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| 1. Introduction | |||
| 2. Station 1. Jesus Is Condemned to Death: Iudicium a Pontio Pilato Pronuntiatum Est | |||
| 3. Jesus Is Condemned to Death: Universa Turba Succlamabat Dicens - Various Performers | |||
| 4. Station 2. Jesus Takes Up the Cross: Jesus Crucem Sustinuit | |||
| 5. Station 2. Jesus Takes Up the Cross: Dicebat Autem Jesus Ad Omnes - Various Performers | |||
| 6. Station 3. Jesus Falls the First Time: Jesus Sub Cruce Primum Prolapsus Est | |||
| 7. Station 3. Jesus Falls the First Time: Quis Credidit Auditui Nostro? | |||
| 8. Station 4. Jesus Meets His Blessed Mother: Mater Obviam Amantissimo Filio Occurrit | |||
| 9. Station 4. Jesus Meets His Blessed Mother: Senex Simeon Prophetizans - Various Performers | |||
| 10. Station 5. Simon of Cyrene Helps Jesus Carry the Cross: Jesus a Simone Cyrenaeo | |||
| 11. Station 5. Simon of Cyrene Helps Jesus Carry the Cross: Exeuntes Autem Invenerunt - Various Performers | |||
| 12. Station 6. Veronica Wipes the Face of Jesus: Veronica Vultum Christi Sudario Detersit | |||
| 13. Station 6. Veronica Wipes the Face of Jesus: Auferet Dominus Deus Lacrymam - Various Performers | |||
| 14. Station 7. Jesus Falls the Second Time: Jesus Iterum Sub Cruce Prolapsus Est | |||
| 15. Station 7. Jesus Falls the Second Time: Vere Languores Nostros Ipse Tulit | |||
| 16. Station 8. The Women of Jerusalem Weep for Jesus: Mulieres Jesum Christum | |||
| 17. Station 8. The Women of Jerusalem Weep for Jesus: Sequebatur Autem Illum Multa Turba - Various Performers | |||
| 18. Station 9. Jesus Falls the Third Time: Jesus Christus Sub Cruce Tertium Cecidit | |||
| 19. Station 9. Jesus Falls the Third Time: Omnes Nos Quasi Oves Erravimus | |||
| 20. Station 10. Jesus Is Stripped of His Clothes: Jesus Vestibus Nudatus Et Felle Potatum Est | |||
See all 31 tracks on this disc
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Review Pawel Lukaszewski was born in 1968 in the Polish town of Czestochowa, home to a Black Madonna icon. A childhood surrounded by pilgrims and religious imagery, the Second World War within living memory, and life under Communism all seem to have shaped his musical personality. Some of Via Crucis's sense of apocalyptic tension seems to be hinting at more than just the Passion's battle between good and evil.
The work is structured around the fifteen Stations of the Cross (fifteen rather than fourteen, because Catholicism has recent added a final station for the resurrection). Each Station is separated from the next and structured within itself by repetitions, and contrasts of texture, mood and tempo.
Polyphony portray all this variety in a dramatic tour de force, right from their opening Via Crucis, sung with fire-and-brimstone oomph, to the quiet supplication of the females' Adoramus Te sections. Their sound is clearly defined, perfectly blended and balanced, and at times heart-rendingly expressive.
The Britten Sinfonia is the instrumental equivalent of the above, evoking menacing force and eerie calm with equal effectiveness. Roger Allam is a stirring narrator, and all three soloists - Iestyn Davies as countertenor, Alan Clayton as tenor, and Andrew Foster-Williams singing baritone - are dramatically and vocally outstanding.
Davies' upper-registered description of Christ being brought down from the cross is particularly noteworthy for its sweetness and haunting beauty. As the music builds from quiet solemnity at the death of Christ, to the triumphant fortissimo climax of the resurrection, one can't help but feel that this is a work due to receive a great many performances, and a recording to be used as a benchmark for the quality of them. --Charlotte Gardner
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