{"id":5381,"date":"2022-02-09T18:00:01","date_gmt":"2022-02-09T17:00:01","guid":{"rendered":"https:\/\/instytutpolski.pl\/newyork\/?p=5381"},"modified":"2022-03-22T19:56:25","modified_gmt":"2022-03-22T18:56:25","slug":"krzysztof-penderecki-space-dissonance","status":"publish","type":"post","link":"https:\/\/instytutpolski.pl\/newyork\/2022\/02\/09\/krzysztof-penderecki-space-dissonance\/","title":{"rendered":"Krzysztof Penderecki: Space Dissonance"},"content":{"rendered":"\n

In person viewing at Anthology Film Archives<\/a><\/strong> on March 29, 2022 at 7:30 PM ET
Online viewing on March 30-April 12, 2022 details to be announced at a later date
Anthology Film Archives<\/strong> is located on 32 Second Avenue New York, NY 10003<\/p>\n\n\n\n

Polish composer and conductor Krzysztof Penderecki <\/strong>(1933-2020) was one of the progenitors of avant-garde music of the 1960s. Creator of his own compositional idiom, \u201csonorism\u201d, which became a hallmark of the so-called Polish School of Composition, he was an early recipient of the UNESCO International Rostrum of Composers Prize for \u201cThrenody to the Victims of Hiroshima\u201d (1961). Recipient of hundreds of prizes (including five Grammy Awards), he achieved a rare balance between radical experimentation and an approach to classical music that struck a chord within popular culture. Conducting his own concerts, he had a unique ability to elicit emotional responses from his audiences and to convey messages of profound humanism. Throughout his career, Penderecki worked in multiple forms \u2013 symphony, opera, concerto, vocal and chamber works \u2013 producing masterpieces such as \u201cDies Irae\u201d (1967), \u201cJutrznia\u201d (1970-71), and the opera \u201cThe Devils of Loudun\u201d (1968-69). He was particularly drawn to religious music and was the first modern composer to revive the form of the Passion (with 1966\u2019s \u201cSt. Luke\u2019s Passion\u201d).<\/p>\n\n\n\n

Penderecki\u2019s music was embraced early on in the cinematic realm. Though he rarely composed directly for feature films, exceptions include Wojciech Has\u2019s THE SARAGOSSA MANUSCRIPT (1964) and THE CODES (1964), and Alain Resnais\u2019s JE T\u2019AIME, JE T\u2019AIME. And his pre-existing compositions were often borrowed for film soundtracks, most famously appearing in William Friedkin\u2019s THE EXORCIST (1973), Stanley Kubrick\u2019s THE SHINING (1980), Jerzy Skolimowski\u2019s HANDS UP! (1981), Andrzej Wajda\u2019s KATYN (2007), and Martin Scorsese\u2019s SHUTTER ISLAND (2010). More recently, Penderecki\u2019s \u201cThrenody for the Victims of Hiroshima\u201d accompanied one of the most unforgettable scenes in David Lynch\u2019s TWIN PEAKS: THE RETURN (2017).<\/p>\n\n\n\n

Most of the film music Penderecki composed came in the first phase of his career, and was written for short films in his native Poland. In the early 1960s, he began writing film music at the Polish Radio Experimental Studio together with Eugeniusz Rudnik, a sound engineer and pioneer of electronic music. Penderecki was at first reluctant to explore electronic music (supposedly due to a serious electrical shock some years earlier), but at Rudnik\u2019s urging he began to embrace its potential, and their collaboration would result in some of the most extraordinary film music of the era. Composing music for short films allowed Penderecki to test his ideas freely, on viewers who were not as skeptical as those he encountered in the classical music realm. The discoveries he made creating music with Rudnik in the \u201cblack room\u201d of the Polish Radio Experimental Studio in Warsaw were later incorporated into Penderecki\u2019s individual compositions, including \u201cPolymorphia\u201d (1961), a piece that opens Anthology\u2019s film program, and \u201cThe Second Cello Concerto\u201d (1974), the one that closes it.<\/p>\n\n\n\n

Anthology is thrilled to host a program encompassing most of the short films that feature Penderecki\u2019s music, both those for which he composed the music specially and those that incorporate previously written pieces.<\/strong><\/p>\n\n\n\n

Aneta Grzeszykowska
BOLIMORPHY<\/strong>
Poland, 2008, 7.5 min, digital. Featuring Krzysztof Penderecki\u2019s \u201cPolymorphia\u201d (1961).
The artist\u2019s fragmented and duplicated body is seen as a disruption of a broken mechanism. Penderecki\u2019s \u201cPolymorphia\u201d is used as an instrument of destruction to disturb \u201cBolero\u201d by Maurice Ravel. Combining these two pieces with the disintegration of her own body lets the artist Aneta Grzeszykowska create a ballet of auto-destruction.<\/p>\n\n\n\n

