 17 Augustat By using this site, you agree to the Terms of Use and Privacy Policy.