Part I 00:15 O Crux ave 05:09 Et egressus 07:08 Deus meus 10:53 Domine, quis habitabit 15:27 Adhuc eo loquente 17:35 Ierusalem 19:00 Ut quid, Domine 20:17 Comprehendentes autem eum 22:14 Iudica me, Deus 23:24 Et viri, qui tenebant illum 25:35 Ierusalem 26:58 Miserere mei, Deus 31:03 Et surgens omnis Part 2 35:28 Et in pulverem 36:06 Et baiulans sibi crucem 36:20 Popule meus 44:06 Ibi crucifixerunt eum 45:53 Crux fidelis 50:53 Dividentes vero 52:06 …in pulverem mortis 57:45 Et stabat populus 59:16 Unus autem 1:01:19 Stabant autem iuxta crucem 1:02:21 Stabat Mater 1:09:59 Erat autem fere hora sexta 1:11:25 Alla breve 1:12:30 In pulverem mortis... In te, Domine, speravi Fun fact: I use the chord at 40:05 for my alarm.
HIGHLIGHTS TIME! 0:29 Triplet minims and septuplet quavers. And yet the ensemble still manages to stay perfectly in time. 6:38 A high A. On Baritone. (Technically Kruszewski only reaches Ab, but still an impressive feat.) And then 51:49 rolls around and he hits a high Bb. And then another high A (successful this time) at 1:01:10. Legendary. 17:35 That G0 in the organ pedals is a different kind of powerful; reserved, but nonetheless impactful. 23:48 I love this chaotically ascending effect. I don't think I've seen it used like this anywhere else. 25:35 Such an evocative musical moment. 32:43 The emphasis on the s just adds so much "marcato" to the phrase. 33:23 This is a horror scene all by itself. 33:40 Possibly the most novel technique in this entire work. 41:10 Just when I thought choir clusters and glissandos couldn't get any more haunting. This work continually updates my standards of a haunting sound with moments like 4:29 and 12:26, as well as a few listed elsewhere in this comment. There are so many (usually) simple motifs in this piece, so many I could never timestamp them all, but a notable example is the Domine motif (7:58, 8:57, 10:54, 20:05, 32:57, 51:15, 1:00:25 and of course, 1:15:52). A detail I'd love to draw attention to is the fact that the choir's tuning isn't always exact, which leads to some incredible microharmonies (1:40, 19:48, 29:14, 37:34, 38:02, 40:50, 55:34, 1:07:45, to name a few) which you couldn't get with perfection. And finally, a PSA for jumpscares. There are a few minor ones throughout, but notable ones include 13:34 and 40:04. You're welcome. Obviously, this is a monstrous work, so this comment will likely be updated in the future. An incredible work by an incredible man. Bravo, Penderecki! May you rest in peace. Sincerely, Oscar Gill
I loved reading through your breakdown and clicking the time stamps to help myself understand. Does it help to know what is being said during this work of art? Does knowing what is being said make it any more horrifying?
@@BeauFerchaud Thanks! I'm glad it's helpful for you! About knowing what the text means: in general, it is most certainly helpful; you can gain a lot more appreciation for the music (and its story, of course). That being said, some of Penderecki's music seems to be far more horrifying and visceral than the actual subject matter itself (in my opinion; this I cannot overstate). So, in conclusion, I'd say if you want to learn what is being said, by all means go for it, but if you're just looking for a more engagingly horrifying listening experience, just knowing the basic story of the Passion(s) is probably enough (again, this is my opinion, you might get more out of learning what the text means than I did).
Maestro Krzysztof Penderecki passed away today, 29/3/2020. His St. Luke Passion remains as his most famous work, and as one of the most complicated and significant religious music in music history.
I'm really sad to hear that this brilliant composer has passed away a few days ago. I've always loved his works and I've always loved his style of composition. May he rest in peace.
As a 14 years old pianist and trying to be composer, this kind of pieces is what I want to do when I learn composition, this is beautiful, I don't have the correct words to describe It.
This is a fine work. It is always likely to make a colossal impact on an audience. It is very much a work of its time. These days some composers bypass the twentieth century and some even bypass the nineteenth century as well. Audiences tend to want safe easier music. I think that intense expression will return one day.
@@alejandrom.4680 in the 1980s Boulez and Messaien works from around 1960 still sounded contemporary eg Pli Selon Pli and Chronochromie. The contrast with today's situation is huge. Audiences won't listen to anything very dissonant.
Year of my birth. I've been worshiping to this since 1989. Wonderful for driving through the desert. Preferably northern Nevada. Breakdown would be fitting somewhere between Winnemucca and Elko. Watch out for the trucks - they're as aggressive as this music is intense. I know, I've been there. I love Penderecki
I want to see this performed live so badly, it seems it's an unpopular piece to be programmed despite it being one of the masterpieces of the last century.
Samples of different compositional techniques 1:12 24:35 1:15:19 Listening movements 44:06 Ibi 45:53 Crux 1:02:21 Stabat Moments to listen to from listening 1:05:00 1:07:00 1:09:00
Beau Ferchaud if you’re asking about the details of the music, I would say no, but I can follow the scores. Penderecki invented some notation, but it’s actually pretty intuitive once you get used to it. As for the piece overall, it is as the name suggests a retelling of the passion play, so if you’re familiar with the Gospel of Luke it’s not too hard to follow the broad strokes.
Penderecki is the creator of the most terrifying yet beautiful music I've ever heard. I'd love any suggestions for more music like this, dark, intense choral music.
Sound like a requiem , but is a oratorium , maestro Penderecki gave a lot of his knowledge to modern film composers ... He was a great music genius ... RIP maestro !
Makes me feel like someone came out from behind a door. Horrifying. Strange that a sound could send a shiver through me and make me feel nauseous like that.
Powerful music. Modern with great shifts in strong and lyrical. Heavenly rhythms with choir music and powerful contrasts in shock. I think it's pretty long-lasting and a little boring music.
Danke für diese wundervolle Aufnahme! Nur eine Frage noch: WER ist verantwortlich für das ästhetische Verbrechen, Werbung übelster Prägung, übermäßig laut + in keinster Weise im Zusammenhang mit der Musik stehend MITTEN IM STÜCK einzublenden?!?!?!?!?! DER & alle, die solches dulden, haben die Seele eines Stuhlbeines bzw.haben sie nicht mehr alle. Zur Ausrede: Die Feigheit vor dem Geld würgt einem das Verdauungssystem.
While they still create an unwelcome break in the piece I suggest you cut the sound off the moment the wretched adds arrive, actually I think they have removed the adds as I have not encountered any yet
41:04-41:30 Why has this not been used in any horror films!? It kinda reminds me of the soundtrack for The Sixth Sense (during the Stuttering Stanley scene).
Wow! Your sheet music has very good picture quality! I'm a student studying composition and I'm looking for a high-definition sheet music pdf of this song. How can I get it?
The baritone is rather out of tune. For example: 7:07, especially in bar 4 on that page. But I only know that since I can see the score. The question is: does it really matter in this piece? Perhaps I shouldn't bother about it.
Thomas Håkanson try Schott Music in Mainz, Germany. If not, Presto Classical in Warwickshire, UK. I was about to say Universal Editions in Vienna, but they don't have Penderecki's scores. Getting a full score, you may have to contact them directly because with scores like these they are sensitive and don't have a study score to sell. Gonna cost you many Euros.
how was this score written/how can this be replicated in a program (would Lilypond be my best option)? I had a similar score conception for a chamber piece I am writing but Dorico is not entertaining this for me
