Beneath the Surface - Panufnik centenary: Symphony no.10

Introduction

Panufnik's tenth and final symphony is his smallest, lasting just over fifteen minutes. It was written in 1990 for the Chicago Symphony Orchestra and Sir Georg Solti.

In his notes for the work Panufnik says that he initially wanted to write a virtuoso work for a virtuoso orchestra, but in the end he went against his instincts and wrote a work 'to demonstrate their supreme sound quality, show off their collective musicianship and humanity, and their ability to convey their intense and profound feeling'.

Once again there are geometric principles at work, however, Panufnik describing how 'the musical material of Symphony No.10 consists of tonal melodic lines with a simultaneous flow of reflected and transposed 3-note cells'. As with symphonies 7 & 9 he operates within a single movement, though this one is in four sections.

Verdict

The Tenth Symphony - Panufnik's first without a nickname - begins with a clarion call from the brass, a fanfare that soon finds itself complemented by bullish strings.

The smaller structure suits Panufnik, who keeps things moving quickly - especially in the third movement, whose percussive thrust recalls the best moments of the Sinfonia di Sfere.

Yet the most effective moments are the quietest, as the last of the four sections introduces a string chorale that alternates softly and thoughtfully before ebbing away into the distance.

Panufnik's farewell to the symphony may not be as substantial as some of the earlier works in his output, but it does leave its understated mark.

Recordings and Spotify Links

Panufnik himself can be heard conducting the Warsaw Philharmonic Orchestra here. Meanwhile the consistently excellent Lukas Borowicz conducts the Tenth with the Konzerthausorchester Berlin here, part of an album including the Sinfonia Elegiaca and Sinfonia Sacra.

Beneath the Surface - Panufnik centenary: Symphony no.9 (Sinfonia di Speranza)

Introduction

Ever since Beethoven's Choral Symphony, a composer's ninth symphony is a huge event – and it has become a daunting prospect, scaling such a symphonic Everest.

Panufnik was no different, but his response to the challenge was to produce a massive, unbroken work of 40 minutes in length – by some distance his biggest work in the form so far. It was not only a homage to Beethoven's Ninth, 'but because the ninth decade of this century seemed to call for a new expression, a more positive response to the turmoil of our time. Living in the shadow of violence and terrorism, my thoughts of the future had too often been pervaded by pessimism: now I found myself endeavouring to write music of uplifting character, attempting to revive the springs of hope'.

He described it as 'my musical interpretation of the ideal of hope: within its notes I have tried to incorporate a spiritual message, an expression of my faith in mankind as well as my longing for racial and religious tolerance among all people'.

Once again Panufnik set out to reach his aim with the help of geometry, for as his symphonic output grew he appeared to want to challenge himself to reach greater structural achievements. The Sinfonia di Speranza, then, is in twelve 'arcs', as he details on his publisher's page.

Verdict

Despite the daunting prospect of a single, unbroken 40 minute span, I found this symphony to be the most satisfying in Panufnik's symphonic output. The long phrases are part of the reason for its success, because they draw out the music so that it becomes taut and intense. And yet Panufnik is also able to write what is essentially chamber music, including the harpsichord at the end of one section to add some ghostly counterpoint to the nervy activity.

The symphony begins with very broad strokes from the strings, moving at odds with the outbursts from the brass that provides more turmoil. However the sheer power of the strings' line carries all before it, rather like a long intonation and devotion – although you might not know exactly where it's going next the brass never shut it down.

Each of the sections proves equally dramatic. There are similarities to the Sinfonia Sacra in the conviction of the harmonic writing and surety of the long melody, but the voice of experience is now shining through more, and it feels that this is the work that captures Panufnik's overwhelmingly positive and resolute approach to his life.

Recordings and Spotify Links

The composer's recording with the BBC Symphony Orchestra can be heard here, while Lukas Borowicz conducts the Konzerthausorchester Berlin here, a recording helpfully broken down into sections.

Next up: Symphony no.10

Beneath the Surface - Panufnik centenary: Symphony no.8 (Sinfonia Votiva)

Introduction

There seems to be a paradox at work with the Sinfonia Votiva. On one hand Panufnik states that it is 'an abstract work without any programmatic content', but in the next paragraph he writes of how 'this symphony is dedicated to the Black Madonna of Czestochowa, the symbol for all Polish people of independence from invading powers, also of profound religious dedication'. The Black Madonna was the symbol of the Solidarity Movement in Poland, which eventually brought the Cold War to a largely peaceful close.

