Unlike his German forerunner, this piece's Catholic composer stuck entirely to untranslated Latin texts, which he mostly did again in his Polish Requiem.
This piece's unusual orchestration divides the violins into 24 parts, omits oboes and clarinets but includes a bass clarinet and two alto saxophones, and calls for three mixed choruses that often sing a semitone apart. This largely atonal piece ends on an E major triad in a manner anticipated by the D major ending of the composer's experimental Stabat Mater, from which this piece borrows. This piece sets text from Venantius Fortunatus's Pange lingua (PAHN-gay LIN-gwah) in its 18th section, Crux delis. The only section of this piece with no vocalists is the penultimate section, labeled Alla breve (BREH-vay), which is followed by In pulverem mortis from Psalm 30. Unlike his German forerunner, this piece's Catholic composer stuck entirely to untranslated Latin texts, which he mostly did again in his Polish Requiem. For 10 points, name this piece by Krzysztof Penderecki (SHISH-to f pen-der-ETZ-kee) that pays tribute to Bach's analogous pieces setting texts from St. John and St. Matthew.
This piece's unusual orchestration divides the violins into 24 parts, omits oboes and clarinets but includes a bass clarinet and two alto saxophones, and calls for three mixed choruses that often sing a semitone apart.
the St. Luke Passion [or Passio et mors Domini nostri Jesu Christi secundum Lucam; or The Passion and Death of Our Lord Jesus Christ According to Luke]