Violin Concerto & Horn Concerto

Radovan Vlatkovic, Robert Kabara

Original Recording Format: DSD 64
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Violin Concerto No.1 and Concerto for Horn were created at two different points in Penderecki’s career. They came to existence within the space of thirty years and reflect the evolution that Penderecki’s style has gone through.Violin Concerto No. 1 belongs to the Polish Romantic tradition, which encompasses the notion of striving with god, while Concerto for Horn expresses utter submission to god’s power. Concerto for Horn is the result of the influence that Lus?awice had on the composer’s creation. As Penderecki says, it is “more personal and genuine.” Just like Violin Concerto No.1, it proves the composer’s artistry but in a more lyrical and harmonious way. It reflects human longing for paradise that can be compared to Penderecki’s garden that has 1500 tree species grown by the composer himself.


Please note that the below previews are loaded as 44.1 kHz / 16 bit.
Concerto For Violin And Orchestra
Concerto For Horn And Orchestra

Total time: 00:59:21

Additional information





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van den Hul T3 series

Digital Converters

Grimm A/D DSD / Meitner DA

Mastering Engineer

Jared Sacks

Mastering Equipment

B&W 803 diamond series


Bruel & Kjaer, Schoeps

Mixing Board

Rens Heijnis custom design


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Original Recording Format


Jared Sacks

Recording Engineer

Jared Sacks

Recording location

Krakow Poland

Recording Software

Pyramix bij Merging

Recording Type & Bit Rate



Audiolab, Holland

Release DateApril 29, 2014

Press reviews


Krzysztof Penderecki has long maintained that his concertos contain some of his most intimate and personal music, though the two recorded here take us into very different emotional territory. The vast, hard-hitting First Violin Concerto, written in 1977 while his father was dying, was the work that marked his return to more conservative modes of composition after his period as an avant-garde tearaway. Bruckner is often cited as the influence behind its intense if slow-moving musical logic. But there are also emotional overtones of Beethoven’s Fourth Piano Concerto in the dramatic conflict between orchestral anguish and the soloist’s infinite powers of consolation. The Horn Concerto dates from 2008 and is altogether more Baroque and exuberant. Its Schubertian title is a bit of a blind, since the ‘winter journey’ referred to is a childhood hunting trip with his uncle, the memories of which spark off a celebration of mankind’s supposed union with nature. You might not care for the underlying concept, but there’s no doubting this is both a real feel-good piece, and a superb virtuoso entertainment. Recorded with state-of-the-art sonics, Penderecki conducts both performances himself. The Sinfonia Cracovia is his keenly responsive orchestra. Both soloists-violinist Robert Kabara and horn player Radovan Vlatkovic-are phenomenal.


Een verrukkelijke collage vol fragmentarische flarden. De hoornist Radovan Vlatkovic leeft zich optimaal uit als solist, terwijl de componist zelf het dirigeerstokje hanteert. (…)


the violinist Robert Kabara has the full measure of the solo part’s mercurial character as well as of its technical demands, and the recording is robustly well centred, neither swamping the soloist nor unduly damping down the rich orchestral sonorities (…)
(…) In the Horn Concerto the soloist Radovan Vlatkovic is given opportunity to show off his virtuosity

Opus Haute Définition (English)

Directing the Sinfonietta Cracovia, the Polish conductor finds the perfect osmosis with his soloists. And their playing sparks our enthusiasm from the beginning to end of a musical discourse in which all is incontrovertible: phrasing, colors, accents, respiration. All here is emotion at its purest, and the result demands admiration. The exemplary sound is no less a part of the success of this recording, which one would be well-advised to listen to promptly. Here then is a great, a very great disc by Penderecki.

Opus Haute Définition

Dirigeant le Sinfonietta Cracovia, le compositeur polonais trouve l’osmose parfaite avec ses solistes. Et le jeu de ces derniers soulève l’enthousiasme de bout en bout d’un discours musical dans lequel tout semble placé sous le sceau de l’évidence: phrasés, couleurs, accents, souffle. Tout ici est émotion à l’état pur et le résultat ne suscite qu’admiration. La prise de son exemplaire participe également à cette réussite qu’il est urgent de connaître. Voici bel et bien un grand, un très grand disque Penderecki.


De componist is voor velen een vreemde vogel, hij ontwikkelde zich tot een muzikale omnivoor met evenveel liefde voor de late romantiek als voor de barokke vormen. Op deze cd brengt hij een vioolconcert uit 1977 samen met een hoornconcert uit 2008. Krachtige werken die olv de componist fantastisch aan de cd zijn toevertrouwd.


Prises de son très équilibrées.
(…) Le très inventif Concerto pour cor, aux tonalités ludiques et straussiennes, enregistré en première mondiale.


powerful and communicative (…)
(…) the composer’s presence on the podium guarantees authenticity. (…)

Opus Klassiek

Penderecki is geen componist die in oude structuren en modellen is blijven steken, maar op basis van het bestaande nieuwe wegen heeft gezocht en gevonden. (…)
(…) De violist Robert Kabara en de hoornist Radovan Vlatkovic zijn ideale pleitbezorgers van deze beide concerten. Het Sinfonietta Cracovia is een uitstekend ensemble dat door Penderecki tot geweldige prestaties wordt aangespoord. De opnamen mogen er ook zijn. Jared Sacks moet thuis, in zijn editing studio in Herwijnen, een aardig kunststukje hebben uitgehaald met de akoestische eigenschappen van twee volkomen verschillende zalen: die in Krakow (Vioolconcert) en in Katowice (Hoornconcert). Er zijn verschillen maar die zijn wel van een hoog harmonieus gehalte. Net zo harmonieus eigenlijk als die prachtige muziek van Penderecki. Het Hoornconcert ondergaat op deze sacd zelfs zijn wereldpremière. Kortom, warm aanbevolen!

St. Galler Tagblatt

Solisten sind der Geiger Robert Kabara sowie der kroatische Hornist Radovan Vlatkovic. Beide steigen mit Lust in eine Postmoderne ein, in der alles erlaubt scheint. Totale Freiheit oder, wie der engagierte Gärtner Penderecki meint, Zeugnisse eines ‘Glückvertrags mit der Natur’.


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