Classical

Gorecki - Symphony No.2 'Copernican'. Beatus Vir (2001)

2019-05-11T15:48:12Z

Górecki - Symphony No.2 'Copernican'. Beatus Vir (2001)


1 	Beatus Vir, Op. 38 	31:08

Symphony No. 2 'Copernican', Op. 31 	(36:02)
2 	First Movement 	16:35
3 	Second Movement 	19:27

Zofia Kilanowicz - soprano (tracks: 2, 3) 
Andrzej Dobber - baritone
Silesian Philharmonic Choir, Polish Radio Choir 
Polish National Radio Symphony Orchestra (Katowice)
Antoni Wit - conductor

You might remember Polish composer Henryk Górecki’s best-known work for voice and orchestra, 1976’s Third Symphony (“Symphony of Sorrowful Songs”). After all, David Zinman’s recording for Nonesuch with soprano Dawn Upshaw raced to the top of the classical and pop charts when it was first released in 1992. It might be tempting to understand Górecki by that singular success; in the case of the Second Symphony and Beatus vir, you wouldn’t be too far off base. The Symphony No. 2 “Copernican” was written four years before the Third Symphony; Beatus vir was written in 1979. Both works call for voice and orchestra (as well as mixed choir). By the late 1960s, the composer already had settled into a signature aesthetic that many came to know in the Third Symphony: a lone voice floating over a murmuring pulse, thunderous blows of percussion, massive blocks of orchestral chords, and religiously oriented texts. (The Beatus vir text comes from the Psalms; the Second Symphony, following the work’s subtitle, uses the astronomer’s own words in praise of God, taken from De revolutionibus orbium coelestium.)

For better or worse (depending on your response to the Symphony No. 3), Górecki’s compositional language in these two pieces will be quite familiar. If you find Górecki a compelling artistic voice–and I do–then these performances will be a worthy addition to your library, if not quite as emotionally harrowing an experience as Symphony No. 3. The ethnic connections on this Naxos release run deep: Copernicus was Polish, Beatus vir was commissioned by the Polish Pope, John Paul II (when he was still Cardinal of Cracow), and these artists, uniformly first-rate, are Polish as well. Baritone Andrzej Dobber turns between despondency and strength as the psalms call for, and soprano Zofia Kilanowicz has an appealingly warm tone. Antoni Wit has an admirable track record with Naxos, and this recording is another win for him. The sound is excellent: very focused and rich. ---classicstoday.com

W 1977 roku Górecki otrzymał od metropolity krakowskiego, kardynała Karola Wojtyły, zamówienie na skomponowanie utworu dla uczczenia przypadającej w 1979 roku 900. rocznicy męczeńskiej śmierci św. Stanisława. Przygotowując się do pracy, gromadził – swoim zwyczajem – teksty i zastanawiał się nad wyborem właściwej koncepcji utworu. Tymczasem 16 października 1978 roku Karol Wojtyła został wybrany papieżem. Wydarzenie to wprawiło Góreckiego, jak zresztą większość Polaków, w euforię, jednocześnie jednak spowodowało dylemat – jak, w obliczu tego faktu, powinien wyglądać zamówiony jeszcze przez kardynała utwór?

Co więcej, premierę nowej kompozycji zaplanowano na 9 czerwca 1979 roku, czyli na dzień wizyty papieża Jana Pawła II w Krakowie, podczas jego I pielgrzymki do ojczyzny. Po namyśle kompozytor zdecydował się raz jeszcze sięgnąć do Księgi Psalmów i w końcu – dopiero w kwietniu 1979 roku – przystąpił do intensywnej pracy. W ten sposób powstał Beatus vir na baryton, chór mieszany i orkiestrę. Gotowe dzieło kompozytor dedykował Ojcu Świętemu Janowi Pawłowi II. Górecki sam poprowadził prawykonanie utworu w krakowskim kościele oo. Franciszkanów w obecności papieża, który po zakończeniu koncertu osobiście kompozytorowi podziękował. Głęboko wzruszony Górecki zachował ten dzień w pamięci, zaznaczając później wielokrotnie, że było to najważniejsze wydarzenie w jego życiu.

