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Krzysztof Penderecki (b. 1933) inscrutable closing gesture. Marked ‘Notturno’, the second theme is contrastingly serene and expressive,
Violin Sonatas Nos. 1 & 2 Adagio is the keystone of the work, and its emotional setting up a sonata-form structure which incorporates a
centre of gravity. The main theme unwinds unhurriedly cadenza-like passage going into the reprise and further
Chamber music has featured only intermittently in the instruments in a dialogue of unpredictable contrasts. yet with an agitation that sees several climaxes references to the second movement, culminating in a
output of Krzysztof Penderecki. An accomplished Wholly abstract in its musical import, each piece is punctuate the movement’s free-ranging discourse. downward plunging sequence for violin, whose
violinist as a student, he wrote numerous works for intriguingly prefaced in the score with a poem from Midway a wistful passage finds both instruments prolonged trill ushers in the final Andante. Less an
small ensembles up until the First String Quartet of Jerzy Harasymowicz’s cycle Genealogy of the musing on the work’s opening gesture in a telling point autonomous movement in itself than a coda to the work
1960. Thereafter, with the exception of a Second String Instruments. The composer, together with pianist of repose. The preceding scherzo is alluded to, as a whole, it draws together previous ideas in a flowing
Quartet from 1969, the emphasis was firmly on Henryk Jarznynki, gave the première in Krakow during presaging a brief eruption, before the movement moves fantasia, at length disappearing regretfully into silence.
operatic, choral and orchestral works. Chamber June 1960. back into the plaintive territory from which it emerged.
composition was restricted to short ‘homages’ for Composed in 1984, Cadenza is actually an A brief pause, and the Allegro breaks in with a forceful
friends and musicians until, in the 1990s, Penderecki appendix to the Viola Concerto which Penderecki wrote idea again derived from that opening gesture. The Richard Whitehouse
returned to the medium in earnest. The present disc the previous year. Both works begin with an intervallic
features one of his most significant chamber works from figure underlying much of the music that follows.
the end of that period, as well as several shorter pieces Although written without bar lines, Cadenza falls into
from either end of the composer’s career which place three, clearly discernible sections. The first of these Ida Bieler
his approach to instrumental writing in context. elaborates on the opening figure with increasingly
Composed in Krakow during 1953, before expressive arches and intensifying dynamics. At its The American violinist Ida Bieler received international recognition as first prizewinner on three continents, the
Penderecki had begun his studies at the Academy of apex, this gives way to a lively central section with New York Concert Artists Guild, the Florence Concours Vittorio Gui, the Chile International Concours de Violon,
Music, what is now known as the First Sonata for much virtuoso writing for the instrument. The music Vina del Mar and in Rome the Concorso Valentino Bucchi. An honours graduate of the Juilliard School New York
Violin and Piano was not published until the early reaches a peak of activity, then a rapid slowing down and the Musikhochschule Cologne, her musical development was guided by four great instrumentalists: Ruggiero
1990s. After several ominous piano chords, the Allegro marks a return to the opening music and, finally, the Ricci and Oscar Shumsky in the United States and Max Rostal and Nathan Milstein in Europe. Ida Bieler has
bursts into life with a lively, Shostakovich-like idea, initial gesture. Grigory Schislin gave the première at appeared as soloist with orchestra and in recital in major music capitals throughout the world. She has been a
contrasted with a more expressive theme. This Luslawice in September 1984. regular guest at major international festivals including the Marlboro Music Festival, Casals Festival Puerto Rico,
alternation is then elaborated and varied along the lines The Second Violin Sonata, completed in 2000, is Schubertiade, Paris Festival Châtelet, Schleswig-Holstein Music Festival, Schwetzinger Festspiele, and the
of a truncated sonata-form movement. The first idea among Penderecki’s most substantial instrumental Beethoven Fest Bonn, and has collaborated with artists such as Rudolf Serkin, Gerhard Oppitz, Mischa Maisky,
breaks off to reveal, after a pause, the more inward works to date. The arch-like trajectory of its five- Boris Pergamenschikow, Paul Meyer, and Sharon Kam. Ida Bieler’s artistic interest has focussed on interpretations
world of the Andante, a muted violin pursuing its movement form recalls several late pieces by Schnittke of complete cycles including performances and recordings of the sonatas of Bartók and Hindemith, Schumann,
Bartókian soliloquy over pensive piano chords. A (especially his Eighth Symphony and Second Cello Grieg, Brahms and Beethoven. Her compact disc recordings have won the Echo Klassik Prize, and the Cannes
