Information
Composer: Krzysztof Penderecki
Iwona Hossa, soprano; Aga Mikołaj, soprano; Ewa Wolak, alto
Rafał Bartmiński, tenor; Remigiusz Łukomski, bass
Warsaw Boys Choir
Warsaw National Philharmonic Choir & Orchestra
Antoni Wit, conductor
Date: 2010
Label: Naxos
https://www.naxos.com/catalogue/item.asp?item_code=8.572032
- (01) Credo
- (10) Cantata in honorem Almae Martis Universitatis Iagelloniace sescentos abhinc annos fundatae
Iwona Hossa, soprano; Aga Mikołaj, soprano; Ewa Wolak, alto
Rafał Bartmiński, tenor; Remigiusz Łukomski, bass
Warsaw Boys Choir
Warsaw National Philharmonic Choir & Orchestra
Antoni Wit, conductor
Date: 2010
Label: Naxos
https://www.naxos.com/catalogue/item.asp?item_code=8.572032
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This latest contribution to Naxos’s Penderecki series, recorded in Warsaw by Polish forces under the seasoned and always enlivening control of Antoni Wit, offers another juxtaposition of earlier (radical) with more recent (conservative) compositions. Cantata in honorem Almae Matris Universitatis Iagellonicae sescentos abhinc annos fundatae (1964) is a real curiosity. Given its – for Penderecki – unusual brevity (six and a half minutes), and its tongue-twistingly long Latin title, you might suspect a dutiful response to a welcome but uninspiring commission to mark the 600th anniversary of the Jagiellonian University’s foundation. There is indeed something almost casual about its stark, Expressionistic style, a confession perhaps that this idiom was something Penderecki no longer found congenial. What he soon came to prefer can be heard in the 50-minute Credo he wrote in 1997-98 for the Oregon Bach Festival.
The basic Latin text is filled out with other devotional material, and it seems as if the composer’s intention was to sustain a spiritual fervour that overrides even the stark contrasts – most obviously between “Crucifixus” and “Et resurrexit” – that the original verses provide, and which other composers of Credos for concert performance understandably seize on for musico-dramatic purposes. Fortunately, the initial spirit of bombastic triumphalism is modified as the work proceeds. But despite the valiant efforts of Wit and his musicians, including an excellent team of soloists, the effect is more portentous than intense, more laboured than exuberant. A more sharply focused recording might have helped, yet it is difficult to feel that any recording of Penderecki’s Credo would show it to be one of the more successful examples of his current, anti-progressive musical style.
-- Arnold Whittall, Gramophone
More reviews:
ClassicsToday ARTISTIC QUALITY: 10 / SOUND QUALITY: 10
http://www.musicweb-international.com/classrev/2010/Oct10/Penderecki_Credo_8572032.htm
http://www.musicweb-international.com/classrev/2010/Nov10/penderecki_credo_8572032.htm
https://www.irishtimes.com/culture/music/album-reviews/penderecki-credo-cantata-1.649262
https://www.allmusic.com/album/penderecki-credo-mw0002029939
https://www.naxos.com/reviews/reviewslist.asp?catalogueid=8.572032&languageid=EN
https://www.amazon.com/Credo-KRZYSZTOF-PENDERECKI/dp/B003VC51WQ
The basic Latin text is filled out with other devotional material, and it seems as if the composer’s intention was to sustain a spiritual fervour that overrides even the stark contrasts – most obviously between “Crucifixus” and “Et resurrexit” – that the original verses provide, and which other composers of Credos for concert performance understandably seize on for musico-dramatic purposes. Fortunately, the initial spirit of bombastic triumphalism is modified as the work proceeds. But despite the valiant efforts of Wit and his musicians, including an excellent team of soloists, the effect is more portentous than intense, more laboured than exuberant. A more sharply focused recording might have helped, yet it is difficult to feel that any recording of Penderecki’s Credo would show it to be one of the more successful examples of his current, anti-progressive musical style.
-- Arnold Whittall, Gramophone
More reviews:
ClassicsToday ARTISTIC QUALITY: 10 / SOUND QUALITY: 10
http://www.musicweb-international.com/classrev/2010/Oct10/Penderecki_Credo_8572032.htm
http://www.musicweb-international.com/classrev/2010/Nov10/penderecki_credo_8572032.htm
https://www.irishtimes.com/culture/music/album-reviews/penderecki-credo-cantata-1.649262
https://www.allmusic.com/album/penderecki-credo-mw0002029939
https://www.naxos.com/reviews/reviewslist.asp?catalogueid=8.572032&languageid=EN
https://www.amazon.com/Credo-KRZYSZTOF-PENDERECKI/dp/B003VC51WQ
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Krzysztof Penderecki (23 November 1933 – 29 March 2020) is a Polish composer and conductor. He studied music at Jagiellonian University and the Academy of Music in Kraków. Penderecki has composed four operas, eight symphonies and other orchestral pieces, a variety of instrumental concertos, choral settings of mainly religious texts, as well as chamber and instrumental works. Among his best known works are Threnody to the Victims of Hiroshima, Symphony No. 3, his St. Luke Passion, Polish Requiem, Anaklasis and Utrenja. In 2012, The Guardian called him the Poland's greatest living composer.
https://en.wikipedia.org/wiki/Krzysztof_Penderecki
http://www.krzysztofpenderecki.eu/en/
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https://en.wikipedia.org/wiki/Krzysztof_Penderecki
http://www.krzysztofpenderecki.eu/en/
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Antoni Wit (born February 7, 1944 in Kraków) is a Polish conductor. He studied with Henryk Czyż, Krzysztof Penderecki and Nadia Boulanger. He has recorded over 90 albums, most of them for the Naxos label, and many of them with the Polish National Radio Symphony Orchestra in Katowice, of which he managed and was artistic director from 1983 to 2000. Since year 2002 he has been music director of the Warsaw Philharmonic Orchestra. Wit specializes in the works of Polish composers such as Henryk Gorecki, Witold Lutosławski, Karol Szymanowski and Krzysztof Penderecki.
https://en.wikipedia.org/wiki/Antoni_Wit
https://en.wikipedia.org/wiki/Antoni_Wit
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