PENDERECKI : Complete Choral Works (Polski Chór Kameralny · Jan Łukaszewski) (2009) FLAC (image+.cue) lossless

For fans of Polish post-modernist Krzysztof Penderecki, this disc of his complete a cappella choral music, performed by Polski Chór Kameralny under the direction of Jan Lukaszewski, will be mandatory listening. Penderecki's music has been performed and honored in his native country for more than four decades, and these artists bring both enthusiasm and authority to their performances. Instead of being presented in chronological order, the pieces are mixed so that the composer's many styles are juxtaposed. The extreme expressivity of the In pulverem mortis from his 1965 St. Luke Passion, for example, appears alongside the intense austerity of the Agnus Dei from his 1981 Polish Requiem. This strategy works to the composer's advantage since it continually surprises the listeners, constantly keeping them alert and involved. The Polski Chór Kameralny sings with impeccable intonation and flawless diction despite the music's extraordinary demands, and Lukaszewski directs them with consummate mastery and interprets the music with complete sympathy. Recorded in startlingly vivid digital sound, this disc is in its way ideal. James Leonard    Tracklist & Credits :

THE PENDERECKI QUARTET : Polish String Quartets (1994) FLAC (image+.cue), lossless

This CD offers 5 dynamic and captivating contemporary works by three composers. The most recent work is Krszystof Penderecki's "Der unterbrochene Gedanke" (The Interrupted Thought, 1988) is a brief but intensely concentrated piece of approximately 2 1/2 minutes duration in a simple slow-fast-slow scheme: a low sighing cello pulse is answered by a viola melody, a chromatic second violin figure, and a high harmonic in the first violin; suddenly the tempo becomes agitated, like a discomforting recollection expressed in a violent triple meter, then all activity is immediately ceased, "interrupted" except for the initial low cello tone; then the other instruments answer with gentleness and a final chord dissipates in simultaneously ascending and descending glissandi. Spontaneously composed within a few days, Penderecki's seminal "String Quartet No. 1" (1960) utilizes nearly all of the traditional string techniques together with many new ones invented by the composer (glissandi on trills, rapid non-rhythmic tremolo, playing an indefinite highest possible pitch and between bridge and tailpiece, strike strings with palm of hand, etc.). Intended to portray the international political unrest of that year, Penderecki's intense "String Quartet No. 2" (1968) also employs a vast range of unusual techniques. Aleksander Lason's 20-minute "String Quartet No. 2" (1987), built around the note C-sharp, is highly mellismatic and sensuous like folk fiddling. Grazyna Bacewicz demonstrates her neo-classical tendencies in the "String Quartet No. 3" (1947) in three movements. Driving rhythms and passionate melodies characterize the first movement. A complex interweaving of graceful melodies is found in the second movement (Andante), and a playful abandon with unusual comic elements makes the third movement shine. by "Blue" Gene Tyranny  

Krzysztof Penderecki
1    Der Unterbrochene Gedanke ("The Broken Thought") (1988)

Aleksander Lason
2    String Quartet No. 2 (1987)

Krzysztof Penderecki
3    String Quartet No. 2 (1968)
4    String Quartet No. 1 (1960)

Grazyna Bacewicz
5-7     String Quartet No. 3 (1947)

Ensemble – Penderecki String Quartet
Viola – Yariv Aloni
Violin – Jerzy Kaplanek, Piotr Buczek
Cello – Paul Pulford

THE VARSOVIA QUARTET - Play String Quartets from Poland (1989) APE (image+.cue), lossless

Karol Szymanowski (1882-1937)
1-3    String Quartet No.1 Op.37 [17:57]
4-6    String Quartet No.2 Op.56 [18:26]

Witold Lutoslawski (1913-1994)
7-8    String Quartet [23:23]

Krzysztof Penderecki (1933-2020)
9    String Quartet No.2 [7:30]

Ensemble [String Quartet] – The Varsovia String Quartet
Viola – Artur Paciorkiewicz
Cello – Wojciech Walasek
Violin – Boguslaw Bruczkowski, Krzysztof Bruczkowski

