Penderecki Polnisches Requiem ingrid Haubold • Crazyna Winogrodska • zachos Terzakis • Malcolm Smith

NDR-Chor & Chor des Bayerischen Rundfunks NDR-Sinfonieorchester

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KRZYSZTOF PENDERECKI (*1933)

POLNISCHES REQUIEM <i98o/84) fur vier Solostimmen, zwei gemischte Chore und Orchester

POLISH REQUIEM for four soloists, two mixed choirs and orchestra

REQUIEM POLONAIS pour quatre solistes, deux choeurs mistes et orchestre

REQUIEM POLACCO per quattro solisti, due cori misti e orchestra

ingrid Haubold, sopran

Grazvna Winogrodska, Mezzosopran

ZachosTerzakis, Tenor

Malcolm Smith, Bass

NDR-Chor Chor des Bayerischen Rundfunks

NDR-Sinfonieorchester North Cerman Radio Symphony Orchestra Orchestre Symphonique de Ia NDR (Hambourg)

Orchestra Sinfonica dei Norddeutscher Rundfunk

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KRZYSZTOF PENDERECKI Konzertmitschnitt • Live recording ■ Enregistrement pi

•-Produktion in Verbirldung mitden internationalen Musikfe.

© 1990 Deutsche Crammophon GmbH, Hamburg

Manufactured & Marketed by PolyGram Records, Inc., New York, New York

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Penderecki Polnisches Requiem ingrid Haubold • Grazyna Winogrodska • zachos Terzakis • Malcolm smith

ndr Chor & Chor des Bayerischen Rundfunks NDR-Sinfonieorchester

KRZfSZTOF PENDERECKI

429720-2 r^TH^I

KRZYSZTOF PENDERECKI 0501

KRZYSZTOF PENDERECKI (*1933)

POLNISCHES REQUIEM (1980/84)

fur vier Solostimmen, zwei gemischte Chore und Orchester POLISH REQUIEM

for four soloists, two mixed choirs and orchestra

REQUIEM POLONAIS pour quatre solistes, deux choeurs mistes et orchestre

REQUIEM POLACCO per quattro solisti, due cori misti e orchestra

INGRID HAUBOLD, Sopran • GRAZYNA WINOGRODSKA, Mezzosopran

ZACHOS TERZAKIS, Tenor • MALCOLM SMITH, Bass

NDR-Chor (Einstudierung/Chorus master/Chef des choeurs/Maestro dei coro: Werner Hagen)

Chor des Bayerischen Rundfunks (Einstudierung: Hans-Peter Rauscher)

NDR-Sinfonieorchester North German Radio Symphony Orchestra

Orchestre Symphonique de Ia NDR (Hambourg) Orchestra Sinfonica dei Norddeutscher Rundfunk

KRZYSZTOF PENDERECKI

Konzertmitschnitt • Live recording • Enregistrement public • Registrazione dal vivo Co-Produktion in Verbindung mit den internationalen Musikfestwochen Luzern und dem NDR

CD track

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COMPACT DISC 1 [49'44] 9

REQUIEM AETERNAM EI »Requiem aeternam dona eis« (Chor) [4'02] 9

KYRIE [U »Kyrie eleison« (Sopran, Alt, Tenor, Bass, Chor) [4'52] 9

DIES IRAE E] »Dies irae, dies i 11 a« (Chor) [1 '41 ] 9

0 »Tuba mirum spargens sonum« (Bass, Chor) [2'06] 9

EI »Mors stupebit et natura« (Alt, Chor) [6'22] 9

IU »Quid sum miser tunc dicturus?« (Chor) [5' 10] 10

0 »Rex tremendae majestatis« (Bass, Chor) [1'57] 10

[H »Recordare Jesu pie«/»Swi§ty Boze, Swi§ty mocny« (Sopran, Alt, Tenor, Bass, Chor)

