Born in 1968 at Częstochowa, Paweł
Łukaszewski is one of the leading figures of the new generation
of Polish composers. His reputation is increasing as a prominent
contemporary composer who writes in many genres, although, he
is principally associated with sacred music. Devotional subjects
and themes clearly inspire Łukaszewski greatly and comprise
the majority of his output; sacred music infused with the spiritual
fervour of Roman Catholicism.
Paweł is the son of the composer Wojciech Łukaszewski
(1936-78) and the brother of composer Marcin Łukaszewski
(b.1972). A recipient of many prestigious compositional awards,
Paweł Łukaszewski’s scores are contained on over fifty
recordings. Notably he was awarded the first prize at the Frédéric
Chopin Academy of Music Competition for his
Arrampicata
for orchestra (1992). Although he is undoubtedly his own man
Łukaszewski has informed me that several composers have
been influential in his compositional life: his master Prof.
Marian Borkowski, his father Wojciech Łukaszewski and he
admires the music of John Tavener, Henryk Górecki and Arvo Pärt.
At this point I feel that a few biographical details are necessary.
Łukaszewski graduated from the National High School of
Music in Częstochowa in 1987 with distinction. In addition
he is a graduate of the Fryderyk Chopin University of Music,
Warsaw where he studied with Prof. Andrzej Wróbel’s cello class
in 1992 and Prof. Marian Borkowski’s composition class in 1995.
He graduated in 1994 from the Art Managing School of the Adam
Mickiewicz University, Poznań and also in 1996 from the
Post-Graduate Choirmaster School at the Academy of Music in
Bydgoszcz. In 2000 and 2007 he received a Ph.D and Ph.D Hab.
respectively in composition from the Fryderyk Chopin University
of Music where has been a Professor since 2001 and Director
of Counterpoint Studies since 2002 in the Department of Composition,
Conducting and Theory of Music.
I first heard his music at my local Recorded Music Society where
movements from his beautiful cycle of seven
Antiphonae
were played to considerable interest and much acclaim. In the
booklet notes to the
Musica Sacra Edition disc of
Sacred
Music, Ewelina Sroczyńska has written in detail on
Łukaszewski’s compositional style that includes the insight,
“
in his works he explores quasi tonal matter, commonly known
nowadays as neotonal.”
Sacred Music, MUSICA SACRA EDITION 013
The first disc is on the Polish label Musica Sacra Edition and
consists of five scores:
Veni creator (2004),
Messa
per voci e fiati (2004),
Organ Concerto (1996),
Gaudium
et Spes (1997) and the
Symphony No.2 ‘
Festinemus
amare homines’ (1997).
The
Veni creator (2004) for two unaccompanied choirs
uses the Roman Catholic rite
Veni Creator Spiritus that
is sung at Pentecost, vespers and on solemn occasions such as:
a Church Dedication, Confirmation of Bishops and Holy Orders.
The score, recorded live here, begins with the text
Accénde
lumen sénsibus (
Thy light to evr'y thought impart).
Łukaszewski uses the whole text of the hymn
Veni Creator.
At the beginning of the score is the German translation and
at the end the original Latin text.
The
Veni Creator was written to commemorate the 60th
anniversary of the end of the Second World War and was
commissioned by the Akademie Klausenhof in Germany and the Polish
Ministry of Culture. In the score Łukaszewski has fused
elements of both the German and Polish cultures. At the start
there is one bar taken from J. S. Bach’s Motet
Komm, Jesu,
komm and in the middle there is a one bar quote from a Chopin
Scherzo. The Latin language provides a balance between
these two cultures that Łukaszewski hopes, “
can be
a bridge between our nations.” The composer has pointed
out that the first performance of the
Veni Creator was
on the 2nd April 2005 in Gdansk, poignantly just 27 minutes
after the Polish born Pope John Paul II died.
In the
Veni creator the ethereal tones of the
a-cappella
chorus of the excellent Polish Chamber Choir washes over
the listener like a balm.
There are a couple of episodes
of greater weight and intensity that soon drift back to the
prevailing mood of calm. I noticed some background noise on
the recordings but nothing to worry about with the otherwise
agreeable sound. Jan Łukaszewski’s Polish Chamber Choir
give a dignified interpretation of solemnity blended with sheer
beauty of tone.
The
Messa per voci e fiati is a Latin setting of the
ordinary mass of the Roman Catholic rite that was completed
in 2004. It is cast in six movements one of which is instrumental.
