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Interpretation
Capriccio for Tuba by Krzysztof Penderecki: A Guide to Performance
The Emotional and Historical Influences of Krzysztof Penderecki and How
they are Found Within his Capriccio for Solo Tuba
by Travis Netzer Conferences

Due to his prolific and eclectic innovation, Krzysztof Penderecki is one of the
great composers of the twentieth century. Since 1953, he has composed
over ninety works for a vast array of genres including huge symphonies,
religious works, operas, chamber music, and solo instrumental pieces. Since
its composition in 1980, his Capriccio for solo tuba has been a standard part
of the tuba repertoire. It is often used as a required work for tuba
competitions as well as suggested solo repertoire for entry into
conservatories and university music programs. Capriccio is filled with Latest Journal
extreme musical and technical challenges, which is why it is so often used
in assessing a tubist's abilities. It makes use of very difficult range jumps
and covers almost the entire range of the tuba. Its technical challenges
include intense triplet and sixteenth note runs as well as complicated
glissandi. The piece has no marked meter and almost no bar lines to
indicate phrasing or musical direction. By looking at Penderecki's
background and compositional evolution, the challenge of creating a great
performance for the Capriccio becomes less daunting and actually a lot of
fun.

Krzysztof Penderecki was born November 23, 1933 in Debica, Poland, near
Krakow. He grew up during World War II with difficult economic times in
Poland. Many of the terrible events of the war and the crimes against the
Jews took place all around him.[1] The traumatic experiences that occurred
as Penderecki was growing up, such as the concentration camps, the
bombing of Hiroshima, and many others influenced him greatly and contain Advertisement
many of the emotions he tries to convey throughout his music. His
Threnody to the Victims of Hiroshima was influenced by the dropping of
nuclear bombs on Japan. The horrific events at Auschwitz influenced his
Dies Irae, and his Lacrimosa was influenced by the workers killed in the
Gdansk uprising in 1970.[2] When we listen to Penderecki's music, we are
often pushed to feel the terror of this world because Penderecki believes
that those feelings that are so difficult to express should be expressed.

Another major influence of Penderecki's life was and still is his faith.
Penderecki was raised Catholic at a time when religion was not accepted in
Poland. He feels a moral and social connection to people through his pieces.
His St. Luke's Passion displays religious devotion as well as his
compositional technique. The work was very important to him and shows,
as he said, "through the intolerance shown to one man, the tragedy of all
men." [3]

Penderecki's music has been considered avant-garde and is frighteningly

original, challenging the nature of contemporary music by exploring unusual
sonorities of instruments, especially strings. Even in his earliest scores,
Penderecki was exploring sound. His unconventional methods of getting new
sounds from traditional instruments have become a staple in his work.
Often strings in his works are required to play the tailpiece or the bridge, as
well as hit the strings, the sound-box, or even the music stand.[4]

Penderecki was and still is considered an amazing innovator because of his

notation experimentation, use of extended techniques, and because of the
manner he dealt with time, space and music. He has always strived to
discover and efficiently use new textures in his music, a freedom that
caused him to never fully serialize a work, although he did make use of
many of the techniques involved in serial writing. Often his music makes
use of quarter tone clusters, glissandos, tremolos, and percussive effects.
[5]