[iroo] 10

IU «Ingemisco tamquam reus« (Soprano, Alt, Tenor, Bass, Chor) [ 12'21 ] 10

COMPACT DISC 2 [38'02] 11

03 «Lacrimosa dies illa« (Sopran, Chor) [4'44] 11

AGNUS DEI 0 «Agnus Dei, qui tollis peccata mundi« (Chor) [8'27] 11

LUX AETERNA * H] «Lux aeterna, luceat eis« (Chor) [4'42] 12

LIBERA ME 0 «Libera me, Domine, de morte eterna« (Sopran, Bass, Chor) [8'59] 12

(Finale) 0 «Recordare,Jesu pie«/»Swi§ty Boze,Swi§ty mocny«/. . . «Liberaanimas« [irooj 12

(Sopran, Alt, Tenor, Bass, Chor)

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Recording: Lucerne, Jesuitenkirche, 8/1989 Executive Producer: Dr. Steven Paul

Recording Producer and Balance Engineer: Giinther Wollersheim Publisher: B. Schotfs Sohne, Mainz

® 1990 Deutsche Grammophon GmbH, Hamburg © 1990 Dr. Jim Samson Cover: Kazimir Malevich

SUPREMATISMUS Stedelijk Museum, Amsterdam

Photos: Krzysztof Penderecki: Schott-Archiv/Andersen (1988)

Winogrodska/Terzakis/Smith: Int. Musikfestwochen, Luzern Haubold: Kiinstlersekretariat am Gasteig

Concert: Ralph Eichenberger, Luzern Art Direction: Hartmut Pfeiffer

2

PENDERECKI: POLISH REQUIEM

To a marked degree Polish music in our century has been tied to major political turning-points in

the country's troubled history. The declaration of in- dependence in 1918, the establishment of the so- cialist state in 1945, the "October Revolution" of 1956 and the birth of Solidarity in 1980 ali evoked or demanded a response from Polish composers. The last two in particular helped shape the special char¬ acter of the Polish avant-garde. The new music which emerged after the "cultural thaw" of 1956 took many forms, but there were common features linking composers as different as Penderecki, Go- recki and Kilar. Above ali there was a preoccupation with textural surfaces at the expense of deeper structural levels, resulting in an exuberant simplicity and directness of expression which seemed at the time a necessary antidote to the structural complex- ities of much European music since the war. Hence the impact of the "Polish sound" on a wide musical public in the 1960s, both at horne, where leading

t avant-garde composers became household names, ■ and abroad.

In the 1980s Polish music changed course again, this time towards a nostalgic world of tonality and Ro-

i manticism, though the results were perhaps closer to the "texture music" of the 1960s than we might intially suspect, applying to melody and harmony the same big, simple gestures which had earlier been applied to texture and timbre. If this develop- ment finds a wide context in European post-mod-

ernism, it also captures something of the peculiar ambience of Poland in the 1980s, with the rise of Solidarity and its aftermath, the so-called wojna (war). Numerous "Polish" works appeared in the early 1980s — by Meyer, Block, Gorecki, Kilar and others — and Penderecki's Polish Requiem belongs with them. Its nationalist resonance is movingly ap¬ parent when it is performed today to capacity audiences (including many who seldom attend Classical music concerts) in St. John's Cathedral, Warsaw. The Polish Requiem took shape gradually over the period 1980—84, its individual movements drawing their inspiration from a blend of political and reli- gious (Catholic) sources in a manner which is Polish to the core. The Lacrimosa was composed in 1980 to celebrate the unveiling of the Solidarity monu- ment at Gdarisk. The Agnus Dei was written for the funeral of Cardinal Wyszynski in May 1981. In 1983 Penderecki composed the later sections of the Dies irae, from Quid sum miser onwards and including Recordare, Jesu pie (dedicated to Father Kolbe, the Franciscan monk who died in Auschwitz). The re- mainder of the Dies irae, dedicated to the memory of the Warsaw insurgents on the 40th anniversary of the Warsaw Uprising, followed in 1984. The first performance of the entire Requiem, including Libera me, Domine dedicated to the victims of Katyri, took place in Stuttgart in September 1984, conducted by Mstislav Rostropovich.

