Penderecki: A Polish Requiem; The Dream of Jacob

On this CD:

1. Polish Requiem, for SATB, chorus & orchestra
Composed by Krzysztof Penderecki
Performed by Royal Stockholm Philharmonic Orchestra with Jadwiga Gadulanka, Piotr Nowacki, Jadwiga Rappe, Zachos Terzakis
Conducted by Krzysztof Penderecki

2. The Dream of Jacob, for orchestra
Composed by Krzysztof Penderecki
Performed by Royal Stockholm Philharmonic Orchestra
Conducted by Krzysztof Penderecki

Penderecki: A Polish Requiem; The Dream of Jacob, Music, Piotr Nowacki, Krzysztof Penderecki, Krzysztof Penderecki, Jadwiga Rappe, Royal Stockholm Philharmonic Orchestra, Jadwiga Gadulanka, Zachos Terzakis, 20th/21st Century Orchestral Work with Descriptive Title, Choral, Classical, Classical Composers, Classical Music, Orchestral, Requiem/Requiem Section
Penderecki: A Polish Requiem; The Dream of Jacob
Average customer rating: 4 out of 5 stars
  • Some fascinating moments but nothing seriously cumulative
 Penderecki: A Polish Requiem; The Dream of Jacob

Manufacturer: Chandos
ProductGroup: Music
Binding: Audio CD

All Works by PendereckiAll Works by Penderecki | Penderecki, Krzysztof | ( P ) | Featured Composers, A-Z | Classical | Styles | Music
RequiemsRequiems | Forms & Genres | Early Music | Historical Periods | Classical | Styles | Music
SymphoniesSymphonies | Forms & Genres | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music
GeneralGeneral | Classical | Styles | Music
GeneralGeneral | Opera & Vocal | Styles | Music
RequiemsRequiems | Vocal Non-Opera | Opera & Vocal | Styles | Music
ASIN: B000000AZ7
Release Date: 1996-06-18

Tracks:

  1. A Polish Requiem: Introitus
  2. A Polish Requiem: Kyrie
  3. A Polish Requiem: Dies irae
  4. A Polish Requiem: Tuba mirum
  5. A Polish Requiem: Mors stupebit
  6. A Polish Requiem: Quid sum miser
  7. A Polish Requiem: Rex tremendae
  8. A Polish Requiem: Recordare, Jesu pie
  9. A Polish Requiem: Ingemisco tanquam reus
  10. A Polish Requiem: Lacrimosa

Tracks:

  1. A Polish Requiem: Sanctus
  2. A Polish Requiem: Agnus Dei
  3. A Polish Requiem: Lux aeterna
  4. A Polish Requiem: Libera me, Domine
  5. A Polish Requiem: Offertorium
  6. A Polish Requiem: Finale: Libera animas
  7. The Dream Of Jacob: Lento

Customer Reviews:

4 out of 5 stars Some fascinating moments but nothing seriously cumulative.......1999-04-06

Penderecki joined the post-war generation of composers late. But that simply was not a deterrent for his unique contributions. His music developed out of his affinities for a programmatic agenda. An early friendship with the only Marxist of this serial post-Webern generation Luigi Nono helped to set his path in Europe only within the imagery of Catholicism. As time wore on, he as many in the Seventies became bitten by the accessibility bug and turned toward more facile,but not necessarily simple-minded kind of music styles. He found a voice in Neo-Romanticism. This Requiem is cut from that cloth. Largely instigated while the workers seized the Lenin Shipyard in Gdansk in 1980, the budding movement known as Solidarity asked Penderecki to write something for them . "Lacrimosa" was composed in 1980 for the unveiling of a monument at Gdansk. Soon another movement emerged and then a completed full-scale piece was completed in 1984. What is at work here in terms of musical language is a meeting of both the modern world (Penderecki's early avant-garde musical language) and Baroque-like and impassioned Romanticism. Penderecki structually sticks to the traditional Requiem movements Kyrie,Dies Irae, Agnes Dei,Lux Aeterna without much to comment on or reflection with four vocal soloists, soprano,alto(or mezzo-soprano), tenor and bass. What is problematic I fine is the overall emotive weight imposed here on the form. Mostly the music here is magnetized toward the severe, the graphic at times in obvious dark colours of tympani drum and wailing voices. You might say "this is Requiem, what do you expect", well yes, but as we learn from Mozart there are gradations and refined manipulations of voices and gesture which should help the musical discourse. Here the severity doesn't break until some 15 minutes into the work, the first modern use of fascinating cluster chords punctuating the voices.. There are fast running like movements that help break the this severity, but you feel Penderecki is imposing this artificially, you never sense the movements are placed together for an expressive or conceptual reason. We simply follow without question. Although works like this are a rarity within today's concert venues still the work is only convincing in moments. It's overall emotive weight seems never to add to a content in an incremental way, that structures our thinking. Nor has Penderecki imposed any new content from his experiences writing and dealing with programmatic subject matter,

Music Review:

  1. Piano Concerto 2 & 4
  2. Piano Concerto 2 / Concerto De Aranjuez
  3. Piano Concerto Op 54 / Piano Concerto 1
  4. Play Mozart
  5. Popular Operatic Overtures
  6. Pour Le Piano / Preludes
  7. Rachmaninov: Corelli Variations/Moments Musicaux
  8. Reform: Solo Piano
  9. Schubert: String Quartet in Am No13, D804, Op29; Beethoven: String Quartet No10
  10. Schumann: Piano Music Vol. 1

Music Review

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