PENDERECKI : Sinfoniettas • Oboe Capriccio • 3 Pieces in Old Style • Serenade • Intermezzo (Antoni Wit) (2012) FLAC (tracks), lossless

Composed over a period of some thirty years, the six string works in this programme cover the full stylistic range of Penderecki’s towering compositional career. The Sinfoniettas are transcriptions of two chamber works, impassioned in texture, courting elegy and terse gesture alike. With the Three Pieces in Old Style we are in the world of Baroque pastiche, whereas introspective intensity runs through the Serenade of 1997. Radicalism informs the Intermezzo whilst the Capriccio, written a decade earlier, reveals Penderecki’s lighter, more piquant side in scintillating fashion. ‘Antoni Wit’s Penderecki series for Naxos has been uniformly excellent…Top recommendation’. (ClassicsToday.com on 8.572032)
More About this Recording

Krzysztof Penderecki (1933-2020)

1-3    Three Pieces In Old Style (1963)    6:04
4-5    Serenade (1997)    9:56
6    Sinfonietta No. 1 (1992)    14:02
8    Intermezzo For 24 Strings (1973)    6:53
9    Capriccio For Oboe And String Orchestra (1964)*    6:11
10-13    Sinfonietta No. 2 (1994)**

Clarinet – Artur Pachlewski**
Conductor – Antoni Wit
Oboe – Jean-Louis Capezzali*
Orchestra – Warsaw Philharmonic Chamber Orchestra

PENDERECKI : Clarinet Concerto • Flute Concerto • Concerto Grosso Nr. 1 (Penderecki) (2014) FLAC (tracks), lossless

Krzysztof Penderecki (1933-2020)

1-7    Clarinet Concerto
Clarinet – Michel Lethiec

8-13    Flute Concerto
Flute – Łukasz Długosz

14    Concerto Grosso No. 1    
Cello – Arto Noras, Bartosz Koziak, Rafał Kwiatkowski

Conductor – Krzysztof Penderecki
Orchestra – Polska Orkiestra Sinfonia Iuventus

PENDERECKI : Threnody for The Victims Of Hiroshima • Viola Concerto - VAN de VATE : Chernobyl, Concerto Nr. 1 for Violin And Orchestra (Szymon Kawalla) (1988) FLAC (image+.cue), lossless

Krzysztof Penderecki (1933-2020)

1    Threnody To The Victims Of Hiroshima (Tren Ofiarom Hiroszimy) (1960) 8:57
2    Viola Concerto (1983) 19:57
Viola – Grigori Zhislin

Nancy Van de Vate (B. 1930)
3    Chernobyl (1987) 12:43
4-6    Concerto No. 1 For Violin And Orchestra (1986) 25-29
Violin – Janusz Mirynski

Conductor – Szymon Kawalla
Orchestra – Polish Radio And TV Symphony Orchestra Of Krakow

PENDERECKI : Complete Cello Concertos (Noras-Penderecki) (2001) FLAC (image+.cue), lossless

Krzysztof Penderecki (1933-2020)

1    Concerto for cello and orchestra No.1 (1967-1972)    17:48
2    Concerto for cello and orchestra No.2 (1982)    35:06
3    Concerto for viola and chamber orchestra    20:16

Cello – Arto Noras
Conductor – Krzysztof Penderecki
Orchestra – Sinfonia Varsovia

PENDERECKI : Cello Concerto Nr. 2 • The Awakening of Jacob for Orchestra • Concerto for Viola & Orchestra • Adagietto from 'Paradise Lost' (Antoni Wit) (1989) APE (image+.cue), lossless

Krzysztof Penderecki (1933-2020)

1    Cello Concerto No. 2* 33:55
2    Awakening of Jacob for Orchestra    8:34
3    Adagietto from 'Paradise Lost'    4:46
4    Concerto for Viola And Orchestra** 20:11

Conductor – Antoni Wit
Orchestra – Polish National Radio Symphony Orchestra
Cello – Ivan Monighetti*
Viola – Stefan Kamasa**

ANNE-SOPHIE MÜTTER - Hommage à Penderecki (2018) 2CD / FLAC (tracks+.cue), lossless

