{"id":13115,"date":"2020-03-30T12:38:37","date_gmt":"2020-03-30T10:38:37","guid":{"rendered":"https:\/\/filharmoniapoznanska.pl\/credo\/"},"modified":"2020-03-31T13:44:47","modified_gmt":"2020-03-31T11:44:47","slug":"credo","status":"publish","type":"post","link":"https:\/\/filharmoniapoznanska.pl\/en\/credo\/","title":{"rendered":"Credo\u2026\u00a0"},"content":{"rendered":"\n
\"\"<\/figure>\n\n\n

It happened almost 57 years ago. From the summer camps of Poznan Boys\u2019 Choir in Cz\u0142uch\u00f3w, besides a beautiful lake, I also remember daily rehearsals. It was because we, then 11-, 12- and 13-year-olds, came into contact with the music that was entirely unfamiliar, even incomprehensible. Though we considered the motets of Bach or Wac\u0142aw of Szamotu\u0142y as \u201cours\u201d, these odd-looking notes and the sounds flowing from them (dissonances, tone clusters, exclamations) were entirely strange for our eyes and ears. These feelings accompanied me during the first rehearsals of a new piece \u2013 \u201cStabat Mater\u201d. One of the rehearsals was attended by the composer himself. What an experience it was!<\/p>\n

October 1963. Berlin. Komische Oper \u2013 our concert at the Berliner Festtage festival. The event\u2019s culmination was the premiere foreign performance of the work \u2013 written for three choirs a capella, closing with a noble D major. Afterwards long-lasting applause and ovation, while the day afterwards \u2013 wonderful reviews.<\/p>\n

This was my first contact with the music and\u2026 Krzysztof Penderecki. \u201cStabat Mater\u201d became later a movement of \u201cSt Luke Passion\u201d, a piece that opened the Polish artist doors to grand concert halls and musical centers of the world. And \u201cStabat Mater\u201d – the key concert point of Jerzy Kurczewski\u2019s choir, especially abroad.<\/p>\n

Andrzej Lesicki, my peer, then 13-year-old, was one of the choirsingers at the Berlin concert. Now he holds the post of the rector of Adam Mickiewicz University – the title of doctor honoris causa from this institution was granted to Krzysztof Penderecki almost a quarter of a century later.<\/p>\n

For many subsequent years my contact with the music of this composer was occasional. I remember that my choir friends recorded music for a children\u2019s opera \u201cThe Most Valiant Knight\u201d staged by Pozna\u0144 theatre \u201cMarcinek\u201d (now The Animation Theatre). I also recall my surprise, when I listened to the soundtrack of the film \u201cThe Manuscript Found in Saragossa\u201d (kind of a pastiche of the works of early masters). And a huge impression that the staging of the opera \u201cThe Black Mask\u201d in Autumn 1987 in the Pozna\u0144 Opera House made on me, same as a decade later \u2013 the monumental Symphony No. 7 \u201cSeven Gates of Jerusalem\u201d performed in the fara parish church.<\/p>\n

In the 90s I talked to Maestro several times as a journalist, always admiring his erudition and brilliance. More and more I marveled at the consequence in creating music referring to the main human values: faith and truth. And also at the understandability of his works.<\/p>\n

When I took over the Poznan Philharmonic I knew, that I should invite here the most prominent Polish composers. I didn\u2019t manage to invite Henryk Miko\u0142aj G\u00f3recki and Wojciech Kilar due to their health conditions, in spite of very nice conversations and great kindness from their side. While Krzysztof Penderecki had, like always, a tightly packed schedule. Knowing that in 2013 he would celebrate his 80th birthday and that he would be then sought-after not only in Poland, I figured we could suggest that he came a year before. Above all, his 79th birthday fell then (in 2012) on Friday, which is our habitual concert day. Maestro was so happy with his invitation to Pozna\u0144 after many years that he suggested to perform with our philharmonic orchestra a Polish premiere of his recent symphonic piece \u2013 Double Concert for violin, viola and orchestra, which only a month ago had its world premiere in the Golden Hall of Musikverein in Vienna. In the capital of Austra Mariss Jansons conducted the work, while in AMU Concert Hall \u2013 the composers (in both performances Julian Rachlin, to whom the piece was dedicated, played the solo part on viola). In the second part of the concert held on the 23rd of November 2012 Krzysztof Penderecki led one of his favourite symphonies \u2013 No. 7 by Ludwig van Beethoven.<\/p>\n

