Krzysztof Penderecki's setting of the Passion story as told in the Gospel of St Luke was premièred in 1966 and immediately established a place for itself among the most important large-scale choral works of the twentieth century. Despite its decidedly modernist idiom, the music’s emotional power, glowing colors and sonic impact spoke to audiences as well as critics, one of whom described St Luke's Passion as ‘the most important bridge between the spirit of the liturgy and modern music.’

Strongly influenced by the Passions of J. S. Bach, Penderecki pays homage to the great composer by using the B-A-C-H motif throughout the work, and like Bach he has arranged his Passion in two parts, with monumental choral numbers framing the whole. The score is for large forces including an extended orchestra, three mixed choirs, plus a boys’ choir, speaker and three vocal soloists (soprano, baritone and bass). On 20th July 2018 these all convened at the Felsenreitschule in Salzburg: l'Orchestre symphonique de Montréal with their principal conductor Kent Nagano, the Warsaw Boys Choir and Kraków Philharmonic Chorus, the three soloists and the actor Slawomir Holland. The occasion was the opening concert of the Salzburg Festival, and in the audience was the composer himself, Krzysztof Penderecki. Present was also a recording team led by Robert Suff, senior producer at BIS, and this album is the document of this very special occasion.

Dr. Jerzy Kosmala, internationally acclaimed as a concert violist and pedagogue, has concertized throughout Europe, the former Soviet Union, Canada, North and South America, Asia, and South Africa, and has recordings on several record labels. He is a frequent guest artist and performer at the world's foremost Festivals, International Viola Congresses, Universities and Academies, and is a permanent jury member of virtually all of the most prestigious international competitions, including the Lionel Tertis, Geneva, Munich, Markneukirchen, Trapani, Primrose Viola Competition, Brahms Viola Competition, and the Concert Artist Guild International Competition in New York City.

Symphony No. 7 for five soloists, speaker, three mixed choirs and orchestra. First recording of the original version. Bozena Harasimowicz-Haas: soprano / Izabella Klosinska: soprano / Jadwiga Rappé: alto / Wieslaw Ochman: tenor / Romuald Tesarowicz: bass / Boris Carmeli: narrator / National Philharmonic Choir Warsaw / Henryk Wojnarowski: chorus master / National Philharmonic Orchestra Warsaw / Kazimierz Kord: conductor.

The Trio Lirico has programmed three composers who lived and worked on the Eastern side of the Iron Curtain until 1989: for Franziska Pietsch and Sophia Reuter this is music which - paraphrasing Goethe - they "search with their souls". "As children, we both lived in East Berlin and were close friends already", Franziska Pietsch explains about her violist colleague. "We therefore share personal history, a similar style of playing and a similar non-verbal way of communicating about this music. We just feel it." This personal form of perception, into which the Bremen cellist Johannes Krebs blends empathetically, is not irrelevant for this music which becomes accessible not just via the text but also to a high degree via the cultural and political environment in which it was written. Of course Krzysztof Penderecki (b.1933), following the political liberalization of Polish music from 1956, had the opportunity to tie in with avant-garde developments in the West and to create his very own and unique modernism. On the other hand, his generational colleague Alfred Schnittke (1934-1998) and the older Mieczyslaw Weinberg (1919-1996) had, until the end of the Soviet Union, to assert their music in the face of massive harassment from the authorities which, in Weinberg's case, went as far as being arrested for anti-Semitic reasons. Born in Warsaw, Weinberg, who fled to the Soviet Union during the Second World War, kept in close contact with his friend and mentor Dmitri Shostakovich. Nonetheless, Weinberg's music is entirely unique, and his string trio of 1950 strikes a balance between popular tunes and references to Yiddish music. Alfred Schnittke, who found it hard gaining acceptance on account of his (Volga) German and Jewish heritage, composed his trio in 1985 for the birthday of his illustrious colleague Alban Berg - and, shortly after completing the work, suffered a life-threatening stroke, retrospectively lending this work a tragic note. The most recent work recorded here is by Poland's most eminent living composer, Krzysztof Penderecki: in 1991 he wrote his string trio as a great improvisation for three performers with a strict and wild fugue.

Krzysztof Penderecki's symphonies have a special place in the composer's legacy. In celebration of the composer's 80th birthday, DUX Recordings presents, for the first time in a box set, the symphonies as conducted by the Maestro himself, performed in collaboration with the Sinfonia luventus. These works have never been recorded in a series before under the artistic direction of the composer. He himself has said the DUX Recordings represent the best recordings of these works, making the series even more special. Founded in 2007, the Sinfonia luventus orchestra consists of the most talented graduates and students of music academies who have not attained 30 years of age. The orchestra has performed on many concert stages and at numerous festivals in Poland and abroad: in Austria, China, France, Spain, Germany, Portugal, Switzerland, Lithuania, Ukraine and Italy.

Strangely compelling.

You would expect Krzysztof Penderecki to draw the best out of his musicians in his own work, especially after an impressive track record in this field in the past. I listened to the re-release of his recordings for EMI from the 1970s, and these are still impressive even when compared with this new digital recording.