With one exception, the recordings on the double-album Hommage à Penderecki are all reissues (the new one is the quite haunting Violin Sonata No. 2 of 1999 at the end of disc one). Yet the collection will be well worth the time and money even of Mutter fans, for it offers an ideal deep dive into a key aspect of the violinist's career. The beginning of her interaction with Penderecki was close chronologically to the point where she became well established as one of the world's preeminent violinists, perhaps even the very top one. Her technically precise but emotionally edgy style not only fit Penderecki unusually well, but also became part of her efforts to shape her legacy in an ongoing way. The collaboration has resulted in four works to date. All are representative of Penderecki's late style, which is less neo-Romantic than aimed at showing that there is still a lot of room to incorporate dissonant structures into Romantic idioms. Sample the Metamorphosen, the Violin Concerto No. 2, on CD two, perhaps the finale, where Mutter's violin is truly transcendent as it ascends to pure high notes. La Follia, written in 2013, is a rethinking of the Baroque ground-bass piece, and it and really all the other pieces are calibrated to Mutter's undiminished skills. There's a work for solo violin, a duo, a violin sonata, and a violin concerto (with Penderecki himself conducting the London Symphony Orchestra), and the whole is a satisfying compilation of Mutter's effort to redefine the violin repertory, nicely illustrated with photos of Penderecki looking adoring. by James Manheim  

Krzysztof Penderecki (1933-2020)

CD1
1-10    La Folia (2013) For Solo Violin
11    Duo Concertante (2010) For Violin And Double Bass. Andante, Quasi Una Cadenza – Allegretto Scherzando – Andante, Quasi Una Cadenza
Double Bass – Roman Patkoló
Violin – Anne-Sophie Mutter
12-16    Sonata No. 2 (1999) For Violin And Piano
Piano – Lambert Orkis
Violin – Anne-Sophie Mutter

CD2
1-6    Metamorphosen (1992–95): Concerto For Violin And Orchestra No. 2
Conductor – Krzysztof Penderecki
Orchestra – The London Symphony Orchestra
Violin – Anne-Sophie Mutter

RIHM : Lichtes Spiel • PENDERECKI : Duo Concertant • CURRIER : Time Machines (Anne-Sophie Mütter) (2011) FLAC (image+.cue), lossless

Veteran violinist Anne-Sophie Mutter is not performing the usual Beethoven or Mozart repertoire here, but branching out to embrace new music commissioned for her. Along for the ride are the excellent New York Philharmonic under the baton of Michael Francis for the first Rihm work, and then under Alan Gilbert for the Currier piece, along with contrabassist Roman Patkoló. Lichtes Spiel (for violin and small orchestra) is indeed a "light game," with layered voices in the strings. There are moments of singing romanticism and beautiful vibrato, even a section that sounds vaguely classical, while the piece constantly stays in motion. Rihm clearly gets interesting colors and characters from Mutter's violin, in surprising, exciting ways. Duo concertante shows off a really lively, rapid, eager violinist full of emotion that pours forth, and it is precisely this explosive quality that makes the piece so engaging to hear. But equally in the spotlight is contrabassist Patkoló, who plays with such agility that it is hard to believe he is not playing a smaller string instrument like a viola or cello. Composer Penderecki, tricks the listener into believing the intensity has died out, but no, it resumes again, a vigorous duet between the violin and contrabass. The piece is, in a word, fun. Rihm's Dyade is quite a contrast in programming, moody and layered, the voices of the two instruments intertwining. Sometimes the lines are long, sometimes shard-like and shrieking. Mutter clearly relishes the textures and notes, and the excellent recording quality allows the listener to truly feel each bow stroke, heavy and into the string, or bouncing, or attacked tremolos. The dark contrabass is a nice contrast in register and mood. Sebastian Currier's Time Machines (for violin and orchestra) contain seven movements representing different aspects of time. Particularly interesting are the urgent, frenzied "Fragmented Time"; the perpetual motion of "Compressed Time"; the melodic patterns that climb in the violin and xylophone in "Entropic Time"; and the "Harmonic Time" with her solo violin soaring above the sound "scenes" that fade in and out like movie images. Mutter has chosen to explore a new direction, and both she and her listeners are rewarded. This is an album that will delight not only fans of Anne-Sophie Mutter, but also fans of new music who like to take their time to reflect on and savor thoughtful compositions. A most unique album indeed. by V. Vasan  

