Upcoming releases
Music Theory. Studies, interpretations, documentation
Krzysztof Penderecki. Music as an Experience
A special issue devoted entirely to Krzysztof Penderecki, the patron of the Academy. The publication contains articles in English and transcripts of panel discussions in Polish and English.
Teresa Malecka
Krzysztof Penderecki’s Creative Path “Rooted in Earth and Heaven.” The Question of Aesthetic and Value
Anna Nowak
Narrative Discourses in Krzysztof Penderecki’s Violin Concertos
Beata Bolesławska-Lewandowska
Krzysztof Penderecki and His Music in the Critical Reflection of Zygmunt Mycielski
Siglind Bruhn
Merging Modernity and Tradition in Penderecki’s String Quartets Nos. 3 and 4
Nana Sharikadze
The Georgian-Polish Music “Contact Zone” (The Example of the 1960s)
Helmut Loos
“Describing the Tragedy of Existence.” Structure and Meaning in Krzysztof Penderecki’s 2nd Symphony
Eero Tarasti
Krzysztof Penderecki 90 – Belief, Episteme and Icon – an Existential Semiotic Interpretation
Iwona Sowińska-Zając
Krzysztof Penderecki’s St Luke Passion as an Example of the Poetics of Violence in the 20th Century Music
Joan Grimalt Santacana
Penderecki’s Sekstet (2000): a Hermeneutic Analysis
Małgorzata Janicka-Słysz
Krzysztof Penderecki’s Music from the Perspective of the Category of Experience and Aff ective Poetics
TESTIMONIALS
Dyskusja Teoretyków Muzyki
Mieczysława Tomaszewskiego i Reginy Chłopickiej „podejście” do muzyki Pendereckiego
Discussion of Music Theorists
Mieczysław Tomaszewski’s and Regina Chłopicka’s Approach to Music by Penderecki
Dyskusja Wykonawców
Muzyka Krzysztofa Pendereckiego w zwierciadle wykonawców – świadectwa i refleksje
Discussion of Performers
Krzysztof Penderecki’s Music as Refl ected by Performers – Testimonials and Refl ections
Dyskusja Kompozytorów
O doświadczeniu muzyki Krzysztofa Pendereckiego i jego nauczania kompozycji
Discussion of Composers
The Experience of Krzysztof Penderecki’s Music and His Teaching of Composition
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The Historical Oboe. Current State of the Research,
Contemporary Practice and Perspectives
red. Geoffrey Burgess, Katarzyna Pilipiuk
A collective monograph edited by Geoffrey Burgess and Katarzyna Pilipiuk, containing texts devoted to oboe.
I. Oboists and Ensembles
Janice B Stockigt
Oboists of the Dresden Hofkapelle During the Reign of Saxon Elector and King of Poland, Augustus II ‘the Strong’ (1709–1733), and Beyond
Katarzyna Pilipiuk
Oboe Players in 18th-century Poland
II. Repertoire and Style
Elena Abbado and Alfredo Bernardini
From Florence to St Petersburg: Th e life, successes, struggles and death of Domenico Maria Dreyer, oboist
Kostis Hassiotis
Franz Wilhelm Ferling (1796-1874) and his 48 Studies for Oboe, op. 31: A Review and Re-evaluation of the Surviving Sources with Implications for Performance
Christine Blasl
Berlin aft er 1730: Developments in Instrumental Music as Seen in Four Oboe Sonatas
Robert de Bree
Oboe Improvisation in the 19th-century: A Collection of Possibilities from Articulating the Obvious to Imagining the Fantastical
III. Instruments and Technological Developments
Geoffrey Burgess
Oboe Manufacture in mid-19th-century Dresden: Th e Golde Workshop
Christopher Palameta
A Widening Gap: Playing Historically-Appropriate Oboes in Performances of 19th-century Music
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CD
THE LATE BEETHOVEN
Piano Sonatas op. 101 · 106 · 109 · 110 · 111
Piotr Kowal – piano
Beethoven’s last five piano sonatas (Opp. 101, 106, 109, 110, and 111) rank among the most significant works in the history of music. Written at the very end of his life, when the composer was already completely deaf, they testify to his extraordinary spiritual strength and inner freedom. Rather than repeating earlier formulas, Beethoven transcends the traditional framework of the classical sonata, directing his music toward increasing concentration of expression, polyphonic complexity, and profound contemplative intensity. These are works in which structural economy coexists with immense emotional and intellectual depth.
Piotr Kowal is a Polish pianist, chamber musician and educator associated with the musical life of Kraków. A graduate of the Krzysztof Penderecki Academy of Music in Kraków in the class of Prof. Andrzej Pikul, he received a doctoral degree in 2018 for his work on the interpretation of Beethoven’s late piano sonatas, including the B-flat major Sonata Op. 106 “Hammerklavier”, and a postdoctoral (habilitation) degree in 2025. He currently serves as Assistant Professor at the Department of Piano at the Krzysztof Penderecki Academy of Music in Kraków and heads the Piano Department at the Bronisław Rutkowski State Music School in Kraków.
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Album: New Reed Quintet
Penderecki Academy Press
Kraków 2025
New Reed Quintet is a pioneering chamber ensemble formed in 2021 by the artistic fusion of two renowned Polish ensembles: duoAccosphere, the accordion duo, and the reed trio – LLLeggiero Woodwind Trio. This is the first and only project of its kind in the world, combining reed wind instruments: oboe, clarinet and bassoon, with two types of modern concert accordion (keyboard and button), the instrument that produces sound also by air, but with the use of free reeds. This experiment undertaken a few years ago revealed a very wide spectrum of performance possibilities, textural solutions and, above all, timbre innovations. The energising interplay of the two instrumental groups is based on both the search for corresponding sounds, and showing the contrasting sound shaping possibilities. The quintet’s innovative sound is based on the mutual complementation of the seemingly distant instruments, which together create a diverse musical mosaic. New Reed Quintet also embodies a perfect symbiosis of tradition and modernity. Thanks to the imagination of the composers, this inspiring medium sparkles with a variety of colours, constantly surprising the audience. The album presents five diverse compositions that were created on commission from duoAccosphere and LLLeggiero Woodwind Trio, and through close collaboration between the composers and the musicians of the ensembles.
- JAN SANEJKO Mirabilia
- TYLER VERSLUIS Quintet
- WOJCIECH WIDŁAK SommerMusik
- PETER MACHAJDÍK And the air and the ground were clean again
- VOLODYMYR RUNCHAK Vyshyvanka