Customer Reviews

Penderecki - Credo / Banse · Quasthoff · Randle · Rilling

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In June 1999 I had the privelege of performing a recently written work by Polish composer Krzysztof Penderecki, under his direction. By that time I had no idea who was Penderecki, but as soon as I heard that piece I was enchanted by his music: the piece was Credo. Since then, I have been studying his art and atracted even more to his music. Credo is definitely a masterpiece for this century, from the beginning till the end. As soon as it begins, with the choir, in the powerful main theme it captures all your attention. Particularly expressive is the place where the theme comes back, with the soloists. The second movement is very beautifull and rich in textures and solo melodies that express the happening of the Lord's birth. But the focus point should be the third movement, with it's Latin, Polish and German interpolations. The quasi aria Pangue Lingua (Mz) is rich in power and virtuosity, but it is enriched by the glorious appearance of the hymn Ludu moj ludu, for me, the most beautiful moment in the whole piece. The 4th movement is incredibly dramatic and rhythmic. The 5th, brings again the main theme with virtuoso parts for the soloists. I must take notice of the powerful harmonies in the brasses in "visibilium omnium" and the beautiful melody in the choir in "unum Dominum..." After a big dramatic section, it begins to push toward the ending, only interrupted by an Alleluia in the children's choir that resembles the Gregorian chant. The finale is amazing: three big Amens, but..., wait..., a soft chord in the offstage brass remind us that Credo is supposed to be part of a BIG Mass to be completed soon. So this is not really THE END. This recording is great: the choirs, the orchestra, the soloists, the CONDUCTOR, but the one who should REALLY be praised is the composer. Bravi!

The Credo will certainly become Penderecki's first major work to gain a large classical music audience. Under the direction of Helmuth Rilling the amazing Oregon Bach Festival Choir, the superb Phoenix Boys Choir and 5 exemplary soloists help make the convincing argument that this is Penderecki's finest work. In spite of the taxing and unfamiliar nature of his vocal writing, a few good recordings of his work for chorus are available on disk. None of these, however, have measured up to the colourful, compelling potential of his writing. The best of Penderecki has only been heard in live, but unrecorded performances--the American premier of Penderecki's Polish Requiem by the Choral Arts Society of Washington with the Krakow Philharmonic comes to mind. Now we have the first exquisite recording of Penderecki! The choral and solo singing is quite extraordinary in its effortless, transparent beauty. In the Credo we are presented a masterwork of the late 20th Century. Everything about The Haenssler disk under the direction of Helmuth Rilling is of the highest order, with the possible exception of the Festival Orchestra which plays well, but without particular distinction. This recording all but ensures the Credo's permanent place in choral-symphonic progams of the 21st Century.

Kudos to Helmuth Rilling and his ongoing success with the Oregon Bach Festival. This CD is the World Premiere performance and recording (1998) of the CREDO by Polish composer Krzysztof Penderecki, once the bad boy of avant garde composition in Europe. Since eclipsed by Gorecki, Lutoslawski, et at this version of the Mass is strangely romantic and quite accessible. Though one misses the originality and risks of his inimitable "St Luke Passion" and other works from his earlier years, this mighty Credo is a solid piece of workmanship that will hopefully gain more performances.

The CREDO is divided into seven sections, all under the sole Credo portion of the traditional Mass. But by dwelling on the 'I believe in one God...' Penderecki has been able to introduce a more universal appeal by using the usual Latin texts, Polish hymns, and German chorales.

The sections are as follows: I. Credo in Unum Deum, II. Qui Propter Nos Homines, III. Et Incarnatus Est, IV. Crucifixus (the central and most extended portion), V. Et Resurrexit Tertia Die, VI. Et In Spiritum Sanctum (the most 'modern' of the movements), and VII. Et Vitam Venturi Saeculi.