The
Mass is scored for a choir and woodwind octet, comprising
pairs of flutes, oboes, clarinets and bassoons. Łukaszewski
was commissioned to write the
Mass by the Medical University
in Lublin, Poland. The composer states, “
It is possible to
perform this work during Holy Mass.” The score was recorded
live from the Monastery at Jasna Góra, Częstochowa, Poland,
occupied by the Order of the Pauline Fathers, famous as the
home of the miraculous icon of the Black Madonna of Częstochowa.
The
Messa per voci e fiati commences with an uplifting
Kyrie eleison (
Lord, have mercy) with the woodwind
octet providing light orchestral accompaniment. The attractive
and quirkily melodic
Gloria in excelsis Deo (Glory to
God in the highest) has a similar sound world with slightly
more pointed writing followed by the
Offertorium an orchestral
interlude of a quasi-bucolic character. Inhabiting a similar
sound-world to the first and second movements the
Sanctus
(
Holy) has at times a more assertive quality. The
Agnus Dei (
Lamb of God) is the longest movement
taken at a slightly slower pace. Noticeable is the central section
where the mood gradually builds in intensity. The shortest movement
is the
Ite missa est (
Go, it is the dismissal)
that demands a chant-like rendition of the text. The splendidly
matched voices of the Holst Singers under Stephen Layton provide
polished and splendidly consistent performances. Some slight
background noise is discernable on this live recording although
it didn’t detract from the pleasing sound.
A commission from the Organ Music Conservatory Festival in Legnica,
Poland the
Concerto for Organ and Strings from 1996 is
a magnificent score in the classical model that deserves to
be better known. The
Organ Concerto opens with a
Moderato
movement of moody, bold and restless organ writing over
galloping low strings. Tinged with a pastoral character I enjoyed
the ethereal, still and mysterious central movement
Adagio.
The glorious theme on the strings is affecting and could easily
become quite a Radio hit if given the right exposure. In the
closing movement marked
Moderato I was struck by the
ardent and sparkling waves of sound. Noticeably the musical
language is principally tonal with the occasional unconventional
harmony. The Concerto Avenna Ensemble under Andrzej Mysiński
is to be congratulated for their undeniably impressive playing
and Wacław Golonka is the talented organist. Recorded in
the magnificent Legnica Cathedral, Poland with an impressive
sound quality.
A commission from Polish Radio the
Gaudium et Spes (
Joy
and Hope) is the name of the ‘Pastoral Constitution on the
Church in the Modern World’ from documents of the Second Vatican
Council promulgated by Pope Paul VI in 1965. Completed in 1997
the
Gaudium et Spes is scored for soprano, mixed choir
and orchestra. The detailed instrumentation is 2 bassoons, 2
contrafagotto, 4 horns, 4 trombones, 24 violins, 10 violas,
8 cellos, 6 double bass and battery of percussion with 4-5 players,
a piano, soprano soloist and a choir of some 80 members.
The
Gaudium et Spes is the first movement of the composer’s
Symphony No.1 - Symphony of Providence that combines
with the other three movements:
Exsultet (2003),
Terra
nova et caelum novum (2006) and
Et expecto resurrectionem
mortuorum (2008).
Strings and percussion dominate the early section of the score
with a consistently deep and dark coloration to the writing.
The outstanding female soloist soprano Anna Mikołajczyk-Niewiedział
provides a magnificent change of mood before the writing develops
a stormy quality. The Orkiestra i Chór Filharmonii Podlaskiej
under conductor Piotr Borkowski invite admiration for their
thoughtful and expressive performances.
The feature work of this compelling Musica Sacra Edition release
is the
Symphony No.2 ‘
Festinemus amare homines’
(
Let’s hurry to love people) a Latin setting of an essentially
secular text by Polish priest and poet Rev. Jan Twardowski.
Completed in 2005 the score was Łukaszewski’s postdoctoral
thesis for his esteemed habilitation qualification at the Fryderyk
Chopin University of Music, Warsaw. The score was a commission
from Universitas Cantat - International Festival of University
Choirs from Poznan, Poland. For this recording the numerous
choirs that were attending the above choir festival participated
in the performance for this recording.
For his setting of Twardowski’s Polish text Łukaszewski
was provided with a Latin translation by a renowned scholar.
The composer makes the observation that any new Latin text is
a rare occurrence in Poland today. Łukaszewski felt that
the Latin language suited the setting as the translation could
conceal some of the Polish words from Twardowski’s poem that
are awkward to set such as ‘telephone’, ‘dolphin’ and ‘cow’.
An English translation is provided in the footnotes.
