To this amateur, the balance is struck quite well. There is a lot going on sonically, with soaring brass and strings accompanied by a variety of propulsive percussion, especially in the second movement, while the third movement's adagio has a very pretty and lyrical melody. These were composed at the end of the seven-year gestation of the piece, whereas the final two movements were the earliest, including a foreboding fourth movement passacaglia that has a powerful and dramatic apogee and a finale that blends darkness with power in a very gripping fashion.
Then, there's the best-known and somewhat infamous piece, coming at the peak of Penderecki's early avant-garde period in 1960. The "Threnody for the Victims of Hiroshima for 52 Strings" is a devastating sonic experience, in which the use of all those stringed instruments are taken to a aural extreme in segements of a piece spanning about 9 minutes.
The composer stated that, in a conceptual form, it was to be called 8'37" in direct reference to John Cage's notorious 4'33", but that, once it was recorded, he decided that its emotional power led him to change the title as a dedication to those who died in the atomic blast let forth by the United States in August 1945.
While I've had this disc for some time, it was more than interesting to watch David Lynch's highly experimental and visually starting eighth episode of the Twin Peaks return just a couple of months ago and, during an extended sequence that dealt with the atomic bomb and its setting off the evil form that became the underpinning for the series, there was "Threnody" providing a stunning soundtrack to the incredible scenes unfolding on screen. Coincidentally, at about the same time, I was reading a couple of books dealing with Hiroshima and Nagasaki, so the confluence was remarkable.
As experimental and mind-blowing is "Flourescences," which was composed a year after Threnody. Utilizing a full orchestra, but also a variety of additional sound sources, inlcuding an alarm siren, and wood, tin and glass, cowbells, a typewriter and gongs, Penderecki unleashed an adventure into sound that moves beyond music and the composer once said about it, "all I'm interested in is liberating sound beyond all tradition." It is a fascinating excursion into unusual combinations of instrumentation and the presentation of sound that seems, to this untrained listener, evocative of a soundtrack. This is because, though the piece doesn't have defined movements, it does seem to have distinct and set-apart elements.
Finally, there is "De Natura Sonoris II" from the early 1970s, a short piece that is more restrained than its provocative predecessors. There are some unusual instruments here, as well, including a piston flute and musical saw, with violas and plenty of brass standing out. There is a long climax followed by a calm ending and the effect is striking.
A second volume of the orchestral works of Penderecki is certainly in the offing for a future post here and as a continuation of the absorbing, if often difficult, music of this always-interesting composer.
