Penderecki & Shostakovich
Hong Kong Sinfonietta
Conductor:Krzysztof Penderecki
Violin: James Cuddeford(Concertmaster, Hong Kong Sinfonietta)

"Poland’s greatest living composer"
– The Guardian
"Metamorphosen is a wildly eclectic mélange that brushes pastjust about everyone from Beethoven to Bartók and Shostakovich"
– The New York Times

Grammy Award for Best Classical Contemporary Composition, 1999

One of the greatest living composers, Penderecki’s prolific career spans more than half a century, winning him numerous awards including the prestigious Prix Italia, Sibelius Gold Medal, Grammy Awards, Grawemeyer Award, UNESCO Music Prize, as well as some of the highest decoration by countries such as his native Poland, Germany, France, Italy & Japan. The Maestro is collaborating with Hong Kong Sinfonietta for the first time, in a concert which also features the orchestra’s Concertmaster James Cuddeford.

Penderecki Violin Concerto No 2, Metamorphosen
Shostakovich Symphony No 15 in A, Op 141

Hong Kong City Hall Concert Hall
Friendly Reminder

Photo credit: Bruno Fidrych

Hong Kong Sinfonietta is financially supported by the Government of the Hong Kong Special Administrative Region
Hong Kong Sinfonietta is a Venue Partner of the Hong Kong City Hall

Global theatrical innovations from Poland
Theatre of Death
Artist and director Tadeusz Kantor (1915-1990) refused to be guided by texts, placing the emphasis on the visual elements of theatre. Kantor combined radical props and stage design with happenings (different art forms brought together in a live performance) to manifest the absurdity and emptiness of reality. In 1975,Kantor created Dead Class, a controversial play from which he developed the Theatre of Death concept, probing such motifs as death, memory, spiritual transcendence, and the most basic human desires.
Poor Theatre
This form of theatre is derived from the ideas and work of director Jerzy Grotowski (1933-1999). Poor Theatre seeks to distil the essence of the dramatic art form. Grotowski argued that interaction between actors and spectators is the only necessary element in theatre, with lighting, sound effects and set design minimised in his productions. In his view, even the stage could be abandoned. Grotowski also developed training methods that demanded his actors constantly engage in self-exploration, fusing their inner beings into performances.