 The eighth CD by the ‘Musica Sacra’ Choir of the Warsaw-Praga Cathedral is an anthology of works - mostly of a religious character - by Polish and foreign composers. It features nineteen pieces by leading 20th-century Polish composers and representatives of the young generation of Polish composers as well as by some of the most prominent figures in choral music from other countries. All of the works are recorded in versions for female choir in various configurations, a cappella in multi-part arrangements (up to eight parts), in monodic unison arrangements and with piano or organ accompaniment. The CD opens with I lift my eyes (2009) by the British composer Bob Chilcott (b. 1955). A former member of The King's Singers, for which he has written several compositions and arrangements, he is a household name in choral and sacred music. Lukasz Farcinkiewicz (b. 1981) is a graduate of the Fryderyk Chopin University of Music, where he studied composition with Pawel Lukaszewski. He has been associated with the ‘Musica Sacra’ Choir as a vocal coach and accompanist for many years. His Pater noster (2012), for soprano, mezzo-soprano, alto, female choir and piano, was commissioned by the ‘Musica Sacra’ Choir and is dedicated to it. The work had its first performance at Luxembourg Cathedral in April 2013. Libera me II (2013) by Marian Borkowski (b. 1934) is a new version of an earlier piece, originally scored for mixed choir, arranged at the request of the ‘Musica Sacra’ Choir. Its first performance is the choir’s tribute to the composer on his 80th birthday. The output of the prominent Swiss composer Frank Martin (1890-1974) includes the highly popular oratorio Golghota and the no-less-popular In terra Pax (1944). Pater noster (Notre Père) comes from the latter composition. Originally written for choir and strings, it may also be performed with piano or organ accompaniment. The work has been published in three language versions: French, German and English. On the present recording it is performed in a Latin version by Pawel Lukaszewski. In 1985 Henryk Mikolaj Górecki (1933-2010) composed a cycle of Marian Songs Op. 54. It consists of five songs, only one of which, Zdrowas badz Maryja (Hail Mary) has been performed, whereas the others remained in manuscript form for a long time and were published only very recently. The work is scored for unaccompanied choir. No changes to the original score have been made for the purposes of the present recording. Lukasz Urbaniak (b. 1980) studied composition with Marek Jasinski at the Feliks Nowowiejski Academy of Music in Bydgoszcz. His Agnus Dei (2011/12) was commissioned by the ‘Musica Sacra’ Choir, which gave its premiere at Luxembourg Cathedral in April 2013. The works by Eriks Ešenvalds (b. 1977), one of the most renowned Latvian composers, are performed all over the world. O salutaris Hostia (2009) was originally written for two solo voices and mixed choir. This CD features the composer’s version for two solo voices and female choir. Prayer to the Virgin of Skempe by Sir Andrzej Panufnik (1914-1991) remains on the sideline of the oeuvre of the great composer, whose main claim to fame are his ten symphonies. The Prayer, to a text by Jerzy Pietrkiewicz, was written in 1990 and is probably Panufnik’s last composition. The fragment of its manuscript was reproduced in the periodical Ruch Muzyczny. In 1999 Panufnik’s daughter, Roxanna (b. 1968), a noted composer herself, introduced minor additions and retouches to the score in response to a commission from the Al Bustan Festival in Lebanon, which that year was devoted exclusively to Polish music. The present recording is by seven soloists singing in unison with piano accompaniment. Stanislaw Moryto (b. 1947), a former Rector of the Fryderyk Chopin University of Music, is among the leading Polish composers of sacred music. His output includes the Stabat Mater and numerous vocal and vocal-instrumental works, including Ave Maria (2001) for five-part female choir. Pater noster (2012) for female choir and organ pedal by the American composer Douglas Pew (b. 1980) comes from the cycle Missa Musica Sacra. As a Fulbright scholar, Pew spent a year in Warsaw studying composition with Pawel Lukaszewski at the Fryderyk Chopin Univrsity of Music, during which time he was also a member of and a vocal coach for the ‘Musica Sacra’ Choir. His Missa Musica Sacra was written for this ensemble, which gave its first performance in March 2013 at the Warsaw-Praga Cathedral. The miniature song Who can say, with words by Lord Alfred Tennyson, was composed by Witold Lutoslawski (1913-1994) in 1982 as a personal gift to Robin Boyle, the former director of his publisher Chester Music. The one-page manuscript, consisting of a melody with text and four-part accompaniment, is kept at the Paul Sacher Foundation in Basle. In 2006 the work was reconstructed and restored to the public domain by Pawel Lukaszewski. With permission from the composer’s stepson, Marcin Boguslawski, he produced four versions of the piece: for a cappella female choir, female choir and organ, a cappella choir and for mixed choir and organ. The ‘Musica Sacra’ Choir gave the world premiere of the work (in the version for mixed choir and organ) on 29 April 2007 during the 3rd ‘Musica Sacra’ International Festival at the Warsaw-Praga Cathedral. The premiere recording of Who can say is a modest contribution by the ‘Musica Sacra’ Choir to the worldwide celebrations of the Lutoslawski Centenary Year. Eric Whitacre (b. 1970) is one of the world’s leading composers of sacred music. The meditative The seal lullaby (2008), to a text by Rudyard Kipling, was written for the Lawrence Children’s Choir. The present recording is done on the basis of the original score, for female choir and piano. The cycle Three Lullabies Op. 49 (1984, rev. 1991) by Henryk Mikolaj Górecki (1933-2010) is a lesser-known work in the composer’s choral output. The CD contains the first of the lullabies, Usnijze, mi usnij / Sleep for me, sleep (the remaining ones are: Kolyszze sie, kolysz / Rock, rock and Nie piej, kurku, nie piej/ Don’t crow, cock, don’t crow). Like Hail Mary, Sleep for me, sleep was written for unaccompanied mixed choir. It has been recorded by the female choir without any interference with the original score. O sacrum convivium (1937) by Olivier Messiaen (1908-1992) is a motet to the Most Blessed Sacrament. It was written for four-part mixed choir or four soloists with ad libitum organ accompaniment. The present recording is by seven sopranos in unison (the soprano part being sung from the original score) with organ accompaniment./ The development of the career of Roman Padlewski (1915-1944) was cut short by his death in the Warsaw Uprising. He is best known for his Stabat Mater and Two motets for female choir, settings to a text by an anonymous 16th-century author. The CD features the first of them – O, Anielska Pani / O Angelic Lady (the other one is entitled Radosci Wam powiedam / I told You about my joy). Gloria I (2012) is another work by Marian Borkowski on this CD. It was written at the request of the ‘Musica Sacra’ Choir which premiered it in April 2013 at Luxembourg Cathedral. Its first recording is another tribute to the composer on his 80th birthday. Sir John Tavener (b. 1944), one of foremost British composers, is placed alongside H. M. Górecki and Arvo Pärt for his sacred music. His output includes the famous nine-hour oratorio The Veil of the Temple. His The Lord’s prayer (1999), arranged, with the composer’s permission, for two-part female choir and piano or organ by Barry Rose, is a staple item in the repertoire of the ‘Musica Sacra’ Choir. Three vocal-instrumental symphonies occupy a prominent place in the rich output of Pawel Lukaszewski (b. 1968). Prayer to the Guardian Angel is a fragment of the third of them, Symphony of Angels (2010). In 2012 the composer arranged it for four solo voices, female choir (additionally all the singers perform on Chinese Qi Gong balls) and harp or piano. The text is the Latin version of the popular prayer Aniele Bozy, strózu mój/ Angel of God, my guardian dear . The musical material is based on a single chord, which, cou
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