Wolfgang Rihm
1    Lichtes Spiel (2009)
Conductor – Michael Francis
Orchestra – New York Philharmonic
Violin – Anne-Sophie Mütter

Krzysztof Penderecki
2    Duo Concertante (2010)
Double Bass – Roman Patkoló
Violin – Anne-Sophie Mütter

Wolfgang Rihm
3    Dyade (2010-2011)
Double Bass – Roman Patkoló
Violin – Anne-Sophie Mütter

Sebastian Currier
4-10    Time Machines (2007)
Conductor – Alan Gilbert
Orchestra – New York Philharmonic
Violin – Anne-Sophie Mütter

PENDERECKI : Violin Concerto Nr. 2 >>Metamorphosen<< • BARTÓK : Sonata for Violin and Piano Nr. 2 (Mütter, Penderecki, Orkis) (1997) FLAC (image+.cue), lossless

Krzysztof Penderecki (1933-2020)

1-6    Metamorphosen (1992-1996)
Concerto for Violin and Orchestra No. 2
(Dedicated To Anne-Sophie Mutter)
Conductor – Krzysztof Penderecki
Orchestra – London Symphony Orchestra
Violin – Anne-Sophie Mutter

Béla Bartók (1881-1945)

6-8    Sonata For Violin And Piano No. 2 Sz 76 (1922) (19:47)
Piano – Lambert Orkis
Violin – Anne-Sophie Mutter

PENDERECKI : Violin Concertos Nr. 1 & 2 (Yun, Kulka, Wit) (2003) FLAC (image+.cue), lossless

Krzystof Penderecki’s First Symphony (1973) (Naxos 8.554567) brought to a climax his involvement with the post-war European avant-garde. Already in his Magnificat (1974) and tone poem Jacob’s Awakening (1975) the emphasis is on an expression with its harmonic roots in the late nineteenth century sound world of Wagner and Bruckner. This transition was completed with the First Violin Concerto (1974-6), commissioned by the Allgemeine Musikgesellschaft of Basle, which caused considerable controversy in new music circles following its première on 27th April 1977 by Isaac Stern, to whom it is dedicated, with the Basle Symphony Orchestra and Moshe Atzmon. The composer’s stated response, that "We can still use old forms to make new music", was to become almost a motto as symphonies and concertos moved to the forefront of his creative output.

Although originally planned as a multi-movement work, the First Violin Concerto was eventually realised as a single-movement span, though vestiges of the initial conception are detectable in the frequent changes of mood and pace. Over heaving basses and timpani, the basic musical material emerges effortfully on strings, subsiding into the musing of clarinet and violas. Against this backdrop the soloist appears, elaborating the ideas heard so far into an upward-striving melodic sequence. Tension spills over into a funereal idea on strings and timpani, over which the soloist spins a more lyrical, though still impassioned cantilena, before ebbing away to a sighing motion in strings. A powerful orchestral tutti now develops, trombones and timpani urging the music to a jagged outburst, before the soloist introduces a more capricious mood. Agitated strings slither around chromatically, until the soloist alights on a held chord, and the music attains some degree of stability. Over pulsating strings, the soloist builds the most sustained outpouring so far, before the held chord reappears on strings. Brass sound a plangent response, and the soloist drives the music to a climactic peak. The capricious music now briefly returns, presaging a Shostakovich-like ‘scherzo’ section over repeated percussion rhythms. This is curtailed by the funereal music, to which the soloist responds in suitably plangent terms. A more pensive, even resigned section ensues, culminating in an eerie passage of solo trills against high-lying strings, woodwind and harp. A driving toccata motion bursts in, petering out in the face of the funereal music, before a sudden tutti outburst initiates the concerto’s cadenza. This sums up most of the soloist’s melodic ideas, interrupted briefly when the scherzo music steals back in. The toccata motion ends the cadenza, and the concerto’s climax is reached with baleful brass writing. The soloist winds down the tension into a bleak and comfortless epilogue, solo viola and basses in muted support, and the ending is reached.

