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PENDERECKI Credo Soloists • Warsaw Boys’ Choir • Warsaw Philharmonic Choir Warsaw Philharmonic Orchestra • Antoni Wit

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PENDERECKI Credo Soloists • Warsaw Boys’ Choir • Warsaw Philharmonic Choir Warsaw Philharmonic Orchestra • Antoni Wit 572032 bk Penderecki 22/6/10 13:02 Page 16 Also available: PENDERECKI Credo Soloists • Warsaw Boys’ Choir • Warsaw Philharmonic Choir Warsaw Philharmonic Orchestra • Antoni Wit 8.557980 8.570450 8.572032 16 572032 bk Penderecki 22/6/10 13:03 Page 2 Krzysztof Also available: PENDERECKI (b. 1933) Credo (1998) 49:56 1 Credo in unum Deum 6:13 2 Qui propter nos homines 4:26 3 Et incarnatus est 4:17 4 Crucifixus 6:56 5 Crucem tuam adoramus, Domine 8:03 6 Et resurrexit tertia die 8:31 7 Et in Spiritum Sanctum 3:53 8 Confiteor unum baptisma 3:46 9 Et vitam venturi saeculi 3:51 0 Cantata in honorem Almae Matris Universitatis Iagellonicae sescentos abhinc annos fundatae (1964) 6:31 Iwona Hossa, Soprano 1 (Tracks 1 2 4 7-9) 8.557149 Aga Mikołaj, Soprano 2 (Tracks 1 2 4 5 7-9) Ewa Wolak, Alto (Tracks 1-47-9) Rafał Bartmi´nski, Tenor (Tracks 1 2 4 6-9) Remigiusz Łukomski, Bass (Tracks 1 2 4 7-9) Warsaw Boys Choir (Tracks 4-7 9) (Chorus-master: Krzysztof Kusiel-Moroz) Warsaw Philharmonic Choir (Tracks 1 2 4-9) (Chorus-master: Henryk Wojnarowski) Warsaw Philharmonic Orchestra 8.557386-87 Antoni Wit 8.572032 2 15 8.572032 572032 bk Penderecki 22/6/10 13:03 Page 14 Visibilium omnium et invisibilium. Maker of all things visible and invisible. Krzysztof Penderecki (b. 1933) Et in unum Dominum Jesum Christum, I believe in one Lord Jesus Christ, Credo Filium Dei. Only begotten Son of God. Surprising as it might now seem, the appearance in 1962 his subject-matter with a unmistakably personal 8 Confiteor I acknowledge of the Stabat Mater by Krzysztof Penderecki caused a conviction such as holds steadfast however volatile the unum baptisma one baptism furore within avant-garde music circles. Coming after surrounding context. The work’s division into nine In remissionem peccatorum. for the remission of sins. such ostensibly radical orchestral works as Threnody for sections further underlines the sense of ideas being Et expecto resurrectionem mortuorum. And I look forward to the resurrection of the dead. the Victims of Hiroshima (1961) and Fluorescences developed then reprised. (1962) [both on Naxos 8.554491], its stark simplicity The first section, Credo in unum Deum, commences Salve festa dies, toto venerabilis aevo, Hail, festive day forever, and emotional directness led – and not for the last time with implacable unison voices against a powerful Qua Deus infernum vicit, In which God conquers hell, in his career – to accusations of his having turned his orchestral backdrop. The bass soloist intones a solemn Et astra tenet. And holds the stars. back on musical progress. Worth remembering, though, incantation, with female voices continuing reticently, is Penderecki’s stance – of a progressive composer before the female soloists enter in an imploring manner. (Hymnus ‘Salve festa dies’ Sabbato Sancto od (Holy Saturday hymn ‘Salve fiesta dies’ 1-2) within the conformist environment of post-Stalinist Low brass then introduce a plaintive passage for oboe Processionem 1-2) Poland, and as a devout Catholic within a nominally over strings and harp, which provides an atmospheric atheist society. The Stabat Mater was among the first postlude to the preceding music. The second section, Et expecto resurrectionem mortuorum. And I look forward to the resurrection of the dead. open expressions of faith in Poland since the Second Qui propter nos homines, begins with vigorous writing World War, and Penderecki did not hesitate to for strings which is soon taken up by the chorus. The 9 Et vitam venturi saeculi. And the life of the world to come. incorporate it into a more comprehensive expression of tenor soloist strikes a more lyrical note, before upper Haec dies, quam fecit Dominus: This is the day, which the Lord has made: faith when the opportunity arose in 1964: the Passio et voices and brass share a series of animated exchanges Exultemus et laetemur in ea. Let us rejoice and be glad in it. mors Domini nostri Iesu Christi secundum Lucam, or St on a motif of almost Baroque-like vigour. This then Alleluja! Alleluia! Luke Passion [8.557149], being the outcome. Moreover, alternates with more impassive contributions from the its sheer diversity of technique allied to its expressive mezzo and tenor soloists, leading directly into the third (Psalmus 117 (118), 24) (Psalm 117 (118), 24) immediacy amounted to a paradigm for the large-scale section, Et incarnatus est, which opens with a passage choral works he has since composed – Dies Irae (1967) of noble polyphony for the strings – over which the Et vitam venturi saeculi. And the life of the world to come. [8.570450], Kosmagonia (1970), Utrenja (1971) mezzo-soprano unfolds an expressive solo with Amen. Amen. [8.572031], Magnificat (1974), Te Deum (1979) evocative touches from tuned percussion and muted [8.557980], Polish Requiem (1984) [8.557386/7], Seven brass. The inward mood is furthered by equally Gates