This evening (aired on Polish Radio Program II) the Jubilarian also collected the Jerzy Kurczewski Awards he was granted some time before as well as received numerous, mostly musical birthday gifts-surprises. The previous day in the Roman Maciejewski park he planted a beech tree grown in his own botanical garden. Besides music, trees were his greatest love. As he used to say, trees have roots both in the earth and in heaven. The unique park in the residence of Penderecki family in Lus\u0142awice confirms his love to trees. Maestro chose all the specimens and planted a majority of them himself.<\/p>\n

After the Poznan concert we made a decision with the Hero of the evening that the Poznan Philharmonic will invite him a year before his \u201cround\u201d birthday to lead the concerts in a double role: as a composer and conductor. We entered the calendar a date in November 2017 and set the repertoire\u2026 It turned out later that Professor is to receive at that time his honoris causa doctorate from the Indiana University and conduct his \u201cSt Luke Passion\u201d in Bloomington. We had to look for another date\u2026<\/p>\n

We met several time in different places and circumstances. In May 2018 in London we could have a longer conversation. \u0141ukasz Borowicz conducted the London Philharmonic Orchestra in Royal Festival Hall. The concert\u2019s repertoire included Violin Concerto No. 2 \u201cMetamorphoses\u201d by Krzysztof Penederecki, with the solo part of Anne-Sophie Mutter. The composer arrived to this event with his wife, and at dinner we faced each other at the table. He always said that he would have to live a 100 years to complete all the orders he accepted, I asked what he was working on at the moment? And did he still start his daily work early in the morning? I heard that it\u2019s history, he cancelled some of his commitments, like composing an opera for Wiener Staatsoper. That currently he writes mostly chamber music which absorbs him.<\/p>\n

When saying goodbye, we referred to the next artistic meeting in Pozna\u0144. I asked what he would like to perform then?<\/p>\n

\u2018Credo\u2019, he said, \u2018One of my most important works. Maybe even the best one? \u2026.\u2019<\/p>\n

Recalling these moments in my memory today, I noted the statement of one of Maestro\u2019s friends from the Academy of Music in Krakow: \u201cOnce Krzysztof Penderecki remarked: a human being reaches a point in his live when he needs to say: I believe. CREDO.\u201d<\/p>\n

Wojciech Nentwig<\/p>\n

29th of March 2020<\/p>","protected":false},"excerpt":{"rendered":"

It happened almost 57 years ago. From the summer camps of Poznan Boys\u2019 Choir in Cz\u0142uch\u00f3w, besides a beautiful lake, I also remember daily rehearsals. It was because we, then 11-, 12- and 13-year-olds, came into contact with the music that was entirely unfamiliar, even incomprehensible. Though we considered the motets of Bach or Wac\u0142aw […]<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[27],"tags":[],"class_list":["post-13115","post","type-post","status-publish","format-standard","hentry","category-bez-kategorii-en"],"acf":[],"yoast_head":"\nFilharmonia Pozna\u0144ska Credo\u2026\u00a0<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/filharmoniapoznanska.pl\/en\/credo\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Filharmonia Pozna\u0144ska Credo\u2026\u00a0\" \/>\n<meta property=\"og:description\" content=\"It happened almost 57 years ago. From the summer camps of Poznan Boys\u2019 Choir in Cz\u0142uch\u00f3w, besides a beautiful lake, I also remember daily rehearsals. It was because we, then 11-, 12- and 13-year-olds, came into contact with the music that was entirely unfamiliar, even incomprehensible. 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