3

Musically the work may be divided into nine ex- tended formal units, resulting from particular group- ings or subdivisions of the liturgical texts. The Re- quiem aeternam and Kyrie together form the first such formal unit, a "slow introduction", essentially contemplative in character. Like much of Pende- recki's recent music, the Requiem aeternam grows out of an expressive, emotion-laden melodic para- graph which unfolds in the depths of the orchestra, exposing both the characteristic interval repertory of the work as a whole and one of its principal recur- ring themes. This melodic style, late-Romantic in in- spiration, is taken over by the chorus too, but as part of a freely imitative texture which suggests a more remote background in the traditions of Renaissance polyphony. The Kyrie retains this basic texture, but the tone changes to one of more personal pleading, as the quartet of soloists build their densely inter- woven lyrical counterpoint steadily and inexorably towards a powerful concluding rhythmic unison on the words "Christe eleison". The Dies irae comprises five major sections grouped around the Central Recordare, Jesu pie. In purely musical terms the first (predominantly fast) section has something of the character of a first-movement Allegro following the slow introduction. Pende- recki's vision of the last judgement is evoked by fu- rious scalar passages on strings, driving pulsed rhythms, a Bach-like cantus firmus and a sonorous brass choir (Tuba mirum). There are echoes here of the composer's earlier style — in particular the St. Luke Passion — and these echoes are strength- ened in the string clusters accompanying the con¬ traito^ Mors stupebit and the vocal "effects" of Liber scriptus. This is the third main ingredient in the stylis- tic synthesis of the Polish Requiem. Modern Polish expressionism joins forces with a polyphonic idiom

indebted to Renaissance-Baroque traditions and a melodic style derived from the late-Romantic era of the late 19th and early 20th centuries. The opening section is rounded off by the return of the Dies irae material and a closing percussion episode. The propulsive rhythms which characterize much of the first section give way to majestic choral canons for Quid su/b miser, which begins the second sec¬ tion of the Dies irae. The swelling sounds of these canons are anchored by ciear points of tonal orien- tation, leading eventually to a climactic cadence on the tonal centre of A. These are the ringing optimis- tic tones with which the entire work will eventually close, but on its first appearance the climactic ca¬ dence subsides gradually onto the bass soloist's Rex tremendae. The closing bars of this movement, as the sopranos sing an imploring "salve", stress the es¬ sentially human qualities inherent in the liturgical text, and in so doing prepare the way for Recordare, Jesu pie, the third and Central section of the Dies irae. This movement — the emotional heart and expres¬ sive climax of the Requiem — makes use of a Polish hymn, $wi§ty bole, whose symbolic associations have reverberated through Polish history and Polish music, not least in Penderecki's own St. Luke Pas¬ sion. The text is sung in Polish — in due course com- bined contrapuntally with the Latin Recordare — and its head-motif functions as a passacaglia theme for the movement. Once more Penderecki allows the choral polyphony to build into complex webs of sound, controlling the pace of his extended musical paragraphs — the ebb and flow of tension — with unerring skill. The Recordare, Jesu pie forms a turning-point in the work, falling as it does almost at the half-way stage. The section which follows returns to the driv-