\"\"
Kazimierz Urba\u0144ski
THE CHARM OF THE TWO WHEELS \/ CZAR K\u00d3\u0141EK<\/figcaption><\/figure><\/div>\n\n\n\n

Kazimierz Urba\u0144ski
THE CHARM OF THE TWO WHEELS \/ CZAR K\u00d3\u0141EK<\/strong>
Poland, 1966, 6 min, 35mm-to-digital. Original music by Krzysztof Penderecki.
One of the highlights of Polish avant-garde cinema in the 1960s, this film is a critique of industry and its destructive influence on the environment. On the soundtrack Penderecki mixes a sped-up recording of Niko\u0142aj Rimski-Korsakow\u2019s \u201cFlight of the Bumblebee\u201d with electronically produced sounds representing the environment.<\/p>\n\n\n\n

\"\"
Leokadia Serafinowicz
BASILISK ENCOUNTER \/ SPOTKANIE Z BAZYLISZKIEM<\/figcaption><\/figure><\/div>\n\n\n\n

Leokadia Serafinowicz
BASILISK ENCOUNTER \/ SPOTKANIE Z BAZYLISZKIEM<\/strong>
Poland, 1961, 9.5 min, 35mm-to-digital. Original music by Krzysztof Penderecki.
This stop-motion version of the legend of the Basilisk terrifies thanks to flickering, unstable images, an encircling, labyrinthine space, and eerie electronic music. The movie combines sounds of the void, mockingly descending to the depths of subconsciousness, with a joyful accompaniment of a bedtime story. In Penderecki\u2019s vision, the monster from the past heralds anxiety for the future.<\/p>\n\n\n\n

\"\"
Miros\u0142aw Kijowicz
THE HARLEQUIN \/ ARLEKIN<\/figcaption><\/figure><\/div>\n\n\n\n

Miros\u0142aw Kijowicz
THE HARLEQUIN \/ ARLEKIN<\/strong>
Poland, 1960, 6 min, 35mm-to-digital. Original music by Krzysztof Penderecki.
The Harlequin\u2019s dance with balloons is set to vibrant percussion. Light and heavy forms float around the Harlequin, who is both a ballet master and a harpist.<\/p>\n\n\n\n

\"\"
Jerzy Zitzman
DON JUAN<\/figcaption><\/figure><\/div>\n\n\n\n

Jerzy Zitzman
DON JUAN<\/strong>
Poland, 1963, 10 min, 35mm-to-digital. Original music by Krzysztof Penderecki.
A parodic account of the adventures of the character from Moli\u00e8re\u2019s drama and Byron\u2019s poem. The soundtrack exaggerates various sound effects \u2013 hoofbeats, gunshots, a choir, an Italian pop song \u2013 into a cacophonous collage. In this telling, Don Juan is a perpetual motion machine, generating endless collisions.<\/p>\n\n\n\n

Krzysztof D\u0119bowski
SPACE TRIP \/ WYCIECZKA W KOSMOS<\/strong>
Poland, 1961, 11 min, 35mm-to-digital. Original music by Krzysztof Penderecki.
This adaptation of the first part of Stanis\u0142aw Lem\u2019s STAR DIARIES narrates the adventures of space traveler Ijon Tichy on an uninhabited planet.<\/p>\n\n\n\n

Krzysztof D\u0119bowski
THE TRAP \/ PU\u0141APKA<\/strong>
Poland, 1962, 9 min, 35mm-to-digital. Original music by Krzysztof Penderecki.
This sequel to SPACE TRIP, covering the second part of Lem\u2019s STAR DIARIES, features an electronic soundtrack of whispers, whistling, and operatic cries.<\/p>\n\n\n\n

Jerzy Zitzman
ICARUS \/ IKAR<\/strong>
Poland, 1966, 11 min, 35mm-to-digital
A puppet animation film about humans\u2019 eternal longing for flying. In a crowd of people, you can always find one incorrigible dreamer. A fearless hero never stops perfecting their costume and technique so they can soon get off the ground.<\/p>\n\n\n\n

\"\"
Stephanie Twyford-Rigley
PERSEPHONE \/ PERSEFONA<\/figcaption><\/figure><\/div>\n\n\n\n

Steph Twyford-Rigley
PERSEPHONE \/ PERSEFONA<\/strong>
U.S., 2016, 3 min, digital. Featuring Krzysztof Penderecki\u2019s \u201cCello Concerto No 1\u201d (1973).
PERSEPHONE combines an excerpt from Penderecki\u2019s \u201cCello Concerto No 1\u201d with a static image of a shivering cat, emerging from the shade.<\/p>\n\n\n\n

Total running time: ca. 80 min.<\/p>\n\n\n\n

Guest-curated by Adriana Prodeus, this program is co-presented with the Polish Cultural Institute New York.<\/p>\n\n\n\n

This program will screen theatrically at Anthology on March 29, as well as online from March 30-April 12. Access details for the online component will be announced soon.<\/p>\n\n\n\n

