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5无损音乐格式古典音乐冷门 - CPO帕努夫尼克(1914-1991) 交响作品(8CD)
Composer: Andrzej Panufnik (1914-1991) 安德热·帕努夫尼克
Orchestras: Polish Radio Symphony Orchestra 波兰广播交响乐团,
Konzerthausorchester Berlin 柏林音乐厅乐团
Conductor: Lukasz Barowicz (b.1977) 卢卡什·巴洛维茨
Label: CPO
Number of Discs: 8 CDs
Nos.: CPO777497-2, 777496-2, 777498-2, 777683-2, 777684-2, 777685-2, 777686-2, 777687-2
Year: 2010, 2010, 2011, 2011, 2012, 2013, 2013, 2014
CPO777497-2 Andrzej Panufnik (1914-1991) - Symphonic Works Vol. 1 (2010) - Nocturne 夜曲
CPO777496-2 Andrzej Panufnik (1914-1991) - Symphonic Works Vol. 2 (2010) - Polonia 波罗尼亚
CPO777498-2 Andrzej Panufnik (1914-1991) - Symphonic Works Vol. 3 (2011) - Mistica 米斯提卡
CPO777683-2 Andrzej Panufnik (1914-1991) - Symphonic Works Vol. 4 (2011) - Sacra 神圣 / 萨克拉
CPO777684-2 Andrzej Panufnik (1914-1991) - Symphonic Works Vol. 5 (2012) - Votiva 奉献
CPO777685-2 Andrzej Panufnik (1914-1991) - Symphonic Works Vol. 6 (2013) - Speranza 希望
CPO777686-2 Andrzej Panufnik (1914-1991) - Symphonic Works Vol. 7 (2013) - Sfere 斯弗瑞
CPO777687-2 Andrzej Panufnik (1914-1991) - Symphonic Works Vol. 8 (2014) - Concertos 协奏曲
Sir Andrzej Panufnik (24 September 1914 – 27 October 1991) was a Polish composer and conductor. He became established as one of the leading Polish composers, and as a conductor he was instrumental in the re-establishment of the Warsaw Philharmonic orchestra after World War II. After his increasing frustration with the extra-musical demands made on him by the country's regime, he defected to the United Kingdom in 1954, and took up British citizenship. He briefly became chief conductor of the City of Birmingham Symphony Orchestra, a post he relinquished after two years to devote all his time to composition.
“In all my works, I attempt to achieve a true balance between feeling and intellect, heart and brain, impulse and design.”
------ Andrzej Panufnik
Andrzej Panufnik is one of the most important and original symphonic composers of the 2nd half of the 20th century. His output includes ten symphonies, with Centenary commissions from Sir Georg Solti for the Chicago Symphony Orchestra and Seiji Ozawa for Boston. The London Symphony Orchestra commissioned three works from him, and recorded many more of his works under the direction of Jascha Horenstein and then of the composer himself. Leopold Stokowski premièred several of his works in the USA and England. Gennady Rozhdestvensky recorded his Hommage à Chopin in Leningrad. The young Evelyn Glennie first came to prominence winning the Shell-LSO Scholarship with his Concertino for Timpani, Percussion & Strings; this work later received its US première conducted by André Previn. Yehudi Menuhin commissioned his Violin Concerto for the Windsor Festival and recorded it with Panufnik conducting. Mstislav Rostropovich premièred and recorded his Cello Concerto with the LSO, and the Royal Philharmonic Society commissioned his Ninth Symphony, which was premiered by the BBC Symphony Orchestra conducted by the composer. In addition to four concertos, he composed three string quartets, three cantatas and many works for chamber and string ensembles. His works are probably as much recorded as any classical composer’s of that period. Choreographers of his music have included Martha Graham, Kenneth MacMillan, Krzysztof Pastor, Robert Cohan, David Bintley, Gerald Arpino, Emil Weso?owski and Paul Mejia.
Born in Warsaw on 24th September 1914, Panufnik started to compose at the age of nine. He graduated from the Warsaw Conservatoire with Distinction in both composition and conducting, developing his classical conducting skills as a favourite pupil of Felix Weingartner at the Vienna Academy, and then studying French Impressionist composers with Philippe Gaubert in Paris, with further music explorations in London. Just before the outbreak of World War II Panufnik returned to Warsaw to look after his parents.