Penderecki's scoring is diverse, rich and satisfying both for the large orchestra and for the chorus, boy's choir and soloists. Rilling holds this work together magnificently and has graced this premiere and subsequent recording with exceptional soloists: Thomas Quasthoff (!), Marietta Simpson, Milagro Vargas, Juliane Banse, and Thomas Randle. The overall effect is an emotional one and while this is rather tame Penderecki, there is enough creative risk to make it exciting! Highly recommended. Grady Harp, May 06

Pendereki's Credo made its world debut in the summer of 1998 at the Bach Music Festival in Eugene, Oregon. It was an instant sensation. Included in this stunning production was a vocal choir of 200 voices, a 30 voice boy's choir and 4 operatic soloists. A full symphony orchestra completed the performance. The power of this passionate work was thrilling and won rave reviews around the world! The world premiere of this event was likened to the importance of a new work by Beethoven or Bach. Credo is a part of the Mass in which one confesses one's faith. Read along with the Mass and the music becomes even more meaningful and vibrant. However, even without the script, you can understand the music intuitively, so strong are the passions spelled out in this performance. This is a must for anyone who loves the beauty and the range of classical music!

I had the pleasure to sing this masterpiece in Puerto Rico back in 1998, directed by the own Penderecki and it was one of the most amazing experiences I've ever experienced. It is amazing! Every note, every beat, every instrument, every voice was perfectly done. When you listen to this work you can close your eyes and really see every single step in the story of Jesuschrist. The music can really make you feel you are right there and you can feel and see Jesuschrist going trough the calvary. It made me cry!...Is wonderful!...BRAVO PENDERECKI!

A few months ago, my choir had the amazing privelege of working with Penderecki himself on this fantastic piece. Since i had been under the impression that it was relitively atonal, i was simply blown away by this piece. THe way the choir and the orchestra work together is simply amazing. This is by far the best composition of the past century, and i would recommend it to anyone.

One of the great choral masterpieces of the late 20th century receives its world premiere recording right here--the "Credo" of the Polish composer Krzysztof Penderecki. And it is a spectacular recording of a truly spectacular work.

Penderecki, interestingly enough, had actually planned to do his own setting of the Latin Mass, lasting about an hour in length in his own words. But he became so caught up in the "Credo" section of the traditional Latin Mass that he instead concentrated on that one section, and spread it out over fifty-one minutes. Many of his past works (particularly those ["De Natura Sonoris #1"; "De Natura Sonoris #2"; "Kanon Patschy"] that had been used to chilling effect by director Stanley Kubrick in his 1980 horror film masterpiece THE SHINING) were considered more or less avant-garde, and frequently disturbing at that. "Credo" is very different, in that it stays within tonal boundaries; and though it tests both orchestral and choral forces to their limits like a great many choral masterpieces past and present do, it also speaks to the human soul, again like all its illustrious predecessors.

Penderecki could not have asked for a better way to have this work premiered than on this recording made on July 11, 1998 at the Oregon Bach Festival, with the festival's director Helmuth Rilling conducting the Oregon Bach Festival Orchestra and Choir, along with the Phoenix (Arizona) Boys Choir, and a cadre of top-notch vocal soloists (Juliane Banse; Milagro Vargas; Marietta Simpson; Thomas Randle; Thomas Quasthoff). Anyone with a taste for modern choral music should not hesitate to get this Hanssler release; it comes highly recommended.

I approached this recording with some caution, as Penderecki's "Threnody" is a little bit out there for my taste. But there is little else to say about this composition and recording than "Wow!". It is an absolute winner.

There are plenty of signs in arrangements, structures and harmonies that indicate we're still in the 20th century. But there is no doubt Penderecki has dared to make some beautiful music here. The chorus and orchestra perform spectacularly, and the German baritone Thomas Quasthoff once again proves he's one of the best in the business, bar none.

The brass section is strong, with some tonalities that don't exactly come out all that, well, tonal. The vocal styles, heavy on Quasthoff's lower registers, recall the orthodox chant tradition within a more Western instrumental style. The result is spectacular.

I have read reviews calling Credo "populist", and I guess that may be the case for those that see "accessible" as a dirty word. But not every modern composition needs to make the listener work hard just because that's what modern composers are supposed to do.

This is an outstanding recording of an outstanding work. If you like choral or sacred music you're sure to like this one!

this credo amanzingly synthetisis the "esprit" of all the religious music composed 'till today!

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