Andrzej PANUFNIK (1914-1991)
Composer’s introduction to Bassoon Concerto [3:12]
Bassoon Concerto [19:20]
Composer’s introduction to Symphony No. 9 [3:45]
Symphony No. 9 Sinfonia di Speranza [40:37]
Robert Thompson (bassoon)
BBC Symphony Orchestra/composer
rec. 6 October 1987, BBC studio recording.
HERITAGE HTGCD266 [66:56]
This Heritage release marks the centenary of the birth of Andzej Panufnik.
These composer-conducted performances were made for BBC Radio 3 in 1987
and first broadcast in 1990. Both works are compelling and most enjoyable
on first hearing.
The Bassoon Concerto, commissioned by Robert Thompson, was composed as
a memorial to martyrdom inspired by the persecution, at the hands of the
Polish secret police, of Father Jerzy Popiełuszko. The same soloist
also recorded the work for Conifer in 1989 (CDCF182) and the timings are
remarkably similar, as is the overall concept and interpretation (Conifer
19:31; Heritage 19:20). This is hardly surprising on the basis that Mr.
Thompson worked very closely with the composer on this concerto and it
is clearly close to his heart. The Heritage version is preferable on two
counts. First of all, the recording is warmer and closer, thus making
it more involving for the listener. Secondly, the BBC Symphony Orchestra
produces a more luxuriant string tone compared to the London Musici and
this is really telling in the opening bars where the double basses and
cellos have tremendous bite, depth and presence.
The concerto has moments of anger, probably reflecting the emotions that
Panufnik was feeling about the treatment meted out to Father Jerzy Popiełuszko.
It is controlled anger, though, due to the use of an orchestra comprising
flute, twi clarinets and strings. Bassoon and orchestra seem to be holding
a discussion, sometimes reflective, sometimes heated but mostly sombre.
The central Aria, running around ten minutes, gives the soloist ample
opportunity to display the instrument’s singing tone. This Aria
is an elegy written in the style of a Polish folk song. The violent string
motif from the very opening of the work returns at the beginning of the
short final Epilogo. Here, the bassoon finally has the chance to show
off its more comical characteristics as the work comes to a jaunty close.
Written soon after the Bassoon Concerto, Symphony No. 9, Sinfonia di Speranza,
is Panufnik’s musical interpretation of the ideal of hope: a spiritual
message, an expression of faith in mankind and a longing for racial and
religious tolerance. It is a remarkable single movement symphony running
for over forty minutes with its material derived from a three note motif
- referred to by the composer as a motif of hope. Like Beethoven’s
Ninth, this music is optimistic in nature. The symphony is lyrical and
contemplative but any risk of monotony is avoided by the inclusion of
rhythmically animated passages within the twelve-section structure. Panufnik’s
string writing is especially expert and most telling. The continuous forty
minute melodic line on display here strikes me as structurally sound and
spiritually moving.
This CD, with its exemplary performances and vivid sound quality, deserves
to attract a wider listening public to the powerful, lyrical, mournful
and sometimes gritty music of Panufnik. The spoken introductions by the
composer are a nice finishing touch. Maybe Heritage can now consider reissuing
the composer’s Universal Prayer conducted by Stokowski on Unicorn
and maybe the same label’s rousing Shires Suite by Tippett. Both
would be most welcome.
John Whitmore
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