Penderecki’s Symphony No. 6 ‘Chinese Songs’ is an intimate, chamber-scale work for bass-baritone and orchestra. It sets eight Chinese poems in German adaptations linked with interludes for the two-stringed erhu. It proved to be Penderecki’s last completed symphony and is imbued with great pathos as well as melodic beauty. The Trumpet Concertino is taut, spirited and full of dextrous interplay between the soloist and orchestra. His single-movement Concerto doppio for violin, cello and orchestra, is a work of keen unpredictability.

Few listeners know much, if anything, about Zygmunt Noskowski (1846–1909), even though Szymanowski featured among his distinguished students and Moniuszko among his renowned teachers. And yet, for most of the 19th century, Noskowski was the primary exponent of modern symphonic music in Poland. As a conductor and concert organiser, he himself championed the causes of forgotten Polish composers. Now it's the turn of Antoni Wit, who succeeded Noskowski at the helm of the Warsaw Philharmonic 94 years after his retirement, to raise the profile of his late-romantic colleague, having similarly promoted the music of Zygmunt Stojowski on a previous Capriccio recording (C5464).

This collection of short choral pieces by Johannes Brahms is an unusual one in present times, partly because many of the choral parts are quite demanding. For a choral club in the 19th century, however, it wouldn't have been so novel, and there are great beauties on offer here. After the fetching Ave Maria, Op. 12, the rest of the program is dense, metaphysical, and, with the partial exception of the Alto Rhapsody, Op. 53, concerned with death. There are two funeral songs, and two more about fate, and this is not the warm, humanistic Brahms of the German Requiem, Op. 45. The performances are profound and dignified, and the overall effect uncanny. The Warsaw Philharmonic Choir under choirmaster Henryk Wojnarowski has a gorgeous rich tone that is undiminished by the long lines of the music, and the Alto Rhapsody achieves real grandeur in the hands of contralto Ewa Wolak. But the real credit goes to the Warsaw Philharmonic and conductor Antoni Wit, who keep a consistent level of tension and momentum in difficult, dark material like the somber Nänie, Op. 82 (Funeral Song), a rarely performed late Brahms masterwork.

Brahms’ string concertos are indissolubly linked with the musicians for whom the works were written. He wrote his Violin Concerto for Joseph Joachim, and in it he combined what a contemporary critic termed ‘the great and serious’ with songful lyricism, melodic beauty, and a fiery Hungarian finale. To mend a breach with the violinist, Brahms later composed a concerto with the unusual combination of violin and cello, the latter played at the premiere by Joachim’s colleague Robert Hausmann. Neither instrument predominates in a work of reconciliation that embodies both drama and reflection.