Andrzej Panufnik centenary event at Kings Place. Billed as "A family celebration", it centred on performances of music by both Panufnik père and fille - these days, indeed, we hear much more of Roxanna's music than we do of her father's. This occasion, with two chamber music concerts, a film followed by a discussion and finally a Warsaw Cabaret, is the latest - and London's last, as far as I'm aware - contribution to the centenary. (Unfortunately I was only able to attend part of the event due to Elgar talk preparations for tonight, but am happy to declare myself blown away by the playing of the Brodsky Quartet and moved to tears by the film and the words of Camilla Panufnik, Andrzej's widow.)
Two very different personalities emerge, hearing Andrzej and Roxanna's works side by side, yet there are qualities in common: both love to use crunchy harmonies in which major and minor meet and greet, and there's a delicacy, a finesse, to the sound - the musical equivalent, if you like, of a shiny surface, gloss rather than matt. Roxanna's music, though, sounds free-spirited; she always leaves room for humour, or lament, or an exploration of far-off lands. Andrzej's does not.
His works are impeccable: never a note too many or too few, the architecture perfectly circumscribed, the rigour vigilant and the core strong. Yet Panufnik senior is much of his era in that his own life and music, through coincidence of time and place of birth, was circumscribed first by soviet politics and subsequently by what does emerge as an atmosphere of cultural fascism in the west. Perhaps I'm imagining it, or projecting, but his sense of vigilance over each phrase makes one feel that, when finally free from the control of others, he exerted supreme control over his own self. The structures are perfect, the substance within them almost fiercely austere.
He underwent a dramatic escape from Poland in 1954, climbing out of a toilet window to give his minders the slip while on a concert tour to Switzerland, fleeing to the airport and boarding a plane to London. In the film My Father, the Iron Curtain and Me, Jem Panufnik, Andrzej's son, retraces his father's steps and ponders on their different lives and musics (Jem makes club music and art). Imagine reaching a point when you can no longer function in your home country because everything you say is twisted to support a regime you loathe, in which music true to your own spirit is forbidden because everything must support the state, and having lost your entire family to wartime tragedy - and then losing a baby daughter as well. Driven to the point where if you don't leave, you will assuredly crack. And arriving in the longed-for west, only to find that your music is not performed because it is the wrong kind of music - it is not serialist, therefore not approved. And some luminaries you had met when they visited your old country refuse to acknowledge you because they wish to be friendly to those regimes, but not to those who abandon them (apparently Stalin termed these champagne communists of the west "useful idiots").
Panufnik was far from alone among composers in suffering this history of the double-whammy: political exile from one country followed by cultural exile within another.
It's not easy to keep alive the work of a composer after his death, but perhaps the centenary events this year will mark a return to the concert hall for Panufnik's streamlined, distinctive and unfailingly imaginative works. Poland has been doing much to rehabilitate his works and reputation; a performance by the LSO in the beautiful new concert hall of Katowice apparently brought the house down. Now we need his adopted home to do likewise. Hearing his works again has certainly been a highlight of my year. One hopes they are now here to stay.
Read and listen to more about Andrzej here: http://panufnik.com
Read and listen to more about Roxanna here: http://www.roxannapanufnik.com
Meanwhile: I'm off to the Elgar Society tonight to talk about how another composer's spirit has touched my own life so many ways.
Monday, December 01, 2014
Tuesday, September 23, 2014
The centenary of the great Polish composer Sir Andrzej Panufnik is being celebrated across the UK on his birthday, i.e. tomorrow (indeed, all this week; and indeed, all this season). At Symphony Hall Birmingham, the CBSO is performing his Piano Concerto, with Peter Donohoe as soloist, and perhaps his most celebrated work, the Symphony No.2, 'Sinfonia Elegiaca'. To start the evening, I will be presenting a pre-concert interview with Panufnik's daughter, the composer Roxanna Panufnik, to offer an intimate memoir of Andrzej's life and his influence on her own work. Panufnik was chief conductor of the CBSO at one time, so we are particularly thrilled that his music is under the spotlight at "his" orchestra. Please join us at 6.15pm tomorrow! Info and booking here.
Meanwhile, Panufnik senior is composer of the week on BBC Radio 3; the LSO will be holding a Discovery Afternoon at St Luke's devoted to his work on 19 October (and performing his music in Katowice, Poland, with Tony Pappano conducting); and there is a Panufnik Day at Kings Place on 30 November entitled Panufnik 100: A Family Celebration, including several different performances and films (this one among them).
Here, by way of taster, is his Violin Concerto, just because it happens to be a favourite of mine.
Monday, September 01, 2014
Hello, it's September. How did that happen?!
Here are a few things I'm doing this month: do come along if you're in the vicinity of any of them!
Here are a few things I'm doing this month: do come along if you're in the vicinity of any of them!
14 September, 3.30pm:
HAMPSTEAD AND HIGHGATE LITERARY FESTIVAL: JOHN OGDON. I interview Ogdon's biographer Charles Beauclerk about the life and work of the troubled musical genius. LJCC, Ivy House, North End Road, Golders Green, London NW11.
21 September, 4pm:
ALICIA'S GIFT, the Concert of the Novel. Viv McLean (piano), me (narrator). Chopin Society, London, Westminster Cathedral Hall.
