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Krzysztof Penderecki (b.1933)

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Penderecki & Lutoslawski: String Quartets

Penderecki & Lutoslawski: String Quartets


Lutosławski:

String Quartet

Penderecki:

String Quartet No. 1

String Quartet No. 2

String Quartet No. 3 'Leaves of an unwritten diary'


This wonderful young Polish ensemble continue their exploration of the string quartet repertoire of their homeland with this album of music by two giants of the twentieth century.

Witold Lutoslawski, whose centenary is celebrated in 2013, wrote his one and only string quartet in 1964 and it has since maintained an eminent position in the international repertoire. Krzysztof Penderecki (born 1933) was the most talked-about Polish composer in the early 1960s and remains an important presence in contemporary music. His three string quartets (1960, 1968 and 2008) are key works in the history of the post-war Polish quartet.

“[the Penderecki's] not the sort of music that comes off if played half-heartedly, and the Royal String Quartet, with a detailed, clear recording, give it a natural precision and direction...[the Lutoslawski] clearly encourages heightened listening between these players: the structure and pacing remain taut, and it packs the emotional punch. This is great chamber music.” BBC Music Magazine, April 2013 *****

“Whatever this music's challenges, the emotional disparities of Penderecki or the relative abstractions of Lutoslawski, the Royal Quartet meet them head on.” Gramophone Magazine, May 2013

“This is typically magnificent Hyperion production, with keenly preserved instrumental colour and a fine sense of space in the Potton Hall acoustic.” MusicWeb International, May 2013

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Hyperion - CDA67943

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Penderecki: A Polish Requiem

Penderecki: A Polish Requiem


Izabella Klosinska (soprano), Jadwiga Rappé (alto), Ryszard Minkiewicz (tenor), Piotr Nowacki (bass)

Warsaw Philharmonic Orchestra, Antoni Wit

“The performance is well played and conducted, Antoni Wit ensuring that the big climaxes make their effect” (Gramophone)

“The Polish Requiem had its origins in a setting of the Lacrimosa dedicated to Gdansk shipyard workers who died during clashes with the Communist authorities in 1970. Though the work's tendency to swing between bombast and sentimentality may make you long for the austerity of an Arvo Pärt, if you approach it as a valid attempt to continue the tradition of 19th-century concert Requiems – Verdi's, above all – then you may well feel it has much to offer.
This performance is well played and conducted, Antoni Wit ensuring that the big climaxes make their effect without labouring the less eventful episodes. The choral singing is robust, though the sustained high writing is demanding enough to give the Polish Philharmonic Choir some anxious moments. Of the vocal soloists, both Jadwiga Rappé and Piotr Nowacki are excellent, but the normally reliable Izabella Kposinska was clearly under strain, and Ryszard Minkiewicz also sounds out of sorts in places. The sound is typical of Naxos's Polish recordings in being rather too bright and generalised for music that depends for its effect on such strong contrasts between the very quiet and the extremely loud.”
Gramophone Classical Music Guide, 2010

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Naxos - 8557386-87

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Penderecki: A Polish Requiem & The Dream of Jacob

Penderecki: A Polish Requiem & The Dream of Jacob


Penderecki:

A Polish Requiem

The Dream of Jacob


Jadwige Gadulanka (soprano), Jadwige Rappe (mezzo-soprano), Piotr Nowacki (bass), Zachos Terzakis (tenor)

Royal Stockholm Philharmonic Chorus, Royal Stockholm Philharmonic Orchestra, Krzysztof Penderecki

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Chandos - CHAN9459

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Penderecki: A Sea of Dreams Did Breathe on Me

Penderecki: A Sea of Dreams Did Breathe on Me


Izabela Matula (soprano), Agnieska Rehlis (mezzo-soprano), Leszek Skrla (baritone)

Podlasie Opera and Philharmonic Orchestra and Choir, Wojciech Rajski

The core of Penderecki’s work is based on contemporary Polish poetry, which gave the composer the initial impulse and was the source of his fascination while making the preliminary sketches. The first two of three movements of A sea of dreams did breathe on me contain texts centred on the work’s two main ‘themes’: The enchanted garden and What does the night say? The composer takes us first into a world of fairy-tale and fantasy and then into a nightmarish world and finally, connections with Chopin in I visited you in these near-final days. There is no denying that in his Songs of reflection and nostalgia the composer pays tribute to this aesthetic category, which has for years been ignored in contemporary art. It is at the same time a homage to Chopin and to Polish poetry, the objects of Penderecki’s late, mature love.

