"...Soloist Carol Wincenc’s deeply resonant sound is effective ... open, eclectic, witty and ironic."
Pwyll ap Sion - Gramophone magazine - Awards Issue 2012
"The Concerto-Cantata (1992) received its premiere recording here, and the Warsaw Philharmonic does it full justice, playing equally convincingly and intensely in the severe concentrated slow sections and the all-out loud and fast episodes. Carol Wincenc plays the prominent flute part expressively ...Always riveting." *****
Barry Witherden - BBC Music Magazine - September 2012
"Following Maria Cizmic’s recent work on Gorecki ... it’s not hard to suggest an interpretation of the piece. Struggle between trauma and redemption can be taken personally or politically ...and given the composer’s and his country’s history, the work’s expressive trajectory can be clearly followed. In any event, the result is very effective.The Three Dances (1973) are pulsating and obsessive chunks of Polish peasant stuff, the beautiful middle movement showing an early resemblance to the figuration in the last movement of the famous Third Symphony. It would make a terrific substitute for the 19th Century folk music rhapsodies heard so often closing orchestra concerts.This is a wonderful selection of this great composer’s not often heard orchestral music. The Warsaw Phil is obviously a definitive source for it..."
Allen Gimbel - American Record Guide - September 2012
"The album ...features the world-premiere recording of Concerto-Cantata, Op. 65 ...The four-movement piece—my favourite on this CD—gives the soloist’s job to a flute (the virtuosic and widely expressive Carol Wincenc), which frequently engages in dialogue with other solo instruments in the orchestra. The third-movement Concertino is the liveliest, full of echoes of Stravinsky. The...Little Requiem for a Certain Polka, Op. 66 ...assigns the main solo role to the piano—played by the composer’s daughter Anna Górecka. She is also the soloist in a piano version of Górecki’s 1980 Harpsichord Concerto, amped up because of the greater power of the modern instrument. With a snap of his baton, Wit is able to switch the orchestra from a quiet, ember-like glow to sharp, hard-charging bonfire. It’s great work..."
John Terauds - Musical Toronto - June 2012
"...this disc winds up to be something of a premiere performance for one of Gorecki’s finest works, played by the right soloist with what one has to call the right orchestra. Filling out the disc are the piano and orchestra version of his Harpsichord Concerto performed by the composer’s daughter, pianist Anna Gorecka, and the Three Dances Op. 34. The glory of this disc is that it seems to exist entirely independently of the stunning impression made on the world by Gorecki’s Symphony No. 3, the Symphony of Sorrowful Songs..."
Jeff Simon - The Buffalo News - May 2012
"...The brass eruptions in the Little Requiem form the second movement in a symphony-like structure, with tolling repeated piano chords underpinning the texture. The music subsides back into a very beautiful clarinet solo before the tolling bells return. Anna Górecka ... comes into her own in the dynamic and scherzo-like third movement, the ‘polka’ which is almost jazzy in feel. The final movement returns us to the calm of the opening. The Concerto-Cantata is a very much less troubled work, and the gentle suspensions from the flute over the static background produce a feeling of untroubled calm. This is music of real beauty, balm to the troubled soul, and the sudden eruption of the third movement into a Shostakovich-like scherzo comes as a real shock. The grandiose climax brings a mood of frantic triumph ... This is a superb piece ... The fact that this disc contains world première recordings of the Concerto-Cantata and the Harpsichord Concerto in its piano-and-orchestra form makes this issue self-recommending."
Paul Corfield Godfrey - MusicWeb-International.com - June 2012
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