Perhaps aware that his complex geometrical designs were getting in the way of his ability to communicate, Panufnik chose a single circle and the number 8 as his inspirations for the Votiva. 'Seeking the architectural framework for this symphony, I created in my imagination a "mother diagram" - two large circles combined into a figure 8, which represent the two movements of the symphony, and which contain the more complex inner structures of the work.' These diagrams can be found on the website for the composer, www.panufnik.com. The two movements are very similar in construction as a result.

Verdict

Sinfonia Votiva has a pretty bleak beginning that inhabits a similar mood of introspection and impending dread as some of the Shostakovich wartime symphonies. It is however a very compelling and tense listen, and as the cold flute solo unwinds from the start, the strength of suppressed feeling is clear to hear. The icy strings add harmonies that now speak of a lifetime's experience, and the first movement ends in a mood of unfulfilled introspection.

All that changes with the second movement, which has more cut and thrust, suggesting an anger just beneath the surface but pushing forward with an irrepressible energy. As ideas are exchanged the music is revealed to have a strong depth of feeling, as though Panufnik is channeling his support for Solidarity with subtle strength.

I found the Sinfonia Votiva a tough nut to crack, but also found it the work to which I would like to return the most. It is a gripping piece of music, and the contrast between the cold and hot first and second movements is striking, one that warrants further exploration.

Recordings and Spotify Link

A taut account of the Sinfonia Votiva can be found with the Berlin Konzerthaus Orchestra conducted by Lukas Borowicz here

Next up: Sinfonia di Speranza

Beneath the Surface - Panufnik centenary: Symphony no.7 (Metasinfonia)

Introduction

There are a couple of works within Panufnik's symphonic output where the word 'symphony' can be rather loosely applied. The Sinfonia Concertante (no.4) is one such instance, while the Metasinfonia is another. The composer himself acknowledges this, writing that it 'could be considered as a kind of organ concerto, but I feel the title Metasinfonia more accurately depicts the form and character of the composition'. The idea of the 'organ symphony' is not a new one of course, with the famous Saint-Saëns work dating from 1886, and a lesser-known Twentieth Century equivalent completed by Copland in 1924.

Once again there is a carefully thought out structure to this work, as Panufnik explains. 'Both parts of the title, meta and sinfonia, each have equal significance. The prefix meta here relates to other words and ideas prefixed by meta - particularly metamorphosis, meaning change of shape, gradual transformation; the word sinfonia I used because the work has an extremely disciplined organic structure, even if its design goes rather far from the classical model'.

The symphonic arguments take place in one continuous movement, completed by Panufnik in 1978 for the Manchester International Organ Festival.

Verdict

Compositions for organ and orchestra often end up as a dramatic duel between the two forces, and Panufnik's Seventh Symphony is no exception, with plenty of thrills and spills. It begins with some very stern statements from the strings, which the organ responds to with big, dissonant chords – a lot of angst being worked out in the process. The string writing becomes increasingly divided, so that there are some very strong, twisted chords that make a powerful expression.

There is a dramatic intervention by high pitched timpani half way through, which leads to a quieter and much colder section, with macabre string sounds working around some ghoulish organ lines, rather like the soundtrack to a horror film.

Gradually the tension builds again until a powerful cadenza is unleashed around the 21 minute mark, the organ taking over – before an impressively wrought finish with the two forces uniting, and a rush of percussion to finish.

As the commentary implies, this is a more listener friendly work than the previous two symphonies.

Recordings and Spotify Link

Just the one recording of the Metasinfonia commonly available - and it is a vividly played version from organist Michael Oberaigner and timpanist Jorg Strodthoff, with the Konzerthausorchester Berlin conducted by Lukasz Borowicz on CPO. Coupled with the Eighth Symphony - the Sinfonia Votiva - it can be heard here

Next up: Sinfonia Votiva

Beneath the Surface - Panufnik centenary: Sinfonia Concertante (Symphony no.4)

Introduction

The Sinfonia Concertante – which bears the alternative title of Symphony no.4 – represented Panufnik's return to the symphony in 1973 after a gap of 10 years. It is on the same scale as the Sinfonia Sacra, but the two works are chalk and cheese – where that work was bold, brassy and full of big orchestral writing, the scoring for the Sinfonia Concertante is for the more subtle combination of flute, harp and strings.