4

ing rhythms and modernist textures of the opening of the Dies irae. Indeed in general character, and through explicit cross-referencing of material, this fourth section functions almost like a transformed recapitulation of the first section's Allegro. Even the percussion episode returns. Ingemisco tamquam reus recalls the St. Luke Passion in its vocal writing, including hissing and shrieking effects, while Preces meae combines the rhythms of the earlier Liber scriptus with a contrapuntal build-up which generates powerful momentum in preparation for Confutatis maledictis. Here the Stra- vinskian vocal chanting to asymmetrical rhythms recalls one of Penderecki's earliest scores, the Psalms of David of 1958. The final section of the Dies irae is the Lacrimosa, the first part of the Requiem to be composed and the most restrained and simple in texture and har- mony. It is here above all that triadic harmonies emerge into the foreground of the work in an ex¬ pressive late-Romantic idiom closely related to that of the Second Symphony ("Christmas"), also com¬ posed in 1980. Over a cello-bass theme related to the opening of the work the soprano intones a poignant, sorrowing melody, its appoggiaturas given added emotional weight by the slowly-moving triads beneath. The Agnus Dei is a cappella, and it plays a similar role in the Requiem to the Stabat Mater in the St. Luke Passion and the Sicut locutus est in the Mag¬ nificat. The haunting theme of this movement is al- lowed to build cumulatively into a densely meshed polyphony which reaches its impassioned climax on the words "peccata mundi". Once more — in a manner characteristic of the Polish Requiem — the steadily mounting tension of the music gradually transforms a detached impersonal litany into an ex-

pression of deeply human anguish. The Lux aeterna is linked with this movement. Its evanescent vocal sonorities, superimposed on slow glissando patterns and high clusters on strings, create a gently shim- mering soundscape, from which the opening mel¬ ody of the work emerges as a linking thread to the extended Libera me, Domine. This opens — not without precedent — as a declam- atory (ad libitum) soprano solo, which in tum gives way to the asymmetrical rhythmic patterns of Liber scriptus. An association with the Dies irae is made explicit not only here, but through the return of the percussion episode and of the scalar passages on strings. These links help us to grasp the overall archi- tecture of this remarkable work. There are three massive pillars of fast-moving, restless and rhythmi- cally pulsed material, all drawing upon the textural devices of Polish modernism and all in one way or another expressive of an elemental terror in the face of death. They are Dies irae through to Liber scrip¬ tus, Ingemisco tamquam reus through to Confutatis maledictus, and Libera me, Domine. These pillars support sections of greater continuity, richer sonor- ity and clearer harmonic outline, notably Requiem aeternam and Kyrie, Quid sum miser, Recordare, Jesu pie, Lacrimosa and Agnus Dei. The Finale of the work is a synthesis of earlier mate- rials, drawing together some of the leading themes of the work, together with their texts, and integrating them with additional material drawn from the Offer¬ torium and Psalm 6 (from the funeral Morning Mass). The Recordare, Jesu pie material returns, along with the text and music of $wi§ty Boze, this time with an obbligato violin solo much in the manner of Bach. The Lacrimosa and Agnus Dei also reappear, and so does the Libera me, Domine. Signi- ficantly, Penderecki concludes by returning to the

5

powerfully affirmative choral canons of Quid sum miser. In a note on the work the composer re- marked that the Polish Requiem is "probably the most contemplative of my works, although, unlike

the other Requiems, it ends on a note of hope: . . . FAC EAS, DOMINE, DE MORTE TRANSIRE AD VITAM."

Jim Samson

6

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INGRID HAUBOLD

7

MALCOLM SMITH ZACHOS TERZAKIS

8

COMPACT DISC 1 [49'44]

REQUIEM AETERNAM REQUIEM AETERNAM (Chorus) (Coro) Eternal rest grant them, O Lord; and let perpetual CD Requiem aeternam dona eis, Domine: et lux light shine upon them. perpetua luceat eis. A hymn becometh Thee, O God, in Sion: and a Te decet hymnus, Deus, in Sion, et tibi redde¬ vow shall be paid to Thee in Jerusalem. O hear tur votum in Jerusalem: exaudi orationem my prayer: ali flesh shall come to Thee. meam, ad te omnis caro veniet. Eternal rest grant them. Requiem aeternam.

KYRIE KYRIE (Soprano, contraito, tenor, bass, chorus) (Soprano, contraito, tenore, basso, coro) Lord have mercy on us. H] Kyrie eleison. Christ have mercy on us. Christe eleison. Lord have mercy on us. Kyrie eleison.

