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Symphony No. 3 is a symphony for orchestra in five movements composed between 1988 and 1995 by Krzysztof Penderecki. It was commissioned and completed for the 100 year celebration of the Munich Philharmonic. Its earliest version, ''Passacaglia and Rondo'' (which later served as the basis for the second and fourth movements of the complete symphony), premiered at the International Music Festival Week in Lucerne, Switzerland, on August 20, 1988. It was performed by the Lucerne Festival Orchestra and conducted by Penderecki. The full symphony premiered in Munich on December 8, 1995, and performed by the Munich Philharmonic, again under the composer's baton.〔 Symphony No. 3 exhibits a number of stylistic features which exemplify Penderecki's music of the 1980s, including motor rhythms, passages of free rhythm, chromatic scalar figures and emphasis on the minor second, dissonant intervals, and expanded percussion section. The work's dense counterpoint, innovative instrumentation, free harmonies, and complex rhythms make it stylistically similar to Penderecki's 1986 opera ''The Black Mask''. ==Background== Early in his career, Penderecki was one of the key figures associated with the Polish avant-garde movement of the 1960s.〔Adrian Thomas, "Krzysztof Penderecki," ''Grove Music Online'', accessed March 8, 2009.〕 Penderecki was interested in freedom from conventional aspects of music—namely meter, rhythm, harmony, melody, and form. Important works from this period, particularly ''Anaklasis'' (1959–60), ''Threnody to the Victims of Hiroshima'' (1960), and ''Fluorescences'' (1961–62), were experimental compositions characterized by blocks of sound of varying dynamics, extended techniques on acoustic instruments, and tone clusters. By the early 1970s, however, Penderecki began to move away from the avant-garde movement, claiming in an interview in 2000, "we pushed music so far in the sixties that even for myself, for me, I closed the door behind me, because there was no way to do anything more than I have done... I decided that there is no way that I can move on."〔Bruce Duffie, "Composer Krzysztof Penderecki in Conversation with Bruce Duffie," accessed March 7, 2009, available from http://bruceduffie.com/penderecki.html〕 Acknowledging that he had pushed the limits, Penderecki began to rediscover the neo-Romantics while working as a conductor in the 1970s. He specifies, "The kind of music I was conducting influenced my own music very much... During this time I began to have my Romantic ideas, partly because I was conducting Bruckner, Sibelius, and Tchaikovsky." At this point in his career, Penderecki's music begins to feature melodic expression, lyricism, and dramatic character. Penderecki felt that the early 1970s represented a major shift in his compositional style. Important to this shift was the composer's renewed emphasis on "tradition." Penderecki attributed the importance of tradition to Artur Malawski, his composition teacher from 1954–57, who balanced contemporary techniques with more conventional musical forms. Penderecki echoed Malawski's compositional philosophy: "The general principles at the root of a work's musical style... the integrity of a musical experience embodied in the notes the composer is setting down on paper, never change. The idea of good music means today exactly what it meant always." In 1973, he also stated he was in search of a new direction, one which resolved to "gain inspiration from the past and look back on my heritage." For Penderecki, tradition also served as an "opportunity to (the ) dissonance between the artist and the audience." The symphony particularly became an essential genre for Penderecki starting in the early 1970s, stating that his "third style period" began with his first symphony.〔 From the 1970s on, Penderecki described the importance of the symphony in various ways, for instance explaining that his second symphony of 1980 "referred fully to the late-nineteenth century symphonic tradition..." He also stated in 2000, "...It's very clear that I'm trying to continue this tradition, this Romantic tradition" when describing his symphonic compositions.〔 A passage from his collected essays ''Labyrinth of Time'' confirms this sentiment: "I would like to continue the music that was cast at the beginning of the () century: the tradition of writing symphonies." More importantly, however, Penderecki saw the genre as a kind of synthesis of traditional and contemporary styles, calling the symphony "that musical ark which would make it possible to convey to coming generations what is best in our twentieth-century tradition of the composing of sounds." 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Symphony No. 3 (Penderecki)」の詳細全文を読む スポンサード リンク
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