His avant-garde compositions have come to be some of his most accepted

works. His works may be very eccentric but they do not lose their appeal to
the general public. The enormous variety of strange and unsettling sounds
mixed with the dissonance of his tone clusters embodies a very intense ITEA News
feeling of fear and intrigue. It is for this reason that his pieces are often Headlines
used in horror film scores. Penderecki's Threnody to the Victims of
Hiroshima for fifty-two string instruments, created in 1960, is used as the Fritz Kaenzig To
primary soundtrack music for The Shining, the 1980 Stanley Kubrick horror Receive 2019 ITEA
film that is based off of the Stephen King novel by the same title. The Teaching Award
soundtrack to The Exorcist, 1973, uses his Polymorphia, composed in 1961.
Most recently, the passacaglia from the third movement of his Symphony Sam Pilafian To
No. 3 was used as the soundtrack to Shutter Island, 2010. Receive ITEA
Lifetime
Penderecki has taken many stylistic paths throughout his career. His earliest Achievement Award
compositions show the musical influences of other composers from
Prokofiev and Hindemith to Stravinsky and Schoenberg. The piece New Hire: Donald
Anaklasis, 1960, marks the beginning of his approach to using sound
masses and the true form of avant-garde. It is here that Penderecki shifts Palmire, Royal
to his preference for highly complex sound structures and micro-rhythmic Hawaiian Band
writing. His focus shifts to the seamless change of sound characteristics and
playing with the contrasts between sound and noise. New Hire: Andrew
Doub, Louisville
This era came to an end with his piece Fluorescences in 1962, after which Orchestra
Penderecki decided he couldn't go any further in the direction he was
taking. From then until 1980 Penderecki tended toward retrospection and
New Hire: Jim
consolidation that returned his music from the extreme avant-garde back to
Andrus, Boulder
traditional compositional elements.
Philharmonic
His Neoromantic period began in the 1980s. The Capriccio for solo tuba is Orchestra
actually one of his first compositions to display his new stylistic endeavor.
During this period Penderecki often drew from significant characteristics of New Hire: David
past accomplishments. We hear more attention to form and melodic Childs, University Of
progression. It is in this manner of composing that Penderecki has North Texas
proceeded even to the present day.[6]
New Hire: Jace
A brief analysis of two of Penderecki's works, Threnody to the Victims of Vickers, East Central
Hiroshima and Symphony 3, helps to show many of the aforementioned University
techniques and elements. By studying these pieces, a player can see and
hear the characteristics of his compositional style and apply them to the
New Hire: Alex Avila,
Capriccio for solo tuba.
Texas A&M
University -
To begin, Threnody to the Victims of Hiroshima is perhaps Penderecki's
Kingsville
most well-known work. The piece was completed in 1960, during his avant-
garde period of writing. Although this piece is not written in the same style
as the tuba Capriccio in 1980, it is still useful to analyze because there are New Hire: Genevieve
similar technical, stylistic, and notational elements which are also found in Clarkson, Oklahoma
the tuba solo. City University

Threnody has a completely new method of notation within it, as seen in the New Hire: Aaron
music example below. For the fifty- two string instruments that the piece Campbell, University
called for, it was like learning a new language. These deciphering problems Of Tampa
cause a great deal of variance in different performances. [7]
Fritz Kaenzig To
Receive 2019 ITEA
Teaching Award

Sam Pilafian To
Receive ITEA
Lifetime
Achievement Award

New Hire: Donald

Palmire, Royal
Hawaiian Band

New Hire: Andrew

Doub, Louisville
Orchestra
 New Hire: Jim
Andrus, Boulder
Philharmonic
Orchestra

New Hire: David

Childs, University Of
North Texas

New Hire: Jace

Vickers, East Central
University

New Hire: Alex Avila,

Texas A&M
University -
Kingsville

New Hire: Genevieve

Clarkson, Oklahoma
City University

New Hire: Aaron

Campbell, University
Of Tampa

Figure 1: Krzysztoff Penderecki, Threnody to the Victims of Hiroshima,

PWM, page 7

When we compare these notation issues to those in the tuba Capriccio there
is a similar result when it comes to performance. Capriccio is more
traditionally notated and more structured, due to its Neoromantic style, but
the piece is still very susceptible to completely different interpretations.
Since there is no marked meter and no bar lines, the performer is free to
use his or her interpretation.

