Wojciech Kilar was originally an associate of avant-garde composers Gorecki and Penderecki, but ultimately eschewed the atonality of his early works, preferring to combine elements of modernism with a more openly emotional and direct approach. The four concert works included on this disc aren't really tone poems, nor do they follow any particular musical forms, they are simply works inspired by certain things and in the case of the final three, words. However, it is the purely orchestral Krzesany which opens the album and the start is a strong one, perhaps the finest work included. From a grandiose three note motif, Kilar introduces a lively, balletic work that evokes the composers mentioned above and on several occasions, the more astringent portions Stravinsky's ever popular Rite of Spring. However, much of the material is based on Polish folk songs, but they are arranged and presented in such a bold and striking orchestral style that some are likely hard to recognise.

Angelus starts with unnerving muttering from the choir, but soon explodes with a loud timpani burst into a choral work that is by turns thunderous and reflective. The most beautiful section comes midway through performed by a soprano soloist over a bed of slowly shifting chords and pedal notes. The effect is at once slightly exotic, mesmerising and achingly beautiful. Kilar then slowly adds to the seemingly simple textures launching into an extended crescendo until a euphoric plateau is reached with the choir and orchestra joining the soloist. Based on this, a complete Mass or Requiem by Kilar would be well worth hearing. Exodus is written in the manner of Ravel's in/famous Bolero, but Kilar's is much longer and includes a choir towards the end. To an even greater extent than the Ravel (which the composer once described as orchestration without music), Kilar's work goes on far too long and despite the grandiose choral finale, by the end of the 24 minutes, another repetition of its main theme is just too much. It doesn't help that the basic tune is easy to remember the first time round, let alone the seemingly hundredth time around.

Being vastly shorter than the other three items, Victoria is effectively a brief coda. However, it is still striking, although fans of Kilar's score to Dracula will likely spot the similarities in the choral writing. Although the oldest piece, Krzesany is the most modern, using vivid orchestral colours and effects, along with surprising harmonies. While generally effective, some of the orchestral effects err on the side of gimmicky, particularly where the final folk tune is swamped by screaming strings and brass, although the silence after the final brass chord is deafening. I suspect that some of the wilder sections will put some off, but one would hope that the excitement of the lively and tuneful opening would be enough to envelope the listener sufficiently to accept the more difficult passages. A fine disc, given confident performances by the Polish National Radio Symphony and Cracow Philharmonic Chorus under Antoni Wit. Even if Exodus is pretty monotonous by the end, the other three more than compensate and at Naxos' price, this is a disc no Kilar (or fan of striking 20th century music) should be without.

Rating ~

1. Krzesany (14:33)
2. Angelus (23:18)
3. Exodus (23:41)
4. Victoria (3:39)

Total Time ~ 65:11