314:, considered that Penderecki missed the opportunity to give Utrenja a genuine Eastern flavor, and he used an international modernist style instead; however, other journals praised the composition for the same reason. Tadeusz Kaczyński, also from Ruch Muzyczny, considered the work to be a "contemplative work", and Marian Wallek-Wallewski considered it "extremely boring". Austrian magazine Öesterreichische Musikzeitschrift also stated that the composition "can be easily understood on an emotional level by listeners, despite its passages of clusters and its lack of clear tonality." Mirosław Kondracki, from Ruch Muzyczny, was greatly surprised by the dramatic effect of Part I, but was disappointed in Part II, which he considered to be a throwback to Penderecki's St. Luke's Passion. Gerhard Kramer, from
1469:
76:, Penderecki garnered certain fame in avant-garde circles, though, in respect to his upcoming radicalism and emotional directness in his orchestral works, this led to musicians and music lovers to turn their backs on him under accusations of him being reactionary and on disrupting musical progress. In fact, Russian authorities banned the piece, which could only be performed in Russia in 1995.
297:, where Monika Lichtenfeld praised the compositional techniques used by Penderecki. Miles Kastendieck praised the sonoristic innovation and its relation on the work's overall success. German magazine Neue Zeitschrift fĂĽr Musik considered it an "emotionally moving piece", while Martin Blindow, from
151:
Given that
Utrenja is a set of two different compositions, their movements are numbered separately. A typical performance of the complete work would last 75–80 minutes to perform. The original published score leaves all movements of Part I untitled except No. 5, which is entitled
84:
The two parts of
Utrenja were conceived and written separately, even though at the time of the latter's premiere, the two parts became strongly associated and started to be performed together generally. Penderecki himself and some critics have associated it also with
288:
This composition received mixed reviews from critics. Krzysztof
Penderecki himself stated in a radio interview prior to the work's premiere that he reached his own musical style with the composition and the opinion of critics did not concern him.
156:. Part II, however, has no movement division, and is presented without pauses or a discernible separation of sections. The most common movement list used in all published recordings of the piece is as follows:
89:, which would make it a triptych cycle; however, the complete version of Utrenja is recorded and performed separately, with no connections to St. Luke's Passion or Stabat Mater.
700:
1501:
131:, again under Markowski, on May 28, 1971. This performance was followed by Part I; however, the premiere of the complete version of Utrenja took place in
293:
considered the first performance a "complete success" characterised by "chilling and static immobility". The premiere of both parts was also reviewed by
598:
1506:
318:, thought that the piece is "musically attractive, with its fascinating treatment of clusters combined with the sounds of old Slavic church music."
1308:
301:, stated that Utrenja was "one of the most important large choral works of our time", even though it was not intended for liturgic performance.
1136:
1472:
1154:
325:, gave a negative review for Utrenja, which he thought it used "rudimentary tendencies and superficial complexity", while "Denver", from
337:, considered the work of little interest, but "no more boring than a great deal of other perfectly acceptable music of all periods.”
1399:
329:, stated that the piece was "overstated", even though he praised the solos and the religious exultation. In a performance in
1270:
139:. Critical and audience reception of the work was tumultuous, partly due to the Polish government crackdown following the
1129:
1433:
1313:
476:
701:"Krzysztof Penderecki – Utrenia II: The Resurrection of Christ, for 5 soloists, boy's choir, chorus & orchestra"
108:, which commemorates and renders homage to the resurrection of Christ. The text from both parts has been taken from
1404:
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1169:
568:
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321:
The composition also received mixed reviews in performances other than the premiere. Robert Moevs, from
1496:
1491:
1176:
599:"Krzysztof Penderecki – Utrenia I: The Entombment of Christ, for 5 voices, 2 choruses & orchestra"
1450:
64:
rites (Polish: "Jutrznia Męki Pańskiej", Russian/Church
Slavonic: "Utrenja Strastiej Khristovych").
310:
1364:
1256:
1096:
1023:
513:
410:
674:
1326:
1145:
907:
Kaczyński, Tadeusz; Wallek-Walewski, Marian (1971). "Kosmogonia
Krzysztofa Pendereckiego".
820:"MĂĽnster: Ekstase im Ikonenglanz: die UrauffĂĽhrung von Pendereckis 'Auferstehung' im Dom".
140:
46:
649:
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8:
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136:
304:
Peter Benary, however, acknowledged the work's "dynamic extremes", although the
1370:
277:
873:
DeRhen, Andrew (January 1971). "Philharmonic
Orchestra: Penderecki Premiere".
1485:
996:
439:
105:
97:
358:
347:
from Part II, along with other pieces by
Penderecki, were used in the 1980
305:
73:
858:
1277:
964:
Kramer, Gerhard (November 1971). "Auch in
WienschoĂź Boulez den Vogel a".
