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Marek Raczyński’s sacred canon often seems to engage in a very direct way with some central mystery, investing the music with an evanescent, sometimes elusive character. Then, he can surprise you with something like Laudate Dominum, which seems almost folkishly plain in its expression of praise. It’s intended as, and sounds like, an international, even universal, hymn (‘Laudate eum omnes populi’). These performances were recorded by four different choirs, but only in two locations and with a clear sense of what voices were needed for each piece, which means the set has real coherence: a glimpse into the mind of an important modern, whose understanding of the tradition is total.

BRIAN MORTON Read the full review on Agora Classica


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