Charakter Beatus vir wiąże się wyraźnie z atmosferą obu wcześniejszych symfonii kompozytora – II Symfonii „Kopernikowskiej” (w jej drugiej części) i III Symfonii „Symfonii pieśni żałosnych”. Dzieło przenika nastrój modlitewnej kontemplacji o podniosłym, uroczystym charakterze, podkreślonym użyciem monumentalnej obsady – rozbudowanego chóru i wielkiej orkiestry symfonicznej, towarzyszących soliście. W toku utworu dominują wielokrotnie powtarzane akordy, ponad którymi rozwija się spokojna, choć niepozbawiona akcentów o wzmożonej ekspresji, melodia głosu solowego, dialogującego z chórem lub przezeń wzmacnianego. Całość ponad trzydziestominutowej kompozycji toczy się wolno, pozwalając słuchaczowi na zanurzenie się w atmosferze skupionej modlitwy, pełnej żarliwości, pokory i całkowitego zawierzenia Bogu.

Warto dodać, że przyjęcie zamówienia od kardynała Wojtyły, a tym bardziej decyzja o ukończeniu kompozycji w czasie, kiedy został on już obrany papieżem, przysporzyły Góreckiemu wielu kłopotów natury politycznej i ostatecznie przypieczętowały jego rezygnację ze stanowiska rektora katowickiej Państwowej Wyższej Szkoły Muzycznej. ---ninateka.pl

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Gorecki - Symphony of Sorrowful Songs - 3 Olden Style Pieces (1994)

2009-10-22T17:01:22Z

Gorecki - Symphony of Sorrowful Songs - 3 Olden Style Pieces (1994)

Symphony No. 3, Op. 36

1. Movement 1 – Lento sostenuto tranquillo ma cantabile
2. Movement 2 – Lento e largo – tranquillissimo
3. Movement 3 – Lento cantabile semplice

3 Olden Style Pieces

4. I
5. II
6. III

Zofia Kilanowicz, soprano
Polish National Radio Symphony Orchestra
Antoni Wit, conductor

Henryk Gorecki's Symphony No. 3 is a powerful, prayer-like setting of instrumental and vocal music. While considered a modern composer, the work is firmly rooted in the tonal world, often creating a mantra/meditative feel; the 1976 composition is as emotional today, as it was in its own time.

The subtitle "Sorrowful Songs" is lost a little in the Polish translation, where the sense of "Wordless song", "prayer and exhortation", and "elegiac and redemptive lullaby" are qualities involved in the literal translation. The unique orchestration (4 flutes, 2 piccolos, 4 clarinets, 2 bassoons, 4 horns, 4 trombones, harp, piano, and full string ensemble) give a full, rich, intimate, chamber sound, but the beauty of a solo soprano voice adds to the absolute quality of the instruments. In three movements, each conveys a prayer in a contrasting, yet peaceful manner. Ingeniously, the 26-minute first movement is dominated simply by a canon; based on a folk song, the tune is taken up by the double-basses in low tessitura, and each voice enters at a fifth. It begins rather muddy in the lower voices, but, the gently shifting, repetitious nature, as well as the natural crescendo (achieved by adding instruments and increasing register) comes to a powerful climax, of which the movement ends the opposite by subtracting voices. 13 minutes into the opening movement, the mood changes from the kaleidoscopic motion of shifting strings, to full chords, piano attacks, and a prayer sung by soprano over huge, lush string chords. The effects of the first movement are intriguing and intense, but highly satisfying. The nine-minute second movement's text was found on the wall of Cell No. 3 in "The Palace", a Gestapo's headquarters in Zakopane, written by an 18-year old imprisoned in 1944. Lush minor chords open the movement with a rising motive. Exclamation of "Mama, mama, do not weep" referring personally and religiously, is heartbreaking. Again, thick and lush string ensemble chords dominate the texture, but rather than the ever-moving canon of the opening, long sustained, slowly-shifting chords support the pleas of the soprano soloist; the movement ends unresolved. Equally heart-wrenching is the text of the third movement; a mother who fears her son has died at the hands of the enemy, and is buried in an unknown land, asks God's flowers to cover and protect her son. The soprano melody is simple and seemingly folk-based, but more active and dramatic than the preceding movement; feelings of hopelessness and utter sorrow are sincerely portrayed with the endless shifting string chords, which seem more sounds of unearthly, or ancient chordal movements. The 17-minute final movement and the whole work ends in A major, full of hopefulness and a feeling that all of our prayers have been received with the genuine sincerity in which they have been given.

