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Most Helpful Customer Reviews
8 of 9 people found the following review helpful
Format:Audio CD|Amazon Verified Purchase
I remember being almost overwhelmed by Penderecki's St Luke Passion in a performance at the Proms back in the 1980s. A combination of the sheer intensity of sound, the inventiveness of the musical idioms created, and the sheer number of performers on stage added up to a superb musical and theatrical experience. It was impossible top doubt, despite the stark nature of the musical language and the eastern Bloc origins of the composer that this was a deeply felt piece.
Penderecki's `The Seven Gates of Jerusalem' continues the musical development of its composer and retains the same fervour of the earlier work. Nowadays the retreat of the avant garde has allowed music to become melodically fecund once again, and this is reflected in a more tuneful version of Penderecki's earlier style, however he has not sacrificed complexity or imagination in the process.
This hour long work started out as a commission celebrating the third millennium of Jerusalem. As a large-scale oratorio for soloists, choir and orchestra it was given its premier in Jerusalem in 1997. The composer decided to call the piece his Seventh Symphony after its first performance (and before a sixth symphony had been completed!) but it is clear from the way the work is organised that it is symphonic in conception and scope.
The symphony is a significant addition to the repertoire: Penderecki marshals his forces with complete mastery. Whereas his earlier choral works might seem to be exploring tonal effect merely for its own sake, this work does not waste a single utterance.
The composer sets biblical texts in both Latin and Hebrew which highlight the almost organic union between the city of Jerusalem and its people, especially in the proclamation of religious faith. It is unfortunate that the CD does not include the texts and their translations; however these are downloadable as a PDF file from the Naxos website.
Although in seven sections, the symphony can be heard as a traditional four movement piece, including a `slow movement' with a declaimed Hebrew narrative from Ezekiel.
Clearly the symphony is deeply felt from a religious perspective, but don't let that put you off. If religion leaves you cold the symphony works fantastically well on a purely musical level.
There is no weak link amongst the soloists, the choral forces have clear diction and dynamic control. The Warsaw National Philharmonic Orchestra, including a lithe percussion section (listen out for the tubulum in the earlier movements!) play superbly under the direction of Antoni Wit.
Penderecki's `The Seven Gates of Jerusalem' continues the musical development of its composer and retains the same fervour of the earlier work. Nowadays the retreat of the avant garde has allowed music to become melodically fecund once again, and this is reflected in a more tuneful version of Penderecki's earlier style, however he has not sacrificed complexity or imagination in the process.
This hour long work started out as a commission celebrating the third millennium of Jerusalem. As a large-scale oratorio for soloists, choir and orchestra it was given its premier in Jerusalem in 1997. The composer decided to call the piece his Seventh Symphony after its first performance (and before a sixth symphony had been completed!) but it is clear from the way the work is organised that it is symphonic in conception and scope.
The symphony is a significant addition to the repertoire: Penderecki marshals his forces with complete mastery. Whereas his earlier choral works might seem to be exploring tonal effect merely for its own sake, this work does not waste a single utterance.
The composer sets biblical texts in both Latin and Hebrew which highlight the almost organic union between the city of Jerusalem and its people, especially in the proclamation of religious faith. It is unfortunate that the CD does not include the texts and their translations; however these are downloadable as a PDF file from the Naxos website.
Although in seven sections, the symphony can be heard as a traditional four movement piece, including a `slow movement' with a declaimed Hebrew narrative from Ezekiel.
Clearly the symphony is deeply felt from a religious perspective, but don't let that put you off. If religion leaves you cold the symphony works fantastically well on a purely musical level.
There is no weak link amongst the soloists, the choral forces have clear diction and dynamic control. The Warsaw National Philharmonic Orchestra, including a lithe percussion section (listen out for the tubulum in the earlier movements!) play superbly under the direction of Antoni Wit.
Most Helpful Customer Reviews on Amazon.com (beta)
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3 reviews
13 of 13 people found the following review helpful
Penderecki's Symphony to Jerusalem
21 April 2008
Format:Audio CD
The Polish composer Krzystof Penderecki (b. 1933) initially gained fame as a composer of avant garde, atonal, and difficult music. In common with many other composers, such as the American George Rochberg, his style changed over the years from modernism to a more traditional, late romantic style. A devout Catholic, Penderecki has composed many works with religious themes.
Penderecki's Symphony no. 7, "Seven Gates of Jerusalem" is a large-scale romantic composition of immediate appeal. It is a powerful religious work of over an hour's duration scored for orchestra, five singers, a narrator, and chorus. It is beautifully rendered on this budget-priced Naxos CD by the Warsaw National Phiharmonic Orchestra conducted by Antoni Wit. Wit is in the process of recording Penderecki's symphonies and orchestral compositions for Naxos.
Penderecki composed this symphony in 1996 to celebrate the third millenium of Jerusalem and it was premiered in that city in 1997. Initially conceived as an oratorio, Penderecki subsequently decided to call the work a symphony. Chorus and soloists predominate from beginning to end. The work is in seven movements, each of which sets texts from the Psalms and Prophets that describe Jerusalem. The movement is in turns broad and powerful and quiet and intimate with large orchestral and choral passages alternating with passages for the soloists and for small ensembles. The movements likewise differ widely in scope with three lengthy movements, the first, fifth and seventh, interspersed with four shorter and generally quieter movements. Many of the themes of the work and the repetition of notes make use of the number 7 -- for the gates of Jerusalem (an eighth gate is said to wait until the time of the Messiah).