Lead image: Krzysztof D\u0119bowski, THE TRAP \/ PU\u0141APKA, film still.<\/p>\n\n\n\n

\"\"<\/figure>\n","protected":false},"excerpt":{"rendered":"

In person viewing at Anthology Film Archives on March 29, 2022 at 7:30 PM ETOnline viewing on March 30-April 12, 2022 details to be announced at a later dateAnthology Film Archives is located on 32 Second Avenue New York, NY 10003 Polish composer and conductor Krzysztof Penderecki (1933-2020) was one of the progenitors of avant-garde music […]<\/p>\n","protected":false},"author":105,"featured_media":5382,"comment_status":"open","ping_status":"open","sticky":true,"template":"","format":"standard","meta":{"inline_featured_image":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[5,9,7],"tags":[],"class_list":["post-5381","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-events","category-film","category-music"],"yoast_head":"\nKrzysztof Penderecki: Space Dissonance - Instytut Polski w Nowym Jorku<\/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:\/\/instytutpolski.pl\/newyork\/2022\/02\/09\/krzysztof-penderecki-space-dissonance\/\" \/>\n<meta property=\"og:locale\" content=\"pl_PL\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Krzysztof Penderecki: Space Dissonance - Instytut Polski w Nowym Jorku\" \/>\n<meta property=\"og:description\" content=\"In person viewing at Anthology Film Archives on March 29, 2022 at 7:30 PM ETOnline viewing on March 30-April 12, 2022 details to be announced at a later dateAnthology Film Archives is located on 32 Second Avenue New York, NY 10003 Polish composer and conductor Krzysztof Penderecki (1933-2020) was one of the progenitors of avant-garde music […]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/instytutpolski.pl\/newyork\/2022\/02\/09\/krzysztof-penderecki-space-dissonance\/\" \/>\n<meta property=\"og:site_name\" content=\"Instytut Polski w Nowym Jorku\" \/>\n<meta property=\"article:published_time\" content=\"2022-02-09T17:00:01+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2022-03-22T18:56:25+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2022\/02\/6075d0c68350113625b53d6f_07.-Pulapka_m_Animocje_2021.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1600\" \/>\n\t<meta property=\"og:image:height\" content=\"1199\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"klaudia\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Napisane przez\" \/>\n\t<meta name=\"twitter:data1\" content=\"klaudia\" \/>\n\t<meta name=\"twitter:label2\" content=\"Szacowany czas czytania\" \/>\n\t<meta name=\"twitter:data2\" content=\"8 minut\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"event\",\"@id\":\"https:\/\/instytutpolski.pl\/newyork\/2022\/02\/09\/krzysztof-penderecki-space-dissonance\/\",\"url\":\"https:\/\/instytutpolski.pl\/newyork\/2022\/02\/09\/krzysztof-penderecki-space-dissonance\/\",\"name\":\"Krzysztof Penderecki: Space Dissonance\",\"isPartOf\":{\"@id\":\"https:\/\/instytutpolski.pl\/newyork\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/instytutpolski.pl\/newyork\/2022\/02\/09\/krzysztof-penderecki-space-dissonance\/#primaryimage\"},\"image\":[\"https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2022\/02\/6075d0c68350113625b53d6f_07.-Pulapka_m_Animocje_2021.jpg\",\"https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2022\/02\/6075d0c68350113625b53d6f_07.-Pulapka_m_Animocje_2021-300x225.jpg\",\"https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2022\/02\/6075d0c68350113625b53d6f_07.-Pulapka_m_Animocje_2021-1024x767.jpg\",\"https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2022\/02\/6075d0c68350113625b53d6f_07.-Pulapka_m_Animocje_2021.jpg\"],\"thumbnailUrl\":\"https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2022\/02\/6075d0c68350113625b53d6f_07.-Pulapka_m_Animocje_2021.jpg\",\"datePublished\":\"2022-02-09T17:00:01+02:00\",\"dateModified\":\"2022-03-22T18:56:25+02:00\",\"author\":{\"@id\":\"https:\/\/instytutpolski.pl\/newyork\/#\/schema\/person\/04d40cd80c1729a7f440613bee4073b6\"},\"breadcrumb\":{\"@id\":\"https:\/\/instytutpolski.pl\/newyork\/2022\/02\/09\/krzysztof-penderecki-space-dissonance\/#breadcrumb\"},\"inLanguage\":\"pl-PL\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/instytutpolski.pl\/newyork\/2022\/02\/09\/krzysztof-penderecki-space-dissonance\/\"]}],\"@context\":\"https:\/\/schema.org\",\"startDate\":\"2022-03-29\",\"endDate\":\"2022-04-12\",\"eventStatus\":\"EventScheduled\",\"eventAttendanceMode\":\"OfflineEventAttendanceMode\",\"location\":{\"@type\":\"place\",\"name\":\"\",\"address\":\"\",\"geo\":{\"@type\":\"GeoCoordinates\",\"latitude\":\"\",\"longitude\":\"\"}},\"description\":\"In