In Nazi-occupied Poland, with public concerts banned, he arranged a massive amount of classical music for two pianos which he played as a duo in “artistic cafés” with his friend and contemporary Witold Lutos?awski; also performing with his Jewish violinist friend Tadeusz (known post-war as Thadé Geisler). Despite the Nazi terror in Warsaw, at great personal risk he conducted illegal concerts and composed patriotic resistance songs, including the still-famous Warszawskie Dzieci. During the war he lost most of his closest relatives, as well as every note of music he had composed in his first 30 years, including two symphonies, destroyed by fire during the 1944 Warsaw Uprising.
In 1945 the 31-year-old Panufnik, eager to help the revival of classical music post-war, was appointed chief conductor of the Kraków Philharmonic Orchestra, having to seek out instrumentalists, old and young, scattered all over Poland. Then, in 1946 he was similarly asked to restore the Warsaw Philharmonic to life.
In those early post-war years, he began to reconstruct his lost symphonies and other works, but soon decided he must bury the past and start afresh. He kept only three restorations, his Five Polish Peasant Songs, the Piano Trio (his Opus 1) and Tragic Overture (dedicated to his courageous brother Mirek, a radio operator in the Polish Underground). He won international admiration and honours in his own country, the originality of those mid-1940s works establishing him as the “father” of the Polish avant-garde.
After 1948, with the imposition of Soviet Socialist Realism, Panufnik’s situation changed dramatically. As Poland’s leading composer, greatly respected throughout Europe, he was under much more intense pressure than his compatriots, bullied to write according to the Soviet imposition of Socialist Realism, artificially “positive” music composed according to the dictates of the authorities. Everything he composed of value was condemned as “western, bourgeois, decadent”. In 1949, the centenary of Chopin’s death, he was elected Vice-President of the Music Council of UNESCO, though the Polish authorities never allowed him to attend any connected ceremonies or concerts. He worked tirelessly to try to obtain better financial and other help for his fellow composers and cared deeply about the future of Polish music; however, creatively stultified by criticism, restrictions and intolerable political pressures, he ceased to be able to compose, the driving force of his life thus extinguished. In 1954 he made a dramatic escape from Poland as a protest against Communist control over creative artists, and this resulted in a raft of vicious propaganda and lies put out about him followed by total censorship of his name and his music in Poland for 23 years.
Panufnik was a shy man, disliking public life, and his greatest desire was to live quietly and compose in peace. He settled in England, Boosey & Hawkes became his publishers, and from 1957 to 1959 he served as Chief Conductor of the City of Birmingham Symphony Orchestra, his last official position before deciding to dedicate his life entirely to composition. He took British nationality in 1961.
Life in England was not easy for him. He was independent from the current fashion in composition which dominated the BBC, Paris and New York in the ’60s and ’70s, and stuck to his own aesthetic of constantly seeking new forms and “the perfect balance between intellect and emotion, heart and mind” in his works. Avoiding publicity (disastrous financially) he managed to disappear almost entirely from the musical scene; at last, however, unfettered by politics or conducting, the subsequent years became the most freely creative of his life. In 1963 Panufnik won the coveted Monaco composition prize for his still most widely loved and admired work, Sinfonia Sacra. In the same year he married the author and photographer Camilla Jessel; they settled in her grandmother’s old house by the Thames in Twickenham with a peaceful studio at the end of their garden where he could compose uninterrupted. His two children, Roxanna, also a classical composer and Jem, graphic artist, DJ and composer of electronica, both grew up influenced by his joy in his creative work. By the 1970s Panufnik, though still shy of publicity and deep in his work, was very much part of British musical life and his music was performed by most of Britain’s leading orchestras, with performances at the BBC Proms and at many LSO concerts.
Eventually, from 1977, Panufnik works were gradually performed in the ever-innovatory Warsaw Autumn Festival thanks to the insistence of his fellow Polish composers. Having left as a protest, he refused to return to Poland while the Communists were still in power. In 1990, when democracy was restored, he made a momentous return to the city of his birth for the performance of eleven of his works at the Festival. He was greeted on the airport tarmac by a crowd carrying red roses and brass players performing his Fanfare.
Panufnik’s autobiography, Composing Myself, was published in 1987. He received a knighthood for services to British Music in January 1991, the year of his death, and a posthumous Order of Polonia Restituta from President Lech Wa??sa in Poland.