In a note for the piece Panufnik details how he composed the work 'as a token to my wife in the tenth year of our marriage'. He goes on to describe how 'the two movements have many directly contrasting characteristics'. Some of these are between slow and fast, lyrical elements and dance-like elements, symmetry and asymmetry – and show the beginnings of Panufnik's preoccupation with geometry as the inspiration for his symphonic works. A diagram of the work can be found on the composer’s dedicated website.

Despite the structural concerns, Panufnik stresses that the aim of the work is a lyrical one – no doubt with his wife in mind.

Verdict

For me the Sinfonia Concertante is a feminine complement to the masculinity of the Sinfonia Sacra, with silvery string textures that complement the delicate sounds of the flute and harp. This does not make it comfortable music, however, for on occasion the string orchestra signal a sense of dread, particularly in the early nocturnal exchanges, which give a sense of something waiting in the wings, especially when the movement subsides to flute and low harp alone.

The second movement releases this pent-up energy, a lone double bass driving forward urgently, followed soon after by the rest of the strings. It remains restless, despite the calming tones of flute and harp, as a solo violin is allowed a reckless improvisation. The third movement settles down to a less troubled existence, with some nice shading through harp tremolo and calm strings.

This is an unusual piece...but a subtly affecting one that alternates between sounding genuinely creepy or having a nice silvery tone. It is distinctive in Panufnik's symphonic output.

Recordings and Spotify link

Flautist Lukasz Dlugosz and harpist Anna Sikorzak-Olek revel in Panufnik's unusual textures, and are beautifully balanced with the Polish Radio Symphony Orchestra under Lukasz Borowicz. This is part of a disc on CPO that includes the Sinfonia Rustica, plus the important orchestral pieces Polonia and Lullaby. Yet a starry cast conducted by Panufnik himself is difficult to ignore, with soloists Aurèle Nicolet and Osian Ellis. This recording can be accessed on Spotify here

Next up: Sinfonia di Sfere

Beneath the Surface - Panufnik centenary: Symphony no.3 (Sinfonia Sacra)

Background
In the early 1960s the estranged Polish composer Andrezj Panufnik went to the United States, to explore possibilities as a conductor as well as a composer. While there he received plenty of support from Leopold Stokowski, but did not get much conducting work. However he did receive a significant commission, to write a work in celebration of 1,000 years of statehood for Poland, due to be marked in 1966.

And so Sinfonia Sacra, the composer's third symphony, was born. Bernard Jacobson's engaging study of the composer as part of a Phaidon book, A Polish Renaissance, goes on to detail how, in tribute to Poland's rich cultural and Catholic tradition, 'it would incorporate the melody of the Bogurodzica hymn that had struck his imagination so forcibly in 1936'.

In May 1962, Panufnik's circumstances were improving, with marriage to Camilla and the prospect of a new house, when it was announced that the Sinfonia Sacra - had won a competition sponsored by Prince Rainier of Monaco.

Thoughts

Although the Sinfonia Rustica and Elegiaca are very enjoyable pieces of music to listen to, there is a noticeable tightening of the screw in the Sinfonia Sacra, confirmation that Panufnik has honed his symphonic credentials to write a lean structure where not a single note is wasted.

The piece captures the listener immediately, with a bold and uplifting fanfare that eventually resolves into pure C major. So far, so good – but then instead of continuing in celebratory vein Panufnik reveals the opening material to be a rather empty gesture, as the strings paint the picture of a barren wasteland.

It takes a while for the music to recover from this desolation, as it moves into an angry and resentful music that is high on energy but feeling in need of consolation. This arrives in the form of the hymn tune, gathering power towards the profound final pages. Here there is a huge sense of courage and strength in depth, the music moving between brief glimpses of consonance and peace and then back to discord, giving an indication of pain that won’t entirely go away – but which for now lies vanquished.

The Sinfonia Sacra is a powerful experience, a triumph of the human spirit over what Panufnik terms an 'invocation of the battle fields', which can be taken to mean the horrors of persecution and war. Its victory is hard won, but is all the more dramatic for it.

