Krzysztof Penderecki

• Born: November 23, 1933, Dębica, Poland
• Died: March 29, 2020, Kraków, Poland

Duo concertante per violino e contrabbasso

• Composed: 2010
• Premiere: March 9, 2011, Hanover, Germany; Anne-Sophie Mutter, violin, and Roman Patkoló, bass
• Duration: approx. 6 minutes

Polish composer Krzysztof Penderecki was the most fêted composer of the 20th century by quite a large margin, boasting a ledger of honors and accolades unparalleled by any other composer of his century. Over the course of six decades, he collaborated with an impressive roster of international artists and often conceived works with specific performers in mind. At age 12, German violinist Anne-Sophie Mutter began a life-long collaboration with the composer that resulted in his tailoring many of his works to her talents, including his second violin concerto (Metamorphoses), his second violin sonata, and the Duo concertante per violino e contrabbasso.

Mutter describes how she believes Penderecki’s worldview is mirrored in his compositions:

I think the gentle impression which Krzysztof Penderecki’s music leaves is that he is a wonderful reminder of historic moments. Sadly, a lot of history is filled with drama, grief, and death, and that is why some of his greatest music actually relates to that […] For all of these very sorrowful and unique moments in all of their tragic color, he is able to find a musical language which is so personal and so true to that moment in history.

The Duo concertante was commissioned by the Anne-Sofie Mutter Stiftung for Highly Gifted Musicians and conceived for the violinist to perform with bassist Roman Patkoló. The Italian title draws on another piece for violin and double bass, Giovanni Bottesini’s 1880 Gran duo concertante, originally for two double basses with orchestra.

Penderecki’s work captivates the listener with mercurial moods, vacillating from brooding to playful, from to lush to manic. The work opens with the indication Quasi una cadenza, and quickly unfolds into a five-note figure that volleys between the two players against a backdrop of virtuoso passages every bit as colorful as they are astonishing: Penderecki explores a full range of expressive possibilities in the span of five minutes, including scordatura (alternate string tuning), tremolo, glissandos, pizzicato, left-hand pizzicato, double stops, natural and artificial harmonics, striking the strings with the fist, percussive effects on the body of the instrument, and bowing on the back side of the bridge.

The technical challenges of the work are formidable. But in the hands of gifted performers who can thoughtfully engage their audience, the Duo concertante per violino e contrabbasso rewards the listener handsomely, indeed.

—Dr. Scot Buzza