安德热·帕努夫尼克爵士（波兰语：Sir Andrzej Panufnik，1914年9月24日－1991年10月27日），英籍波兰作曲家，指挥家。帕努夫尼克是虔诚的天主教徒，其音乐常具有浓厚的宗教性，并在一定程度上受到神圣简约主义影响，但他的和声更加尖锐，作品内容也更加复杂丰富。十部交响曲是他最重要的创作。他的《大提琴协奏曲》曾经由大师罗斯特罗波维奇主奏并灌录唱片，整张CD长度只有20分钟左右。代表作：十部交响曲，四部协奏曲，合唱《圣母玛利亚之歌》《和平交响曲》
LUKASZ BOROWICZ 卢卡什·巴洛维茨，指挥
Born in Warsaw in 1977, ?ukasz Borowicz studied with Bogus1aw Madey at the Fryderyk Chopin Music Academy in Warsaw. Afterwards he was an assistant of Antoni Wit, Ivan Fischer and Kazimierz Kord. Since 2007 he has been Artistic Director of the Polish Radio Symphony Orchestra in Warsaw. Seventeen CDs recorded with PROSW, including six complete operas, were released under his baton.
For Polish Radio, CPO, Chandos, Orfeo, Naxos, Sterling and Dux he is active in bringing the music of Polish composers back to the concert hall and into the recording studio. His recordings have been recognised by BBC Music Magazine (Orchestral Choice/August 2010) and by Diapason (Diapason d’Or/March 2010) and were nominated at the Midem Classical Awards (2008) and the Preis der Deutschen Schallplattenkritik (2009).
Since 2006 ?ukasz Borowicz has been Principal Guest Conductor of the Poznań Philharmonic Orchestra, where he conducts concerts, collaborating with distinguished singers such as Piotr Becza1a, Sergei Leiferkus and Samuel Ramey. With the Poznań Philharmonic Orchestra he has recorded two CDs: Overtures by Kurpiński and an Opera Recital by Samuel Ramey.
Tracks:
Vol. 1 - CPO777497-2
01. Tragic overture, orchestra [0:07:50.94] 悲剧序曲
02. Nocturne, orchestra [0:17:27.50] 夜曲
03. Heroic overture, orchestra [0:05:38.52] 英雄序曲
04. Katyn Epitaph, orchestra [0:07:37.36] 卡廷墓志铭
05. A Procession for Peace, orchestra [0:07:44.02] 和平游行
06. Harmony, chamber orchestra [0:14:55.66] 和谐
TT: 61'16
Polish Radio Symphony Orchestra, Lukasz Barowicz
Vol. 2 - CPO777496-2
Sinfonia Rustica (Symphony No. 1) [29'21] 乡村交响曲 (第1交响曲)
01. Sinfonia Rustica (Symphony no. 1) Con tenerezza [0:08:14.18]
02. Sinfonia Rustica (Symphony no. 1) Con grazia [0:04:57.05]
03. Sinfonia Rustica (Symphony no. 1) Con espressione [0:04:19.86]
04. Sinfonia Rustica (Symphony no. 1) Con vigore [0:06:00.21]
05. Sinfonia Rustica (Symphony no. 1) Con espressione (original version) [0:05:58.14]
Sinfonia Concertante for flute, harp & strings (Symphony No. 4) [19'47] 交响协奏曲 / 协奏式交响曲 (第4交响曲)