David Zinman and the London Sinfonietta make this music sparkle, with a deep, velvety sheen. I do not feel that the work is overly sappy, but sincere and passionate performances. The sound is wonderfully resonant and speaks well; the orchestra plays magnificently and is captured well on recording. Dawn Upshaw is outstanding, both bright and luscious, she gives each movement a different mood, making the work a dramatic experience which unfolds, rather than a set of movements. David Zinman adds nothing that Gorecki doesn't ask for, and the composers' natural intent is given on this recording. Gorecki's music is engaging and in this case, broaches toward minimalism, rooted in tonality and modality, the prayer-like music never becomes boring or merely repetitious, but it all ends too soon. 15 years after the Zinman performance and 30 years after its composition, the work has an amazingly powerful statement and immense spirituality. A must-have recording. --- Brett A. Kniess, amazon.com

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Gorecki – String Quartets (Royal Quartet) [2011]

2010-03-07T11:17:41Z

Gorecki – String Quartets (Royal Quartet) [2011]

Disc: 1
1. Already it is dusk (String Quartet No 1 - Op 62)
2. Largo-sostenuto-mesto (Quasi una fantasia- String Quartet No 2 - Op 64)
3. Deciso-energico marcatissimo sempre
4. Arioso: Adagio cantabile ma molto espressivo e molto appassionato
5. Allegro sempre con grande passione e molto marcato

Disc: 2
1. Adagio-molto andante-cantabile (... songs are sung (String Quartet No 3- Op 67)
2. Largo- cantabile
3. Allegro -sempre ben marcato
4. Deciso-espressivo ma ben tenuto
5. Largo-tranquillo

Royal String Quartet

Henryk Górecki s intriguing String Quartets, all commissions from the Kronos Quartet, signified a new creative phase in his music. The stark contrasts that had been at the heart of Górecki s compositional thinking in the 1950s and 1960s reemerged in his chamber music of the mid 1980s and are prevalent in these works. Fans of Górecki will be familiar with the compositional devices employed such as open fifths, sustained rocking motifs, and the juxtaposition of dissonance and consonance. In these distinctive quartets both Beethoven and Szymanowski s well-documented influences on the composer are apparent as well as his fascination with the folk cultures of Southern Poland, with the frequent incorporation of folk derived themes. The Royal String Quartet, renowned for the championing of music from their homeland, display an astonishing range of color, finesse and attack in these intelligent interpretations. ---amazon.com

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Henryk Gorecki - Concerto-Cantata, etc (2012)

2012-11-07T17:46:18Z

Henryk Gorecki - Concerto-Cantata, etc (2012)

Male requiem dla pewnej polki (Little Requiem for a Certain Polka), Op.66
1. I. Tranquillo
2. II. Allegro impetuoso – Marcatissimo
3. III. Allegro - Deciso assai
4. IV. Adagio cantabile

Concerto-Cantata, Op. 65
5. I. Recitativo: Lento (quasi molto lento)
6. II. Arioso: Lento assai tranquillissimo - Cantabile – Dolce
7. III. Concertino: Allegro
8. IV. Arioso e corale: Lento - Tranquillo cantabile – Dolce

Harpsichord Concerto, Op. 40 (version for piano and orchestra)
9. I. Allegro molto
10. I. Vivace marcatissimo

3 Dances, Op. 34
11. No. 1. Presto, marcatissimo
12. No. 2. Andante cantabile – Tranquillo
13. No. 3. Presto

Warsaw Philharmonic Orchestra
Anna Górecka (Piano)
Carol Wincenc (Flute)
Antoni Wit – conductor

Having produced what was probably the most commercially successful symphony since the Second World War, what was Henryk Górecki to do next? Some of the answers are given in this CD, which includes the world première recording of the Concerto-Cantata. Both this piece and the Little Requiem - which has been previously recorded - come from the early 1990s when the influence of Arvo Pärt seems to have been particularly strong on Górecki. Both composers shared a similar aesthetic – a move away from the serialistic and avant garde techniques of their youth to a style which has been described not unfairly as ‘holy minimalism’. But there is a degree more strenuousness and muscular about Górecki’s music in these works. We have the tolling bells familiar from such works as Pärt’s Cantus in memoriam Benjamin Britten, but Górecki’s writing for the strings sometimes breaks out violently and there are unexpected eruptions from the brass in the Little Requiem. It should be noted, incidentally, that despite the use of titles for this and the Concerto-Cantata which might lead one to expect vocal pieces like the Symphony of Sorrowful Songs, these are purely instrumental works. The brass eruptions in the Little Requiem form the second movement in a symphony-like structure, with tolling repeated piano chords underpinning the texture. The music subsides back into a very beautiful clarinet solo before the tolling bells return. Anna Górecka (the composer’s daughter) comes into her own in the dynamic and scherzo-like third movement, the ‘polka’ which is almost jazzy in feel. The final movement returns us to the calm of the opening.