person viewing at Anthology Film Archives on March 29, 2022 at 7:30 PM ETOnline viewing on March 30-April 12, 2022 details to be announced at a later dateAnthology Film Archives is located on 32 Second Avenue New York, NY 10003\\nPolish composer and conductor Krzysztof Penderecki (1933-2020) was one of the progenitors of avant-garde music of the 1960s. Creator of his own compositional idiom, \u201csonorism\u201d, which became a hallmark of the so-called Polish School of Composition, he was an early recipient of the UNESCO International Rostrum of Composers Prize for \u201cThrenody to the Victims of Hiroshima\u201d (1961). Recipient of hundreds of prizes (including five Grammy Awards), he achieved a rare balance between radical experimentation and an approach to classical music that struck a chord within popular culture. Conducting his own concerts, he had a unique ability to elicit emotional responses from his audiences and to convey messages of profound humanism. Throughout his career, Penderecki worked in multiple forms \u2013 symphony, opera, concerto, vocal and chamber works \u2013 producing masterpieces such as \u201cDies Irae\u201d (1967), \u201cJutrznia\u201d (1970-71), and the opera \u201cThe Devils of Loudun\u201d (1968-69). He was particularly drawn to religious music and was the first modern composer to revive the form of the Passion (with 1966\u2019s \u201cSt. Luke\u2019s Passion\u201d).\\nPenderecki\u2019s music was embraced early on in the cinematic realm. Though he rarely composed directly for feature films, exceptions include Wojciech Has\u2019s THE SARAGOSSA MANUSCRIPT (1964) and THE CODES (1964), and Alain Resnais\u2019s JE T\u2019AIME, JE T\u2019AIME. And his pre-existing compositions were often borrowed for film soundtracks, most famously appearing in William Friedkin\u2019s THE EXORCIST (1973), Stanley Kubrick\u2019s THE SHINING (1980), Jerzy Skolimowski\u2019s HANDS UP! (1981), Andrzej Wajda\u2019s KATYN (2007), and Martin Scorsese\u2019s SHUTTER ISLAND (2010). More recently, Penderecki\u2019s \u201cThrenody for the Victims of Hiroshima\u201d accompanied one of the most unforgettable scenes in David Lynch\u2019s TWIN PEAKS: THE RETURN (2017).\\nMost of the film music Penderecki composed came in the first phase of his career, and was written for short films in his native Poland. In the early 1960s, he began writing film music at the Polish Radio Experimental Studio together with Eugeniusz Rudnik, a sound engineer and pioneer of electronic music. Penderecki was at first reluctant to explore electronic music (supposedly due to a serious electrical shock some years earlier), but at Rudnik\u2019s urging he began to embrace its potential, and their collaboration would result in some of the most extraordinary film music of the era. Composing music for short films allowed Penderecki to test his ideas freely, on viewers who were not as skeptical as those he encountered in the classical music realm. The discoveries he made creating music with Rudnik in the \u201cblack room\u201d of the Polish Radio Experimental Studio in Warsaw were later incorporated into Penderecki\u2019s individual compositions, including \u201cPolymorphia\u201d (1961), a piece that opens Anthology\u2019s film program, and \u201cThe Second Cello Concerto\u201d (1974), the one that closes it.\\nAnthology is thrilled to host a program encompassing most of the short films that feature Penderecki\u2019s music, both those for which he composed the music specially and those that incorporate previously written pieces.\\nAneta GrzeszykowskaBOLIMORPHYPoland, 2008, 7.5 min, digital. Featuring Krzysztof Penderecki\u2019s \u201cPolymorphia\u201d (1961).The artist\u2019s fragmented and duplicated body is seen as a disruption of a broken mechanism. Penderecki\u2019s \u201cPolymorphia\u201d is used as an instrument of destruction to disturb \u201cBolero\u201d by Maurice Ravel. Combining these two pieces with the disintegration of her own body lets the artist Aneta Grzeszykowska create a ballet of auto-destruction.\\nKazimierz Urba\u0144skiTHE CHARM OF THE TWO WHEELS \/ CZAR K\u00d3\u0141EKPoland, 1966, 6 min, 35mm-to-digital. Original music by Krzysztof Penderecki.One of the highlights of Polish avant-garde cinema in the 1960s, this film is a critique of industry and its destructive influence on the environment. On the soundtrack Penderecki mixes a sped-up recording of Niko\u0142aj Rimski-Korsakow\u2019s \u201cFlight of the Bumblebee\u201d with electronically produced sounds representing the environment.