The compositional technique of metamorphosis, transforming motifs and melodic ideas as the music progresses, is central to this work as it is to most of Penderecki’s orchestral works over the next quarter of a century. Metamorphosen is, indeed, the title of his Second Violin Concerto (1992-5), commissioned by Central German Radio, and first performed by its orchestra conducted by Mariss Jansons, with Anne-Sophie Mutter, to whom the concerto is dedicated. Again a large single movement falls into several continuous sections, now with a greater differentiation of tempo and orchestration.

The work opens with an oscillating motion on strings, resounding gong strokes adding to the sense of mystery. The solo violin takes up the prevailing harmonic motion, climbing to the top of its register. A brief, Brucknerian tutti subsides, then momentum increases with a rhythmic idea on violas, joined by other strings and woodwind, then by the soloist. This vigorous contrapuntal activity continues unabated, until dissipated by a held chord in the strings. A more lyrical discourse now sets in, austere in scoring, but touched by some imaginative percussion writing. The soloist muses pensively with the clarinet, then suddenly spirals to an impassioned tutti outburst. An angular fugal passage leads to a repeated chord sequence with tubular bells and gong, after which the lyrical discourse is resumed with poignant accompaniment from woodwind. A toccata-like motion now asserts itself on violas and percussion, over which the soloist strikes a pose of nonchalant defiance. This builds intently to a further held chord, cellos ushering in a plaintive passage for the solo violin at the top of its register, against a shimmer of strings and percussion. Tension increases, the soloist sounding agitated as the music moves through a spiky and often dance-like passage, replete with pizzicato and sul ponticello writing. Rhythmic energy increases, curtailed by the cadenza, which exploits the soloist’s technical capacity to the full. The dance motion strikes back in, but a tutti chord puts paid to the momentum, and a ghostly passage for the soloist over basses and timpani, filling out with woodwind contributions, proceeds to bring the concerto to its brief but impassioned climax and final resolution, bells and gong strokes shrouding these fatalistic closing pages in an aura of uncertainty. Not so bleak as the close of the First Concerto, then, but hardly affirmative in its demeanour. Richard Whitehouse

Krzysztof Penderecki (1933-2020)

1    *Concerto For Violin And Orchestra No. 1    39:16
2    **'Metamorphosen' Concerto For Violin And Orchestra No. 2    38:16

Conductor – Antoni Wit
Orchestra – Polish National Radio Symphony Orchestra (Katowice)
Violin – Chee-Yun**, Konstanty Kulka*

PENDERECKI : Symphony No. 8 (first version 2005) • Dies irae • Aus den Psalmen Davids (Antoni Wit) (2008) APE (image+.cue), lossless

Listeners who have been following the career of Polish postmodernist composer Krzysztof Penderecki will have to hear this disc because it features the world-premiere recording of his Symphony No. 8 "Lieder der Vergänglichkeit" (Songs of Transience). Conductor Antoni Wit delivers a committed and satisfying performance that must be considered at least representative, if not definitive. Written in Penderecki's mature post-1970 style -- that is, with tonal harmonies, staid tempos, dark colors, and heavy textures -- the Symphony No. 8 is in 12 movements setting nineteenth and twentieth century German poetry on the subjects of life, death, and eternity. This style, of course, is a complete volte-face from the style of Penderecki's landmark works of the late '50s and '60s, works that featured cluster harmonies, amorphous tempos, searing colors, and clotted textures. Two works in this youthful style are included on this disc, the Dies irae from 1967 and Aus den Psalmen Davids from 1958, and the contrast of styles could not be greater. Indeed, many listeners may doubt if the same composer wrote all three works, and some listeners may not enjoy all three works. Still, anyone who likes either Penderecki's old or new style will have to hear this disc. Recorded in Warsaw in 2006, Naxos' digital sound is cool, but colorful and very present. by James Leonard  
More About this Recording

Krzysztof Penderecki (1933-2020)

