Canticum Canticorum Salomonis

Canticum Canticorum Salomonis is a choral composition by Polish composer Krzysztof Penderecki.

Werner Andreas Albert conducted the Gulbenkian Orchestra and Les Percussions de Strasbourg, together with the NCRV Vocal Ensemble, which considered the composition too difficult to be performed.

[2] Following is the complete text used in the composition:[5] (Sponsa, Song of Solomon 1:1-2,12) Osculetur me osculo oris sui Quia meliora sunt ubera tua vino Fragrantia unguentis optimis Fasciculus murrae dilectus meus mihi Inter ubera mea commorabitur (Sponsus, Song of Solomon 1:14) Ecce tu pulchra es amica mea ecce tu pulchra Oculi tui columbarum (Sponsa, Song of Solomon 1:15, Song of Solomon 2:4-6) Ecce tu pulcher es dilecte mi et decorus Lectulus noster floridus Introduxit me in cellam vinariam Ordinavit in me caritatem Fulcite me floribus Stipate me malis Quia amore langueo Leva eius sub capite meo Et dextera illius amplexabitur me (Sponsus, Song of Solomon 2:7) Adiuro vos filiae Hierusalem Per capreas cervosque camporum Ne suscitetis neque evigilare faciatis dilectam Quoadusque ipsa velit (Sponsa, Song of Solomon 2:8-9) Ecce iste venit Saliens in montibus transiliens colles Similis est dilectus meus capreae Hinuloque cervorum En ipse stat post parietem nostrum Despiciens per fenestras Prospiciens per cancellos (Sponsus, Song of Solomon 2:10-11,13–14) Surge propera amica mea Formonsa mea et veni Iam enim hiemps transiit Imber abiit et recessit Surge amica mea speciosa mea et veni Columba mea in foraminibus petrae in caverna maceriae Ostende mihi faciem tua The composition received mixed opinions by critics.

Opinions from Polish critics ranged from "one of the best of Penderecki's works", by Malinowski and Michałowski,[6] and "colorful, subtle, elegant, and expressively discreet", by Zielinski, to remarks by Kaczynzki, who deplored the low dynamism of the composition[2][7] and stated that the composition "deserved a warmer welcome, despite the incoherence of its texts".

[8] Polish critic Marian Fuks described the musical style of the work as "lukewarm".