This does not, however, mean that the performer may do completely as he
or she pleases. The opening of the piece is marked Scherzo alla Polacca,
and only deviates briefly in the section marked Tempo di Valse. It is obvious
then, that he wishes the piece to have somewhat of a triple feel. The term
Polacca is normally interpreted as the Italian equivalent of a polonaise,
which is a stately, processional Polish dance. [8] The triple meter polonaise
was commonly used at weddings and other festivals. This is quite
appropriate for the occasion of the premiere of the solo by Cdzislaw Piernik
in June 1980 at a festival in Penderecki's honor. The valse, or waltz, was the
most popular form of dance in the late nineteenth century, also being in
triple time with heavy accents on the first beats of each measure. [9]

Though mathematically you might not be able to consistently create three-

four bars, it is quite helpful to try to group things into some type of three
feel. The opening line of the piece (fig. 2) makes more sense if you think of
it as being in three-four time, with a five-eight bar starting on the second A
flat of the line. Another great area to feel in three is the Tempo di Valse
section. When you get to the section, it is quite helpful treat the eighth
notes with tenuto marks on them as heavy downbeats in a waltz.

Figure 2 Krzysztof Penderecki, Capriccio for Solo Tuba, opening

Threnody can also teach the tubist about the technical demands that
Penderecki places on a performer. Many of Penderecki's works take an
instrumentalist or vocalist to the extremes of their abilities.[10] When we
look at the tuba Capriccio we also see a wide gamut of challenges to the
performer, which is why the piece is so often chosen to analyze a tubist's
abilities. When learning the solo, a tubist may be overwhelmed by these
technical challenges, but they should keep in mind that Penderecki wrote
these passages not as a cruel joke, but because he wanted a strained
sound. In a 1977 interview with David Felder and Mark Schneider,
Penderecki explains that he knows how difficult the tasks are that he
demands of performers, but he writes that way to achieve a certain tension
in the sound.[11]

A quote from Penderecki:

If you had asked a musician to play or try something which seems to be

impossible-first of all, he tries and sometimes it happens- he can do it.
Sometimes when writing a group of notes together in a very fast tempo….I
know it is impossible to play all of them. But, I did it because then I had
achieved a tension in the sound. If I would have written only four or five
notes, he would just do it, you know, so you would lose all the tension I
have in the piece…….Performers ask me all the time: "Please, this is
impossible." I reply that it is absolutely possible-"You will do it." Maybe the
player will miss two or three of them, but there is a tension there. I used to
do it, for example, using the human voice, writing very, very high for
sopranos. You have something which you would never have otherwise-a
kind of tension-because two or three sopranos can sing it, maybe. The
others try. Of course, some of them cry a little bit."[12]

Another great piece to study is Penderecki's third symphony, written

between 1988 and 1995. The "Passacaglia" and "Rondo" of this symphony
were written in 1988 and incorporated into Symphony No. 3, which was
finally completed after his Symphony No. 4. Symphony No. 3 is written very
much in a Neoromantic format, with many similar elements to the tuba
Capriccio.

A great place to begin analyzing is the Passacaglia movement. The motif

that is upheld throughout the movement is an eerie ostinato, beginning in
the cellos and basses and adding other instruments along the way. As seen
in figure 3, Penderecki begins the low strings on a D and has them play
steady eighth notes while switching time signatures often. Listening to this
movement might suggest how to treat the repetitive quarter notes in the
Capriccio. They are a driving force, and to be treated with great importance.
In the Passacaglia their importance is obvious since they are a constant part
of the music as well as the only thing happening for the first thirteen bars.
When applying this to the Capriccio we should learn not to glaze over these
sections and lose intensity. In the Passacaglia it seems that every note
grows just a little bit more ominous with every bow. This is a great idea to
consider in your own interpretation of the Capriccio.

