Antoni Wit presents the work in a Naxos recording that vividly illuminates the contrast between Mr. Penderecki’s emotionally direct a cappella vocal writing and orchestral effects that mimic electronic music. The excellent soloists are Iwona Hossa, soprano; Agnieszka Rehlis, mezzo-soprano; Piotr Kusiewicz, tenor; and Piotr Nowacki, bass.

West German Radio commissioned “Utrenja,” whose two parts — “The Entombment of Christ” and “The Resurrection of Christ” — were given separate premieres in Germany, in 1970 and 1971. They form a triptych with Mr. Penderecki’s “St. Luke Passion” of 1966 (not included here.)

“Utrenja,” using an Old Slavonic liturgical text, opens with sepulchral intonation by the basses. The rest of the choir joins to create harmonically ambiguous waves of sound. A solo soprano eventually rises above the exuberant orchestral frenzy of the second movement, “Songs of Praise,” leading to a passage of devout music and a swarming vocal and orchestral melee that concludes with a subdued murmur. The vocal cacophony of “Irmos,” the third movement, alternates with somber chants by the basses. Other sections are similarly eclectic.

The mostly dark textures of Part 1 give way to brighter sounds in Part 2, with a percussive outburst opening “The Gospel,” the first section. The ensuing movement is notable for its uplifting choral passages and soaring vocal writing. “Utrenja” finishes with choral whisperings that hover above a shimmering orchestral fabric.

When Stokowski created these they were usually played one at a time—one to a concert, as opener or encore. Most are only three or four minutes long, and to appreciate them you really have to isolate them from each other. So this disc becomes a resource that you will draw on sparingly—and when you do, you will love it.

Ildebrando Pizzetti's Concerto dell'estate of 1928 (really a three-movement symphony) is one of the most attractive of all early 20th-century Italian orchestral works. It hasn't been recorded since Gardelli did it for Decca some 40 years ago, and this new version is most welcome. While Myron Michailidis chooses virtually identical tempos in the outer movements, the central nocturne runs a bit slower (but not duller) than the earlier version, at some gain in atmosphere. The recording balances, which place the woodwinds and harps relatively forward, also suit the work very well. It's a beautiful performance, well played and atmospheric.

I have a sentimental attachment to the Oedipus Rex Symphonic Preludes: this was the very first work that I played as a percussionist with the Johns Hopkins Symphony Orchestra in my undergraduate days, and it introduced me to Pizzetti. To be honest, the cymbal part didn't give me much to do, but it did offer me the opportunity to simply listen to a very beautiful piece that, like the Concerto dell'estate, deserves far greater currency than it enjoys. It was recorded relatively recently by Vänskä for Hyperion, quite well too, but this version is just as good, with confident horn playing and powerful climaxes.

The remaining two works receive their recording premieres. Pizzetti was basically a gentle, lyrical composer, but he could get his dander up quite effectively: witness the five-minute prelude to Clitennestra. Composed in the 1960s just before his death, you'd never know it from the harmonic style--it's just as attractive and approachable as the Oedipus Rex music of some 60 years earlier. La Feste delle Panatenee is another tryptich that, like the work just mentioned, takes ancient Greece as its inspiration. Less somber than its predecessor, it concludes with an imposing procession that could use a touch more heft from the brass and a less prominent snare drum--but as with all of these performances conductor Michailidis and the Thessaloniki State Symphony certainly do the music justice. Strongly recommended.

The works meditate and proclaim in dissonant, yet tonal harmonic languages. The centerpiece is Kjell Mark Karlsen’s Trumpet Mass, with movements that illuminate the meaning of the texts. Most immediately likeable is Egil Hovland’s ‘Cantus X’ (2000), which includes the haunting Norwegian hymn ‘Med Jesus vil eg fara’.

Even as he approaches age 70, trumpeter Christensen plays with strength, skill, and a high level of artistry.

This is not a recording for listeners looking for meaningful communication; it is more of a laboratory for enthusiasts of style and texture. There are worthwhile moments in every work, but much of the music may simply come across as random and bizarre. Still, the inspiration is apparent—the Korsrud is a blend of American minimalism and French Impressionism, the Plamondon is rooted in the futurist movement of the early 20th Century, the Houle has overtones of Stravinsky and Schuller; and the Scelsi is a journey to the meditative world of Eastern music, complete with drones, extended techniques, and sound manipulations that rival Varese’s.

Houle is not the most refined clarinetist; he can certainly move his fingers, but his playing is not as liquid as the title or the program notes suggest. His concerto demonstrates his stylistic flexibility, but his sound is too diffuse to make one truly appreciate his efforts. The Turning Point Ensemble, though, is a solid group capable of astounding contrasts and well suited to the music they champion.

I have not been able to trace the source for the Flute and Oboe Concerto in G by Fasch. The Concerto by Frederick the Great is one of three offered in a program of that king’s works (10 064). The two Telemann works—a Two- Flute Concerto in E minor and the ever-popular Concerto for Recorder and Flute in the same key—appeared in a program of that composer’s music (10 611). Since Telemann’s contributions top those of the other two in both number and lengths, I have arbitrarily placed this release under that composer, rather than send it to the Collections under its rather unhelpful title of “Flute Concertos”.

The soloists are all quite fluent, and the conductors support them ably. None of these performances are dazzling, but they all do the material justice. And, if sometimes a little tubby on the bass, the sound (from 1978, 1985, 1987, and 1988) still stands up quite well.

The pieces by Frederick and Fasch might be a little hard to find in other recordings just now, though the two by Telemann are reliably served elsewhere in more up-to-date recordings. Still, as an enjoyable program of generally undemanding music, this makes for a pleasant 50 minutes.