sudden surge leads directly into the toccata-like Allegro Sonata) and also Shostakovich (notably his Eighth Classical Award. A special project since 2000 has been her performances of the complete Bach Sonatas and
vivace, its brusque main theme alternating with a String Quartet). Quiet, pizzicato violin chords begin the Partitas for Solo Violin, as well as the Sonatas for Violin and Harpsichord, which received critical acclaim
gentler idea in a brief but energetic rondo which opening Larghetto, interspersed with impassioned throughout Europe. Her active commitment to contemporary music has led to performances and premières of
concludes the work with a flourish. bowed phrases. The piano now enters with an upward works by Krzysztof Penderecki, Volker David Kirchner, György Ligeti, and Ellen Taaffe Zwilich. In 1999 at the
Composed in 1959, immediately after Penderecki rushing scale, then the two instruments pursue a bleakly invitation and under the direction of the composer, she performed Penderecki’s Metamorphosen – Concerto per
had won all three prizes awarded that year by the Polish lyrical dialogue, in the process expounding upon their violino ed orchestra no. 2. In addition to her versatility as a performer, Ida Bieler is a passionate and committed
Composers’ Association and just before the start of his initial material. A brief, double- stopped cadenza pedagogue. Her first full professorship was at the Musikhochschule Frankfurt. Currently she leads the violin
international career, the Three Miniatures for Violin and passage leads directly into the Allegretto scherzando, its master-class at the Robert-Schumann-Hochschule in Düsseldorf. She has led master-classes throughout the world
Piano suggest the influence of Webern in their strutting, parodistic theme a familiar element in the including the London Guildhall, the Schleswig-Holstein Festival, Tokyo, Toronto, New Zealand and Australia. She
concision, expressive intensity and dynamic subtlety. composer’s musical idiom ever since the First Violin is the initiator and artistic advisor of the Yehudi Menuhin Live Music Now in North Rhine-Westphalia, is a
No. 1 contrasts detached piano chords with extended Concerto [Naxos 8.555265]. The music quickly member of the International Music Academy in Bonn and artistic director of the newly founded string festival
violin techniques, No. 2 is a fractured violin solo, and becomes more aggressive, before a fugitive recall of the Rheinische Streicherakademie. Since 1993 Ida Bieler has been a member of Germany’s renowned Melos Quartet.
No. 3 goes some way towards reconciling the main theme, the violin now muted, and a tersely In 2001, she founded the Trio Tichman-Bieler-Kliegel with the pianist Nina Tichman and the cellist Maria Kliegel.
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557253 bk Penderecki US 4/02/2004 04:30pm Page 2
Krzysztof Penderecki (b. 1933) inscrutable closing gesture. Marked ‘Notturno’, the second theme is contrastingly serene and expressive,
Violin Sonatas Nos. 1 & 2 Adagio is the keystone of the work, and its emotional setting up a sonata-form structure which incorporates a
centre of gravity. The main theme unwinds unhurriedly cadenza-like passage going into the reprise and further
Chamber music has featured only intermittently in the instruments in a dialogue of unpredictable contrasts. yet with an agitation that sees several climaxes references to the second movement, culminating in a
output of Krzysztof Penderecki. An accomplished Wholly abstract in its musical import, each piece is punctuate the movement’s free-ranging discourse. downward plunging sequence for violin, whose
violinist as a student, he wrote numerous works for intriguingly prefaced in the score with a poem from Midway a wistful passage finds both instruments prolonged trill ushers in the final Andante. Less an
small ensembles up until the First String Quartet of Jerzy Harasymowicz’s cycle Genealogy of the musing on the work’s opening gesture in a telling point autonomous movement in itself than a coda to the work
1960. Thereafter, with the exception of a Second String Instruments. The composer, together with pianist of repose. The preceding scherzo is alluded to, as a whole, it draws together previous ideas in a flowing
Quartet from 1969, the emphasis was firmly on Henryk Jarznynki, gave the première in Krakow during presaging a brief eruption, before the movement moves fantasia, at length disappearing regretfully into silence.
operatic, choral and orchestral works. Chamber June 1960. back into the plaintive territory from which it emerged.
composition was restricted to short ‘homages’ for Composed in 1984, Cadenza is actually an A brief pause, and the Allegro breaks in with a forceful
friends and musicians until, in the 1990s, Penderecki appendix to the Viola Concerto which Penderecki wrote idea again derived from that opening gesture. The Richard Whitehouse
returned to the medium in earnest. The present disc the previous year. Both works begin with an intervallic
features one of his most significant chamber works from figure underlying much of the music that follows.