The
Symphony No.2 ‘
Festinemus amare homines’ is
cast in four movements with the titles: 1.
Festinemus
(
Let's hurry), 2.
Tempus (
Time), 3.
Amamus
(
Love), 4.
Decedunt (
They leave). The
composer explained that his, “…
general idea was a reduction
of sound material and harmony. I also decided not compose here
for winds; the pianos are the percussion instruments in this
score.” The score calls for large forces comprising of:
2 sopranos, 2 SATB choirs (with 60 voices each), 2 pianos, a
symphony orchestra of 4 horns, 4 trumpets, 3 trombones, 1 tuba,
a large battery of percussion for 5-6 players, 24 violins, 10
violas, 6 cellos and 6 double bass.
A powerful and dramatic work dominated by thunderclap-like percussion,
throbbing strings and massed choirs provide a sense of fear
and foreboding. There are episodes of relative calm, yet one
senses an underlying sense of nervous anxiety. To open the
Symphony
in the
Festinemus at 1:45-2:18 remarkable is the tolling
bell, the expressive and luxuriantly voiced female soloist and
the rather recessed choir that combine to provide a welcome
respite from the prevailing menacing character. In the
Tempus
I was struck by the vividly moving tones of the female soloist
that opens the movement. The threatening and powerful
Amamus
with its pounding percussion communicates a dark and threatening
mood. Of note is the ethereal mood of the repetitive chants
of
Licet maius from the choir followed by the tolling
bell and the recessed choir. The emotionally charged final movement
Decedunt is dominated by the two pianos and tough pounding
percussion over fretful and pulsating strings that exude a heady
and exotic middle-eastern flavour. The remarkable power, energy
and drama of the
Symphony No.2 ‘
Festinemus amare homines’
makes the score one that just has to be heard.
This Musica Sacra Edition disc is intended for the Polish home
market and there is little in the way of any English translations
of the titles and texts. In addition it is difficult to ascertain
the actual scoring of the works. I found the sound quality of
a high standard and was especially impressed with the recording
balance that the engineers had achieved.
Antiphonae, ACTE PRÉALABLE AP0029
This release featuring the
7 Great Advent Antiphons on
the Polish Acte Préalable label was the first Łukaszewski
disc that I heard. The recording also
contains a setting
of the
Ave Maria and the composers first two settings
of the
Beatus Vir.
The
7 Great Advent Antiphons for mixed
a-cappella
chorus were composed over the period 1995-99. In the Catholic
Church
O Antiphons are sung over the seven days of the
last week of Advent a period known as the ‘Octave before Christmas’
beginning 17th-23rd December. Each
O Antiphon bears the
title of one of Christ’s virtues as mentioned in the Scripture
and each also refers to Isaiah’s prophecy for the coming of
the Messiah.
On this recording of the
7 Antiphons each work is preceded
by a short Gregorian chant. This scheme provides an interesting
comparison between the contemporary music and established Gregorian
chant. Each of the 7
Antiphons may be performed separately.
The first antiphon
O Sapientia (
O wisdom) is remarkable
for its rapid moving, machine -like quality. In the antiphon
O Adonai (
O Adonai) the beautiful voices of the
choir float up effortlessly to the clouds. There is a tranquil
air of serenity in the antiphon
O radix Jesse (
O Root
of Jesse) that switches swiftly to one of agitation and
anxiety. The antiphon
O clavis david (
O Key of David)
is a male-led score with wide extremes of emotional tension.
Dense choral textures dominate the noble and earnest antiphon
O Oriens (
O Morning Star) that noticeably divides
into two sections; one slow and one fast. Varied and inventive
writing is a feature of the antiphon
O Rex Gentium (
O
King of the nations). Here I was struck by the exceptionally
beautiful contemplative writing.
O Emmanuel (
O Emmanuel)
is the seventh and concluding antiphon. A fast moving piece
that I found evocative of a spinning quality of twisting and
turning.
Łukaszewski has composed two settings of the
Ave Maria
the later score is the
Ave maris stella (2003). Contained
here is the first
Ave Maria setting scored for SATB double
chorus
a-cappella. Completed in 1992 the
Ave Maria
was one of Łukaszewski’s first choral works and was
written for the ATK choir in Warsaw who premièred the score
in Paris in 1992. High voices tend to dominate this deeply devotional
and melodic sound-world that Łukaszewski has expertly fashioned.
Łukaszewski has written eight settings of the
Beatus
Vir and contained here are the first two of the series scored
for SATB mixed
a cappella chorus.