The Concerto-Cantata is a very much less troubled work, and the gentle suspensions from the flute over the static background produce a feeling of untroubled calm. This is music of real beauty, balm to the troubled soul, and the sudden eruption of the third movement into a Shostakovich-like scherzo comes as a real shock. The grandiose climax brings a mood of frantic triumph which is not to be found elsewhere in Górecki. Incidentally the composer here at the end uses (from 4:43 onwards) a repeated syncopated triplet phrase from my own composition The Fall of Gondolin (written six years earlier but not publicly performed at that time, so simply a coincidence of course) which brought a moment of delightful and very personal familiarity! The final movement returns us again to the calm of the opening. This is a superb piece and it is very surprising to discover that it has not been recorded in nearly twenty years since it was written.

The Harpsichord Concerto is a much briefer and more turbulent work, and it works well in its guise for piano. It has previously been recorded in its original harpsichord version with string quartet but this seems to be its first recording for piano and orchestra. The flavour here is almost like Prokofiev. The piano lends a percussive edge which works better for that instrument than it did for the harpsichord. The use of a full orchestra helps too.

The much earlier Three Dances do not sound like the Górecki we know and love at all; the first is a Bartók-like Presto marcatissimo which is firmly in the line of familiar central European folkdance arrangements. Even the calmer central movement sounds more like Kodály or Janác(ek than anything we would nowadays identify as Górecki. Only the static harmonies betray any hint of the composer of the Third Symphony. The final dance is a Presto perpetuum mobile which again brings reminiscences of Prokofiev, this time of the Overture on Hebrew themes.

There are other recordings of the Little Requiem, the Harpsichord Concerto and the Three Dances, notably of the first two by the London Sinfonietta (coupled with the beautiful Good night). These performances are fully the equal of those rivals that I have heard. The fact that this disc contains world première recordings of the Concerto-Cantata and the Harpsichord Concerto in its piano-and-orchestra form makes this issue self-recommending. --- Paul Corfield Godfrey, MusicWeb International

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Henryk Gorecki - Kleines Requiem, Lerchenmusik (1995)

2010-03-31T15:11:47Z

Henryk Gorecki - Kleines Requiem, Lerchenmusik (1995)

Kleines Requiem fur eine Polka, op.66 (1993)
1. Tranquillo
2. Allegro Impetuoso – Marcatissimo
3. Allegro – Deciso assai
4. Adagio Cantabile

Lerchenmusik, op.53 (1984)
5. Lento – Largo
6. Molto lento – Tranquillo, Cantabile – Dolce
7. Andante moderato – Tranquillo, Cantabile

Schonberg Ensemble
Reinbert de Leeuw - conductor (and piano)

These two works have been recorded on separate Nonesuch CDs: Kleines Requiem for eine Polka on 79362-2 (coupled with the Harpsichord Concerto and Good Night) and Lerchenmusik on 79257-2 (coupled with the First String Quartet, "Already it is Dusk"). The earlier performances are by members of the London Sinfonietta, conducted by David Zinman in the former work. If you already have them, there is no need to replace the Nonesuch discs, but first-time buyers might well prefer the de Leeuw disc. First of all, it combines the strongest works from each of the two Nonesuch releases. Secondly, de Leeuw and the Schonberg Ensemble commissioned Kleines Requiem and were the first to perform it, so this recording, made just five months after the première, has historical importance. Thirdly, de Leeuw's performances are tougher, and they strongly contradict the unfortunate "New Age" image that has inappropriately settled on Górecki's music since the popular success of the Third Symphony. De Leeuw's timings are comparable to the London Sinfonietta's except in the middle movement of Lerchenmusik, which de Leeuw, de Boer, and Groeneveld take almost 17% more slowly.

As for the music itself, the more I hear these works, the more I respect them. The composer referred to Kleines Requiem as "circus music," but it really is a very serious work, even when it's bitterly flippant, as in the third movement. Lerchenmusic is even heavier - witness the work's granitic opening, in which the cello and piano park themselves on a handful of notes and refuse to budge from them. Later, there is some folk dancing (the second movement) and a hymn tune (the third), but the insistent, uncompromising textures align this work right between the so-called "spiritual minimalism" of the 90s and the Eastern European avant garde of the 60s. There's a strong taste of Messiaen, too; consider the bird song, and also that Lerchenmusic is lacking only a violin for its scoring to be identical to Quartet for the End of Time."