\\nLeokadia SerafinowiczBASILISK ENCOUNTER \/ SPOTKANIE Z BAZYLISZKIEMPoland, 1961, 9.5 min, 35mm-to-digital. Original music by Krzysztof Penderecki.This stop-motion version of the legend of the Basilisk terrifies thanks to flickering, unstable images, an encircling, labyrinthine space, and eerie electronic music. The movie combines sounds of the void, mockingly descending to the depths of subconsciousness, with a joyful accompaniment of a bedtime story. In Penderecki\u2019s vision, the monster from the past heralds anxiety for the future.\\nMiros\u0142aw KijowiczTHE HARLEQUIN \/ ARLEKINPoland, 1960, 6 min, 35mm-to-digital. Original music by Krzysztof Penderecki.The Harlequin\u2019s dance with balloons is set to vibrant percussion. Light and heavy forms float around the Harlequin, who is both a ballet master and a harpist.\\nJerzy ZitzmanDON JUANPoland, 1963, 10 min, 35mm-to-digital. Original music by Krzysztof Penderecki.A parodic account of the adventures of the character from Moli\u00e8re\u2019s drama and Byron\u2019s poem. The soundtrack exaggerates various sound effects \u2013 hoofbeats, gunshots, a choir, an Italian pop song \u2013 into a cacophonous collage. In this telling, Don Juan is a perpetual motion machine, generating endless collisions.\\nKrzysztof D\u0119bowskiSPACE TRIP \/ WYCIECZKA W KOSMOSPoland, 1961, 11 min, 35mm-to-digital. Original music by Krzysztof Penderecki.This adaptation of the first part of Stanis\u0142aw Lem\u2019s STAR DIARIES narrates the adventures of space traveler Ijon Tichy on an uninhabited planet.\\nKrzysztof D\u0119bowskiTHE TRAP \/ PU\u0141APKAPoland, 1962, 9 min, 35mm-to-digital. Original music by Krzysztof Penderecki.This sequel to SPACE TRIP, covering the second part of Lem\u2019s STAR DIARIES, features an electronic soundtrack of whispers, whistling, and operatic cries.\\nJerzy ZitzmanICARUS \/ IKARPoland, 1966, 11 min, 35mm-to-digitalA puppet animation film about humans\u2019 eternal longing for flying. In a crowd of people, you can always find one incorrigible dreamer. A fearless hero never stops perfecting their costume and technique so they can soon get off the ground.\\nSteph Twyford-RigleyPERSEPHONE \/ PERSEFONAU.S., 2016, 3 min, digital. Featuring Krzysztof Penderecki\u2019s \u201cCello Concerto No 1\u201d (1973).PERSEPHONE combines an excerpt from Penderecki\u2019s \u201cCello Concerto No 1\u201d with a static image of a shivering cat, emerging from the shade.\\nTotal running time: ca. 80 min.\\nGuest-curated by Adriana Prodeus, this program is co-presented with the Polish Cultural Institute New York.\\nThis program will screen theatrically at Anthology on March 29, as well as online from March 30-April 12. Access details for the online component will be announced soon.\\nLead image: Krzysztof D\u0119bowski, THE TRAP \/ PU\u0141APKA, film still.\"},{\"@type\":\"ImageObject\",\"inLanguage\":\"pl-PL\",\"@id\":\"https:\/\/instytutpolski.pl\/newyork\/2022\/02\/09\/krzysztof-penderecki-space-dissonance\/#primaryimage\",\"url\":\"https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2022\/02\/6075d0c68350113625b53d6f_07.-Pulapka_m_Animocje_2021.jpg\",\"contentUrl\":\"https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2022\/02\/6075d0c68350113625b53d6f_07.-Pulapka_m_Animocje_2021.jpg\",\"width\":1600,\"height\":1199},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/instytutpolski.pl\/newyork\/2022\/02\/09\/krzysztof-penderecki-space-dissonance\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/instytutpolski.pl\/newyork\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Krzysztof Penderecki: Space Dissonance\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/instytutpolski.pl\/newyork\/#website\",\"url\":\"https:\/\/instytutpolski.pl\/newyork\/\",\"name\":\"Instytut Polski w Nowym Jorku\",\"description\":\"Instytuty Polskie\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/instytutpolski.pl\/newyork\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"pl-PL\"},{\"@type\":\"Person\",\"@id\":\"https:\/\/instytutpolski.pl\/newyork\/#\/schema\/person\/04d40cd80c1729a7f440613bee4073b6\",\"name\":\"klaudia\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"pl-PL\",\"@id\":\"https:\/\/instytutpolski.pl\/newyork\/#\/schema\/person\/image\/\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/649cd2d4f6b3f48c5bf42d51f7e665fb?s=96&d=mm&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/649cd2d4f6b3f48c5bf42d51f7e665fb?s=96&d=mm&r=g\",\"caption\":\"klaudia\"},\"sameAs\":[\"http:\/\/lukasz.sienkiewicz@msz.gov.pl\"],\"url\":\"https:\/\/instytutpolski.pl\/newyork\/author\/stypulkowskaa\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Krzysztof