“Penderecki is here, I think, intentionally placing himself squarely in the line of Moniuszko, Szymanowski and the late-Romantic Russian song composers...much of the music is quite magical, and the performances are gripping...Leszek Skrla's rich baritone impresses particularly - and they are beautifully recorded.” Gramophone Magazine, April 2015

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Dux Penderecki Special Edition - DUX0963

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Penderecki: A Sea of Dreams Did Breathe on Me

Penderecki: A Sea of Dreams Did Breathe on Me


Olga Pasichnyk (soprano), Ewa Marciniec (mezzo-soprano) & Jarosław Brek (bass baritone)

Warsaw Philharmonic Choir and Orchestra, Antoni Wit

Composed for the final concert of the Chopin bicentenary celebrations in Warsaw in 2010, Powiało na mnie morze snów… (A sea of dreams did breathe on me…) is an extended song cycle comparable in scale to the Eighth Symphony [Naxos 8570450]. The individual songs, settings of both Romantic and contemporary Polish poetry, are grouped into larger movements and chart a progression from an almost impressionistic lightness to monumentality, the expressiveness of the music ranging widely – nostalgic for loss, but also tense and impassioned.

Antoni Wit studied conducting with Henryk Czyz at the Academy of Music in Kraków, continuing his musical studies with Nadia Boulanger in Paris. Immediately after completing his studies he was engaged as an assistant at the Warsaw Philharmonic Orchestra by Witold Rowicki. From 2002 to 2013 Antoni Wit was the managing and artistic director of the Warsaw Philharmonic Orchestra and Choir. He has made over 200 records, and in 2012 he received a Grammy Award for Penderecki’s Fonogrammi, Horn Concerto and Partita (8572482), and six other nominations for Penderecki’s St Luke Passion in 2004 (8557149), A Polish Requiem in 2005 (8557386–87), Seven Gates of Jerusalem in 2007 (8557766), Utrenjain in 2009 (8572031) and Karol Szymanowski’s Stabat Mater in 2008 (8570724) and Symphonies Nos 1 and 4 in 2009 (8570722). Antoni Wit is professor at the Fryderyk Chopin University of Music in Warsaw.

“The mezzo is heard first, and Ewa Marciniec sings warmly, yet it is perhaps Olga Pasichnyk who makes the most moving impression with her searing soprano. Antoni Wit and his Warsaw Philharmonic forces once again serve the composer strongly.” BBC Music Magazine, January 2016 ****

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Naxos - 8573062

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Penderecki: Canticum Canticorum Salomonis & Kosmogonia

Penderecki: Canticum Canticorum Salomonis & Kosmogonia


Penderecki:

Hymne an den heiligen Adalbert

Warsaw Philharmonic Choir & Orchestra

Izhe Xeruvimy

Warsaw Philharmonic Choir

Canticum canticorum Salomonis

Warsaw Philharmonic Choir & Orchestra

Kosmogonia

Olga Pasichnyk (soprano), Rafał Bartmiński (tenor), Tomasz Konieczny (bass)

Warsaw Philharmonic Choir

Strophen für Sopran, Sprechstimme und zehn Instrumente

Olga Pasichnyk (soprano) & Jerzy Artysz (narrator)

Warsaw Philharmonic Orchestra


The range of Penderecki’s music is exemplified by this disc, which presents five works written over a period of nearly 40 years. Hymne an den heiligen Adalbert was composed in 1997 and evokes the martyred eighth-century Bishop of Prague through spare but fervent gestures. More austere, but intense in its focus, is Song of the Cherubim, whilst Canticum Canticorum Salomis is a richly sensuous exploration of the Song of Songs. Kosmogonia explores a complex sound tapestry. Strophen (1959) was a breakthrough work – spare, intricate and marvellously tensile.

