Abstract
By taking up Biblical themes in his oeuvre, Krzysztof Penderecki effectuated the idea of returning art to its Christian roots. Analyses of selected fragments of his outstanding works (Seven Gates of Jerusalem and Passion According to St. Luke) show that the composer performed a peculiar, apt and suggestive “translation” of Biblical content into musical language, using contemporary compositional techniques as well as alluding at times to the tradition of J.S. Bach.
 In the above compositions, Penderecki utilized the sound of the instruments, assigning them symbolic meaning and even experimenting with their construction (tubaphone). He also introduced a spatially-distributed orchestra, assigning the human voice its original, purely declamatory function, without limitations of rhythm or meter. The composer thus took steps to theatricalize the musical work, in order to enable a deeper reception of the Biblical content by the audience.
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