Recordings and Spotify Link

Panufnik's own recording, with the Monte Carlo Opera Orchestra, can be heard on an album here, with the Sinfonia Rustica and Sinfonia concertante. There are a number of other versions, though a particularly fine and recent account is made by Lukasz Borowicz, conducting the Konzerthausorchester Berlin on CPO here

Next up: Sinfonia concertante (Symphony no.4

Beneath the Surface - Panufnik centenary: Symphony no.2 (Sinfonia Elegiaca

Background

Panufnik's first published symphony, the Sinfonia Rustica, celebrated Poland through interpolations of folk tunes. The second, however, is the chalk to its cheese. Sinfonia Elegiaca reflects its composer's experiences in Poland in the Second World War.

'Tragic indeed was the fate of Warsaw', he wrote – 'in 1943, the Nazi destruction of the Ghetto, and in 1944 the Warsaw Uprising, when the Russian Army, right close to the city gates, passively watched the Germans systematically flattening almost the whole of Warsaw, killing over a quarter of a million defenceless Polish men, women and children. During this uprising I lost my Tragic Overture together with every note of music I had ever composed in my first thirty years of life'.

Then, under pressure from above, Panufnik was urged to write a 'Symphony of Peace'. This he completed, but the music was anything but peaceful – and while well received by the public, the authorities were far less certain.
After Leopold Stokowski conducted it in America in 1955, Panufnik rethought the work, turning it into what is now known as Sinfonia Elegiaca, and removing its vocal lines, casting it as a long slow movement with a fast central scherzo.

Christoph Schlüren's booklet notes for a new recording of the piece by the Konzerthausorchester Berlin and Lukasz Borowicz, on CPO, go into much greater detail on Panufnik’s feelings on the piece. 'It has no literary programme, but emotionally it expresses sorrow for the victims of the war, then protest against inhumanity, madness and violence – coming back to the lament for the dead and the bereaved – thus emphasising that their agonising sacrifice brought neither peace to the world nor full freedom to countries such as my native Poland.'

In his biographical chapter on Panufnik in the rewarding Phaidon book A Polish Renaissance, Bernard Jacobson questions the attributes of the finalised piece. 'Eloquent and accomplished though it is, the Sinfonia Elegiaca of January 1957 must also be regarded as in some ways a work of less than complete maturity. Neither here nor in Sinfonia Rustica does the composer achieve or aim for the range of poetic evocation already covered in 1947 by both Nocturne and Lullaby (the latter a daringly original work).'

Thoughts

There is certainly no shortage of feeling in the Sinfonia Elegiaca, whatever its perceived shortcomings. The opening pages are cold indeed, with the strings literally raising the music from the ground as it moves slowly and gradually upwards.

Then there is an aching cor anglais solo, the same instrument used by Shostakovich to convey pain in his own 'war symphony', the Eighth. Here it shows the pain and sorrow Panufnik clearly feels for his native country. Meanwhile the strings' slow chords seems to take their lead from the chorale O Haupt voll Blut und Wunden, which J.S.Bach uses at the start of the St Matthew Passion, though its arrangement and harmonies are much less sonorous.

The profound first movement cuts suddenly to an explosion of anger and resilience in the second section, which is effectively the scherzo of the symphony – though there is very little in the way of humour here. Instead there are shrill brass, volleys of percussion and a more folksy melody from the strings, which does at least supply some hope.
Yet soon this much more energetic music peters out, and we are left once again with the sombre mood of the opening, Panufnik unable to shift his mood and the feeling that the war and the uprising have led to little more than huge, devastating loss.

Verdict

Because of its subject the symphony leaves an empty feeling at the end, but it does so having delivered some very powerful music. The first movement, which is effectively a prayer to the lost, is extremely moving, and although the sudden change of mood is a shock it is entirely in keeping with the swift changes of feelings that so often mark the experience of bereavement. So while Panufnik's symphonic thoughts are still a little ragged, they are strong and meaningful.

Recordings and Spotify link

The new recording from Borowicz certainly does the Sinfonia Elegiaca justice, and is much better played and recorded than the composer's own version with the Louisville Orchestra, though this perhaps not surprisingly shows even keener emotion. The chosen speeds are different, too – Borowicz is much slower in the outer movements and quicker in the middle, heightening the contrast between them.

Panufnik's own recording can be heard on Spotify here

Next up: Sinfonia Sacra