of Jerusalem (1996) [8.557766] and Credo atmospheric writing for the woodwind (notably cor (1998). anglais and flute) over a serene accompaniment for the 0 CANTATA IN HONOREM ALMAE CANTATA IN HONOUR OF THE ALMA The final two pieces are notable in that their formal strings, winding down to a natural pause. The fourth MATRIS UNIVERSITATIS MATER JAGELLONIAN UNIVERSITY processes and musical content are more inherently section, Crucifixus etiam pro nobis, is launched by IAGELLONICAE SESCENTOS ABHINC FOUNDED SIX HUNDRED YEARS AGO symphonic than with those earlier choral works (indeed, ominous fanfare-like gestures for the brass, against ANNOS FUNDATAE Penderecki chose to designate Seven Gates of Jerusalem which are heard uncertain gestures from the mezzo- as his Seventh Symphony). Composed during 1997-98, soprano and bass soloists. The brass writing becomes Almae Matris Universitatis Iagellonicae in honorem ob I offer this with the greatest devotion in honour of the to a commission from the Oregon Bach Festival and its more elaborate while remaining relatively understated, eius sescentesimum annum maxima cum devotione ei Alma Mater Jagellonian University on its sixth conductor Helmuth Rilling, Credo sets only the central then the solo quartet join with the boys’ and female offero. centenary. and longest portion of the liturgical Mass. This has long voices in a passage of mounting intensity that gradually been the section in which a composer’s own spiritual returns to the initial brass fanfares. The fifth section, and religious beliefs are made manifest (one need only Crucem tuam adoramus, Domine, follows without think of Beethoven’s treatment of this text in his Missa pause and in subdued textures for divided strings and Solemnis), and Penderecki is no exception in instilling low brass. Boys’ then female voices add their discreet 8.572032 14 3 8.572032 572032 bk Penderecki 22/6/10 13:03 Page 4 presence, before the soprano commences an conclusion of glowering choral and orchestral chords, (Psalmus 129 (130), 1 wersja niemiecka) (Psalm 129 (130), German chorale ‘Aus tiefer Not impassioned solo with an eloquent countermelody from though with the bright sound of trumpets pointedly schrei ich zu dir’, verse 1) oboe. Female voices continue this pensive mood, as do remaining at the very close. solo brass then woodwind, with a forceful but short- The Cantata hails from an earlier stage in Popule meus. My people. lived interjection from full chorus. The sixth section, Et Penderecki’s development. Composed in 1964, the resurrexit tertia die, breaks decisively with this mood in work’s full title, Cantata in honorem Almae Matris its martial music for percussion and terse writing for Universitatis Iagellonicae sescentos abhinc annos IV. ET RESURREXIT TERTIA DIE IV. ET RESURREXIT TERTIA DIE chorus. This subsides with tolling bells, followed by fundatae, explains it as a commemoration of the six gaunt writing for the brass. A passage for a cappella hundredth anniversary of the founding of the 6 Et resurrexit tertia die And the third day he rose from the dead, choir sees renewed orchestral activity, with choral Jagellonian University near Kraków. Recognized as one Secundum scripturas As the scriptures had foretold. writing spoken as well as sung, but the climax subsides of the primary centres of learning in Central Europe, the Et ascendit in coelum, And he ascended into heaven, with plangent trombones and an eloquent response from institution endured centuries of political conflict, Sedet ad dexteram Patris And is seated at the right hand of the Father. solo tenor. The seventh section, Et in Spiritum Sanctum, culminating in the plundering of its paintings and Et iterum venturus est cum gloria, He will come again with glory opens forcefully with full chorus then continues with an manuscript holdings by Nazi forces at the start of the Judicare vivos et mortuos To judge the living and the dead, elaborate passage for all four soloists which builds to a Second World War. Penderecki’s brief yet potent Cuius regni non erit finis. And of his reign there will be no end. powerful climax that involves the whole chorus and response is thus as much a commemoration as a orchestra. Several salient motifs from earlier in the work celebration of the university’s survival. Et septimus angelus tuba cecenit Then the seventh angel sounded: are now brought to the fore, before hieratic writing for Implacable strokes from the bass drum and Et factae sunt voces magnae And there were loud voices individual brass along with the sound of bells winds this sustained unisons in the lower brass provide a powerful In caelo dicentes: In heaven saying, section down to an equivocal pause. The eighth section, backdrop for the initial choral entry, but this soon tails Factum est regnum huius mundi The kingdom of his world has become Confiteor unum baptisma, commences in the depths of off into fugitive pizzicato writing for the double basses, the orchestra with unearthly writing for percussion and followed by an arresting choral passage with its Domini nostri et Christi eius, The kingdom of our Lord and of his Christ anxious intoning from the chorus.
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