1-12    Symphony No. 8, 'Lieder Der Vergänglichkeit' (2005)
Baritone Vocals – Wojtek Drabowicz
Mezzo-soprano Vocals – Agnieszka Rehlis
Soprano Vocals – Michaela Kaune

13-15    Dies Irae (1967) [25:22]
Baritone Vocals – Jarosław Bręk
Mezzo-soprano Vocals – Anna Lubańska
Tenor Vocals – Ryszard Minkiewicz

16-19    Aus Den Psalmen Davids (1958)    (10:55)

Chorus – Warsaw National Philharmonic Choir
Chorus Master [Choirmaster] – Henryk Wojnarowski
Conductor – Antoni Wit
Orchestra – Warsaw National Philharmonic Orchestra

PENDERECKI : Horn Concerto • Violin Concerto Nr. 1 (Penderecki) (2010) FLAC (image+.cue), lossless

Krzysztof Penderecki (1933-2020)

1-4    Concerto For Violin And Orchestra* (1977)    (41:35)
5    Concerto For Horn And Orchestra "Winterreise"** (2008)    17:34

Conductor – Krzysztof Penderecki
French Horn – Radovan Vlatkovic**
Orchestra – Sinfonietta Cracovia
Violin – Robert Kabara*

PENDERECKI : Capriccio • De natura sonoris Nr. 2 • Piano Concerto (Penderecki) (2007) APE (image+.cue), lossless

If you didn't already know, you could still guess that two of the very different works on this disc were written by the same composer. The Capriccio from 1967 is an intensely expressive and grotesque parody of the grand violin concertos of the nineteenth and early twentieth century; the De Natura Sonoris from 1971 is a more self-consciously avant-garde work exploring the extreme ends of the orchestra. But both works are marked by the same abrupt, even violent approach to scoring that was the hallmark of Polish composer Krzysztof Penderecki, thereby giving the game away.

However, if you didn't know Penderecki had had an aesthetic change of heart during his career, you might never guess that the Piano Concerto he called "Resurrection" was also his. With its powerful echoes of Bartók and Prokofiev in the solo writing and Bruckner and Mahler in the scoring, one might guess a much earlier and an infinitely more conservative composer. Only the occasional orchestral eruption remains of Penderecki's earlier aesthetic, and the resulting single-movement work is much less arresting than his earlier works -- and, some might say, vastly less interesting. Superbly played by violinist Patrycja Piekutowska and pianist Beata Bilinska, capably accompanied by the National Polish Radio Symphony Orchestra, and ardently conducted by the composer himself, this disc will nevertheless be mandatory for anyone who follows contemporary music. Those who don't know the Polish post-modernist master's music are advised to try his early Threnody for the Victims of Hiroshima. It's not only Penderecki's signature piece, it's one of the landmarks in postwar music. And if you enjoy the Threnody, try The Awakening of Jacob. For better or worse, Dux's 2005 digital sound is big, bold, brash, and blowing full blast straight into your face. by James Leonard  

Krzysztof Penderecki (1933-2020)

1    Capriccio Na Skrzypce I Orkiestrę = Capriccio For Violin & Orchestra (1967)    12:52
2    De Natura Sonoris II (1971)    7:13
3    Koncert Na Fortepian I Orkiestrę "Zmartwychwstanie" = Piano Concerto “Resurrection” (2001/2002)    32:59

Clarinet – Dimitri Ashkenazy
Conductor – Krzysztof Penderecki
Flute – David Aguilar
Orchestra – Orkiestra Sinfonia Varsovia
Piano [Fortepian] – Beata Bilińska (pistas: 3)
Violin [Skrzypce] – Patrycja Piekutowska (pistas: 1)

PENDERECKI : Emanationen • Cello Concerto • Partita • Symphony (Penderecki) (1973-1995) RM / FLAC (image+.cue), lossless

Krzysztof Penderecki (1933-2020)

1    Emanationen 6:48
Orchestra – Polish Radio Symphony Orchestra
2    Partita 19:14
Harpsichord – Felicja Blumental
Orchestra – Polish Radio Symphony Orchestra
3    Cello Concerto 14:45
Cello – Siegfried Palm
Orchestra – Polish Radio Symphony Orchestra
4-5    Symphony 31:15
Orchestra – London Symphony Orchestra