Taking the Capriccio, the earlier recording is a tad more compact at 11:38, but easily equals the new recording in terms of drama. The soloist is set closer with the new recording, so that the balance is less natural in terms of what you might experience in the concert hall, but in all other respects this new recording is an improvement. The detail in terms of instrumentation comes through far more clearly – percussion of course, but all of those other sliding and quivering exotic sounds from all quarters, like the bowed saw for instance, are revealed in all their glory. I’ll still listen to the earlier recording for its chilling atmosphere, but recommend the new one for sheer clarity.

De Natura Sonoris No.2 is an early 1970s chiller classic, continuing and developing some of the textures in Capriccio in a purely orchestral context. Again comparing the EMI recording, made when the piece was brand new, this new Dux version has more immediacy and clarity, but more importantly shows up some of the ways in which Penderecki’s view on the work has changed over the years. There are some dynamic differences in the balance here and there, and those dry, choking clusters in the strings in the beginning are taken more slowly and with less of a sense of murderous drama. Strangely, even though the new recording is a good two minutes shorter than the old one, the new version seems slower: listening to the cacophonous brass and strings beyond four minutes into the piece, there is a greater sense of drive and urgency in the old EMI version. Where Penderecki saves time in the new recording is by compressing the longer stretches of static atmosphere earlier in the work, which are less of a novelty these days. Either way, the old analogue tape coped badly with those fireman’s bells and the sheer weight of noise from the massed brass and percussion in this work, making this new recording a welcome alternative. The sliding brass beyond 5:00, with its conversational interruptions, is a definite goose-bump moment, and the final held note under that scraped percussion is like a small chorus of drowned angels.

Penderecki’s more recent style, in any case since the ultra-romanticism of the early 1980s, has in some way proved even more controversial than his earlier avant-gardism, and the Piano Concerto does sit rather strangely with its ghostly forebears on this disc. The work was written after a great deal of procrastination by the composer, who “refrained from writing a piano concerto for many years because I was afraid [of the] many excellent concertos written in the 20th century.” The final push came from a commission from New York, with Emanuel Ax and the Philadelphia Orchestra in mind as performers. Started in June 2001, the work was originally to have followed the Capriccio design, but after the terrorist attacks of September 2001 the light-hearted nature of such a title seemed inappropriate. The work took on a more serious character, and the non-religious title ‘resurrection’, which refers to mankind’s universal desire for renewal and re-birth after disaster and crisis.

The style of the work is linked to Penderecki’s 1996 seventh Symphony, The Seven Gates of Jerusalem, but also integrates the grand stylistic gestures of Mahler and some of the romanticism of the great piano composers such as Rachmaninov. At over 30 minutes in duration it certainly has a symphonic scale, and with no intermission between any of the sections the uninterrupted musical narrative is a ride of considerable intensity. If I have any problem with this work – and I do consider it a substantial masterpiece – it is the difficulty one has in establishing an individual character to either the source, the composer, or the intended message – the expressive aim. I don’t claim that all music should have immediate clarity in either of these aspects, but I doubt if I have any colleagues even in the musical fraternity who would be able to put their finger on what is going on here. I don’t mean this in a technical sense – the work is about as difficult to listen to as Shostakovich’s 1st Symphony; but in terms of where, what, why, huh?

The booklet notes may have something of an answer to give. ‘The piano part is treated in a very original way in as much as… it explores first and foremost the piano’s percussive qualities.’ Yes, but not ‘in contrast to the major works of the piano literature’ as far as the 20th century goes: composers since Bartók have been doing little else. In any case, there is plenty of running up and down the keyboard in fairly standard romantic style, so I don’t feel any great claims can be made for originality in the solo part. More telling is that ‘the sound idiom employed by the composer harks back to the great symphonic tradition of the turn on the 19th century’. This push-me-pull-you treatment results in something akin to Saint-Saëns and Busoni fighting under a duvet, with the eclectic spirit of John Adams and the hothouse mania of Scriabin acting as referees. One of the central elements in the piece is a chorale, whose introduction at 7:10 is sheer White-Christmas Hollywood. The whole thing quasi-concludes with a final massive statement of this main chorale ‘theme’ at 28:17, with recorded bells kicking in at 29:23 which are as corny as hell. The only thing we miss at this point is a few blasts from a cannon, and the spirit of Tchaikovsky might be appeased as well: the title ‘resurrection’ might as well stand for a ‘revival’ of this way of expressing triumph of the human spirit over destructive forces.

Despite all this the Piano Concerto is strangely compelling – one of those works you know you’ll be playing again, if only to remind yourself of the strange conundrums it proposes – was it really like that? Yes, it really is, and one has to stand in awe of the way in which Penderecki rather audaciously and uniquely creates a new work out of such a gallimaufry of antique recipes. I do however wonder quite what place it will ultimately take in the canon of 21st century musical art.

