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but the piece that truly brought him to international attention was Threnody to the Victims of Hiroshima (see threnody and atomic bombing of Hiroshima), written in 1960 for 52 string instruments. In it, he makes use of extended instrumental techniques (for example, playing behind the bridge, bowing on the tailpiece).
Oh WOW!
That’s…something else entirely.
So violent! Yet also subtle and quiet.
Yields immediate visceral reactions.
The entire instrument is so thoroughly explored.
How does one remember such a piece?
Or keep the original bow and strings to the end?
Striking. Marvelous. Beautiful. I’m all for it.
An amendment of something conjured by it:
It’s not safe out here.
It’s wonderous; with treasures vibrations to satiate desires both subtle and gross, but it’s not for the timid.
He’s playing Penderecki
TIL. Thank you!
https://en.wikipedia.org/wiki/Krzysztof_Penderecki
The Threnody is definitely his most famous, but he has used that technique in some of his solo compositions for cello as well - example
Oh WOW!
That’s…something else entirely.
So violent! Yet also subtle and quiet.
Yields immediate visceral reactions.
The entire instrument is so thoroughly explored.
How does one remember such a piece?
Or keep the original bow and strings to the end?
Striking. Marvelous. Beautiful. I’m all for it.
An amendment of something conjured by it:
Threnody to the Victims of Health Insurance Companies.