05-14-2016, 07:47 PM
I was going through the Obituaries in the old T4T Forum (as if you didn't notice), and I found one obituary that started a discussion. I will start with the obituary, essentially a Wikipedia article that may since have been updated. After five and a half years I would expect such.
Henryk Mikołaj Górecki (Polish: [ˈxɛnrɨk mʲiˈkɔwaj ɡuˈrɛtski]; English pronunciation Go-RET-ski;[1] December 6, 1933 – November 12, 2010)[2][3] was a Polish composer of contemporary classical music. According to Alex Ross, no recent classical composer has had as much commercial success as Górecki.[4] Górecki became a leading figure of the Polish avant-garde during the post-Stalin cultural thaw.[5][6] His Webernian-influenced serialist works of the 1950s and 1960s were characterized by adherence to dissonant modernism and drew influence from Luigi Nono, Karlheinz Stockhausen,[7] Krzysztof Penderecki and Kazimierz Serocki.[8] He continued in this direction throughout the 1960s, but by the mid-1970s had changed to a less complex sacred minimalist sound, exemplified by the transitional Symphony No. 2 and the hugely popular Symphony No. 3 (Symphony of Sorrowful Songs). This later style developed through several other distinct phases, from such works as his 1979 Beatus Vir,[9] to the 1981 choral hymn Miserere, the 1993 Kleines Requiem für eine Polka[10] and his requiem Good Night.[11]
[/url]
His name remained largely unknown outside Poland until the mid-to late 1980s, and his fame arrived in the 1990s.[url=https://en.wikipedia.org/wiki/Henryk_G%C3%B3recki#cite_note-12][12] In 1992, 15 years after it was composed, a recording of his Third Symphony, Symphony of Sorrowful Songs—recorded with soprano Dawn Upshaw and released to commemorate the memory of those lost during the Holocaust—became a worldwide commercial and critical success, selling more than a million copies and vastly exceeding the typical lifetime sales of a recording of symphonic music by a 20th-century composer. As surprised as anyone at its popularity, Górecki said, "Perhaps people find something they need in this piece of music [...] somehow I hit the right note, something they were missing. Something somewhere had been lost to them. I feel that I instinctively knew what they needed."[13] This popular acclaim did not generate wide interest in Górecki's other works,[14] and he pointedly resisted the temptation to repeat earlier success, or compose for commercial reward.
Apart from two brief periods studying in Paris and a short time living in Berlin, Górecki spent most of his life in southern Poland.
Górecki's music covers a variety of styles, but tends towards relative harmonic and rhythmical simplicity. He is considered to be a founder of the so-called New Polish School.[30][31] Described by Terry Teachout, he said Górecki has "more conventional array of compositional techniques includes both elaborate counterpoint and the ritualistic repetition of melodic fragments and harmonic patterns."[32]
His first works, dating from the last half of the 1950s, were in the avant-garde style of Webern and other serialists of that time. Some of these twelve-tone and serial pieces include Epitaph (1958), First Symphony (1959), and Scontri (1960) (Mirka 2004, p. 305). At that time, Górecki's reputation was not lagging behind that of his near-exact contemporary and his status was confirmed in 1960s when "Monologhi" won first prize. Even until 1962, he was firmly ensconced in the minds of the Warsaw Autumn public as a leader of the Polish Modern School, alongside Penderecki.[33]
Danuta Mirka has shown that Górecki's compositional techniques in the 1960s were often based on geometry, including axes, figures, one- and two-dimensional patterns, and especially symmetry. Thus, she proposes the term "geometrical period" to refer to Górecki's works between 1962 and 1970. Building on Krzysztof Droba's classifications, she further divides this period into two phases: (1962–63) "the phase of sonoristic means"; and (1964-70) "the phase of reductive constructicism" (Mirka 2004, p. 329).