06. Sinfonia Concertante, flute, harp & strings (Symphony no. 4) Molto cantabile [0:10:06.86]
07. Sinfonia Concertante, flute, harp & strings (Symphony no. 4) Molto ritmico [0:07:39.38]
08. Sinfonia Concertante, flute, harp & strings (Symphony no. 4) Postscriptum [0:02:01.32]
Polonia - suite [20'46] 波罗尼亚组曲
09. Polonia, suite Marsz góralski [0:02:39.32]
10. Polonia, suite Mazurek [0:05:58.82]
11. Polonia, suite Krakowiak [0:02:47.56]
12. Polonia, suite Piesn Nadwislanska [0:05:09.94]
13. Polonia, suite Oberek [0:04:20.05]
14. Lullaby, orchestra [07'37] 摇篮曲
TT: 77'55
Polish Radio Symphony Orchestra, Lukasz Barowicz
Vol. 3 - CPO777498-2
Sinfonia Mistica [Symphony No. 6] [24'52] 米斯提卡交响曲 (第6交响曲)
01. Sinfonia mistica, "Symphony No.6": I. Molto andante
02. Sinfonia mistica, "Symphony No.6": II. Molto allegro
03. Sinfonia mistica, "Symphony No.6": III. Molto andante
04. Sinfonia mistica, "Symphony No.6": IV. Molto allegro
05. Sinfonia mistica, "Symphony No.6": V. Molto andante
06. Sinfonia mistica, "Symphony No.6": VI. Molto allegro
Autumn Music [20'10] 秋天的音乐
07. Autumn Music: I. Andante
08. Autumn Music: II. Presto agitato
09. Autumn Music: III. Andante
Hommage à Chopin - Five Pieces for flute & string orchestra [11'53] 向肖邦致敬
10. Suita polska (Hommage a Chopin) (version for flute and string orchestra): No.1. Andante
11. Suita polska (Hommage a Chopin) (version for flute and string orchestra): No.2. Allegretto
12. Suita polska (Hommage a Chopin) (version for flute and string orchestra): No.3. Andantino
13. Suita polska (Hommage a Chopin) (version for flute and string orchestra): No.4. Vivo
14. Suita polska (Hommage a Chopin) (version for flute and string orchestra): No.5. Andante
Rhapsody [16'43] 狂想曲
15 Rhapsody: I. Molto rubato
16 Rhapsody: II. Vivace
17 Rhapsody: III. Lento
TT: 73'57
Polish Radio Symphony Orchestra, Lukasz Barowicz
Vol. 4 - CPO777683-2
Sinfonia Elegiaca [Symphony No. 2] [22'54] 交响挽歌 (第2交响曲)
01. Sinfonia Elegiaca - Molto andante [0:09:20.64]
02. Sinfonia Elegiaca - Molto allegro [0:06:55.37]
03. Sinfonia Elegiaca - Molto andante [Tempo I] [0:06:51.74]
Sinfonia Sacra [Symphony No. 3] [22'22] 神圣交响曲 / 萨克拉交响曲 (第3交响曲)
04. Sinfonia Sacra - Vision I [0:02:08.10]
05. Sinfonia Sacra - Vision II [0:00:59.38]