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Naxos - 8572481

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Penderecki: Capriccio for violin & orchestra

Penderecki: Capriccio for violin & orchestra


Penderecki:

Capriccio for violin & orchestra

Patrycja Piekutowska (violin)

De Natura Sonoris No. 2

Piano Concerto 'Resurrection'

Beata Bilinska (piano)


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Dux Penderecki Special Edition - DUX0582

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Penderecki: Chamber Works, Vol. 1

Penderecki: Chamber Works, Vol. 1


Penderecki:

Three Miniatures for Clarinet & Piano

Roman Widaszek (clarinet), Marek Szlezer (piano)

Cadenza for solo violin

Maria Machowska (violin)

A Polish Requiem - Chaconne (2005)

Maria Machowska (violin), Artur Rozmysłowicz (viola)

Per Slava

Jan Kalinowski (cello)

Capriccio per Radovan na waltornię solo for horn solo

Tadeusz Tomaszewski (horn)

Prelude for Solo Clarinet

Roman Widaszek (clarinet)

Sextet for Clarinet, Horn, Violin, Viola, Cello & Piano

Roman Widaszek (clarinet), Tadeusz Tomaszewski (horn), Maria Machowska (violin), Artur Rozmysłowicz (viola), Jan Kalinowski (cello), Marek Szlezer (piano)


“These fine performances have been excellently recorded at the European Music Centre in Lusławice, and heard together in this way cast an unusual and fascinating light on Penderecki's work. Highly recommended.” Gramophone Magazine, February 2015

GGramophone Magazine

Editor's Choice - February 2015

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Dux - DUX0780

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Penderecki: Choral Works Vol. 2

Penderecki: Choral Works Vol. 2


Penderecki:

Missa Brevis

Iz Glubiny Wozzwach K Tiebie Gospodi

Ashche I Wo Grob Z Juttzni II

Kaddish

O gloriosa virginum

Psalms of David


Cracow Philharmonic Soloists, Polski Chór Kameralny, Jan Łukaszewski

Born in Dębica on 23 November 1933, Krzysztof Penderecki studied composition with Artur Malawski and Stanisław Wiechowicz at the State Higher School of Music in Kraków (1954-58). Earlier he took lessons from Franciszek Skołyszewski. In 1959 three of his works (Strophes, Emanations and Psalms of David) won him the top prizes at the Young Composers’ Competition of the Polish Composers’ Union. A year later, he captured the attention of Western critics with Anaklasis, performed at the Donaueschingen Festival. In many of his public statements Krzysztof Penderecki has stressed that the human voice is his favourite expressive device. His works for a wide range of vocal and vocal-instrumental forces provide listeners with convincing proof that this is indeed the case. The selection of choral pieces featured on this recording represents a highly interesting crosssection of Penderecki’s fascination with choral music, including both independent compositions and excerpts from large-scale works penned in various periods of his career, from his spectacular debut (Psalms of David) to the present (Missa brevis and Iz głubiny wozzwach k Tiebie, Gospodi / Out of the depths I cry to You, O Lord).

“The unaccompanied polyphonic lines look back to the Renaissance without ever surrendering to pastiche, distilling the essence of the Mass without losing its spiritual scope...The disc is an essential addition to a slim recording catalogue.” Gramophone Magazine, September 2014

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Dux Penderecki Special Edition - DUX0964

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Penderecki: Clarinet & Flute Concertos

Penderecki: Clarinet & Flute Concertos


Penderecki:

Viola Concerto

(arr. for clarinet)

Dmitri Ashkenazy (clarinet)

Concerto for Flute or Clarinet & Chamber Orchestra

David Aguilar (flute)

Agnus Dei (1981)

(arr. for orchestra)


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