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PENDERECKI, K.: Te Deum / Hymne an den Heiligen Daniel / Polymorphia / Ciaconna (Klosinska, Rehlis, Warsaw National Philharmonic, Wit)

Composer(s):Penderecki, Krzysztof
Period(s) Contemporary
Genre Classical Music
Category Choral - SacredOrchestral
Catalogue 8.557980
Label Naxos
Quality   320kbps

Since 1966, with the composition of the St Luke Passion (Naxos 8.557149), Penderecki has enjoyed an international reputation for music that blends direct, emotional appeal with contemporary compositional techniques. The neo-Romantic choral work, Te Deum, was inspired by the anointing of Karol Wojtyla as the first Polish Pope in 1978. Although Penderecki’s recent choral works have tended to be similarly monumental in scale, he has written several of a more compact nature, such as Hymne an den heiligen Daniel, whose opening ranks as one of the composer’s most affecting. This disc closes with two works for strings: the experimental Polymorphia from 1961, and the expressive Chaconne, written in 2005 as a tribute to the late Pope John Paul II.


Review By Andrew Fraser,Limelight Magazine,November 2007

Polish composer Krzysztof Penderecki leads a double life. On one hand he is a radical modernist composer whose use of new sonorities in works such as Threnody for the Victims of Hiroshima (1961) endeared him to the avant-garde, while on the other his devout Catholic faith inspired his Stabat Mater (1962), a work of such simplicity and direct expression that it dismayed his avant-garde supporters with its apparent conservatism. (Ironically, being a devout Catholic in the atheistic society that was 1960s Poland is probably his most radical act of all.) These recordings, from Antoni Wit and the Warsaw Philharmonic, contain music from both sides of the composer. The opening Te Deum was written in 1979/80 to celebrate the appointment [strictly, the


Review By David Denton, Naxos,September 2007

Having been the darling of the avant garde movement, the Polish composer, Krzysztof Penderecki, shocked the musical world in the mid-1960’s when he turned his back on radicalization and restored a link with traditional progression. He is now working in a remarkably wide range of tonal colours and strong rhythms, while at the same time entering a mystical world. This rebirth is nowhere more explicit than in the Te Deum, completed in 1980 and inspired by the anointing of Karol Wojtyla as the first Polish Pope. Any thoughts that this would be a celebratory score are immediately dashed by the ominous opening. What message is this sombre work carrying? It is not one of hope for the future, the drama and sense of angst taking over with big dissonant climatic



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