Penderecki Resurrection Piano Concerto (1/4)

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Uploaded by on Jul 12, 2009

Part 1 of Pendereckis Piano Concerto "Resurrection", dedicated to 9/11 and his victims. Some say it is Kitschy Crap, like some polish journalists, but what i want is your opinion (i need it for a paper^^)

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Uploader Comments (Absintherra)

  • didnt understand what u say on video information, but this is best concert for piano for me.

  • Just saw your comment^^ Don't know what you can't understand^^

    I just heard Pendereckis Concerto Grosso for 3 Celli, and if you concentrate you find great analogy to this concerto.

    I've got a notion that he's copying himself o_O

  • jeżeli to jest dla gazety; dlaczego muzyka?

    Penderecki rezurekcja, dla mnie to dziwne : nie pasuję!

    no, jaka rezurekcja?

    jeżeli to było dla udbudowania wieży, to pasowałoby!

  • i jak wyglada twoja opinia o rezurekcje?

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All Comments (29)

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  • @CaptainBluebear08 ad infernum

  • one person says he/she doesn't like piano very much in concerts?

    another finds allusions to 5 composers

    does any one screen the responses???

  • scariest picture ever,

  • @fokg3C Probably just you. A huge number of Symphonic works in the repertoire start with tutti phrases.

    As for my opinion on the concerto: it is post 1960s Penderecki work. Nuff said.

  • Is it just me or do the opening notes allude to the beginning motifs of Mahler 2? Anyone?

  • Dear Absintherra,

    I like Penderecki's music very much. This piece seems to be very much in his accsesible idiom. There seem to be allusions to many composers: Bartok (particularly Bluebeard's Castle), Bruckner, Berlioz, Stravinsky (the chromatic Cor Anglais passage recalls a motif from The Rite of Spring), Wagner etc. The start is a bit like the theme of 'Jaws' inverted and speeded up - which made me smile at first. The piano writing strikes me as quite conventional - to be continued

  • It sounds very light comparing to other pieces of Penderecki

  • Quo vadis, Krzysztof

  • @CMRivdog: This will be the only available recording on the market, with Penderecki conducting the Katowice National Radio Philharmonic and Beata Bilnska as soloist, recorded in 2007. The recording has still the original ending (see part 4). It was altered in the same year after the recording, bringing in another quote of the chorale theme in the celesta, surrounded by other previously introduced gestures of resignation, upheaval and marching.

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