This is very compelling music-making, and well worth your attention. --- Raymond Tuttle, classical.net

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Henryk Gorecki - Piesn Rodzin Katynskich (Song of the Katyń Families) [2008]

2013-11-30T16:47:10Z

Henryk Górecki - Pieśń Rodzin Katyńskich (2008)


1. Pieśń Rodzin Katyńskich (2004)
2. O Domina Nostra (1985)
3. Cantata (1968)
4. Totus Tuus (1987)

Elżbieta Towarnicka - soprano
Andrzej Białko - organ
Jagiellonian University Choir 
Agricultural University Choir and Theological Academy Choir 
Włodzimierz Siedlik – conductor

Sacred music is central to Henryk Mikołaj Górecki (b.1933) and his range of reference to sacred texts or musical idioms is great. On the one hand, there are the simple versions of hymns (Pieśni kościelne [Church Songs], 1986) for unaccompanied choir, on the other, larger-scale choral settings of a text from the psalms (Euntes ibant et flebant, 1972) or even of a single word (Amen, 1975). And then there are the magnificent vocal-orchestral works such as the Second Symphony (1972), Third Symphony (1976) and Beatus vir (1979). This last work was written for and dedicated to the Polish Cardinal Karol Wojtyła and premiered in his presence when he returned to Poland for the first time as Pope John Paul II. Górecki wrote a number of other pieces to mark later visits by the Polish Pope, including one of his best-known a cappella works, Totus Tuus (1987).

Pieśń Rodzin Katyńskich

Pieśń Rodzin Katyńskich (Song of the Katyń Families) is a much more recent work, dating from 2004. It relates closely to the hymnal qualities of Totus Tuus and other intervening choral works, although it is one of Górecki’s simplest settings. Its subject matter is more overtly patriotic, even political with a small ‘p’, than his other pieces.

The story of the cold-blooded massacre of thousands of Polish army officers in the Soviet forest near Katyń in 1940 was for decades a matter which could not be discussed openly in Poland. The USSR accused the Nazis of the atrocities and, although everyone knew that the Soviets were culpable, the Polish authorities, from the end of World War Two until the re-establishment of democracy over four decades later, toed the Soviet line. Nevertheless, shrines to the victims would spring up in cemeteries, especially during the early 1980s, only to be torn down by the authorities.

Katyń has been the subject of a number of Polish compositions, notably Katyń Epitaph (1967) by Andrzej Panufnik and the ‘Libera Me’ (1984) in the Polish Requiem by Krzysztof Penderecki. Górecki’s Pieśń is comparatively modest and takes as its text a poem by Tadeusz Lutoborski. The poet starts with the opening words of the Polish national anthem, but then turns them deftly towards Katyń: ‘Poland has not yet perished as long as Katyń lives’. He exhorts Poles to remember the fate of their fathers in their hearts, strengthened by the enriching love of the ‘Polish Holy Father’. At this point, the music rises from its low register and minor modality for the only time, bringing a clear ray of warmth as the harmony shifts into brighter realms before coming to rest on a resonant E flat major chord. At the very end, Górecki recapitulates the words from the Polish national anthem.

O Domina Nostra

The text for O Domina nostra (1985) was compiled by the composer, using few words: ‘O Domina nostra, Claromontana – Victoriosa, Regina nostra – MARIA. Sancta Maria – ora pro nobis’. It is subtitled ‘Meditation on Our Lady of Jasna góra’, marking the 600th anniversary in 1982 of the arrival of the statue of the Black Madonna at the Jasna Góra monastery in Częstochowa.

The circumstances of its composition were fraught. Górecki began work on the work while recuperating from a life-saving operation in August 1982, but didn’t properly compose the piece until three years later. He made minor revisions in 1990. He dedicated it to the Polish soprano Stefania Woytowicz (who had premiered the Third Symphony), not least because it was thanks to her intervention and that of her husband that Górecki was able to be treated in 1982 at the height of martial law in Poland.

Fittingly for a work dedicated to the most important Catholic icon in Poland, O Domina nostra is deeply meditative. Its generally slow tempo is characteristic of Górecki’s approach to time, as are its essentially modal idiom and repetitive phrasing. It opens with a pedal D natural which supports an organ solo consisting of chant-based lines harmonised with almost exclusively major triads. Its reflective character is taken up by the soprano, whose developing chant outlines the Dorian church mode.

