Raising this topic, I didnt realize that the key factor for reciving
classical Grammy are the great sales.  I was naive enough to think that
Grammy is to promote someone whos sales are small or moderate but his
musical achievements are very valuable.

Another sure thing it that it was a smart move of Penderecki to dedicate
this concerto to Anne Sophie Mutter.  Otherwise the piece would never get
so much attention.  You have no idea how much Penderecki writes.  He's
fertile like a young woman, almost 2 - 3 months he releases a new oratorio
or a different big composition.  The problem however is that none of these
pieces represent a major development and are not much different from what
he was writing already 20 years ago.

Steve Schwartz writes:

>I've been listening to the concerto, and, although a very well-made piece,
>it just misses igniting a spark in me, unlike, say, the Adams concerto.

Of course, because it is simply repeating his old ideas, his old worked out
way of writing, his old success recipe.  It is all highly profeessional and
original indeed but there's nothing new to it.  And this piece value does
not justify the Grammy which is the most prestigeous music award one can
earn.  Unless it's business award.

I think that Penderecki knows wery well how contemporary snobish concert
goer imagines contemporary classical music.  And this is the way he's
writing it.  (like many other, especially american composers do) It doesnt
matter that true musical value is in some cases almost nonexistent.  The
size of orchestra and chorus matters, the loud trumpets matter, the number
of soloists matter, everything has to be big and cheaply impressive.  For
example his Seven Gates of Jerusalem oratorio was a great success with many
initial performances here and in Jerusalem, but now a year later nobody
would think of the performance since "maestro" has 5 new masterpieces
ready.  In some sence he's following Handels concept and amount of writing,
but I truly wish he'd represent the same mastery and artistry.

I just worry where we will end up when many contemporany composers will
follow the cheap succes way

Maciej Dziekiewicz
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