Notes and Editorial Reviews
It could be said that Krzysztof Penderecki had a good Cold War. In 1960, his Threnody for the Victims of Hiroshima caught the pacifistic spirit of the times, and the outreach of its novel style stretched as far as the Beatles. Then, in the Eighties, blown by the winds of artistic change, he simplified his manner for the people’s music of the Polish Requiem.
With Credo, first performed by the Oregon Bach Festival Orchestra and Choir in July 1998, he returns to the Mass. Lovers of choral music will doubtless welcome this release, though anyone expecting a piece in which the forward momentum derives from the time-honoured practice of counterpoint will be disappointed. Instead, there are what an impressionistic painter might have
called ‘effects of movement’. Whether slow or fast, the sense of the music’s going somewhere is not inwardly driven, but a kind of artful contrivance. Perhaps this is postmodern. It is not without some monumental moments, chiefly those when the ghost of Shostakovich stalks upstage. Try the horn writing that introduces a setting of the interpolated Roman hymn ‘Crux fidelis’, prefaced in turn by music that sounds like an interpolation from the Russian composer’s mighty Tenth Symphony.
-- Nicholas Williams, BBC Music Magazine
Works on This Recording
Credo by Krzysztof Penderecki
Milagro Vargas (Mezzo Soprano),
Thomas Quasthoff (Bass),
Thomas Randle (Tenor),
Juliane Banse (Soprano),
Marietta Simpson (Mezzo Soprano)
Oregon Bach Festival Orchestra,
Oregon Bach Festival Chorus
Period: 20th Century
Written: 1998; Poland
Date of Recording: 07/11/1998
Venue: Silva Concert Hall, Eugene, Oregon
Length: 51 Minutes 7 Secs.
Credo: II. Qui proper nos homines - III. Et incarnatus est
Credo: V. Et resurrexit tertia die
Credo: VI. Et in Spiritum Sanctum - VII. Et vitam venturi saeculi
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