On the word ‘Claromontana’ (Latin for ‘Jasna góra’), the music recalls the initial chordal textures, now forte. Soon, the pedal D is abandoned as the music swells dynamically, to be replaced at the second organ solo by a pedal A flat, whose distance from the ‘home note’ D is emphasised by its dissonant relationship with the fff chordal chanting above. Calm eventually returns, as does the original pedal. The coda sets the words ‘Sancta Maria ora pro nobis’ as if in a trance, the harmonic changes lifting the music’s hands as if in exultant prayer and thanksgiving.

Cantata

Religious terminology has been a part of Górecki’s compositions since his student days. For example, his First Symphony (1959) has two movements entitled ‘Chorał’ and ‘Lauda’. So calling a purely instrumental work Cantata is not a total surprise. This short organ piece won first prize in a competition organised in 1968 by the Szczecin Musical Society for the organ of the cathedral in Kamień Pomorski in northern Poland.

Górecki’s idiom at this time still had a strongly dissonant, avant-garde flavour, its discordant chording enhanced in Cantata by the stop mix of the organ. Sustained, uneventful passages alternate with livelier ones, which are built up of varied repetitions of limited motifs. As he said of the four pieces of the Little Music cycle, on which he was concurrently working, they ‘all tackle the same problem, that of putting the most stringently restricted material to maximum use’. In many ways this has remained Górecki’s compositional aesthetic ever since. --- Adrian Thomas, onpolishmusic.com

Od pewnego miejsca twórczość Henryka Mikołaja Góreckiego podporządkowana jest muzyce religijnej. "Sacrum" wyznacza rozwój jego myśli kompozytorskiej. Korzysta z tekstów liturgicznych, ale i z pojedynczych słów, jak na przykład – "Amen".

Henryk Mikołaj Górecki komponuje utwory na chór a capella oraz na rozbudowaną orkiestrę symfoniczną z chórem i solistami. "Pieśń Rodzin Katyńskich" powstała w 2004 roku, a znajdują się w niej odniesienia do utworów wcześniejszych, takich jak "Totus Tuus". Jej tekst opiera się na wierszu Tadeusza Lutoborskiego, a rozpoczyna się słowami polskiego hymnu narodowego.

Drugi utwór to "O Domina nostra" z podtytułem "Medytacje o Jasnogórskiej Pani Naszej" dedykowany znakomitej sopranistce Stefanii Woytowicz. Tu świetną wykonawczynią jest Elżbieta Towarnicka oraz towarzyszący jej na organach Andrzej Białko. Organista równie perfekcyjnie zaprezentował utwór "Kantata", który zdobył nagrodę na Festiwalu Muzyki Organowej w Kamieniu Pomorskim w 1968 roku. Wreszcie wspomniany hymn skomponowany dla Ojca Świętego na chór mieszany a capella pod dyrekcją Włodzimierza Siedlika. Całość to duch polskości połączony z głęboką religijnością. Cały czas czekamy na kolejne tego typu dzieła. --- Barbara Tenderenda, audio.com.pl

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Henryk Gorecki - Symphony No. 4 'Tansman Episodes' Op. 85 (2016)

2018-04-13T12:29:33Z

Henryk Gorecki - Symphony No. 4 'Tansman Episodes' Op. 85 (2016)


01 – Deciso – Marcatissimo ma ben tenuto
02 – Largo – Ben Tenuto – Marcatissimo
03 – Deciso-Marcatissimo – Tranquillo e Cantabile
04 – Allegro Marcato – Giocosa – Deciso – Marcatissimo 

London Philharmonic Orchestra
Andrey Boreyko - conductor

Nonesuch Records releases the late Henryk Górecki’s final composition, Symphony No. 4, Tansman Episodes, on January 22, 2016. The recording was made during the 2014 world premiere performance at Royal Festival Hall with co-commissioner London Philharmonic Orchestra conducted by Andrey Boreyko. The piece, which pays homage to Górecki’s fellow Polish composer Alexsander Tansman, was incomplete at the time of Górecki’s 2010 death and thus missed its previously scheduled premiere. However the score had precise indications for orchestration, which Górecki’s son Mikolaj, also a composer, used to complete it. The Daily Telegraph said the piece "caps Górecki's reputation as an orchestral composer, but it also contains some surprises. The music … features some brutal juxtapositions of massively powerful music with slow, intimate passages for solo instruments, including prominent parts for piano and organ."