06. Sinfonia Sacra - Vision III [0:07:19.48]
07. Sinfonia Sacra - Hymn [0:12:07.76]
Symphony No.10 [16'23] 第10交响曲
08. Symphony No.10 - Largo [0:05:09.36]
09. Symphony No.10 - Allegro moderato [0:03:32.33]
10. Symphony No.10 - Presto [0:02:27.72]
11. Symphony No.10 - Adagio [0:05:15.29]
TT: 73'57
Konzerthausorchester Berlin, Lukasz Barowicz
Vol. 5 - CPO777684-2
01. Metasinfonia for Organ, Timpani & Strings [Symphony No. 7] [25'57]
梅塔交响曲，为独奏管风琴, 定音鼓和弦乐器而作 (第7交响曲)
Sinfonia Votiva [Symphony No. 8] [25'01] 奉献交响曲 (第8交响曲)
02. Sinfonia Votiva - I. con devozione (andante rubato)
03. Sinfonia Votiva - II. con passione (allegro assai)
Concerto festivo [15'52] 节日协奏曲
04. Concerto festivo - I. pomposo
05. Concerto festivo - II. lirico
06. Concerto festivo - III. giocoso
TT: 67'13
Konzerthausorchester Berlin, Lukasz Barowicz
Vol. 6 - CPO777685-2
Concertino for Timpani, Percussion & Strings [15'41] 小协奏曲，为定音鼓、打击乐和弦乐器而作
01. Concertino for Timpani, Percussion & Strings - I. Entrata [0:02:31.36]
02. II. Canto I [0:03:39.32]
03. III. Intermezzo [0:02:25.88]
04. IV. Canto II [0:04:03.33]
05. V. Fine [0:03:15.61]
Sinfonia di Speranza [Symphony No. 9] [42'33] 希望交响曲 (第9交响曲)
06. Symphony No.9 'Sinfonia di Speranza' - I. maetoso [0:04:57.42]
07. II. poco piu mosso [0:03:22.34]
08. III. poco allegro [0:02:42.84]
09. IV. molto lento [0:00:29.44]
10. V. a tempo (molto lento) [0:05:52.26]
11. VI. molto vivo [0:01:14.45]
12. [rehearsal No.34 - VII] [0:01:15.78]
13. [rehearsal No.38 - VIII] [0:00:42.01]
14. IX. meno vivo [0:00:55.89]
15. X. meno vivo [0:01:16.64]
16. [rehearsal No.46 - XI] [0:01:13.18]
17. XII. molto lento [0:00:40.17]
18. XIII. a tempo (molto lento) [0:05:19.98]
19. [3rd bar after rehearsal No... [0:00:32.29]
20. XV. poco allegro [0:02:49.64]
21. XVI. meno mosso [0:03:51.36]
22. XVII. maestoso [0:05:25.24]
TT: 58'38
Konzerthausorchester Berlin, Lukasz Barowicz
Vol. 7 - CPO777686-2
Sinfonia di Sfere [Symphony No. 5] [32'43] 斯弗瑞交响曲 (第5交响曲)
01. Sinfonia di sfere, "Symphony No. 5" - I. Poco andante - [0:05:28.12]
02. II. Poco allegro - [0:01:44.69]
03. III. Poco andante - [0:05:18.36]
04. IV. Andante - [0:03:00.12]
05. IV. [31] - [0:02:36.48]
06. IV. [44] - [0:02:59.85]
07. V. Molto allegro - [0:02:09.26]
08. VI. Molto andante - [0:07:03.82]
09. VII. Molto allegro [0:02:36.34]