During the middle 1960s and early 1970s, Górecki progressively moved away from his early career as radical modernist, and began to compose with a more traditional, romantic mode of expression. His change of style was viewed as an affront to the then avant-garde establishment, and though he continued to receive commissions from various Polish agencies, by the mid-1970s Górecki was no longer regarded as a composer that mattered. In the words of one critic, his "new material was no longer cerebral and sparse; rather, it was intensely expressive, persistently rhythmic and often richly colored in the darkest of orchestral hues".[34]
The first public performances of Górecki's music in Katowice in February 1958 programmed works clearly displaying the influence of Szymanowski and Bartók. The Silesian State Philharmonic in Katowice held a concert devoted entirely to the 24-year-old Górecki's music. The event led to a commission to write for the Warsaw Autumn Festival. The Epitafium ("Epitaph") he submitted marked a new phase in his development as a composer,[13] and was described as representing "the most colourful and vibrant expression of the new Polish wave".[35] The Festival announced the composer's arrival on the international scene, and he quickly became a favorite of the West's avant-garde musical elite.[34] Writing in 1991, the music critic James Wierzbicki described how that at this time "Górecki was seen as a Polish heir to the new aesthetic of post-Webernian serialism; with his taut structures, lean orchestrations and painstaking concern for the logical ordering of pitches".[34]
Górecki wrote his First Symphony in 1959, and graduated with honours from the Academy the following year.[24] At the 1960 Warsaw Autumn Festival, his Scontri, written for orchestra, caused a sensation among critics due to its use of sharp contrasts and harsh articulations.[24][36] By 1961, Górecki was at the forefront of the Polish avant-garde, having absorbed the modernism of Anton Webern, Iannis Xenakis and Pierre Boulez, and his Symphony No. 1 gained international acclaim at the Paris Biennial Festival of Youth. Górecki moved to Paris to continue his studies, and while there was influenced by contemporaries including Olivier Messiaen, Roman Palester, and Karlheinz Stockhausen.[7]
He began to lecture at the Academy of Music in Katowice in 1968, where he taught score-reading, orchestration and composition. In 1972, he was promoted to assistant professor,[24] and developed a fearsome reputation among his students for his often blunt personality. According to the Polish composer Rafał Augustyn, "When I began to study under Górecki it felt as if someone had dumped a pail of ice-cold water over my head. He could be ruthless in his opinions. The weak fell by the wayside but those who graduated under him became, without exception, respected composers".[25] Górecki admits, "For quite a few years, I was a pedagogue, a teacher in the music academy, and my students would ask me many, many things, including how to write and what to write. I always answered this way: If you can live without music for 2 or 3 days, then don't write...It might be better to spend time with a girl or with a beer...If you cannot live without music, then write.”[37] Due to his commitments as a teacher and also because of bouts of ill health, he composed only intermittently during this period.[38]
By the early 1970s, Górecki had begun to move away from his earlier radical modernism, and was working towards a more traditional, romantic mode of expression that was dominated by the human voice. His change of style affronted the avant-garde establishment, and although various Polish agencies continued to commission works from him, Górecki ceased to be viewed as an important composer. One critic later wrote that "Górecki's new material was no longer cerebral and sparse; rather, it was intensely expressive, persistently rhythmic and often richly colored in the darkest of orchestral hues".[34] Górecki progressively rejected the dissonance, serialism and sonorism that had brought him early recognition, and pared and simplified his work. He began to favor large slow gestures and the repetition of small motifs.[39]
Main article: Symphony No. 2 (Górecki)
![[Image: 200px-Gorecki_cropped.png]](https://upload.wikimedia.org/wikipedia/commons/thumb/1/19/Gorecki_cropped.png/200px-Gorecki_cropped.png)
A performance of Górecki's Beatus Vir conducted by Włodzimierz Siedlik. The piece was composed to celebrate Karol Wojtyła's appointment as Pope
The "Symphony No. 2, 'Copernican', Op. 31" (II Symfonia Kopernikowska) was written in 1972 to celebrate the 500th anniversary of the birth of the astronomer Nicolaus Copernicus. Written in a monumental style for solo soprano, baritone, choir and orchestra, it features text from Psalms no. 145, 6 and 135 as well as an excerpt from Copernicus' book De revolutionibus orbium coelestium.[40] It was composed in two movements, and a typical performance lasts 35 minutes. The symphony was commissioned by the Kosciuszko Foundation in New York, and presented an early opportunity for Górecki to reach an audience outside of his native Poland. As was usual, he undertook extensive research on the subject, and was in particular concerned with the philosophical implications of Copernicus's discovery, not all of which he viewed as positive.[41] As the historian Norman Davies commented, "His discovery of the earth's motion round the sun caused the most fundamental revolutions possible in the prevailing concepts of the human predicament".[42]