Figure 3 Krzysztof Penderecki, Symphony No. 3, "Passacaglia"

The second movement, marked Allegro Con Brio, is an excellent place to

study in preparation for the technical aspects of the tuba Capriccio. Many
times in this movement the strings will begin a rapid and intense section of
triplets or sixteenth notes. As they occur in the movement, they act like an
interrupting conversation. Figure 4 begins five bars after rehearsal mark
five. Beginning with sixteenths and moving into sixteenth triplets, the
strings fight for attention as the bass trombone plays a solo. It comes
across almost as two ideas arguing with each other. In the Capriccio this
similar effect takes place. Obviously one performer cannot play two
separate lines at one time, however the same type of rhythmic interruptions
take place in between melodic material. Figure 5 shows such material. Here
we can see the staccato triplet line followed by the continuation of the line
that it interrupted. The Capriccio often gives this sense of two things going
on at once, and one should strive to highlight that in performance. [13]
Figure 4 Krzysztof Penderecki, Symphony No. 3

Figure 5 Krzysztof Penderecki, Capriccio

Lastly, listening to the third movement of Symphony No. 3 gives a great

idea for interpreting the Tempo di Valse section of the Capriccio. The tempo
relaxes at this point in the tuba solo, and turns from relentless rhythms to
reflective melodic lines. Symphony 3 is quite an intense work in the other
movements, but movement three makes a similar contrast. Harmonies are
less discordant, the tempo relaxes to adagio, and the movement is filled
with a quiet, introspective nature. Interpreting a parallel to the Capriccio
creates a very beautiful contrast that intensifies the return of the original
theme on the last page.

While comparing elements of other works is a fantastic way to get ideas for
performing Capriccio, another great resource is recordings. So much is left
to the soloist's interpretation that the performances vary tremendously.
Each soloist might provide ideas that you can use when forming your own
interpretation.
Finally, I refer the reader to an article in the Winter 2001 TUBA Journal. The
article discusses a master class in which Penderecki himself gave instruction
on the performance of his piece. The article is full of guidelines regarding
tempo as well as the composer's preferences for interpretation.

Penderecki intends there to be a variety of tempos throughout the solo. The

opening, marked Scherzo all Polacca, should be at a stately tempo
somewhere between 120 and 124 beats per minute. This tempo should
remain constant until the marked ritardando at the bottom of page five. He
also wishes the all ritardandi to be observed exactly, not starting until it is
noted in the music.

The a tempo on the top of page six is actually a mistake in the part.
Penderecki preferred the new section to be played at a tempo closer to
somewhere between 144 and 152 beats per minute. This tempo should then
be held until the leggiero section four lines down from the top of page six.
Here he would like the performer to hold back the tempo, setting up the
following Tempo di Valse. He also wished that the trills preceding the waltz
section be kept in tempo and not slow down until the poco ritardando
actually begins. The waltz should end at the a tempo three lines up from
the bottom of page six. Again, a tempo is a mistake because Penderecki
likes it to be treated as a Tempo I.

The fifth tempo is not marked, but should occur at the recapitulation
starting on page seven. Here, it should be slightly faster than Tempo I.
Theritardando which occurs on the fifth line of page seven is correctly
followed with an a tempo, but the pickup notes to the glissando on page
seven are missing an accelerando. The piece should increase tempo
dramatically until the sixteenth rest following the high Fs and Ds.

Penderecki also had comments on the treatments of certain notes. Every

time the cell that contains descending minor thirds appeared, Penderecki
wished there to be slight weight on the upper note. In regards to the arrows
at the bottom of page five, he wished that the performer would play the
best high and best low notes that they could produce. He related it to a
string player, who has limits as to how high they can play because of how
their instrument is made. On the tuba, the player also has limits and should
obey them instead of trying to squeak out the highest note they can,
regardless of how bad it sounds. Also, the fermata on the same page with
the glissando attached to it was placed there for a reason; Penderecki
desired a pause before continuing to the next page.