Bassoon Concerto [20'39] 巴松管协奏曲
10. Bassoon Concerto - I. Prologo [0:01:49.44]
11. II. Recitativo I [0:03:22.41]
12. III. Recitativo II [0:02:26.21]
13. IV. Aria [0:11:27.72]
14. V. Epilogo [0:01:29.40]
15. Love Song (version for voice, harp and string orchestra) [04'24] 情歌
16. Landscape [08'50] 风景
TT: 67'37
Konzerthausorchester Berlin, Polish Radio Symphony Orchestra, Lukasz Barowicz
Vol. 8 - CPO777687-2
Violin Concerto [22'28] 小提琴协奏曲
01. Violin Concerto - I. Rubato [0:07:31.62]
02. II. Adagio [0:08:57.68]
03. III. Vivace [0:06:00.25]
Cello Concerto [20'14] 大提琴协奏曲
04. Cello Concerto - I. Adagio [0:10:54.68]
05. II. Vivace [0:09:20.13]
Piano Concerto [23'08] 钢琴协奏曲
06. Piano Concerto - I. Entrata [0:04:21.24]
07. II. Molto tranquillo [0:10:08.64]
08. III. Molto agitato [0:08:39.53]
TT: 66'15
Alexander Sitkovetsky violin
Raphael Wallfisch cello
Ewa Kupiec piano
Konzerthausorchester Berlin, Lukasz Barowicz
Andrzej Panufnik (1914-1991) 帕努夫尼克
安德热·帕努夫尼克爵士（波兰语：Sir Andrzej Panufnik，1914年9月24日－1991年10月27日），英籍波兰作曲家，指挥家。帕努夫尼克是虔诚的天主教徒，其音乐常具有浓厚的宗教性，并在一定程度上受到神圣简约主义影响，但他的和声更加尖锐，作品内容也更加复杂丰富。十部交响曲是他最重要的创作。他的《大提琴协奏曲》曾经由大师罗斯特罗波维奇主奏并灌录唱片，整张CD长度只有20分钟左右。代表作：十部交响曲，四部协奏曲，合唱《圣母玛利亚之歌》《和平交响曲》
波兰巨匠的百年冥诞：见证民族世纪苦难的作曲家安德烈·帕努夫尼克
作者：何任远
刊登于《视听前线》2014年第三期
俗语有云：“国家不幸诗家幸”，对于波兰人来说，他们对自己的国家有一种“受难者”的情结：在他们眼中，波兰是“欧洲的弥赛亚”- 欧洲每次的动荡都是以波兰为受难者和赎罪者。在一次世界大战之前，捷克人同样要争取民族独立，然而圆滑世故的波西米亚人在面对压迫者的时候比波兰人机智幽默得多。相比之下，波兰人对自己的历史和民族命运有一种更加悲情怨恨的解读。
今年，波兰迎来了二十世纪在西欧影响最大的作曲家安德烈·帕努夫尼克(Andrzej Panufnik)冥诞一百周年。他跟自己的好友，去年刚过完百年冥诞的卢托斯拉夫斯基一起是波兰在冷战时期在国际舞台上推广波兰当代音乐的一对“双子星”。
1914年9月27日，安德烈·帕努夫尼克出生在华沙的一个波兰与英国混血家庭，父亲是小提琴工匠，而母亲则是英国小提琴手。他幼年接受母亲的音乐指导和祖母的钢琴教育，然而他父亲却并不认为音乐家是一个“波兰绅士”应该从事的行当。尽管家人允许他到华沙音乐学院的附属中学继续学习钢琴，然而老师消极的教育方法和文化课的压力还是让他在参加音乐学院面试的时候失败而回。在父亲和钢琴老师的眼中，安德烈没有任何音乐天赋。在接下来的几年时间里，母亲鼓励儿子自学音乐和作曲理论。受“艾灵顿乐队”等爵士乐的影响，小安德烈开始创作爵士舞台剧，并且在华沙进行了演出。这时候的安德烈已经有了一笔可观的收入，他甚至在街头听到有人哼唱他创作的流行曲小调。1932年，华沙音乐学院终于对他敞开大门，刚开始安德烈就读敲击乐系，后来转读作曲系。在华沙音乐学院里，他开始从事真正的严肃作品创作。
然而刚开始自己音乐事业不久，他就够年龄服役了。并非帕努夫尼克不爱国，而是他实在不愿意打断自己的音乐事业，在进行入伍体检前夕，帕努夫尼克喝下了大量的黑咖啡，快速的心跳让体检医生认为帕努夫尼克有严重的心脏病，从而免去了帕努夫尼克服役的义务。
帕努夫尼克音乐学业的第二个高峰是在维也纳跟随伟大指挥家菲力斯·韦恩加德纳（Felix Weingartner）学习指挥。在德奥大师熏陶下练就的指挥功底为他日后波折的岁月里提供了某种谋生的技能，维也纳第二乐派给他带来的冲击也让他日后受益匪浅。
然而这个学习高潮的背后却是一个巨大的灾难深渊。帕努夫尼克在维也纳求学的日子在纳粹占领奥地利时终结了。恩师韦恩加德纳由于反纳粹被免职，帕努夫尼克被迫返回波兰，没能拿到学位证书。到了英国伦敦的韦恩加德纳再次重新召唤他的学生，并且许诺为他铺就成为指挥家的道路。这次帕努夫尼克却不得不婉拒，因为战争很快就蔓延到了自己的祖国。