DIES IRAE DIES IRAE (Chorus) (Coro) Day of wrath and doom impending, ® Dies irae, dies illa David's word with Sibyl's blending! Solvet saeclum in favilla, Heaven and earth in ashes ending! Teste David cum Sibylla. Oh, what fear man's bosom rendeth, Quantus tremor est futurus, When from heaven the Judge descendeth, Quando judex est venturus, On whose sentence ali dependeth! Cuncta stricte discussurus! (Bass, chorus) (Basso, coro) Wondrous sound the trumpet flingeth. S Tuba mirum spargens sonum Through earth's sepulchres it ringeth, Per sepulcra regionum, AII before the throne it bringeth. Coget omnes ante thronum. (Contraito, chorus) (Contraito, coro) Death is struck and nature quaking, HD Mors stupebit et natura. AII creation is awaking, Cum resurget creatura, To its Judge an answer making. Judicanti responsura.

9

Lo! the book exactly worded, Wherein ali hath been recorded; Thence shall judgement be awarded.

When the Judge His seat attaineth, And each hidden deed arraigneth, Nothing unavenged remaineth.

Day of wrath, etc.

(Chorus) What shall I, frail man, be pleading? Who for me be interceding, When the just are mercy needing?

(Bass, chorus) King of majesty tremendous, Who dost free salvation send us, Fount of pity, then befriend us.

(Soprano, contraito, tenor, bass, chorus) rThink, kind Jesu, my salvation Caused Thy wondrous Incarnation; Leave me not to reprobation.

Great Lord, Holy, almighty and eternal God,

k Have mercy on us.

Faint and weary Thou hast sought me, On the Cross of suffering bought me, Shall such grace be vainly brought me?

Righteous Judge, for sin's pollution, Grant Thy gift of absolution, Ere that day of retribution.

(Chorus) Guilty now I pour my moaning, AII my shame with anguish owning; Spare, O God, Thy suppliant groaning.

Liber scriptus proferetur. In quo totum continetur, Unde mundus judicetur.

Judex ergo cum sedebit. Quidquid latet apparebit: Nil inultum remanebit.

Dies irae,£tc.

(Coro) GEI Quid sum miser tunc dicturus?

Quem patronum rogaturus. Cum vix justus sit securus?

(Basso, coro) 0 Rex tremendae majestatis.

Qui salvandos salvas gratis, Salva me, fons pietatis.

GD f (Soprano, contraito, tenore, basso, coro) Recordare, Jesu pie. Quod sum cau$a tuae viae: Ne me perdas illa die.

$wi§ty Boze, Swi^ty mocny Swi^ty a niesmiertelny Zmrtuj si§ nad nami.

Quaerens me, sedisti lassus: Redemisti Crucem passus: Tantus labor non sit cassus.

Juste judex ultionis. Donum fac remissionis Ante diem rationis.

(Coro) [1] Ingemisco tamquam reus:

Culpa rubet vultus meus: Supplicanti parce, Deus.

10

Through the sinful woman shriven, Through the dying thief forgiven, Thou to me a hope hast given.

Qui Mariam absolvisti, Et latronem exaudisti. Mihi quoque spem dedisti.

(Soprano, contraito, tenor, bass) Worthless are my prayers and sighing, Yet, good Lord, in grace complying, Rescue me from fires undying.

(Soprano, contraito, tenore, basso) Preces meae non sunt dignae: Sed tu bonus fac benigne. Ne perenni cremer igne.

(Tenor) With Thy favoured sheep O place me, Nor among the goats abase me, But to Thy right hand upraise me.

(Tenore) Inter oves locum praesta, Et ab haedis me sequestra. Statuens in parte dextra.

(Chorus) When the wicked are confounded, Doomed to flames of woe unbounded, Call me, with Thy Saints surrounded.

(Coro) Confutatis maledictis. Flammis acribus addictis: Voca me cum benedictis.

Low 1 kneel, with heart submissioni See, like ashes my contritioni Help me in my last conditioni

Oro supplex et acclinis Cor contritum quasi cinis: Gere curam mei finis.