Within the last page of the solo, Penderecki also wished the contrast of the
fortes and pianos that follow the ritardando to be less extreme. Instead,
they should be played more as mezzo forte and mezzo piano. He also
pointed out an error of note grouping on the second to last line of the page.
Here there is a repeated eighth note figure that bars a high F to a high D
and is then followed by a low C sharp. This figure appears twice and should
actually be performed, and notated, barring all three of the notes together
each time. The last comments by the composer were that the breath marks
throughout the piece are to be noted as places to breathe, not to pause.
[14]
Ultimately it is up to the performer to create an interpretation of this piece,
and the interpretations in many available recordings stray from the
instructions in Penderecki's comments. This doesn't mean that the
performers are wrong; it just shows different notions of the meaning of the
piece, and how it affects them. The information presented here should serve
as a place to start your own interpretation.

Travis Netzer is a tuba graduate student at Western Michigan University,

where he has studied with Deanna Swoboda. He is originally from Ipswich,
South Dakota and earned his Bachelor of Music Education degree from
Northern State University, located in Aberdeen, South Dakota. While at
Northern, he studied tuba under Dr. Boyd Perkins. During his studies there,
Netzer made it to the national level of the MTNA young artist brass
competition two years in a row, placing national runner-up the second year.

Bibliography

Bobo, Roger. "Capriccio." On Tuba Libera. Crystal Records Inc. 1994.

Compact disc.

Chlopicka, Regina. "Stylistic Phases in the Work of Krzysztof Penderecki." In

Studies in Penderecki Volume I, edited by Ray Robinson, 51-64. Princeton,
New Jersey: Prestige Publications, Inc., 1998.

Cope, David. "Texturalism." Chapt. 3 in New Directions in Music. Illinois:

Waveland Press Inc., 2001.

Funderburk, Jeff. "Capriccio." On Journeys. Mark Records. 2011. Compact

disc.

Jacobson, Bernard. "Krzysztof Penderecki." Chap. 4 in A Polish Renaissance.

London: Phaidon Press Limited, 1996.

Minear, Paul S. "Krzysztof Penderecki: An Interpretation of the Lucan

Passion." Chapter 4 in Death Set to Music. Atlanta: John Knox Press, 1987.

O'Loughlin, Niall. "Threnody and Performance." In Studies in Penderecki

Volume II, edited by Ray Robinson, 283-293. Princeton, New Jersey:
Prestige Publications, Inc., 2003.

Pierce, Benjamin. "Capriccio." On Wheels of Life. Ribbet Records. 2006.

Compact disc.

Penderecki, Krzysztof. Capriccio. Mainz, Germany: Schott, 1987.

Penderecki, Krzysztof. Labyrinth of Time: Five Addresses for the End of the
Millenium. Chapel Hill, North Carolina: Hinshaw Music, Inc., 1998.

Penderecki, Krzysztof. "Symphony No. 3." On Penderecki: Orchestral Works

Vol. 1. National Polish Radio Symphony Orchestra. Anton Witt. Naxos, 1999.

Penderecki, Krzysztof. "Threnody for the Victims of Hiroshima." On

Penderecki: Orchestral Works Vol. 1. National Polish Radio Symphony
Orchestra. Anton Witt. Naxos, 1999.

Penderecki, Krzysztof. 3. Sinfonie for Orchestra. Mainz, Germany: Schott,

2008.

Perantoni, Daniel. "Capriccio." On Daniel in the Lion's Den. Summit Records.

1995. Compact disc.

Robinson, Ray. Krzysztof Penderecki's 'Labyrinth of Time': Conversations at

the End of the Millennium. Chapel Hill, North Carolina: Hinshaw Music, Inc.,
1998.

Robinson, Ray. "Penderecki's Musical Pilgramage." In Studies in Penderecki

Volume I, edited by Ray Robinson, 33-50. Princeton, New Jersey: Prestige
Publications, Inc., 1998.

Tomaszewski, Mieczyslaw. " Penderecki's Musical Pilgrimage." In Studies in

Penderecki Volume I, edited by Ray Robinson, 13-32. Princeton, New
Jersey: Prestige Publications, Inc., 1998.