269:
100:
and, therefore, is focused on the lamentation, passion and entombment of
569:"Penderecki: Utrenja: Hossa/Rehlis/Kusiewicz/Novacki/Bezzubenko (Naxos)"
104:; on the other hand, Utrenja Part II is based on the morning service of
1319:
1114:
434:
128:
1263:
330:
132:
839:
Blindow, Martin (August 1971). "Pendereckis 'Utrenja' in MĂĽnster".
786:"Pendereckis 'Grablegung Christi' in der Altenberger Abteikirche".
1190:
906:
101:
92:
As a liturgical composition, Utrenja Part I is inspired by the
53:
767:"Pendereckis 'Auferstehung Christi' in MĂĽnster uraufgefĂĽhrt".
748:(1971). "The First World Performance of 'The Resurrection'".
698:
596:
45:, is a set of two liturgical compositions by Polish composer
413:(Poland, later internationally; all releases since 1972)
308:
were used too often for his taste. Andrew DeRhen, from
518:. Hong Kong: Naxos Rights International. pp. 3–4.
945:
Kondracki, Mirosław (1971). "Jesienne
Przedwiośnie".
892:
K., L. (1971). "Po XV Festiwalu 'Warszawska Jesien".
49:. They were composed and premiered in 1970 and 1971.
1097:"PENDERECKI, K.: Utrenja (Warsaw Philharmonic, Wit)"
1483:
1050:Richardson, Trevor (September 1973). "Holland".
377:Notable recordings of this composition include:
726:"MĂĽnster. Pendereckis 'Auferstehung Christi".
469:Krzysztof Penderecki : a bio-bibliography
1130:
1099:. Hong Kong: Naxos Digital Services Ltd. 2009
983:Moevs, Robert (1972). "Penderecki: Utrenia".
471:. Westport: Greenwood Publishing Group, Inc.
79:
1502:Choral compositions by Krzysztof Penderecki
592:
590:
496:. Vol. 81. March 22, 1969. p. 38.
1137:
1123:
1049:
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1507:Compositions that use extended techniques
944:
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798:
719:
692:
541:
1144:
926:"Pendereckis 'Utrenia' im Konzerthaus".
885:
587:
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280:, 5 solo voices and symphony orchestra.
1400:Three Miniatures for Clarinet and Piano
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813:
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503:
276:, whereas Part II is scored for choir,
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52:"Jutrznia" in this context refers to "
1118:
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123:on April 8, 1970, under the baton of
1271:Threnody to the Victims of Hiroshima
500:
466:
115:Both parts were commissioned by the
418:(internationally, 1973 LP release)
39:, and sometimes also translated as
13:
1309:Capriccio for Violin and Orchestra
891:
805:"Philadelphians Play Penderecki".
14:
1518:
1069:Kubrick, Stanley (13 June 1980).
928:Ă–esterreichische Musikzeitschrift
575:. Guardian News and Media Limited
1468:
1467:
1010:Moore, Denver (September 1977).
625:"Utrenja - Krzysztof Penderecki"
567:Clements, Andrew (May 1, 2009).
192:(Canon of Holy Saturday, Song 9)
1089:
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860:Schweizerische Musikzeitung 111
779:
760:
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236:(Passover Canon, Songs 1 and 3)
135:, on September 16, 1971, under
642:
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560:
190:Kanon Wielkiej Soboty, Pieśń 9
1:
1359:Canticum Canticorum Salomonis
794:(9): 351–352. September 1970.
775:(9): 372–373. September 1971.
453:
209:(The Resurrection of Christ)
699:"Blue" Gene Tyranny (2013).
597:"Blue" Gene Tyranny (2013).
548:"Uciec przed ariÄ… szatanÄ…".
512:Whitehouse, Richard (2009).
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7:
1071:"The Shining - Soundtracks"
728:Schweizerische Musikzeitung
492:"Penderecki Commissioned".
262:(Passover Canon, Fragments)
166:(The Entombment of Christ)
163:ZĹ‚oĹĽenie Chrystusa do grobu
146:
127:. Part II was premiered in
21:, alternatively spelled as
10:
1523:
1238:Lieder der Vergänglichkeit
822:Neue Zeitschrift fĂĽr Musik
734:(4): 241–242. August 1971.
333:, Trevor Richardson, from
119:. Part I was premiered in
80:Conception and composition
67:
1465:
1451:Requiem of Reconciliation
1442:
1418:
1392:
1336:
1301:
1248:
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1161:
1152:
807:Christian Science Monitor
234:Kanon Paschy, Pieśni 1, 3
1229:Seven Gates of Jerusalem
828:(7): 382–383. July 1971.