The work opens with a majestic setting of Psalm 47's "Great is the Lord and highly to be praised/ in the city of God on our holy mountain." There
is a middle section for the soloists after which the opening material returns in force. The second movement is a short meditation for soloists on the text "If I forget thee, O Jerusalem, let my right hand be given to oblivion." (Psalm 136) This text returns as well in the fourth movement. The third movement is unique in that it is in an unaccompanied, chant-like style setting the text "Out of the depths I have called to you Lord/Lord, hear my voice"from Psalm 129. The lengthy fifth movement is a song of praise with percussion, brass, and bells with alternating powerful and reflective sections setting texts from Psalms and several Prophets. The Sixth movement features a speaker reciting in Hebrew verses from Ezekiel to the accompaniment of solemn brass. The finale has the character of an enormous summation, beginning with a setting of Jerimiah's "Thus saith the Lord/Lo I give you the way of Life and the way of Death." This is intense music that works to a large climactic conclusion.
The highlights of this work are the magnificent opening phrase for brass and chorus, the intimate, archaic third movement, and especially the recital passages of Boris Carmeli in the climactic sixth movement. The effect of this entire work, on initial hearing, is overwhelming and visceral.
Those expecting highly modern, difficult music will not find it in this symphony. Instead, this is modern music of great immediacy and passion in the language of religious devotion. The texts are not included in the liner notes, but they are available on the Naxos website.
Robin Friedman
Penderecki's Symphony no. 7, "Seven Gates of Jerusalem" is a large-scale romantic composition of immediate appeal. It is a powerful religious work of over an hour's duration scored for orchestra, five singers, a narrator, and chorus. It is beautifully rendered on this budget-priced Naxos CD by the Warsaw National Phiharmonic Orchestra conducted by Antoni Wit. Wit is in the process of recording Penderecki's symphonies and orchestral compositions for Naxos.
Penderecki composed this symphony in 1996 to celebrate the third millenium of Jerusalem and it was premiered in that city in 1997. Initially conceived as an oratorio, Penderecki subsequently decided to call the work a symphony. Chorus and soloists predominate from beginning to end. The work is in seven movements, each of which sets texts from the Psalms and Prophets that describe Jerusalem. The movement is in turns broad and powerful and quiet and intimate with large orchestral and choral passages alternating with passages for the soloists and for small ensembles. The movements likewise differ widely in scope with three lengthy movements, the first, fifth and seventh, interspersed with four shorter and generally quieter movements. Many of the themes of the work and the repetition of notes make use of the number 7 -- for the gates of Jerusalem (an eighth gate is said to wait until the time of the Messiah).
The work opens with a majestic setting of Psalm 47's "Great is the Lord and highly to be praised/ in the city of God on our holy mountain." There
is a middle section for the soloists after which the opening material returns in force. The second movement is a short meditation for soloists on the text "If I forget thee, O Jerusalem, let my right hand be given to oblivion." (Psalm 136) This text returns as well in the fourth movement. The third movement is unique in that it is in an unaccompanied, chant-like style setting the text "Out of the depths I have called to you Lord/Lord, hear my voice"from Psalm 129. The lengthy fifth movement is a song of praise with percussion, brass, and bells with alternating powerful and reflective sections setting texts from Psalms and several Prophets. The Sixth movement features a speaker reciting in Hebrew verses from Ezekiel to the accompaniment of solemn brass. The finale has the character of an enormous summation, beginning with a setting of Jerimiah's "Thus saith the Lord/Lo I give you the way of Life and the way of Death." This is intense music that works to a large climactic conclusion.
The highlights of this work are the magnificent opening phrase for brass and chorus, the intimate, archaic third movement, and especially the recital passages of Boris Carmeli in the climactic sixth movement. The effect of this entire work, on initial hearing, is overwhelming and visceral.
Those expecting highly modern, difficult music will not find it in this symphony. Instead, this is modern music of great immediacy and passion in the language of religious devotion. The texts are not included in the liner notes, but they are available on the Naxos website.
Robin Friedman
5 of 8 people found the following review helpful
An early classic of the 21st century
16 Jun 2008
Format:Audio CD
I will not go on writing about the obvious,
but I'll say this: This works matches the
greatness of some of the monumental pieces
of the 20th Century. I consider it up there
with Shostakovich's symphonies, and with
some of the great choral works of all times.
but I'll say this: This works matches the
greatness of some of the monumental pieces
of the 20th Century. I consider it up there
with Shostakovich's symphonies, and with
some of the great choral works of all times.
3 of 5 people found the following review helpful
Symphony No. 7
22 Jun 2008
Format:Audio CD
Penderecki has very quickly become my favorite composer. The first work I heard of his was his "Symphony No. 3". This symphony, though having a little bit a different texture, still holds the dark quality in sound that is so characteristic of Penderecki. What adds to the dark sound is the added choral part. This piece also has a text to be sung by a choir.
This CD has made it into my Top 10!
This CD has made it into my Top 10!
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