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Lukas-Passion (1962/66): Stabat Mater und Psalmen 01. "Hymne: O Crux ave, spes unica (1. Teil)" 02. "Christus auf dem Berg der Oliven: Et egressus ibat" 03. "Arie: Deus meus" 04. "Arie: Domine, quis habitabit" 05. "Die Festnahme Jesu: Adhuc eo loquente" 06. "Klage: Ierusalem, Ierusalem" 07. "Psalm: Ut quid, Domine" 08. "Petrus Verleumdung: Comprehendentes autem" 09. "Arie: Iudica me, Deus" 10. "Die Verspottung vor dem Hohepriester: Et viri, qui tenebant illum" 11. "Klage: Ierusalem, Ierusalem" 12. "Psalm: Miserere mei, Deus" 13. "Christus vor Pilatus: Et surgens omnis" 14. "Der Kreuzweg: Et in pulverem mortis (2. Teil)" 15. "Der Kreuzweg: Et baiulans" 16. "Passacaglia: Popule meus" 17. "Die Kreuzigung: Ibi crucifixerunt eum" 18. "Arie: Crux fidelis" 19. "Iesus autem dicebat" 20. "Psalm: In pulverem mortis" 21. "Die Verspottung von Christus am Kreuze: Et stabat populus" 22. "Christus zwischen den Dieben: Unus autem de his" 23. "Da stand bei dem Kreuze: Stabant autem iuxta crucem" 24. "Stabat Mater" 25. "Der Tod Christi: Erat autem fere hora sexta" 26. "Alla breve" 27. "Finale: In pulverem mortis - In Te, Domine, speravi"
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Orch. Sym. De Montreal/ Kent Nagano/ Sarah Wegener |
 | Description: | Krzysztof Penderecki's setting of the Passion story as told in the Gospel of St Luke was premièred in 1966 and immediately established a place for itself among the most important large-scale choral works of the twentieth century. Despite its decidedly modernist idiom, the musicâ??s emotional power, glowing colours and sonic impact spoke to audiences as well as critics, one of whom described St Luke's Passion as â??the most important bridge between the spirit of the liturgy and modern music.â?? Strongly influenced by the Passions of J. S. Bach, Penderecki pays homage to the great composer by using the B-A-C-H motif throughout the work, and like Bach he has arranged his Passion in two parts, with monumental choral numbers framing the whole.
Pendereckiâ??s score is for large forces including an extended orchestra, three mixed choirs, plus a boysâ?? choir, speaker and three vocal soloists (soprano, baritone and bass). On 20th July 2018 these all convened at the Felsenreitschule in Salzburg: l'Orchestre symphonique de Montréal with their principal conductor Kent Nagano, the Warsaw Boysâ?? Choir and Kraków Philharmonic Choir, the three soloists and the actor SÅ?awomir Holland. - ORCH. SYM. DE MONTREAL/KENT NAGANO/SARAH WEGENERKrzysztof Penderecki's setting of the Passion story as told in the Gospel of St Luke was premièred in 1966 and immediately established a place for itself among the most important large-scale choral works of the twentieth century. Despite it's decidedly modernist idiom, the music's emotional power, glowing colors and sonic impact spoke to audiences as well as critics, one of whom described St Luke's Passion as 'the most important bridge between the spirit of the liturgy and modern music.' Strongly influenced by the Passions of J. S. Bach, Penderecki pays homage to the great composer by using the B-A-C-H motif throughout the work, and like Bach he has arranged his Passion in two parts, with monumental choral numbers framing the whole. The score is for large forces including an extended orchestra, three mixed choirs, plus a boys' choir, speaker and three vocal soloists (soprano, baritone and bass). On 20th July 2018 these all convened at the Felsenreitschule in Salzburg: l'Orchestre symphonique de Montréal with their principal conductor Kent Nagano, the Warsaw Boys Choir and Kraków Philharmonic Chorus, the three soloists and the actor Slawomir Holland. The occasion was the opening concert of the Salzburg Festival, and in the audience was the composer himself, Krzysztof Penderecki. Present was also a recording team led by Robert Suff, senior producer at BIS, and this album is the document of this very special occasion. |  | Manufacturer No.: |
BISSACD-2287 |
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