Krzysztof Penderecki
Conductor / Composer

“The level of vision, nuance and polish that Penderecki consistently demonstrated during the concert revealed a conductor of the highest ranking” (Dennis Polkow)

Contacts

Jasper Parrott +44 (0)20 7229 9166
Federico Hernandez +44 (0)20 3725 9184
Marissa Pueschel +44 (0)20 3725 9109

Biography

Artistic Director: Sinfonia Varsovia

 

Multi-award winning Polish composer and conductor Krzysztof Penderecki is one of the world’s leading and most distinguished musicians of his generation.

Works like the Threnody to the Victims of Hiroshima (1960), St. Luke Passion (1966), Cello Concerto No.2 (1983) written for Mstislav Rostropovich, Polish Requiem (1984), Symphony No.3 (1995), Violin Concerto No.2 written for Anne-Sophie Mutter (1995), Symphony No.7 The Seven Gates of Jerusalem (1997) and the Double Concerto (2012) written for Janine Jansen and Julian Rachlin, to name a few, are now considered masterworks of our time.

Artistic Director: Sinfonia Varsovia

 

Multi-award winning Polish composer and conductor Krzysztof Penderecki is one of the world’s leading and most distinguished musicians of his generation.

Works like the Threnody to the Victims of Hiroshima (1960), St. Luke Passion (1966), Cello Concerto No.2 (1983) written for Mstislav Rostropovich, Polish Requiem (1984), Symphony No.3 (1995), Violin Concerto No.2 written for Anne-Sophie Mutter (1995), Symphony No.7 The Seven Gates of Jerusalem (1997) and the Double Concerto (2012) written for Janine Jansen and Julian Rachlin, to name a few, are now considered masterworks of our time.

As a conductor Krzysztof Penderecki was guest conductor of the NDR Hamburg and MDR Leipzig Sinfonieorchesters, Artistic Director of the Casals Festival in San Juan, Puerto Rico (1992–2002), and Artistic Advisor to the Beijing Music Festival. Since 2003 he has held the position of Artistic Director of the Sinfonia Varsovia with whom he has developed a wide range of projects. He also regularly works with the Polish National Radio Symphony Orchestra and Sinfonia Iuventus – both of which he has recorded several albums with – Beethoven Academy Orchestra, Sinfonietta Cracovia, and Warsaw Philharmonic Orchestra.

Upcoming and recent highlights include performances with the Prague Radio Symphony Orchestra (closing concert of the Prague Spring Festival), Orquesta Nacional de España, Staatskapelle Weimar, Dresdner Philharmonie, Orquesta Sinfonica del Estado de Sao Paulo, and a return to the Festival Casals.

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Contacts

Jasper Parrott +44 (0)20 7229 9166
Federico Hernandez +44 (0)20 3725 9184
Marissa Pueschel +44 (0)20 3725 9109

Reviews

“Prague Spring had one of the most memorable finales in its history this year … Working without a baton and using short, fluid arm movements, Penderecki was able to draw out subtle shading in the sound, which at times almost vibrated with electric intensity. [His] conducting … was masterful.” (Bachtrack, June 2017)

“As a conductor, Krzysztof Penderecki is invariably associated with performances of his own music. But it was as an interpreter of other composers’ works that he first took up the baton, and most notably considered Shostakovich’s symphonies integral to his repertory. Penderecki did fine things with [Shostakovich’s Sixth’s] opening largo, in which hints of distant military threat intrude on a mood of sullen despair.” (The Guardian, October 2016)

“Of course, it’s not surprising that a composer who takes up the baton should be able to make a fairly convincing case for his own pieces, but the level of vision, nuance and polish that Penderecki consistently demonstrated during the concert revealed a conductor of the highest ranking.” (Dennis Polkow)

“Prague Spring had one of the most memorable finales in its history this year … Working without a baton and using short, fluid arm movements, Penderecki was able to draw out subtle shading in the sound, which at times almost vibrated with electric intensity. [His] conducting … was masterful.” (Bachtrack, June 2017)

“As a conductor, Krzysztof Penderecki is invariably associated with performances of his own music. But it was as an interpreter of other composers’ works that he first took up the baton, and most notably considered Shostakovich’s symphonies integral to his repertory. Penderecki did fine things with [Shostakovich’s Sixth’s] opening largo, in which hints of distant military threat intrude on a mood of sullen despair.” (The Guardian, October 2016)

“Of course, it’s not surprising that a composer who takes up the baton should be able to make a fairly convincing case for his own pieces, but the level of vision, nuance and polish that Penderecki consistently demonstrated during the concert revealed a conductor of the highest ranking.” (Dennis Polkow)