The
Beatus Vir,
sanctus Adalbertus was composed
in 1997 the year of the 1000th
anniversary of the
death of the martyr Saint Adalbert. The high spirited and rhythmic
score was a commission by the author of the text Jerzy Wojtczak.
It was premièred in December 1997 at Niepokalanów by the ATK
Choir. The
Beatus Vir,
sanctus Martinus was the
first to be written in 1996 and is dedicated to the composer’s
brother Marcin. The light and uplifting score was premièred
by the
Cantica Cantamus Białystok Chamber Choir
at Warsaw in May 1996.
For the Acte Prealable label Jan Łukaszewski conducts the
Polish Chamber Choir - Schola Cantorum Gedanensis. This is a
breathtaking performance of flawless harmony, crystal clear
enunciation and glorious reverence. Recorded in 1999 at the
St. Nicholas Church in Gdańsk the sound quality is of a
high standard.
A splendid alternative recording of the
7 Antiphonae is
the version by Stephen Layton directing the Choir of Trinity
College, Cambridge. This sensitively performed and persuasive
account was recorded in 2005 at Trinity College Chapel, Cambridge
on Hyperion CDA67639 (c/w
Beatus Vir,
Two Lenten Motets,
Ave Maria,
Benedic, anima mea, Domino and
Nunc
dimittis)
review.
Via Crucis, HYPERION CDA 67724
Hyperion have just released what I take to be the label’s second
Łukaszewski disc. The
Via Crucis (
The Way of
the Cross) was composed by Łukaszewski in 1999-2000
at Warsaw. The scoring of the
Via Crucis is for countertenor
(Evangelist), tenor (Pilate, Simon, Evangelist), baritone (Jesus),
narrator, SATB chorus and orchestra. On this performance there
are: 3 soloists, 1 speaker, a choir of 28 and the orchestra
consists of 1 flutist, 1 oboist, 1 clarinettist, 1 bassoonist,
4 horns, 3 trombones, 1 tuba, a percussion group of 5 players,
12 violins, 4 violas, 3 cellos, 2 double bass and organ.
The marketing notes describe Łukaszewski’s
Via Crucis
as, “
destined to become a modern classic in the vein
of Taverner’s ‘The Veil of the Temple’ or Pärt’s ‘St John Passion’.”
I have heard the John Taverner and the Arvo Pärt scores although
I am especially familiar with Franz Liszt’s version of the
Via
Crucis for solo voices, chorus and organ (or piano), S53
(1876-78)
A.
The
Via Crucis is a remarkable devotional Roman Catholic
work that describes Christ’s final hours, centred around his
horrific journey carrying the Cross.
Via Crucis (or
Via
Dolorosa)
designates a section of road running between
the Antonia fortress and Mount Calvary (or Golgotha). This is
the route on which Jesus Christ was forced to travel, straining
under the weight of the Cross, to his crucifixion at Calvary.
The design of the score is the division into fourteen
Stations
of the Cross or (
Way of the Cross)
that represent
the Passion of Christ.
Catholic churches generally have
pictures or tableaux of these scenes along the inside walls
of the nave, usually seven on each side. The devotional group
move ritually around the nave repetitively stopping at each
station for mediations of prayers and singing. This devotional
exercise is generally undertaken during Lent; principally on
Good Friday and also on Lent Fridays.
With its spare employment of resources and limited use in the
church calendar the
Via Crucis is really a sacred work
for the specialist listener to be played during Lent. Nevertheless
Łukaszewski’s
Via Crucis may prove to be a masterwork
of the twenty-first century.
This Hyperion version of Łukaszewski’s
Via Crucis
provides fifteen
Stations of the Cross; one station longer
than the fourteen
Stations normally set. This is an expression
of the Roman Catholic Church’s more recent implementation of
the ‘Tomb and Resurrection’ as a final fifteenth station. For
the
Via Crucis,
as is traditional, Łukaszewski
has employed in Latin, principally Biblical texts taken from
the books of Luke, Isaiah, Matthew, John and Mark and also if
I am not mistaken verses from Creeds of the Catholic Church.
Łukaszewski’s
Via Crucis concludes with a
Christus
Vincit a section of less than a minute.
Preceding each of Łukaszewski’s fifteen
Stations of
the Cross three male voices sing a short solemn and austere
three-part refrain followed by a meltingly beautiful and reflective
supplication
Adoramus te (
We adore you). In the
body of each successive
Station there is a section of
narrative for three solo voices of different ranges complete
with differing instrumental colour. There is the part of Christ
for baritone accompanied by an alto flute, the Evangelist for
countertenor with a bass clarinet, the part of Pilate for tenor
supplemented by a contrabassoon, and a substantial role for
a speaker.
