Krzysztof Penderecki

My ballet for orchestra emerged out of a similar kinesthetic emotional awareness and a renewed interest in dance music.

Cindy McTee's symphony makes passing allusions to earlier works by Stravinsky, Ravel, Barber, and even Penderecki, tossing in some jazz and folk fiddling allusions for good measure.

But Alan Cousin, reviewing the new symphony for the New York Times, wrote, Ms. McTee's sense of organization kept the work from becoming a pastiche.

As diverse as its ideas were, they seemed to unfold naturally within an orchestral fabric that used the ensemble's full coloristic range.

In 2012, I scored a game called Fez, and David played that game, David the director, and really liked the music.

And so one day he just sent me an email, hey, you know, I played Fez, I really like your music, do you want to work together? For the film, David had a pretty strong idea about what he wanted, and him and his editor, they put together a temp score for the film that had music from Penderecki and John Cage and John Carpenter, as well as some of my own music from Fez.

And we used that to figure out the beats and the tone of the soundtrack.

How can we use this to help us write the music more efficiently?

But these composers would rather it be 100% to 0% that you are just someone who plays the music.

But then you have some other composers, such as Penderecki, Cage, Ligeti, where what you get are suggested patterns, sometimes detailed, sometimes very vague.

And then you have the freedom to do whatever it is you want to do with that pattern in a certain amount of time.

This is almost equal partnership.

So do expect a Hjulski revisited episode in the near future.

Hjulski is no doubt best known internationally for his collaborations with Krzysztof Penderecki.

So it's particularly wonderful to know that at the beginning of his career, he was a tango singer.

And in the year 1957, he also made a 10-inch LP of Neapolitan songs, which are filled with so much sunlight that it will just stop your heart.

I was even criticized because some of the millennium were from outside, but they were so great.

[laughs] Composers like Hans Werner Henze, like Penderecki, like Gubaidulina.

Yes, right, right.

[laughs]

Okay.

Penderecki, though.

I left off with Rachmaninoff.

He also has a piece called Isle of the Dead, which is used every once in a while, and it's really scary sounding, too.

Okay.

But, yeah, Penderecki, some of his stuff is crazy.

And then, of course, Bela Bartok from Hungary.

And most of his stuff has a spooky edge to it.