帕努夫尼克此时年方25，已经发表过一系列得到认可的作品，也是着名指挥大师的入室弟子，本应该开始大好前程，却即将跟自己的祖国一起被拖入深渊。在被占领的华沙，作曲家要照顾自己患病的双亲，参加危险的地下抵抗活动，还要到处找食物。大批音乐家沦落为街头艺人或者咖啡厅表演者，而正是在一个破败的咖啡厅里，他遇到了日后同样伟大的卢托斯拉夫斯基。在当时，为咖啡厅作曲和演奏是波兰音乐家的唯一职业活动，《四首抵抗者之歌》是为抵抗者募款的地下作品，其中一首《华沙儿女》成了战时波兰不屈抵抗的象征。在1944年，纳粹对波兰的监控开始缓和，帕努夫尼克被允许指挥了华沙爱乐乐团演出他的《悲剧序曲》。在这部作品里，长号的低吟象征着轰炸机引擎的由远及近，敲击乐雨点般的轰鸣象征着落下的炸弹，到了最后整个乐团发出巨大的哀叫，结束了这部惨烈的作品。排练结束，团员们高呼“解放之后你就是我们的首席指挥！”然而在解放前，德军惨无人道的镇压和苏军的背信弃义让帕努夫尼克众多亲人死于非命。更重要的一点是，他原先留在寓所里的所有作品，被后来占住的一个女人全部扔掉了！
帕努夫尼克此时年方30，家破人亡，青年时期的硕果全部都毁掉了。音乐家和自己的祖国一起百废待兴，但一切的重建都在苏联占领军的眼皮底下进行。正如所愿，帕努夫尼克当上了华沙爱乐的指挥。在当时，帕努夫尼克是波兰当局在国际舞台上标榜“民族成就”的宣传工具，然而作曲家和他祖国脖子上的绳索却一直被苏联勒紧。在这个时期的帕努夫尼克虽然讨厌官方压力，却依然认为西方是战前出卖波兰民族利益的幕后黑手，效忠政府是报效祖国的最好方法。在这个时期，帕努夫尼克最大的创作灵感就是波兰文艺复兴时期的音乐。对于一名见证了华沙在二战时期被侵略者夷为平地的爱国者来说，看到市区在战后重新树立的美轮美奂的巴洛克建筑，帕努夫尼克决定在音乐方面也重建自己祖国在文艺复兴到巴洛克时期的保留作品。他把波兰的巴洛克作曲家作品整合配器，创作了《为弦乐团创作的老波兰组曲》（文艺复兴风格）和《雅尼维克风格的老波兰嬉游曲》（巴洛克风格）等作品。在1948年，他创作了着名的Sonfonia Rustica，这是一部吸取了波兰北部民间音乐元素的作品，首演的时候曾经在波兰和匈牙利大受欢迎。然而波兰官方内部却对作曲家提出了严厉的批评。他的作品在国内演绎的机会越来越少，而政府委派给他的“文化交流”外事任务则越来越多，勋章和头衔也越来越多。1952年，他为赫尔辛基奥运会创作的“英雄序曲”成为了纯粹的外销品，只允许在外国演奏。在1953年，帕努夫尼克率领波兰文化代表团在北京演出，毛泽东亲自观看了帕努夫尼克的指挥艺术。然而在中国，他获悉了自己的交际花妻子因为酗酒过度，居然在帮自己孩子洗澡的时候把儿子淹死了。自己儿子的意外死亡和父母的病故，让音乐家产生了流亡西方的想法。
在1954年，帕努夫尼克通过熟人的安排，伪造了一张瑞士的指挥邀请函。在妻子的前方铺路下，只身一人的作曲家拿着一个旅行箱借道瑞士来到了自己母亲的祖国 - 英国。从此，帕努夫尼克的名字在波兰被完全抹掉，他父亲的小提琴遗产也被没收。如果说在铁幕后的生活是光环下的窒息，那么在“自由世界”的生活则是毫无保障。虽然着名指挥家斯托科夫斯基极力推广帕努夫尼克的作品，然而作曲家的生活依然不稳定。他的第一段婚姻触礁了，在西方重振名声的道路也一直颠沛流离。英国伯明翰交响乐团向他伸出橄榄枝，三年指挥合约让他有了稳定的收入，作为韦恩加德纳的弟子，帕努夫尼克的指挥艺术让人称道。然而这位样子像卡拉扬的波兰绅士的最大矛盾是：如何在做一名全职作曲家的同时维系一份基本的收入保障？在伯明翰的任期结束之后帕努夫尼克不再续约，重新过起了毫无保障的作曲家生活。
帕努夫尼克此时已经年届40，却身无分文，生活和前途都没有着落。然而在这个时候他遇到了自己余生可以停靠的港口。与第一任泼辣的妻子不同，英国少女卡米拉体贴温柔，还会摄影技术，有一技之长。作曲家足足拖了两年才敢跟她结婚，作为一名讲究风度的波兰绅士，他为没能提供新婚妻子稳定的经济保障而感到惭愧。但是有爱妻为他打点一切，步入中年的波兰人终于能够在自己的音乐精神世界里遨游。在自己的花园长桌上，帕努夫尼克思考如何在无调性和“悦耳”音乐之间找到平衡；而妻子则为他打理社会脉络，帮他免除后顾之忧。在创作一部作品的前期，帕努夫尼克拒绝一切社交活动，然而在作品基本架构完成后，他又是一名热情好客的波兰绅士。步入七十年代的帕努夫尼克进入了创作和收入的全面开花时期，先是有着名小提琴家梅纽恩委任帕努夫尼克创作小提琴协奏曲，后有《交响协奏曲》等作品面世。伦敦交响乐团与他建立了长久的关系；皇家爱乐协会委任他谱写了后来的作品《希望交响乐》。在1982年，乔治·索尔蒂指挥芝加哥交响乐团首演了他的Sinfonia Sacra，令美国人认识到这位作曲家。帕努夫尼克夫妻终于有闲余的金钱在夏天到地中海地区度假。
帕努夫尼克此时已到知天命的年纪，而波兰国内的社会气氛也转趋缓和。在1990年，波兰首任民选政府上台。年老的帕努夫尼克回到波兰亲自指挥自己的《第十交响曲》首演，亲眼见证了祖国的新生。次年，他获得英女王册封爵位，成为真正的绅士。然而与祖国一起经历波折的安德烈爵士已经走到了生命的尽头。在1991年10月27日，波兰爵爷带着前半生的坎坷和后半生的荣耀离开了人世，享年77岁。
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