24 September, 6.15pm
PANUFNIK CENTENARY Pre-Concert Talk at the CBSO, Symphony Hall, Birmingham. I interview Sir Andrzej Panufnik's daughter, composer Roxanna Panufnik, about the life, legacy and influence of her father and his music. Concert includes A.Panufnik's Piano Concerto (with Peter Donohoe) and Sinfonia Elegiaca.
September is one of the most beautiful months of the year. Here is its eponymous song by this year's top anniversary man, Richard Strauss, from Four Last Songs. The soprano is Nina Stemme, and it's the Orchestra of the Royal Opera House conducted by Tony Pappano.
I am sick as the proverbial parrot about having missed Nina's Salome at the Proms on Saturday night. I was in Salzburg to interview a VIPianist and was travelling back at the time. Apparently it was totally sensational and you can hear it on the iPlayer here: click on Listen Again, even if you haven't listened before.
Monday, January 13, 2014
1. Re performers, I wish we might see the return to these shores of the pianists Grigory Sokolov, Krystian Zimerman, Martha Argerich and Menahem Pressler.
|Grigory Sokolov, please come back to us!|
3. Re orchestras and other ensembles, I wish that those who depend on their local councils for life-giving tranches of funding could find alternative sources, fast. I fear they will need them. Here is the first of what will be many such problems: the BBC Philharmonic's grant is being slashed by Salford Council, which - shamefully - is also ending its contribution to music and performing arts in schools, according to this report from the Manchester Evening News.
4. Re programming, I wish for scope, breadth and depth. I am sick of pianists in particular programming same old same old. Do you know how much piano repertoire there is? More than any of us could possibly read through in one lifetime. So no more Schumann Etudes Symphoniques; why not Gesange der Fruhe? And enough of the last three Schubert sonatas; why not the G major or the big D major instead, or, if you can face its challenges, the "little" A minor? This could go on, but you get my drift.
5. I also wish for plenty of Andrzej Panufnik, whose centenary falls this year. He is a neglected master and he's due for a big-time return to the concert hall. Watch this space for further details of the centenary plans so far. At least there's a good chance of this wish being fulfilled.
6. I wish that Sir Simon Rattle would confirm or deny, definitively, whether or not he is coming to head the LSO. Preferably the former.
7. An end to witch-hunting and bullying in all its forms. The notion that a composer/performer/any individual who does something artistic/creative/literary/etc should be judged in that activity first by his/her personal beliefs/sayings/doings in matters of religion/sex/politics/etc is insidious and daft.
8. I wish that along with endeavouring to increase levels of sponsorship, membership, Friends schemes etc, there could be an increased sense of responsibility to those who can't afford to be among them. Venues exist that sell out to their members before anyone else gets a look in. Some of those venues keep day seats for which you can queue. Those that don't currently do this should start. The ones that already do should keep more day seats.
9. I wish that some doughty, important and fearless conductor would decide that it is OK to perform Mozart operas with a bit of vibrato and an orchestra that's non-microscopic in size.
10. Last but by no means least, I wish for the realisation of my dream of an awards ceremony to celebrate and raise the profile of the great achievements of women in music. And I'm sure Fanny Mendelssohn (right) would approve.
Monday, January 28, 2013
The Witold Lutoslawski centenary festival, Woven Words, is about to get underway, opening on Wednesday evening at the Royal Festival Hall and named after the composer's 1965 work Paroles tissees. A look at the Philharmonia's designated website reveals that it's a fabulous resource. Hooray for the Adam Mickiewicz Institute, which is pumping support into this essential celebration of one of the century's towering musical figures.
The site includes a series of films exploring Lutoslawski's turbulent life history, tracing World War II and the Stalinist years in Poland with archive footage, musical extracts and fascinating insights from Steven Stucky (the series advisor) and other leading academics, as well as conductor Esa-Pekka Salonen. And Mrs Spilman is interviewed, explaining that her husband Wladislaw (whose memoirs, The Pianist, I'm sure you know about) as head of music in Polish Radio, encouraged Lutoslawski to compose popular music under a pseudonym to keep body and soul together in the traumatised world of post-war and Stalinist era Warsaw.
The picture above, from the site's gallery, shows Lutoslawski (right) meeting his friend and fellow composer Andrzej Panufnik (whose centenary falls next year) in 1990 at the Warsaw Autumn Festival. During the Nazi occupation the two had worked together, playing piano duos in coffee houses in the Polish capital: normal musical life had been snuffed out and Chopin's music - as a symbol of Polish national pride - had been banned. (Music/politics/mix...). Essentially, the story of Lutoslawski is the story of Poland in the 20th century.
As the festival's slogan reminds us, "Music begins where words end." I've often started lectures, essays, commentary et al with that phrase and I knew I'd borrowed it from someone... How pleasing to discover that that someone was Lutoslawski. [UPDATE: oops - apparently Debussy got there first.] If you missed it the other day, here is my one and only interview with Lutoslawski, from a meeting in 1992, now available to read for the first time in all those years, courtesy of Sinfini.
There's a complete list of concerts in the Woven Words festival here.
And a set of essays and programme notes that should keep us all busy, learning and fascinated here.
Please click through and do some exploring.
Then please also explore the wonderful new Andrzej Panufnik website and start thinking about next year.
To kick us off, listen to the Lutoslawski Variations on a Theme of Paganini for two pianos, which he and Panufnik used to play together in those cafes. Tragically, most of their other manuscripts from the war years went up in flames. Here the performers are Martha Argerich and Gabriela Montero.