the string quartet tribute poker face! String Quartet No

Date: 18 April 2024

the legendary polish composer krzysztof penderecki devoted his spare time to nurturing his remarkable garden in lusławice, poland here we combine his two greatest passions – music and flora – celebrating his life, compositions and inspirations through a virtual garden, which will grow along with his legacythrough the garden’s layout, based on penderecki’s non-musical life achievement - lusławice garden, its architectural structures and vegetation - we present insight into the life of the composer alongside compositions, inspirations and poemsthe administrator of the personal data you give us is the adam mickiewicz institute (ami) with its registered offices at 25 mokotowska street, warsaw 00-560, poland you do not have to enter your data in the submission form, although it is necessary if you want to receive the newsletter you retain the right to access and change (including any updates) the data stored by us your personal data will be used by us in accordance with eu law in order to deliver the newslettervisit one of europe’s largest garden labyrinths and discover the music that has been concealed inside it! penderecki planted 15000 hornbeams in accordance with a medieval design once found on a reproduction in an old book

to learn the labyrinth’s history, find four fragments of penderecki’s work use the keyboard and the mouse to move around the site a park like a score - read more it was my dream to obtain a specimen of a unique tree species, davidia involucrata kerchiefs in a tree - read more i planted many varieties of aesculus round the centre, but, alas, they didn’t take root freezing chestnut trees - read more [my neighbours] would come to visit, looked round, and asked me what i needed those mongolias for (they meant magnolias!), why so many trees… mongolias and the sketches - read more i have turned to the form of the symphony in order to absorb and process the experience of our century the symphony as an ark - read more i met rostropovich after a concert at carnegie hall, where he conducted his orchestra, the us national symphony orchestra i approached a physician acquaintance of mine with a request to play the threnody brain waves and sound waves - read more there are compositions, especially short ones, which emerged spontaneously, written continuously from the start to the end

the haunting motif of the adagietto - read more during the polish radio choir’s tour to rome, we visited the pope the string quartet tribute poker the string quartet tribute poker face castel gandolfo, and he wanted us to sing for him, very much the fallible pope - read morewe have decided to celebrate the first anniversary of the maestro’s death with the inauguration of penderecki’s garden website and a concert featuring premieres of new works by max richter and hania rani the aim of creating a digital representation of penderecki’s legendary residence as a homage to the composer is self-explicit the program of the concert, however (co-organised by tvp kultura), may seem quite a surpriseno wonder then that today his pioneering works prove germinal for experimenting rockmen (jonny greenwood), new instrument builders (paweł romańczuk), masters of club groove (skalpel), and composers of fleeting film soundscapes (max richter) alikekrzysztof penderecki –  drei stücke im alten stil nach musik zu dem film "die handschrift von saragossa" for streichorchester i aria (arr mateusz smoczyński), performed by atom string quartetkrzysztof penderecki –  drei stücke im alten stil nach musik zu dem film "die handschrift von saragossa" for streichorchester ii menuetto i, performed by atom string quartetkrzysztof penderecki –  miniature per clarinetto e pianoforte miniature iii allegro ma non troppo (arr dawid lubowicz), performed by atom string quartetthe late 1970s were not a particularly happy time for mieczysław weinberg (pol

several of the dedicated performers of weinberg’s music had emigrated, and those who stayed in the soviet union presented his works less and less frequently sometimes they even refused, explaining that his new scores did not meet their expectations in the face of such adversities, weinberg nevertheless continued to compose, and in 1977 he returned to the string quartet genrethe composer had written his first string quartet in 1937, while still in warsaw after his escape to the soviet union in september 1939, he composed more of them, sometimes in ‘series’ work on the fourteenth began on 1st may 1978 in moscow and continued in the union of soviet composers’ retreat in staraya ruza near moscow until 11th august 14 was most likely never performed in the composer’s lifetime the first documented performance was given by quatuor danel in 2007 in manchester

despite this, less than half the string quartet tribute poker face year after writing the last note of this quartet, weinberg began to compose his fifteenth, which it took him two winter months to complete (1st january to 1st march the string quartet tribute poker face this composition takes the unusual form of a suite made upof as many as nine movements, likewise only marked with metronomic indicationswhile the striking contrast found in the 1st movement of the previous quartet may bring to mind associations with gustav mahler, who was young weinberg’s great fascination, the clash of different musical worlds in the opening of the fifteenth suggests the postmodernist aesthetic that was then gaining popularity among soviet composers of the young generation the main advocate of this style was alfred schnittke, who juxtaposedostentatiously tonal, even banal elements with typically modernist, atonal ones (…)the mirrored motifs, the character of the 5th movement, and a finale that refers back to the previous movements – made some commentators speak of bela bartók’s influence, and indeed he may partly have inspired weinberg in his work on string quartet no 15, dedicated to four young instrumentalists who were the first to play bartók’s works in the soviet union from 1975 they all attended the class of valentin berlinsky, the cellist of borodin string quartet and weinberg’s long-time friend in 1976 they won a competition in budapest and began to perform as moscow string quartet

in september 1980 they were the first (and until 2008 also the last) to play weinberg’s fifteenthborodin string quartet, in its turn, is implicated in the origin of three palms in 1977, the ensemble was preparing a recording of arnold schoenberg’s string quartet no 2, in the last two movements of which the quartet is joined by a female singer this concept must have inspired weinberg, since in the autumn of 1977 he wrote a piece for precisely the same performing forces the voice plays a prominent role in the music from the beginning; the composer himself referred to this piece as a cantata” (information concerning a performance of this composition with galina pisarenko on 28th november 1984, found in several sources, therefore seems erroneous 120 for soprano and string quartet (1977) 21:05string quartet no