-- Dominy Clements, MusicWeb International

Krzysztof Penderecki is one of the most famous and prominent living Polish composers. Symphonies have a special place in his legacy, but until now have never been recorded in a series under his artistic direction. In celebration of his 80th birthday, DUX presents the best performances of his works with the Sinfonia luventus. His great musical authority influences the young musicians' energetic and fresh sound.

Johann Sebastian Bach wrote works in a wide variety of genres, more than can readily be categorized; within that vast oeuvre, the flute often plays a leading part. At the beginning of the 18th century, the transverse flute was a fashionable instrument among music lovers and Bach took due account of prevailing trends. One of the best known of his compositions featuring the flute in a solo role is the B minor Orchestral Suite BWV 1067. Krzysztof Penderecki‘s Concerto per flauto ed orchestra da camera picks up the virtuoso tone. Tatjana Ruhland and the RSO Stuttgart under Roger Norrington and Alexander Liebreich present an intense musical old-new conflict.

In Krzysztof Pendercki's catalogue of works, the ones in which wind instruments play a dominant role actually do not constitute an impressive collection, however, they draw attention with their variety. The four compositions on this new release represent the concertare rule; on the one hand, they document the attempts of investigating the sound nature as well as technical and expressive possibilities of the particular instruments. On the other hand, they serve as a record of Pencerecki's change of style within the period of almost 50 years.

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REVIEW:

The Capriccio for oboe and 11 strings is a genuinely virtuoso piece, as much for the string players as for the soloists, but that provides no problems for the outstanding Sinfonia Iuventus, and Arkadiusz Krupa is a commanding soloist. The epic Horn Concerto, subtitled Winterreise though devoid of any quotations from Schubert, dates from 2008 and is naturally utterly different in style. Its opening, mysterious and portentous, may well constitute the most beautiful two minutes of music the composer has ever written.

– Gramophone

*** This title is a reissue of a Japanese release with liner notes in Japanese. ***

PENDERECKI Utrenia. 1 PERSICHETTI Sinfonia: janiculum (Symphony No. 9) • Eugene Ormandy; Philadelphia O; Stefania Woytowicz (sop); 1 Kerstin Meyer (mez); 1 Seth McCoy (ten); 1 Bernard Ladysz (bs); 1 Peter Lagger (bs); 1 Temple University Ch 1 • RCA-ArkivMusic 38303 (63:34)


This, recorded in 1970, is to my knowledge the only recording of the Penderecki; it is certainly a departure from what is generally regarded as Ormandy’s distinctively conservative repertoire. It is indeed probably as avant-garde as anything Ormandy recorded, but the truth of the matter is that he programmed contemporary music throughout his career, beginning with his tenure as conductor of the Minneapolis Symphony in the early 1930s. Among his world premieres were Bartók’s Third Piano Concerto, Hindemith’s Clarinet Concerto, and Martin?’s Fourth Symphony, as well as numerous works by American composers.


The real stars of the Penderecki recording are the Temple University Choir members, directed by Robert Page. The work calls for large orchestra, but there are long stretches for voices alone or with minimal accompaniment. Sounds of the Orthodox liturgy echo throughout the piece, but only for one startling passage in the fourth movement do the men’s voices suddenly sing in purely triadic harmony. You probably know whether you enjoy Penderecki’s music.


The Persichetti Symphony is one of the American compositions that Ormandy premiered; it was originally coupled on a 1971 LP with William Schuman’s Ninth Symphony, another Ormandy world premiere. Philadelphians think of the Philadelphia Orchestra as “their” orchestra, much more an integral part of the community than those of many other American cities. This was especially true when Ormandy was music director, since he did relatively little guest conducting, preferring to conduct most of each season in Philadelphia, where, of course, he was well known after decades on the podium. One manifestation of this “small town” mentality was Ormandy’s attention to the music of Philadelphia composers, beginning with Samuel Barber and including Persichetti, Richard Yardumian, and Louis Gesenway, a second violinist with the orchestra. Persichetti’s music can be described as mid-century academic-eclectic; the Ninth Symphony in one movement, more advanced in its language than many of his works, is still vaguely triadic and features the winds and percussion prominently. This disc is for the more musically adventurous.

FANFARE: Richard A. Kaplan

In the works of Krzysztof Penderecki, the cello occupies a special place, being the main protagonist of numerous chamber and orchestra compositions of this outstanding composer. This CD, which continues the series of Krzysztof Penderecki's chamber music, was devoted entirely to cello, as a solo instrument and as a multiplexed composition. The next compositions on the record illustrate the richness of the artist's work, which in the long-term process of searching and improving his musical language reached both the avant-garde and the old epochs. So we will hear the full sonoric experiments of Capriccio per Siegfried Palm, referring to the tradition of Baroque and Romanticism. Suité, virtuosic and lyrical compositions of Agnus Dei, in a word full of palette of cello artistry and expression. Everything is performed in full concentration of performance by Jakob Spahn, a young German cellist, whose chamber music has accompanied the most prominent Polish virtuosos of this instrument.