Krzysztof Penderecki: Utrenja
Copy at Case Memorial Library
Vivien Schweitzer wrote in the New York Times: "The Polish composer Krzysztof Penderecki has often meshed avant-garde and traditional elements, reflecting the multiple aesthetics he has explored during his long career. His 'Utrenja,' inspired by the Eastern Orthodox Christian liturgy for Holy Saturday and Easter Sunday, alternates passages of serene sacred music with his trademark startling harmonic clusters. 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. … 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. … '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' …" (5/17/09).
Vivien Schweitzer wrote in the New York Times: "The Polish composer Krzysztof Penderecki has often meshed avant-garde and traditional elements, reflecting the multiple aesthetics he has explored during his long career. His 'Utrenja,' inspired by the Eastern Orthodox Christian liturgy for Holy Saturday and Easter Sunday, alternates passages of serene sacred music with his trademark startling harmonic clusters. 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. … 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. … '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' …" (5/17/09).
posted by casemusic at 10:32 AM
0 Comments:
Post a Comment
<< Home