By the mid-1980s, his work began to attract a more international audience, and in 1989 the London Sinfonietta held a weekend of concerts in which his work was played alongside that of the Russian composer Alfred Schnittke.[43] In 1990, the American Kronos Quartet commissioned and recorded his First String Quartet, Already It Is Dusk, Op. 62, an occasion that marked the beginning of a long relationship between the quartet and composer.[44]
Main article: Symphony No. 3 (Górecki)
![[Image: 50px-Gnome-mime-sound-openclipart.svg.png]](https://upload.wikimedia.org/wikipedia/commons/thumb/8/87/Gnome-mime-sound-openclipart.svg/50px-Gnome-mime-sound-openclipart.svg.png)
Symphony No. 3, 2nd movement
![[Image: fileicon-ogg.png]](https://en.wikipedia.org/w/resources/assets/file-type-icons/fileicon-ogg.png)
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Sample from the 2nd movement
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Górecki's most popular piece is his "Third Symphony", also known as the "Symphony of Sorrowful Songs" (Symfonia pieśni żałosnych). The work is slow and contemplative, and each of the three movements is composed for orchestra and solo soprano. The libretto for the first movement is taken from a 15th-century lament, while the second movement uses the words of a teenage girl, Helena Błażusiak, which she wrote on the wall of a Gestapo prison cell in Zakopane to invoke the protection of the Virgin Mary.[45]
The third uses the text of a Silesian folk song which describes the pain of a mother searching for a son killed in the Silesian uprisings.[46] The dominant themes of the symphony are motherhood and separation through war. While the first and third movements are written from the perspective of a parent who has lost a child, the second movement is from that of a child separated from a parent.
Despite the success of the Third Symphony, Górecki resisted the temptation to compose again in that style, and, according to AllMusic, continued to work, not to further his career or reputation, but largely "in response to inner creative dictates".[47]
In February 1994, the Kronos Quartet performed at the Brooklyn Academy of Music four concerts honoring postmodern revival of interest in new music. The first three concerts featured string quartets and the works of three living composers: two American (Philip Glass and George Crumb) and one Pole (Górecki).[32]
His later work includes a 1992 commission for the Kronos Quartet entitled "Songs are Sung", "Concerto-Cantata" (written in 1992 for flute and orchestra) and "Kleines Requiem für eine Polka". "Concerto-Cantata" and "Kleines Requiem für eine Polka" (1993 for piano and 13 instruments) have been recorded by the London Sinfonietta and the Schönberg Ensemble respectively.[48] "Songs are Sung" is his third string quartet, inspired by a poem by Velimir Khlebnikov. When asked why it took almost thirteen years to finish, he replied, "I continued to hold back from releasing it to the world. I don’t know why."[49] His music has been used by the New Jersey-based Lydia Johnson Dance company during one of their performances.[50]
https://en.wikipedia.org/wiki/Henryk_G%C3%B3recki
Henryk Mikołaj Górecki (Polish: [ˈxɛnrɨk mʲiˈkɔwaj ɡuˈrɛtski]; English pronunciation Go-RET-ski;[1] December 6, 1933 – November 12, 2010)[2][3] was a Polish composer of contemporary classical music. According to Alex Ross, no recent classical composer has had as much commercial success as Górecki.[4] Górecki became a leading figure of the Polish avant-garde during the post-Stalin cultural thaw.[5][6] His Webernian-influenced serialist works of the 1950s and 1960s were characterized by adherence to dissonant modernism and drew influence from Luigi Nono, Karlheinz Stockhausen,[7] Krzysztof Penderecki and Kazimierz Serocki.[8] He continued in this direction throughout the 1960s, but by the mid-1970s had changed to a less complex sacred minimalist sound, exemplified by the transitional Symphony No. 2 and the hugely popular Symphony No. 3 (Symphony of Sorrowful Songs). This later style developed through several other distinct phases, from such works as his 1979 Beatus Vir,[9] to the 1981 choral hymn Miserere, the 1993 Kleines Requiem für eine Polka[10] and his requiem Good Night.[11]
[/url]
His name remained largely unknown outside Poland until the mid-to late 1980s, and his fame arrived in the 1990s.[url=https://en.wikipedia.org/wiki/Henryk_G%C3%B3recki#cite_note-12][12] In 1992, 15 years after it was composed, a recording of his Third Symphony, Symphony of Sorrowful Songs—recorded with soprano Dawn Upshaw and released to commemorate the memory of those lost during the Holocaust—became a worldwide commercial and critical success, selling more than a million copies and vastly exceeding the typical lifetime sales of a recording of symphonic music by a 20th-century composer. As surprised as anyone at its popularity, Górecki said, "Perhaps people find something they need in this piece of music [...] somehow I hit the right note, something they were missing. Something somewhere had been lost to them. I feel that I instinctively knew what they needed."[13] This popular acclaim did not generate wide interest in Górecki's other works,[14] and he pointedly resisted the temptation to repeat earlier success, or compose for commercial reward.
