TITLE: Pittsburgh Overture (1967)

COMPOSER: Krzysztof Penderecki (b.1933)

BIOGRAPHICAL SKETCH

In 1933, Penderecki was born in Debica, Poland. He attended the Superior School of Music in Cracow, Poland in 1958. He is considered to be one of the most significant Polish composers of the 20th century. In 1961, he composed Threnody to the Victims of Hiroshima. This work was the driving force behind his international recognition. He was composer-in-residence for the Buffalo Philharmonic Orchestra in Buffalo, New York during the late 1960's. His music is avant-garde He uses sound material in various shapes, in sharp contrast to romantic or classical symphonic compositions. His music provides the ear with a fresh and unique sound for listening. Concepts such as keys and traditional melodic and harmonic structures are considered ancient to Penderecki. Penderecki seeks freedom from any preconceived notion of rhythmic pattern for the conductor and performer.

MOVEMENTS: One

PERFORMANCE TIME: 12' 00"

INSTRUMENTATION: 38 Musicians to perform 42 instruments.

• 4 Flutes, 3 Oboes, 2 Bass Clarinets, 2 Contra-Bass Clarinets, 3 Bassons, 2 Contra-Bassoons, 5 Horns, 5 Trumpets, 5 Trombones, 1 Timpani, 6 Percussion, Piano, 3 Mallets.

EDITIONS: Available for Purchase or Rental

• C.F. Peters Corp., 373 Park Avenue South, New York, NY 10016

COMPOSITION SKETCH AND MUSICAL CONSIDERATIONS

Pittsburgh Overture was commissioned by Robert Boudreau, conductor of the American Wind Symphony Orchestra in 1967. The work calls for a bass flute in C, an oboe d'amore, bass oboe, chimes with extended range and a variety of percussion instruments that are not standard for concert band instrumentation. Some of the percussion instruments that are required are not manufactured and will need to be assembled for performance. There are numerous sound effects required in the score. These special effects are notated with specific symbols that are defined in the musical score. The score does not use meter or tempo markings. One of the primary compositional techniques used in this work is improvisation. The markings facilitate the performer's ability to create sounds that are appropriate to the composers intentions. Pitch content is derived from a twelve-tone set and is controlled by various serial procedures. Penderecki does not limit his pitch sources to the twelve-tone pitch set. Some microtones and unique textures from specific percussion instruments are utitlized by Penderecki.

Note derived from Thomas Tyra's article "An Analysis of Penderecki's Pittsburgh Overture"

SELECTED RECORDINGS:

RELATED WEBSITES:

Penderecki's Biography - http://www.xs4all.nl/~gaud/biobak/p/penderek.htm