COMPACT DISC 2 [38'02]

(Soprano, chorus) Ah! that day of tears and mourning! From the dust of earth returning, Man for judgement must prepare him;

(Soprano, coro) E Lacrimosa dies illa,

Qua resurget ex favilla Judicandus homo reus.

Spare, O God, in mercy spare him! Lord, ali pitying, Jesu blest, Grant them Thine eternal rest.

Huic ergo parce, Deus: Pie Jesu Domine, Dona eis requiem.

AGNUS DEI (Chorus a cappella) Lamb of God, who takest away the sins of the world, grant them rest.

AGNUS DEI (Coro a cappella)

0 Agnus Dei, qui tollis peccata mundi: dona eis requiem.

11

Lamb of God, who takest away the sins of the world, grant them rest. Lamb of God, who takest away the sins of the world, grant them eternal rest.

LUX AETERNA (Chorus) Let eternal light shine upon them, O Lord, with Thy saints for ever, for Thou are merciful.

Agnus Dei, qui tollis peccata mundi: dona eis requiem. Agnus Dei, qui tollis peccata mundi: dona eis requiem sempiternam.

LUX AETERNA (Coro)

GH Lux aeternli luceat eis, Domine: Cum Sanctis tuis in aeternum, quia pius es.

LIBERA ME (Soprano, bass, chorus) Deliver me, O Lord, from everlasting death on that dreadful day when the heavens and the earth shall be moved: when Thou shalt come to judge the world by fire. I quake with fear and I tremble, awaiting the day of account and the wrath to come, when the heavens and the earth shall be moved. That day, the day of anger, of calamity, of misery, that great day and most bitter.

(Finale) (Soprano, contraito, tenor, bass, chorus)

rThink, kind Jesu, my salvation . . .

Great Lord, Holy, almighty and eternal God,

k Have mercy on us.

What shall I, frail man, be pleading? Who for me be interceding . . .

O save me for Thy mercies' sake, for in death there is no remembrance of Thee; in the grave who shall give Thee thanks?

Great Lord! Lamb of God!

Deliver the souls of ali the faithful departed from the pains of hell. And let them pass from death to life.

LIBERA ME (Soprano, basso, coro)

S Libera me, Domine, de morte aeterna, in die illa tremenda, quando coeli movendi sunt et terra. Dum veneris judicare saeculum per ignem. Tremens factus sum ego et timeo, dum discussio venerit atque ventura ira. Quando coeli movendi sunt et terra. Dies illa, dies irae, calamitatis et miseriae, dies magna et amara valde.

[1]

(Finale) (Soprano, contraito, tenore, basso, coro)

r Recordare, Jesu pie . . .

Swi§ty Boze, Swi^ty mocny Swi^ty a niesmiertelny

k Zmitiij si§ nad nami.

Quid sum miser tunc dicturus? Quem patronum rogaturus . . .

Salvum me fac propter misericordiam tuam, quoniam es in morte qui memor sit tibi; in inferno autem quis confitebitur tibi?

Swi^ty Boze! Agnus Dei!

Libera animas omnium fidelium defunctorum de poenis inferni. Fac eas de morte transire ad vitam.

12

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KRZYSTOF PENDERECKI Polnisches Requiem

Requiem aeternam - Ingemisco Ingrid Haubold ■ Grazyna Winogrodska

Zachos Terzakis - Malcolm Smith NDR Chor und Chor des Bayerischen Rundfunks

N DR-Sinf onieorchester Krzystof Penderecki

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© 1990 Deutsche

Grammophon GmbH, o Hamburg

KRZYSTOF PENDERECKI Polnisches Requiem

Lacrymosa - Libera animas Ingrid Haubold - Grazyna Winogrodska

Zachos Terzakis ■ Malcoim Smith NDR Chor und Chor des Bayerischen Rundfunks

NDR-Sinfonieorchester Krzystof Penderecki

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