Penderecki: Space Dissonance - Instytut Polski w Nowym Jorku","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/instytutpolski.pl\/newyork\/2022\/02\/09\/krzysztof-penderecki-space-dissonance\/","og_locale":"pl_PL","og_type":"article","og_title":"Krzysztof Penderecki: Space Dissonance - Instytut Polski w Nowym Jorku","og_description":"In person viewing at Anthology Film Archives on March 29, 2022 at 7:30 PM ETOnline viewing on March 30-April 12, 2022 details to be announced at a later dateAnthology Film Archives is located on 32 Second Avenue New York, NY 10003 Polish composer and conductor Krzysztof Penderecki (1933-2020) was one of the progenitors of avant-garde music […]","og_url":"https:\/\/instytutpolski.pl\/newyork\/2022\/02\/09\/krzysztof-penderecki-space-dissonance\/","og_site_name":"Instytut Polski w Nowym Jorku","article_published_time":"2022-02-09T17:00:01+00:00","article_modified_time":"2022-03-22T18:56:25+00:00","og_image":[{"width":1600,"height":1199,"url":"https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2022\/02\/6075d0c68350113625b53d6f_07.-Pulapka_m_Animocje_2021.jpg","type":"image\/jpeg"}],"author":"klaudia","twitter_card":"summary_large_image","twitter_misc":{"Napisane przez":"klaudia","Szacowany czas czytania":"8 minut"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"event","@id":"https:\/\/instytutpolski.pl\/newyork\/2022\/02\/09\/krzysztof-penderecki-space-dissonance\/","url":"https:\/\/instytutpolski.pl\/newyork\/2022\/02\/09\/krzysztof-penderecki-space-dissonance\/","name":"Krzysztof Penderecki: Space Dissonance","isPartOf":{"@id":"https:\/\/instytutpolski.pl\/newyork\/#website"},"primaryImageOfPage":{"@id":"https:\/\/instytutpolski.pl\/newyork\/2022\/02\/09\/krzysztof-penderecki-space-dissonance\/#primaryimage"},"image":["https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2022\/02\/6075d0c68350113625b53d6f_07.-Pulapka_m_Animocje_2021.jpg","https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2022\/02\/6075d0c68350113625b53d6f_07.-Pulapka_m_Animocje_2021-300x225.jpg","https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2022\/02\/6075d0c68350113625b53d6f_07.-Pulapka_m_Animocje_2021-1024x767.jpg","https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2022\/02\/6075d0c68350113625b53d6f_07.-Pulapka_m_Animocje_2021.jpg"],"thumbnailUrl":"https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2022\/02\/6075d0c68350113625b53d6f_07.-Pulapka_m_Animocje_2021.jpg","datePublished":"2022-02-09T17:00:01+02:00","dateModified":"2022-03-22T18:56:25+02:00","author":{"@id":"https:\/\/instytutpolski.pl\/newyork\/#\/schema\/person\/04d40cd80c1729a7f440613bee4073b6"},"breadcrumb":{"@id":"https:\/\/instytutpolski.pl\/newyork\/2022\/02\/09\/krzysztof-penderecki-space-dissonance\/#breadcrumb"},"inLanguage":"pl-PL","potentialAction":[{"@type":"ReadAction","target":["https:\/\/instytutpolski.pl\/newyork\/2022\/02\/09\/krzysztof-penderecki-space-dissonance\/"]}],"@context":"https:\/\/schema.org","startDate":"2022-03-29","endDate":"2022-04-12","eventStatus":"EventScheduled","eventAttendanceMode":"OfflineEventAttendanceMode","location":{"@type":"place","name":"","address":"","geo":{"@type":"GeoCoordinates","latitude":"","longitude":""}},"description":"In person viewing at Anthology Film Archives on March 29, 2022 at 7:30 PM ETOnline viewing on March 30-April 12, 2022 details to be announced at a later dateAnthology Film Archives is located on 32 Second Avenue New York, NY 10003\nPolish composer and conductor Krzysztof Penderecki (1933-2020) was one of the progenitors of avant-garde music of the 1960s. Creator of his own compositional idiom, \u201csonorism\u201d, which became a hallmark of the so-called Polish School of Composition, he was an early recipient of the UNESCO International Rostrum of Composers Prize for \u201cThrenody to the Victims of Hiroshima\u201d (1961). Recipient of hundreds of prizes (including five Grammy Awards), he achieved a rare balance between radical experimentation and an approach to classical music that struck a chord within popular culture. Conducting his own concerts, he had a unique ability to elicit emotional responses from his audiences and to convey messages of profound humanism. Throughout his career, Penderecki worked in multiple forms \u2013 symphony, opera, concerto, vocal and chamber works \u2013 producing masterpieces such as \u201cDies Irae\u201d (1967), \u201cJutrznia\u201d (1970-71), and the opera \u201cThe Devils of Loudun\u201d (1968-69). He was particularly drawn to religious music and was the first modern composer to revive the form of the Passion (with 1966\u2019s \u201cSt. Luke\u2019s Passion\u201d).