Apart from two brief periods studying in Paris and a short time living in Berlin, Górecki spent most of his life in southern Poland.
Górecki's music covers a variety of styles, but tends towards relative harmonic and rhythmical simplicity. He is considered to be a founder of the so-called New Polish School.[30][31] Described by Terry Teachout, he said Górecki has "more conventional array of compositional techniques includes both elaborate counterpoint and the ritualistic repetition of melodic fragments and harmonic patterns."[32]
His first works, dating from the last half of the 1950s, were in the avant-garde style of Webern and other serialists of that time. Some of these twelve-tone and serial pieces include Epitaph (1958), First Symphony (1959), and Scontri (1960) (Mirka 2004, p. 305). At that time, Górecki's reputation was not lagging behind that of his near-exact contemporary and his status was confirmed in 1960s when "Monologhi" won first prize. Even until 1962, he was firmly ensconced in the minds of the Warsaw Autumn public as a leader of the Polish Modern School, alongside Penderecki.[33]
Danuta Mirka has shown that Górecki's compositional techniques in the 1960s were often based on geometry, including axes, figures, one- and two-dimensional patterns, and especially symmetry. Thus, she proposes the term "geometrical period" to refer to Górecki's works between 1962 and 1970. Building on Krzysztof Droba's classifications, she further divides this period into two phases: (1962–63) "the phase of sonoristic means"; and (1964-70) "the phase of reductive constructicism" (Mirka 2004, p. 329).
During the middle 1960s and early 1970s, Górecki progressively moved away from his early career as radical modernist, and began to compose with a more traditional, romantic mode of expression. His change of style was viewed as an affront to the then avant-garde establishment, and though he continued to receive commissions from various Polish agencies, by the mid-1970s Górecki was no longer regarded as a composer that mattered. In the words of one critic, his "new material was no longer cerebral and sparse; rather, it was intensely expressive, persistently rhythmic and often richly colored in the darkest of orchestral hues".[34]
The first public performances of Górecki's music in Katowice in February 1958 programmed works clearly displaying the influence of Szymanowski and Bartók. The Silesian State Philharmonic in Katowice held a concert devoted entirely to the 24-year-old Górecki's music. The event led to a commission to write for the Warsaw Autumn Festival. The Epitafium ("Epitaph") he submitted marked a new phase in his development as a composer,[13] and was described as representing "the most colourful and vibrant expression of the new Polish wave".[35] The Festival announced the composer's arrival on the international scene, and he quickly became a favorite of the West's avant-garde musical elite.[34] Writing in 1991, the music critic James Wierzbicki described how that at this time "Górecki was seen as a Polish heir to the new aesthetic of post-Webernian serialism; with his taut structures, lean orchestrations and painstaking concern for the logical ordering of pitches".[34]
Górecki wrote his First Symphony in 1959, and graduated with honours from the Academy the following year.[24] At the 1960 Warsaw Autumn Festival, his Scontri, written for orchestra, caused a sensation among critics due to its use of sharp contrasts and harsh articulations.[24][36] By 1961, Górecki was at the forefront of the Polish avant-garde, having absorbed the modernism of Anton Webern, Iannis Xenakis and Pierre Boulez, and his Symphony No. 1 gained international acclaim at the Paris Biennial Festival of Youth. Górecki moved to Paris to continue his studies, and while there was influenced by contemporaries including Olivier Messiaen, Roman Palester, and Karlheinz Stockhausen.[7]
He began to lecture at the Academy of Music in Katowice in 1968, where he taught score-reading, orchestration and composition. In 1972, he was promoted to assistant professor,[24] and developed a fearsome reputation among his students for his often blunt personality. According to the Polish composer Rafał Augustyn, "When I began to study under Górecki it felt as if someone had dumped a pail of ice-cold water over my head. He could be ruthless in his opinions. The weak fell by the wayside but those who graduated under him became, without exception, respected composers".[25] Górecki admits, "For quite a few years, I was a pedagogue, a teacher in the music academy, and my students would ask me many, many things, including how to write and what to write. I always answered this way: If you can live without music for 2 or 3 days, then don't write...It might be better to spend time with a girl or with a beer...If you cannot live without music, then write.”[37] Due to his commitments as a teacher and also because of bouts of ill health, he composed only intermittently during this period.[38]