Tomaszewski, Mieczyslaw. "Listening to Penderecki." In Studies in

Penderecki Volume II, edited by Ray Robinson, 17-29. Princeton, New
Jersey: Prestige Publications, Inc., 2003.

Schwinger, Wolfram. "The Changes in Four Decades: The Stylistic Paths of

Krzysztof Penderecki." In Studies in Penderecki Volume I, edited by Ray
Robinson, 65-82. Princeton, New Jersey: Prestige Publications, Inc., 1998.

Schwinger, Wolfram. Krzysztof Penderecki: His Life and Work. London,

England: Schott & Co., 1989.

Stanley, Sadie ed. New Groves Dictionary of Music and Musicians. New York,
2001. s.v. "Krzysztof Penderecki."

Stanley, Sadie ed. New Groves Dictionary of Music and Musicians. New York,
2001. s.v. "Polacca."

Stanley, Sadie ed. New Groves Dictionary of Music and Musicians. New York,
2001. s.v. "Polonaise."

Szwajgier, Krzysztof. "Penderecki and the Avante Garde." ." In Studies in

Penderecki Volume II, edited by Ray Robinson, 191-198. Princeton, New
Jersey: Prestige Publications, Inc., 2003.

Wrobleski, Micky. "In the Composer's Own Words: Capriccio for Tuba Solo
by Krzysztof Penderecki." TUBA Journal vol. 28, issue 2(Winter 2001): 61-
62.

[1] Schwinger, Wolfram. Krzysztof Penderecki: His Life and Work. (London,
England: Schott & Co., 1989), 16-23.
[2] Minear, Paul S. "Krzysztof Penderecki: An Interpretation of the Lucan
Passion." Chapter 4 in Death Set to Music. (Atlanta: John Knox Press,
1987), 95-96.

[3] Minear, Paul S. "Krzysztof Penderecki: An Interpretation of the Lucan

Passion." Chapter 4 in Death Set to Music. (Atlanta: John Knox Press,
1987), 95-96.

[4] Tomaszewski, Mieczyslaw. "Listening to Penderecki." In Studies in

Penderecki Volume II, edited by Ray Robinson, 17-29. (Princeton, New
Jersey: Prestige Publications, Inc., 2003), 17-19.

[5] Stanley, Sadie ed. New Groves Dictionary of Music and Musicians. (New
York, 2001.) s.v. "Krzysztof Penderecki."

[6] Schwinger, Wolfram. "The Changes in Four Decades: The Stylistic Paths
of Krzysztof Penderecki." In Studies in Penderecki Volume I, edited by Ray
Robinson, 65-82. ( Princeton, New Jersey: Prestige Publications, Inc.,
1998), 65-82

[7] O'Loughlin, Niall. "Threnody and Performance." In Studies in Penderecki

Volume II, edited by Ray Robinson, 283-293. (Princeton, New Jersey:
Prestige Publications, Inc., 2003), 283-293.

[8] Stanley, Sadie ed. New Groves Dictionary of Music and Musicians. New
York, 2001. s.v. "Polacca."

[9] Stanley, Sadie ed. New Groves Dictionary of Music and Musicians. New
York, 2001. s.v. "Polonaise."

[10] O'Loughlin, Niall. "Threnody and Performance." In Studies in

Penderecki Volume II, edited by Ray Robinson, 283-293. (Princeton, New
Jersey: Prestige Publications, Inc., 2003), 283-293

[11] Cope, David. "Texturalism." Chapt. 3 in New Directions in Music.

Illinois: Waveland Press Inc., 2001.

[12] Cope, David. "Texturalism." Chapt. 3 in New Directions in Music.

Illinois: Waveland Press Inc., 2001.

[13] Penderecki, Krzysztof. 3. Sinfonie for Orchestra. Mainz, Germany:

Schott, 2008.

[14] Wrobleski, Micky. "In the Composer's Own Words: Capriccio for Tuba
Solo by Krzysztof Penderecki." TUBA Journal vol. 28, issue 2(Winter 2001):
61-62.

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