ANDRZEJ PANUFNIK – Symphonic Works Vol. 1 – Nocturne; Tragic Overture; Heroic Overture; Katyn Epitaph; A Procession for Peace; Harmony. Sulwia Mierzejewska, solo violin. Polish Radio Symphony/Lukasz Borowicz. CPO

by | May 20, 2010 | Classical CD Reviews | 0 comments

ANDRZEJ  PANUFNIK: Symphonic Works Vol. 1 = Nocturne; Tragic Overture; Heroic Overture; Katyn Epitaph; A Procession for Peace; Harmony – Sulwia Mierzejewska, solo violin/ Polish Radio Symphony/ Lukasz Borowicz – CPO 777 497-2 [Distr. by Naxos] ****:

Andrzej Panufnik (1914-1991) is the least known of the three great Polish composers of the twentieth century – the others being Lutoslawski and Penderecki. His music combines the architectural quality of consecutive soundblocks – extended music with distinctive tone and texture – with the emotional feel of the spiritual and visionary. By manipulating three note cells in a mathematical manner, Panufnik’s music has a forceful, sometimes overwhelmingly powerful presence which is often contrasted by a more meditative, atmospheric section.

The music on this disc can be best understood by tracing their personal, political and sociological times in which they were created.  The Tragic Overture (1941) recreates the cataclysmic terrors of World War II. The composer uses a four note motto theme throughout this short work that plays beneath a cantabile violin melody. The Heroic Overture, ostensibly written for the pre-Olympic competition in Warsaw in 1952, was really a testament to the valiant resistance of Poland to the Nazi invasion of 1939. Here the conflict is punctuated by a valorous march and a triumphant ending.

In Nocturne (1948) “I completely detached myself from the tragic memories of the past years,” Panufnik writes, “I was escaping reality, weaving for myself a kind of night vision, as in a dream…” This 17 minute work starts quietly, moves towards a devastating climax, and then recedes into the mist. Its structure reminds me of Barber’s Adagio for Strings, but there is a portent of fear and danger under the patina of calmness. There also is a  warmth, especially in the string writing, that perhaps reflects the composer’s love for humanity. Nocturne may have been cathartic for Panufnik, but, as moving emotionally as it is, there still remains the imprint of the horror the composer experienced in World War II. It is the major discovery of this disc.

Katyn Epitaph is a searing remembrance of the Katyn Forest Massacre of thousands of Polish patriots by Russian soldiers in World War II. The quiet and lovely A Procession for Peace is a symphonic prelude dedicated “to peace loving people of every race and religion, of every political and philosophical creed,” Panufnik wrote. Harmony – a Poem for Chamber Orchestra – was composed in 1989 and dedicated to the composer’s wife of 25 years. Its spiritual and graceful tone is an excellent example of the meditative and visionary Panufnik.

This impressive disc is a sampling of the diversity of symphonic music which this under-appreciated composer has given to the world. Performances and sound are excellent, as are the extensive program notes. This is an important beginning to recordings of Panufnik’s orchestral works (this is Volume 1), and I look forward to future issues, especially recordings of his ten symphonies.

— Robert Moon

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