Symphony No. 4 will be released individually and as part of Henryk Górecki: A Nonesuch Retrospective, a seven-disc box set containing all Nonesuch recordings of Górecki works—Lerchenmusik; Symphony No. 3; String Quartets Nos. 1, 2, and 3; Miserere; Kleines Requiem für eine Polka; Harpsichord Concerto; and Good Night. The first vinyl LP of the beloved 1992 Nonesuch recording of Górecki’s Symphony No. 3 also will be released on January 22.

Symphony No. 4 received its US premiere in January of this year, by co-commissioner Los Angeles Philharmonic, and was performed in February by the Netherlands Radio Philharmonic Orchestra at the Concertgebouw (which is home to the piece’s third co-commissioner, the ZaterdagMatinee concert series). This recording was supported by the Adam Mickiewicz Institute as part of the Polska Music program. ---Editor's info, multikulti.com

Górecki, to jeden z najważniejszych polskich kompozytorów. Międzynarodowy rozgłos – i to nie tylko wśród fanów muzyki poważnej – przyniósł mu bezprecedensowy sukces jego „III Symfonii (Symfonia Pieśni Żałosnych)” powstałej do słów wyrytych na ścianie celi przez młodą dziewczynę więzioną w czasie wojny przez gestapo. Poruszające dzieło trafiło do serc gigantycznej liczby słuchaczy. Album sprzedał się ponad milionowym nakładzie, a nagrania sięgnęły szczytów list przebojów w Anglii i USA. W październiku br. ukaże się długo wyczekiwane wydanie ostatniej kompozycji Góreckiego – jego IV Symfonii zatytułowanej „Tansman Episodes”.

Kiedy kompozytor odszedł pięć lat temu wydawało się, że sprawa prestiżowego zamówienia IV Symfonii -(złożonego polskiemu twórcy wspólnie przez: London Philiharmonic Orchestra, South Bank Centre, Los Angeles Philiharmonic i NTR-4) jest już przesądzona. Dzieło pozostało nieukończone i nikt nie miał nadziei, że uda się je kiedykolwiek wykonać. A nadzieje wiązane z tą kompozycją były wyjątkowe. Górecki długo zwlekał zanim podjął się tworzenia arcydzieła, będącego następcą jego słynnej „Symphony of Sorrowful Songs”. Świat jednak wstrzymał oddech, kiedy okazało się, że szkice nowej symfonii są niemal kompletne i wymagają jedynie drobnej pomocy i rozpisania na orkiestrę. Szczęśliwie syn słynnego twórcy – Mikołaj Górecki – tak jak ojciec jest znakomitym kompozytorem. Znając doskonale styl ojca i dysponując odpowiednimi umiejętnościami, podjął się rekonstrukcji i orkiestracji dzieła. Ostatecznie IV Symfonię Henryka Mikołaja Góreckiego wykonano w Londynie a następnie w Los Angeles, a światowa krytyka muzyczna oszalała z zachwytu!

„Wspaniałe pożegnanie” – pisał o dziele recenzent „Boston Globe”. „Pełne czułości, dramatyzmu, ale i pięknej gry. Ambitne, hipnotyczne dzieło” – dodawał. Górecki napisał „Tansman Episodes”, będąc już poważnie chorym. Do tego stopnia, że premiera dzieła w Londynie została odwołana z uwagi na zły stan jego zdrowia. Twórca zmarł w listopadzie 2010 roku. Dzieło swe zadedykował innemu wspaniałemu kompozytorowi o polskich korzeniach – Aleksandrowi Tansmanowi.

Na płycie znalazło się premierowe wykonanie symfonii, które zarejestrowano w 2014 roku w Royal Festival Hall. Grała wówczas London Philharmonic Orchestra pod batutą Andreya Boreyko. To, czego za życia nie zdołał skończyć Henryk Mikołaj Górecki, dokończył jego syn Mikołaj, podążając za dokładnymi instrukcjami, które pozostawił przed śmiercią ojciec. Symfonię chwalono między innymi za niespodziewane zestawienia potężnych i wybujałych emocjonalnie frgmentów, z elementami niezwykle intymnymi i wyciszonymi oraz za znakomite partie solowe organów i fortepianu. ---Editor's info, multikulti.com

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Henryk Gorecki – Miserere etc [1994]

2009-10-22T16:54:02Z

Henryk Gorecki – Miserere etc [1994]