\nPenderecki\u2019s music was embraced early on in the cinematic realm. Though he rarely composed directly for feature films, exceptions include Wojciech Has\u2019s THE SARAGOSSA MANUSCRIPT (1964) and THE CODES (1964), and Alain Resnais\u2019s JE T\u2019AIME, JE T\u2019AIME. And his pre-existing compositions were often borrowed for film soundtracks, most famously appearing in William Friedkin\u2019s THE EXORCIST (1973), Stanley Kubrick\u2019s THE SHINING (1980), Jerzy Skolimowski\u2019s HANDS UP! (1981), Andrzej Wajda\u2019s KATYN (2007), and Martin Scorsese\u2019s SHUTTER ISLAND (2010). More recently, Penderecki\u2019s \u201cThrenody for the Victims of Hiroshima\u201d accompanied one of the most unforgettable scenes in David Lynch\u2019s TWIN PEAKS: THE RETURN (2017).\nMost of the film music Penderecki composed came in the first phase of his career, and was written for short films in his native Poland. In the early 1960s, he began writing film music at the Polish Radio Experimental Studio together with Eugeniusz Rudnik, a sound engineer and pioneer of electronic music. Penderecki was at first reluctant to explore electronic music (supposedly due to a serious electrical shock some years earlier), but at Rudnik\u2019s urging he began to embrace its potential, and their collaboration would result in some of the most extraordinary film music of the era. Composing music for short films allowed Penderecki to test his ideas freely, on viewers who were not as skeptical as those he encountered in the classical music realm. The discoveries he made creating music with Rudnik in the \u201cblack room\u201d of the Polish Radio Experimental Studio in Warsaw were later incorporated into Penderecki\u2019s individual compositions, including \u201cPolymorphia\u201d (1961), a piece that opens Anthology\u2019s film program, and \u201cThe Second Cello Concerto\u201d (1974), the one that closes it.\nAnthology is thrilled to host a program encompassing most of the short films that feature Penderecki\u2019s music, both those for which he composed the music specially and those that incorporate previously written pieces.\nAneta GrzeszykowskaBOLIMORPHYPoland, 2008, 7.5 min, digital. Featuring Krzysztof Penderecki\u2019s \u201cPolymorphia\u201d (1961).The artist\u2019s fragmented and duplicated body is seen as a disruption of a broken mechanism. Penderecki\u2019s \u201cPolymorphia\u201d is used as an instrument of destruction to disturb \u201cBolero\u201d by Maurice Ravel. Combining these two pieces with the disintegration of her own body lets the artist Aneta Grzeszykowska create a ballet of auto-destruction.\nKazimierz Urba\u0144skiTHE CHARM OF THE TWO WHEELS \/ CZAR K\u00d3\u0141EKPoland, 1966, 6 min, 35mm-to-digital. Original music by Krzysztof Penderecki.One of the highlights of Polish avant-garde cinema in the 1960s, this film is a critique of industry and its destructive influence on the environment. On the soundtrack Penderecki mixes a sped-up recording of Niko\u0142aj Rimski-Korsakow\u2019s \u201cFlight of the Bumblebee\u201d with electronically produced sounds representing the environment.\nLeokadia SerafinowiczBASILISK ENCOUNTER \/ SPOTKANIE Z BAZYLISZKIEMPoland, 1961, 9.5 min, 35mm-to-digital. Original music by Krzysztof Penderecki.This stop-motion version of the legend of the Basilisk terrifies thanks to flickering, unstable images, an encircling, labyrinthine space, and eerie electronic music. The movie combines sounds of the void, mockingly descending to the depths of subconsciousness, with a joyful accompaniment of a bedtime story. In Penderecki\u2019s vision, the monster from the past heralds anxiety for the future.\nMiros\u0142aw KijowiczTHE HARLEQUIN \/ ARLEKINPoland, 1960, 6 min, 35mm-to-digital. Original music by Krzysztof Penderecki.The Harlequin\u2019s dance with balloons is set to vibrant percussion. Light and heavy forms float around the Harlequin, who is both a ballet master and a harpist.\nJerzy ZitzmanDON JUANPoland, 1963, 10 min, 35mm-to-digital. Original music by Krzysztof Penderecki.A parodic account of the adventures of the character from Moli\u00e8re\u2019s drama and Byron\u2019s poem. The soundtrack exaggerates various sound effects \u2013 hoofbeats, gunshots, a choir, an Italian pop song \u2013 into a cacophonous collage. In this telling, Don Juan is a perpetual motion machine, generating endless collisions.