the end of that period, as well as several shorter pieces Although written without bar lines, Cadenza falls into
from either end of the composer’s career which place three, clearly discernible sections. The first of these Ida Bieler
his approach to instrumental writing in context. elaborates on the opening figure with increasingly
Composed in Krakow during 1953, before expressive arches and intensifying dynamics. At its The American violinist Ida Bieler received international recognition as first prizewinner on three continents, the
Penderecki had begun his studies at the Academy of apex, this gives way to a lively central section with New York Concert Artists Guild, the Florence Concours Vittorio Gui, the Chile International Concours de Violon,
Music, what is now known as the First Sonata for much virtuoso writing for the instrument. The music Vina del Mar and in Rome the Concorso Valentino Bucchi. An honours graduate of the Juilliard School New York
Violin and Piano was not published until the early reaches a peak of activity, then a rapid slowing down and the Musikhochschule Cologne, her musical development was guided by four great instrumentalists: Ruggiero
1990s. After several ominous piano chords, the Allegro marks a return to the opening music and, finally, the Ricci and Oscar Shumsky in the United States and Max Rostal and Nathan Milstein in Europe. Ida Bieler has
bursts into life with a lively, Shostakovich-like idea, initial gesture. Grigory Schislin gave the première at appeared as soloist with orchestra and in recital in major music capitals throughout the world. She has been a
contrasted with a more expressive theme. This Luslawice in September 1984. regular guest at major international festivals including the Marlboro Music Festival, Casals Festival Puerto Rico,
alternation is then elaborated and varied along the lines The Second Violin Sonata, completed in 2000, is Schubertiade, Paris Festival Châtelet, Schleswig-Holstein Music Festival, Schwetzinger Festspiele, and the
of a truncated sonata-form movement. The first idea among Penderecki’s most substantial instrumental Beethoven Fest Bonn, and has collaborated with artists such as Rudolf Serkin, Gerhard Oppitz, Mischa Maisky,
breaks off to reveal, after a pause, the more inward works to date. The arch-like trajectory of its five- Boris Pergamenschikow, Paul Meyer, and Sharon Kam. Ida Bieler’s artistic interest has focussed on interpretations
world of the Andante, a muted violin pursuing its movement form recalls several late pieces by Schnittke of complete cycles including performances and recordings of the sonatas of Bartók and Hindemith, Schumann,
Bartókian soliloquy over pensive piano chords. A (especially his Eighth Symphony and Second Cello Grieg, Brahms and Beethoven. Her compact disc recordings have won the Echo Klassik Prize, and the Cannes
sudden surge leads directly into the toccata-like Allegro Sonata) and also Shostakovich (notably his Eighth Classical Award. A special project since 2000 has been her performances of the complete Bach Sonatas and
vivace, its brusque main theme alternating with a String Quartet). Quiet, pizzicato violin chords begin the Partitas for Solo Violin, as well as the Sonatas for Violin and Harpsichord, which received critical acclaim
gentler idea in a brief but energetic rondo which opening Larghetto, interspersed with impassioned throughout Europe. Her active commitment to contemporary music has led to performances and premières of
concludes the work with a flourish. bowed phrases. The piano now enters with an upward works by Krzysztof Penderecki, Volker David Kirchner, György Ligeti, and Ellen Taaffe Zwilich. In 1999 at the
Composed in 1959, immediately after Penderecki rushing scale, then the two instruments pursue a bleakly invitation and under the direction of the composer, she performed Penderecki’s Metamorphosen – Concerto per
had won all three prizes awarded that year by the Polish lyrical dialogue, in the process expounding upon their violino ed orchestra no. 2. In addition to her versatility as a performer, Ida Bieler is a passionate and committed
Composers’ Association and just before the start of his initial material. A brief, double- stopped cadenza pedagogue. Her first full professorship was at the Musikhochschule Frankfurt. Currently she leads the violin
international career, the Three Miniatures for Violin and passage leads directly into the Allegretto scherzando, its master-class at the Robert-Schumann-Hochschule in Düsseldorf. She has led master-classes throughout the world
Piano suggest the influence of Webern in their strutting, parodistic theme a familiar element in the including the London Guildhall, the Schleswig-Holstein Festival, Tokyo, Toronto, New Zealand and Australia. She
concision, expressive intensity and dynamic subtlety. composer’s musical idiom ever since the First Violin is the initiator and artistic advisor of the Yehudi Menuhin Live Music Now in North Rhine-Westphalia, is a
No. 1 contrasts detached piano chords with extended Concerto [Naxos 8.555265]. The music quickly member of the International Music Academy in Bonn and artistic director of the newly founded string festival
violin techniques, No. 2 is a fractured violin solo, and becomes more aggressive, before a fugitive recall of the Rheinische Streicherakademie. Since 1993 Ida Bieler has been a member of Germany’s renowned Melos Quartet.
No. 3 goes some way towards reconciling the main theme, the violin now muted, and a tersely In 2001, she founded the Trio Tichman-Bieler-Kliegel with the pianist Nina Tichman and the cellist Maria Kliegel.
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NAXOS
8.557253
Chamber music has featured only intermittently in the output of Krzysztof Penderecki who,
during the last forty years of the 20th century, focussed mainly on operatic, choral and orchestral
works. The present disc includes several shorter pieces from either end of the composer’s career,
as well as one of his most substantial instrumental works to date, the Second Violin Sonata, which
recalls not only the composer’s own First Violin Concerto (Naxos 8.555265) but several late pieces DDD
by Schnittke and the Eighth Quartet of Shostakovich. This is its world première recording.
www.naxos.com
Made in Canada
8.557253
Executive Producer: Bernhard Wallerius • Producer: Martin Frobeen
NAXOS
Sound Engineer: Arnd Koppers • Editors: Karin von Groß and Karin Karbach
Booklet Note: Richard Whitehouse
Cover image: Gentleness (1997) by Stasys EidrigeviÇius (b. 1949) (by kind permission)