01. Miserere, Opus 44
02. Amen, Opus 35
03. Euntes Ibant Et Flebant, Opus 32
04. Wislo Moja, Wislo Szara (My Vistula, Grey Vistula), Opus 46
05. Szeroka Woda (Broad Waters) - Opus 39 - Lento Malinconico
06. Szeroka Woda - Non Troppo
07. Szeroka Woda - Molto Lento - Dolce Cantabile
08. Szeroka Woda - Lento Sostenuto
09. Szeroka Woda - Maestoso Espressivo

Chigago Symphony Chorus and Chicago Lyric Opera Chorus
John Nelson, Lucy Ding - conductors

Composed during a period of Polish national upheaval in 1981, Miserere is unique among Górecki’s works in its overtly political inspiration. Written for unaccompanied choir, the piece demonstrates the composer’s interest in choral music and his penchant for large-scale, gradually evolving structures. Also included are additional Górecki choral works, with performances by the Chicago Symphony Chorus and Lira Chamber Chorus. ---nonesuch.com

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Henryk Gorecki – String Quartets 1 & 2 (Kronos Quartet) [1993]

2009-10-22T16:55:38Z

Henryk Gorecki – String Quartets 1 & 2 (Kronos Quartet) [1993]

Already It Is Dusk
String Quartet No. 1, Op. 62 (1988)

1) DECISO; MOLTO LENTO-TRANQUILLO; ALLEGRO DECISO-GRIDANDO; 
	MARTELLANDO-TEMPESTOSO; MOLTO LENTO-TRANQUILLISSIMO (13:59)

Quasi una Fantasia
String Quartet No. 2, Op. 64 (1990/91)
2) I. LARGO SOSTENUTO-MESTO (8:07)
3) II. DECISO-ENERGICO; FURIOSO, TRANQUILLO-MESTO (6:45)
4) III. ARIOSO: ADAGIO CANTABILE (7:24)
5) IV. ALLEGRO-SEMPRE CON GRANDE PASSIONE E MOLTO MARCATO; LENTO-TRANQUILLISSIMO (9:31)

KRONOS QUARTET:
David Harrington, violin
John Sherba, violin
Hank Dutt, viola
Joan Jeanrenaud, cello

1993 Elektra/Nonesuch

Kronos Quartet performs Polish composer Henryk Górecki's fist two string quartets for an album Time describes as “sanguine in its magisterial technique and confident in its calm, unmannered directness of expression.” Both pieces were commissioned by Lincoln Center and dedicated to Kronos, marking a renewal of the composer’s interest in instrumental music during a decade of writing mainly for the voice.

"The three string quartets Henryk Górecki wrote for Kronos are a totally unique body of work," writes Kronos Quartet Artistic Director David Harrington of the composer, who passed away earlier today. "With Already it is Dusk, Quasi una fantasia, and ...songs are sung, Górecki extended a tradition that includes Bach and Beethoven, among many others." Read Harrington's personal remembrances here and see photos of Kronos and the composer. ---nonesuch.com

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Henryk Gorecki – Symphony No.3 op.36 (Zinman) [1992]

2009-10-22T16:59:37Z

Henryk Gorecki – Symphony No.3 op.36 (Zinman) [1992]

Symphony No. 3, Op. 36 ("Symphony of Sorrowful Songs") 

1) Lento - sostenuto tranquillo ma cantabile (26:46) 
2) Lento e Largo - tranquillissimo (9:45) 
3) Lento - cantabile semplice (17:09)  

Dawn Upshaw, Soprano 
London Sinfonietta David Zinman, 
Conductor  

Nonesuch 1992

Symphony No. 3, Op. 36, also known as the Symphony of Sorrowful Songs (Polish: Symfonia pie[ni |aBosnych), is a symphony in three movements composed by Henryk Grecki in Katowice, Poland, between October and December 1976. The work is indicative of the transition between Grecki's dissonant earlier manner and his more tonal later style.

A solo soprano sings a different Polish text in each of the three movements. The first is a 15th-century Polish lament of Mary, mother of Jesus, the second a message written on the wall of a Gestapo cell during World War II, and the third a Silesian folk song of mother searching for son killed in the Silesian uprisings. The first and third movements are written from the perspective of a parent who has lost a child, and the second movement from that of a child separated from a parent. The dominant themes of the symphony are motherhood and separation through war.

Until 1992, Grecki was known only to connoisseurs, primarily as one of several composers responsible for the postwar Polish music renaissance. That year, Elektra-Nonesuch released a recording of the 15-year-old symphony that topped the classical charts in Britain and the United States. It has now sold more than a million copies, vastly exceeding the expected lifetime sales of a typical symphonic recording by a 20th-century composer. ---muzikupdate.com

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