The intensely conservative musical language adopted by Penderecki for his setting of the Te Deum (1980) might be fitting, given his aim of marking the appointment of the theologically conservative Pope John Paul II. But even John Paul might have raised an eyebrow at the composer’s radical strategy of turning this hymn of praise into a sombre, occasionally hectic lament. The music, sounding more self-pitying than reverent, drags its way forward as if in penance for all the sins of mankind, and there’s little even these dedicated performers can do to give it the spark of life.

The other three works go some way to restoring one’s faith in the composer’s judgement. Polymorphia for strings (1961) is a classic example of his early brutalism, and the consonance, tacked on at the end after 11 minutes of strident dissonance have culminated in a positive tsunami of sound, is one of the most bizarre examples in all music of a composer’s misplaced sense of humour. Hymn to the Blessed Daniel (1995) has no humour, but a good deal of energy gives its fervent celebration (in Old Slavonic) of a Russian saint some genuine impact, despite the stop-go structure. Finally, it’s back to Pope John Paul II with the recent Chaconne for strings in his memory. This risks blandness but, in the end, character wins out over cliché.

Antoni Wit makes sure that the performances of the three shorter works bring maximum animation to the musical processes, and the robust recordings keep in step.