By the early 1970s, Górecki had begun to move away from his earlier radical modernism, and was working towards a more traditional, romantic mode of expression that was dominated by the human voice. His change of style affronted the avant-garde establishment, and although various Polish agencies continued to commission works from him, Górecki ceased to be viewed as an important composer. One critic later wrote that "Górecki's new material was no longer cerebral and sparse; rather, it was intensely expressive, persistently rhythmic and often richly colored in the darkest of orchestral hues".[34] Górecki progressively rejected the dissonance, serialism and sonorism that had brought him early recognition, and pared and simplified his work. He began to favor large slow gestures and the repetition of small motifs.[39]
Main article: Symphony No. 2 (Górecki)
![[Image: 200px-Gorecki_cropped.png]](https://en.wikipedia.org/wiki/File:Gorecki_cropped.png)
A performance of Górecki's Beatus Vir conducted by Włodzimierz Siedlik. The piece was composed to celebrate Karol Wojtyła's appointment as Pope
The "Symphony No. 2, 'Copernican', Op. 31" (II Symfonia Kopernikowska) was written in 1972 to celebrate the 500th anniversary of the birth of the astronomer Nicolaus Copernicus. Written in a monumental style for solo soprano, baritone, choir and orchestra, it features text from Psalms no. 145, 6 and 135 as well as an excerpt from Copernicus' book De revolutionibus orbium coelestium.[40] It was composed in two movements, and a typical performance lasts 35 minutes. The symphony was commissioned by the Kosciuszko Foundation in New York, and presented an early opportunity for Górecki to reach an audience outside of his native Poland. As was usual, he undertook extensive research on the subject, and was in particular concerned with the philosophical implications of Copernicus's discovery, not all of which he viewed as positive.[41] As the historian Norman Davies commented, "His discovery of the earth's motion round the sun caused the most fundamental revolutions possible in the prevailing concepts of the human predicament".[42]
By the mid-1980s, his work began to attract a more international audience, and in 1989 the London Sinfonietta held a weekend of concerts in which his work was played alongside that of the Russian composer Alfred Schnittke.[43] In 1990, the American Kronos Quartet commissioned and recorded his First String Quartet, Already It Is Dusk, Op. 62, an occasion that marked the beginning of a long relationship between the quartet and composer.[44]
Main article: Symphony No. 3 (Górecki)
Symphony No. 3, 2nd movement
Menu
0:00
Sample from the 2nd movement
Problems playing this file? See media help.
Górecki's most popular piece is his "Third Symphony", also known as the "Symphony of Sorrowful Songs" (Symfonia pieśni żałosnych). The work is slow and contemplative, and each of the three movements is composed for orchestra and solo soprano. The libretto for the first movement is taken from a 15th-century lament, while the second movement uses the words of a teenage girl, Helena Błażusiak, which she wrote on the wall of a Gestapo prison cell in Zakopane to invoke the protection of the Virgin Mary.[45]
The third uses the text of a Silesian folk song which describes the pain of a mother searching for a son killed in the Silesian uprisings.[46] The dominant themes of the symphony are motherhood and separation through war. While the first and third movements are written from the perspective of a parent who has lost a child, the second movement is from that of a child separated from a parent.
Despite the success of the Third Symphony, Górecki resisted the temptation to compose again in that style, and, according to AllMusic, continued to work, not to further his career or reputation, but largely "in response to inner creative dictates".[47]
In February 1994, the Kronos Quartet performed at the Brooklyn Academy of Music four concerts honoring postmodern revival of interest in new music. The first three concerts featured string quartets and the works of three living composers: two American (Philip Glass and George Crumb) and one Pole (Górecki).[32]
His later work includes a 1992 commission for the Kronos Quartet entitled "Songs are Sung", "Concerto-Cantata" (written in 1992 for flute and orchestra) and "Kleines Requiem für eine Polka". "Concerto-Cantata" and "Kleines Requiem für eine Polka" (1993 for piano and 13 instruments) have been recorded by the London Sinfonietta and the Schönberg Ensemble respectively.[48] "Songs are Sung" is his third string quartet, inspired by a poem by Velimir Khlebnikov. When asked why it took almost thirteen years to finish, he replied, "I continued to hold back from releasing it to the world. I don’t know why."[49] His music has been used by the New Jersey-based Lydia Johnson Dance company during one of their performances.[50]
https://en.wikipedia.org/wiki/Henryk_G%C3%B3recki
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