\nKrzysztof D\u0119bowskiSPACE TRIP \/ WYCIECZKA W KOSMOSPoland, 1961, 11 min, 35mm-to-digital. Original music by Krzysztof Penderecki.This adaptation of the first part of Stanis\u0142aw Lem\u2019s STAR DIARIES narrates the adventures of space traveler Ijon Tichy on an uninhabited planet.\nKrzysztof D\u0119bowskiTHE TRAP \/ PU\u0141APKAPoland, 1962, 9 min, 35mm-to-digital. Original music by Krzysztof Penderecki.This sequel to SPACE TRIP, covering the second part of Lem\u2019s STAR DIARIES, features an electronic soundtrack of whispers, whistling, and operatic cries.\nJerzy ZitzmanICARUS \/ IKARPoland, 1966, 11 min, 35mm-to-digitalA puppet animation film about humans\u2019 eternal longing for flying. In a crowd of people, you can always find one incorrigible dreamer. A fearless hero never stops perfecting their costume and technique so they can soon get off the ground.\nSteph Twyford-RigleyPERSEPHONE \/ PERSEFONAU.S., 2016, 3 min, digital. Featuring Krzysztof Penderecki\u2019s \u201cCello Concerto No 1\u201d (1973).PERSEPHONE combines an excerpt from Penderecki\u2019s \u201cCello Concerto No 1\u201d with a static image of a shivering cat, emerging from the shade.\nTotal running time: ca. 80 min.\nGuest-curated by Adriana Prodeus, this program is co-presented with the Polish Cultural Institute New York.\nThis program will screen theatrically at Anthology on March 29, as well as online from March 30-April 12. Access details for the online component will be announced soon.\nLead image: Krzysztof D\u0119bowski, THE TRAP \/ PU\u0141APKA, film still."},{"@type":"ImageObject","inLanguage":"pl-PL","@id":"https:\/\/instytutpolski.pl\/newyork\/2022\/02\/09\/krzysztof-penderecki-space-dissonance\/#primaryimage","url":"https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2022\/02\/6075d0c68350113625b53d6f_07.-Pulapka_m_Animocje_2021.jpg","contentUrl":"https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2022\/02\/6075d0c68350113625b53d6f_07.-Pulapka_m_Animocje_2021.jpg","width":1600,"height":1199},{"@type":"BreadcrumbList","@id":"https:\/\/instytutpolski.pl\/newyork\/2022\/02\/09\/krzysztof-penderecki-space-dissonance\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/instytutpolski.pl\/newyork\/"},{"@type":"ListItem","position":2,"name":"Krzysztof Penderecki: Space Dissonance"}]},{"@type":"WebSite","@id":"https:\/\/instytutpolski.pl\/newyork\/#website","url":"https:\/\/instytutpolski.pl\/newyork\/","name":"Instytut Polski w Nowym Jorku","description":"Instytuty Polskie","potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/instytutpolski.pl\/newyork\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"pl-PL"},{"@type":"Person","@id":"https:\/\/instytutpolski.pl\/newyork\/#\/schema\/person\/04d40cd80c1729a7f440613bee4073b6","name":"klaudia","image":{"@type":"ImageObject","inLanguage":"pl-PL","@id":"https:\/\/instytutpolski.pl\/newyork\/#\/schema\/person\/image\/","url":"https:\/\/secure.gravatar.com\/avatar\/649cd2d4f6b3f48c5bf42d51f7e665fb?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/649cd2d4f6b3f48c5bf42d51f7e665fb?s=96&d=mm&r=g","caption":"klaudia"},"sameAs":["http:\/\/lukasz.sienkiewicz@msz.gov.pl"],"url":"https:\/\/instytutpolski.pl\/newyork\/author\/stypulkowskaa\/"}]}},"_links":{"self":[{"href":"https:\/\/instytutpolski.pl\/newyork\/wp-json\/wp\/v2\/posts\/5381","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/instytutpolski.pl\/newyork\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/instytutpolski.pl\/newyork\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/instytutpolski.pl\/newyork\/wp-json\/wp\/v2\/users\/105"}],"replies":[{"embeddable":true,"href":"https:\/\/instytutpolski.pl\/newyork\/wp-json\/wp\/v2\/comments?post=5381"}],"version-history":[{"count":10,"href":"https:\/\/instytutpolski.pl\/newyork\/wp-json\/wp\/v2\/posts\/5381\/revisions"}],"predecessor-version":[{"id":5649,"href":"https:\/\/instytutpolski.pl\/newyork\/wp-json\/wp\/v2\/posts\/5381\/revisions\/5649"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/instytutpolski.pl\/newyork\/wp-json\/wp\/v2\/media\/5382"}],"wp:attachment":[{"href":"https:\/\/instytutpolski.pl\/newyork\/wp-json\/wp\/v2\/media?parent=5381"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/instytutpolski.pl\/newyork\/wp-json\/wp\/v2\/categories?post=5381"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/instytutpolski.pl\/newyork\/wp-json\/wp\/v2\/tags?post=5381"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}