707:. All Media Network, LLC
605:. All Media Network, LLC
243:(Passover Canon, Song 8)
206:Zmartwychwstanie Pańskie
556:(26): 3. June 26, 1988.
357:, along with pieces by
268:Part I is scored for 2
260:Kanon Paschy, Fragmenty
997:10.1093/mq/LVIII.2.330
229:(Psalm with Troparion)
809:: 6. October 7, 1970.
531:Studies in Penderecki
529:"Utrenya in Moscow".
411:Polskie Nagrania Muza
345:Kanon Paschy, Pieśń 8
241:Kanon Paschy, Pieśń 8
197:Irmologion (Stichira)
141:Gdansk shipyard riots
1434:Prelude for Clarinet
1314:Cello Concerto No. 1
1170:The Devils of Loudun
1155:List of compositions
1146:Krzysztof Penderecki
272:, 5 solo voices and
47:Krzysztof Penderecki
1052:Music and Musicians
934:(7): 395–396. 1971.
515:Penderecki: Utrenja
430:Warsaw Philharmonic
401:Warsaw Philharmonic
335:Music and Musicians
227:Psalm z Troparionem
110:Old Church Slavonic
1292:The Dream of Jacob
1184:Die schwarze Maske
392:Year of Recording
373:Notable recordings
274:symphony orchestra
1497:1971 compositions
1492:1970 compositions
1479:
1478:
1285:De Natura Sonoris
1031:Missing or empty
985:Musical Quarterly
467:Bylander, Cindy.
451:
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406:Andrzej Markowski
323:Musical Quarterly
179:(Songs of Praise)
125:Andrzej Markowski
117:West German Radio
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537:: 115–116. 1998.
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177:Pieśni Pochwalne
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62:Eastern Orthodox
58:Passion of Jesus
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1101:. Retrieved
1091:
1079:. Retrieved
1075:www.IMDb.com
1074:
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1033:|title=
1024:cite journal
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947:Ruch muzyczn
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896:(1384): 6–7.
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750:Polish Music
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709:. Retrieved
705:allmusic.com
704:
694:
682:. Retrieved
678:
675:"Utrenja II"
669:
657:. Retrieved
653:
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632:. Retrieved
628:
619:
607:. Retrieved
603:allmusic.com
602:
577:. Retrieved
572:
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376:
359:Wendy Carlos
352:
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287:
270:mixed choirs
267:
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220:
216:(The Gospel)
213:
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91:
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74:Stabat Mater
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23:
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17:
16:
15:
1302:Concertante
1278:Polymorphia
1081:15 December
1058:(1): 64–68.
953:(22): 9–11.
650:"Utrenja I"
367:BĂ©la BartĂłk
354:The Shining
278:boys' choir
1486:Categories
1365:Magnificat
1320:Fonogrammi
1257:Emanations
1249:Orchestral
1201:Symphonies
1103:August 30,
972:(11): 494.
915:(11): 3–5.
711:August 30,
629:Culture.pl
609:August 30,
579:August 30,
454:References
435:Antoni Wit
386:Conductor
383:Orchestra
154:Irmologion
112:writings.
96:ritual of
1456:Agnus Dei
1264:Anaklasis
1215:Christmas
862:(5): 289.
847:(4): 211.
756:(2): 3–9.
494:Billboard
341:Ewangelia
331:Rotterdam
284:Reception
248:Kontakion
214:Ewangelia
203:Part II:
171:Troparion
121:Altenberg
1473:Category
1018:(7): 45.
894:PrzekrĂłj
679:englisch
654:englisch
634:12 April
424:LP (CD)
221:Stichira
160:Part I:
147:Analysis
94:Orthodox
36:Jutrznia
1430:(cello)
1393:Chamber
1352:Utrenja
1327:Partita
1323:(flute)
1236:No. 8 "
1227:No. 7 "
1213:No. 2 "
1191:Ubu Rex
684:10 July
659:10 July
395:Format
129:MĂĽnster
68:History
56:of the
30:Utrenya
24:Utrenia
18:Utrenja
1410:Sextet
1077:. IMDb
475:
365:, and
258:VIII.
133:KrakĂłw
102:Christ
54:Matins
42:Matins
1458:only)
1427:Suite
1377:Credo
1222:No. 3
1208:No. 1
1162:Opera
966:Melos
788:Melos
769:Melos
444:2008
421:1972
351:film
316:Melos
295:Melos
252:VII.
225:III.
184:Irmos
182:III.
60:" in
33:, or
1105:2013
1083:2016
1037:help
881:(1).
713:2013
686:2021
661:2021
636:2020
611:2013
581:2013
473:ISBN
343:and
254:Ikos
246:VI.
232:IV.
219:II.
188:IV.
175:II.
993:doi
826:132
732:111
447:CD
239:V.
212:I.
195:V.
169:I.
1488::
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1056:22
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