Conductor – Krzysztof Penderecki

PENDERECKI : Threnody To The Victims Of Hiroshima • Canticum Canticorum Salomonis • De Natura Sonoris Nr. 1 & 2 (Penderecki) (1994) FLAC (tracks+.cue), lossless

Krzysztof Penderecki (1933-2020)

1    Anaklasis 5:59
Orchestra – London Symphony Orchestra
2    Threnody For The Victims Of Hiroshima    9:55
3    Fonogrammi    6:39
4    De Natura Sonoris No.1    7:15
5    Capriccio 11:37
Violin – Wanda Wilkomirska
6    Canticum Canticorum Salomonis 16:47
Chorus – Krakow Philharmonic Chorus
7    De Natura Sonoris No.2    9:02
8    The Dream Of Jacob    7:31

Conductor [Conducted By] – Krzysztof Penderecki
Orchestra – Polish Radio National Symphony Orchestra (2 to 8)

PENDERECKI : The Complete Symphonies (Penderecki) 5xCD (2013) FLAC (image+.cue), lossless

Krzysztof Penderecki (1933-2020)

CD1
1-4    Symphony No.1    (31:09)
5    Symphony No.2 "Christmas Eve"    33:25

CD2
1-5    Symphony No.3    (44:32)

CD3
1-5    Symphony No.4 "Adagio"    (30:36)
6    Symphony No.5 "Korean"    37:59

CD4
1-7    Symphony No.7 "Seven Gates Of Jerusalem"    (1:03:06)

CD5
1-15    Symphony No.8 "Lieder Der Vergänglichkeit"    (49:39)

Alto Vocals – Agnieszka Rehlis (CD4, CD5)
Baritone Vocals – Thomas E. Bauer (CD5)
Bass Vocals – Wojtek Gierlach (CD4)
Chorus – The Choir Of The Podlasie Opera And Philharmonic In Białystok (CD4, CD5)
Conductor – Krzysztof Penderecki
Conductor [Choir Preparation] – Violetta Bielecka (CD4, CD5)
Conductor [Orchestra Preparation], Conductor [Assistant] – Maciej Tworek
Orchestra – The Polish Sinfonia Iuventus Orchestra
Soprano Vocals – Iwona Hossa (CD4, CD5), Izabella Kłosińska (CD4)
Speech [Recitation] – Sławomir Holland (CD4)
Tenor Vocals – Rafał Bartmiński (CD4)

PENDERECKI : St Luke Passion (Krzysztof Penderecki) (1990) APE (image+.cue), lossless

Krzysztof Penderecki (1933-2020)

St Luke Passion   
1    Part 1: O Crux    34:59
2    Part 2: In Pulverem Mortis    26:58
3    Part 2: Stabat Mater    7:19
4    Part 2: Erat Autem Fere    6:59

Baritone Vocals – Stephen Roberts
Bass Vocals – Kurt Rydl
Chorus – Cracow Boy's Choir, Warsaw National Philharmonic Chorus
Chorus Master – Bronisława Wietrzny, Henryk Wojnarowski
Conductor – Krzysztof Penderecki
Narrator – Edward Lubaszenko
Orchestra – Polish National Radio Symphony Orchestra
Soprano Vocals – Sigune Von Osten

PENDERECKI : Credo (Helmuth Rilling) (1994) FLAC (image+.cue), lossless

Krzysztof Penderecki (1933-2020)

1    I. Credo In Unum Deo    6:01
2    II. Qui Propter Nos Homines / III. Et Incarnatus Est    9:21
3    IV. Crucifixus    14:32
4    V. Et Resurrexit Tertia Die    9:00
5    VI. Et In Spiritum Sanctum / VII. Et Vitam Venturi Saeculi    11:45

Bass Vocals – Thomas Quasthoff
Choir – Oregon Bach Festival Choir
Conductor – Helmuth Rilling
Mezzo-soprano Vocals – Marietta Simpson, Milagro Vargas
Orchestra – Oregon Bach Festival Orchestra
Soprano Vocals – Juliane Banse
Tenor Vocals – Thomas Randle