Thoughts on ‘Threnody’

Download the original paper (for which this article is an addendum) here!

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I recently received a lovely email from a student in Canterbury, UK:

I’m conducting some research on Penderecki and his use of “emotive” titles for some of his works, taking Threnody for the Victims of Hiroshima as a key example…I’m particularly interested to know exactly when Penderecki changed the title of this work and why, so any further pointers would be really helpful…

I learned some interesting factoids in my bit o’ research for my response, and I thought it prudent to add it as a side note to my original Threnody… outline. Here’s what I found out (and how I responded):

Thought for the Day

In the midst of my intense contemplations concerning my current in-progress work – my thesis composition for my Master’s degree, to be exact – I came across this fascinating interview with renowned composer, John Adams, concerning his Violin Concerto.

Excerpt:

Did the concerto genre and the expectations associated with it—especially that of virtuosic writing for the solo instrument—affect your customary compositional process in any ways that you can single out?

I think it did affect it a lot. I was very slow to come to the concerto form. In fact, even after finishing this work, I’m not entirely sure I’m comfortable with the form itself.

Three Excellent Sites to See

First off, I am excited to announce that Music Program Notes, a community-shared database for performance program notes, has moved and become simply Program Notes, “to accommodate program notes for both music and stage productions”. The new look is really fabulous – clean, easy to navigate, and available to a much wider contributing-audience!

I fully endorse this idea; what better way to enlighten listening audiences, and to aid students of music and other stage productions? So, don’t hesitate – check it out, spread the word, and contribute what you can!
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Update:
Check out my recent article about my brand new work, My Tribute!