At the conclusion of each
Station there is a
Qui passus
es
pro nobis (
You who have died for us) for women’s
voices and low strings. The tempo and dynamic of the writing
alters for each of the
Stations with a gradual increase
in power and weight from the first to the last devotion. Between
each of the
Stations there is a bridge section for wind
and strings based on a Polish melody. The bridge passages are
intended, according to Łukaszewski, as a “
reset function”
serving a similar purpose to the
Promenade sections in
Mussorgsky’s
Pictures at an Exhibition.
The role of Christ is sung by baritone Andrew Foster-Williams
with a mellow and velvety timbre. Countertenor Iestyn Davies
as the Evangelist conveys a controlled and youthful quality
to his part. As Pilate tenor Allan Clayton performs with great
credit, displaying a smooth tone and impressive enunciation.
The choice of Roger Allam as the speaker is inspired. His pronunciation
is vividly clear and he confidently communicates a mysterious
often spine chilling foreboding to his narrative.
The vocal group Polyphony display impeccable ensemble. They
can effortlessly shift from a tender, meditative beauty to powerful
dramatic intensity; never losing sight of the extreme devotional
nature of the sacred texts. This is refined and sensitive playing
from the excellent Britten Sinfonia providing the finest support.
The authoritative direction of Stephen Layton ensures a seamless
blend of soloists, chorus and orchestral forces.
Recorded in 2008 at the West Road Concert Hall in Cambridge
with crystal clear and well balanced sound supplied by the Hyperion
engineers. The essay in the booklet by Meurig Bowen is first
class as is the overall presentation from Hyperion. I especially
loved the splendid illustrations by Jerzy Duda-Gracz.
Łukaszewski is an important composer who over time will
surely achieve worldwide acclaim. I am so grateful to have discovered
these three Łukaszewski discs. The
Via Crucis although
a work for a specific feast in the Catholic church calendar
may prove to be a masterwork of the twenty-first century.
Michael Cookson
Footnotes
MUSICA SACRA EDITION 013
List of performers:
Veni creator
Polish Chamber Choir ‘Schola Cantorum Gedanensis’/Jan Łukaszewski
Messa per voci e fiati
The Holst Singers, Studio Warszawa Ensemble/Stephen Layton
Organ Concerto
Wacław Golonka (organ), Concerto Avenna Ensemble/Andrzej
Mysiński
Gaudium et Spes
Anna Mikołajczyk-Niewiedział (soprano), Orkiestra
i Chór Filharmonii Podlaskiej/Piotr Borkowski
Symphony No.2 ‘Festinemus amare homines’
Agata Zubel-Moc (soprano), Katarzyna Trylnik (soprano), Anna
Haas-Niewiedział (piano), Piotr Niewiedzial (piano), Chamber
Choir of Poznan University, Classic Chamber Choir of Jelc University,
Russia, Liturgical Choir of Leeds University, Astrolabium Chamber
Choir of the Higher School of Banking in Torun, Daina Choir
of Agriculture College in Kaunas, Lithunaia, Chamber Choir of
the University of Padagogy in Moscow, Musica Mundana choir of
the Wladyslaw Jagietto College in Lublin, Bartok Choir of Miskolc
University, Symphony Orchestra of the Secondary Music School
in Poznan, Chamber Orchestra of Poznan University/Łukasz
Borowicz
English translation of the text provided by the composer
to his Symphony No.2 Festinemus amare homines (Let's
Hurry to love people) (Spieszmy się)
Words by Jan Twardowski
Let's Hurry to love people
Let's hurry to love people 'cause they leave so soon
Only their shoes and deaf phone remain
Only what is unimportant lingers like a cow
What's most important rushes so fast
Then normal so unbearable silence exists
Just like purity derived from despair
When we think about someone that we're left without
Don't be convinced that you still have time because it's not
assured
And we loose our tenderness like good luck
That comes as both pathos and humour
Just like two passions are lesser than one
And hurriedly leave like a bird in July
Just like a sound not very accurate or a dry respect
To really see you need to close your eyes
Though it is a higher risk to be born than die
We still love too little and too late
Don't write about it too often but write once and for all
So you'll be like a dolphin gentle and strong
Let's hurry to love people 'cause they leave so soon
And those who do not leave not always return
And you never know when speaking of love
Whether first is the last one or last is the first.
MUSICA SACRA EDITION
013 [74:46] 
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