{"id":81852,"date":"2020-10-21T15:56:48","date_gmt":"2020-10-21T12:56:48","guid":{"rendered":"https:\/\/wp.929.org.il\/?p=81852"},"modified":"2020-10-21T15:56:48","modified_gmt":"2020-10-21T12:56:48","slug":"pure-noise-color-tone","status":"publish","type":"post","link":"https:\/\/wp.929.org.il\/en\/pure-noise-color-tone\/","title":{"rendered":"Pure Noise, Color, Tone"},"content":{"rendered":"
<\/div>","protected":false},"excerpt":{"rendered":"","protected":false},"author":7,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[281],"tags":[],"acf":{"old_id":"81852","type":"no","iframe":"","writer":79834,"related_cahpter":"595","type_929":"2","show_author_image":false,"old_create_date":"","old_url":"","post_main_content":{"description":"A new series - this time: Krzysztof Penderecki ","content":"

Krzysztof Penderecki (1933\u201329 March 2020), Psalms of David<\/span><\/p>\n

In 1959, there was a contest for young composers in Warsaw. At the awards ceremonies, the composer Krzysztof Penderecki ascended the stage three times to receive the three first prizes for three of his works that he had entered. This signaled the beginning of an international career for the promising young composer (he was 26 at the time). It also signified that Communist Poland would not be following in the artistic footsteps of socialist realism, and would become central to the development of the musical avant guard in Europe.\u00a0<\/span><\/p>\n

One of his prize winning compositions – David\u2019s Psalms – also indicated a reconnection with the liturgical music of the church. This was an act of defiance towards the authorities, and a sign that the Catholic church was still strongly rooted in Poland, even during the Communist regime. Penderecki dedicated his composition to his father, also expressing his connection to his youth, and family traditions.\u00a0<\/span><\/p>\n

Even though this was an early composition of his – his style is mature, and very connected to the rest of his work from the 60s and later, which have become the most important of our period. The orchestra consists of strings, piano and percussion. The most fascinating part of his work here is the connection Penderecki makes between modernism, and the archaic song of the church and its style from over four hundred years ago.<\/span><\/p>\n

The lyrics are a Polish paraphrase of Psalms from the 16th century. The opening is \u201cO LORD, I call to You; my rock, do not disregard me,\u201d from the beginning of Psalm 28. This is scored for choir and orchestral sounds, with no trace of melody or harmony. The choral singing is also shattered into syllables, and only further on do we get some of the text in Latin. What we hear is a fearful sound that grows and develops and changes its tonal direction – which defines our musical experience. Though the music is liable to sound quite foreign to our ears (used to very different musical conventions), Penderecki is able to infuse inspiration and spirituality to verses that are set to pure noise, color and tone.\u00a0<\/span><\/p>\n

Psalms Of David: Psalm XXVIII \u00b7 Warsaw Philharmonic \u00b7 Krzysztof Penderecki<\/span><\/p>\n","image":false,"embedded_video":"https:\/\/youtu.be\/ufUHv1stgy4?list=PLOUTsd1T44v7863EE91tacjaeWMeY5qzp\u00a0","video_duration":"","show_fb_comments":true,"credit_media":""},"tile":{"top_caption":"The Psalms In Classical Music","main_caption":"Pure Noise, Color, Tone","main_caption_size":"1","sub_caption":"A new series - this time: Krzysztof Penderecki ","preview_embedded":"","preview_image":false,"preview_video":"https:\/\/youtu.be\/ufUHv1stgy4?list=PLOUTsd1T44v7863EE91tacjaeWMeY5qzp\u00a0","external_link":"","link_for_pay":false,"tile_gallery_items":false,"credits":""},"alternate_tile":{"top_caption":"","main_caption":"","main_caption_size":"1","sub_caption":"","hide_media":false},"tile_group":{"preview_image_url":false,"main_caption":"","sub_caption":"","":null,"popup_package_extra_content":"","read_time":""},"home_color":"","home_gallery_top":"","home_gallery_middle":"","home_gallery_book":"","home_gallery_bottom":"","seo":{"seo_title":"","seo_description":"","seo_default_title":"","seo_default_description":""},"links":false},"_links":{"self":[{"href":"https:\/\/wp.929.org.il\/en\/wp-json\/wp\/v2\/posts\/81852"}],"collection":[{"href":"https:\/\/wp.929.org.il\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/wp.929.org.il\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/wp.929.org.il\/en\/wp-json\/wp\/v2\/users\/7"}],"replies":[{"embeddable":true,"href":"https:\/\/wp.929.org.il\/en\/wp-json\/wp\/v2\/comments?post=81852"}],"version-history":[{"count":1,"href":"https:\/\/wp.929.org.il\/en\/wp-json\/wp\/v2\/posts\/81852\/revisions"}],"predecessor-version":[{"id":81876,"href":"https:\/\/wp.929.org.il\/en\/wp-json\/wp\/v2\/posts\/81852\/revisions\/81876"}],"wp:attachment":[{"href":"https:\/\/wp.929.org.il\/en\/wp-json\/wp\/v2\/media?parent=81852"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/wp.929.org.il\/en\/wp-json\/wp\/v2\/categories?post=81852"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/wp.929.org.il\/en\/wp-json\/wp\/v2\/tags?post=81852"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}