查看完整版本 : Henryk Górecki - Symphony No. 3 (Symphony of Sorrowful Songs)

bravo998 2010-1-24 05:30 PM

Henryk Górecki - Symphony No. 3 (Symphony of Sorrowful Songs)


[b]Henryk Mikołaj Górecki[/b]
[size=3]Symphony No. 3 (Symphony of Sorrowful Songs) op. 36[/size]

Dawn Upshaw, soprano
London Sinfonietta
David Zinman, conductor

Track Listing:
1. Symphony No. 3: I. Lento - Sostenuto Tranquillo Ma Cantabile   [26:47]
2. Symphony No. 3: II. Lento E Largo - Tranquillissimo   [9:45]
3. Symphony No. 3: III. Lento - Cantablile Semplice   [17:09]

[url=http://en.wikipedia.org/wiki/Symphony_No._3_(Gorecki)]More information (Wikipedia)[/url]

[url=http://www.amazon.com/Henryk-Gorecki-Symphony-Sorrowful-Songs/dp/B000005J1C][size=4]BUY CD[/size][/url]

1 CD  |  MP3 VBR  |  85.3MB

[url=http://www.mediafire.com/?wnrmzojmygw]Download Link[/url]

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bravo998 2010-1-24 05:44 PM


© Photo by Gerry Hurkmans, Amsterdam 1997

(b. 1933, Czernica near Rybnik, Poland)


"I was born in Silesia. . . Old, ancient Polish land. But three cultures have always coexisted there: Polish, Czech, German. . . Why do I like Czech music? Where does my knowledge and liking of German and Austrian music come from? Why do I worship Mozart, Schumann, Schubert, Brahms, Beethoven, Bach? [. . . ] Why am I enamored with Szymanowski and Chopin? Why did I grow up with them? Because at the beginning of my musical education, when I had no idea about music--nothing!--these names were always near me: Beethoven, Chopin, Szymanowski. . . Does one need to consider it in a special way, does one need to think much about this? I do not think so. . . Nobody chooses their time and place of birth."

    Henryk Mikołaj Górecki (Zakopane, Poland, 18 July 1997)

Born on 6 December 1933, Górecki studied composition with Boleslaw Szabelski at the State Higher School of Music (PWSM) in Katowice (1955-1960). After a post-graduate sojourn in Paris, he became a professor of composition at the PWSM in Katowice, and-- in 1975-1979--its Rector. As a composer, he has been known and respected in Poland, but not well-known around the world. The phenomenal success of his Symphony no. 3 (Gramophone's"Best-selling CD in 1993") has astounded many of his contemporaries, especially in Poland, where the work had been known for more than a decade. In his home country Górecki's Third was perceived as one of a series of fascinating compositions, the result of a long and complex creative evolution.

Górecki has worked with great determination to develop his own compositional voice, through assimilating the techniques of his predecessors (Bartók, Szymanowski) and those active around him (Boulez, Xenakis, Nono), and then paring away all elements extraneous to his personal expression. These processes were carried out through the 1950s and 1960s, beginning with the Four Preludes for piano from 1955, his first numbered opus, and reaching full maturity with Old Polish Music from 1969. This is the most radical and dissonant period in his output: in the 1960s, Górecki belonged to the small group of the most avant-garde composers of his time. Together with Penderecki, Serocki, and others he established a pattern for new music: the more dissonance the better, the harsher the sounds, the better. This style of writing, associated with the so-called "Polish school of the 1960s" is alternatively known as "sound mass composition" or "sonoristic composition" - a name taken from "sonorous" or "sounding." In order to reduce music to pure sound, these composers stripped away all elements, except tone color. This path to the essentials is encapsulated by Górecki's Genesis cycle (1962-1963) and the aggressive Scontri for large symphony orchestra (1960)-- a work filled with clashes of vertical and horizontal sound patterns, often organized serially.

During the 1970s, beginning with Ad Matrem (1971) and continuing through to Symphony No. 3 and Beatus Vir (1979), Górecki worked to achieve a direct link between the emotional and spiritual content of texts, both sacred and traditional, and his musical architecture. He sought inspiration in early Polish music: a 13th-century conductus, a 16th-century polyphonic song... . The focus on vocal music throughout this period led quite naturally to an emphasis on melody, with a resulting simplification of the harmonic and textural elements. This gradual progress away from dissonance towards consonance, away from aggressive, dramatic, intense music, towards a more mellow style can be witnessed on the pages of Symphony No. 2, Copernican (1972).

Gorecki in his Katowice studio.
April 1998. Photo by Maja Trochimczyk.

The 1980s saw an expansion of Górecki's compositional resources to encompass radical contrasts in tempo, dynamics, density and harmonic dissonance. These elements cooperated to create a unified, highly concentrated musical expression, manifested in a remarkable series of chamber works, from the trio Lerchenmusik (1984) to Little Requiem for a Polka [Kleines Requiem fur eine Polka] for an ensemble of fourteen instruments (1993). These compositions resound with echoes of Chopin, Beethoven, and Szymanowski. They also draw inspiration from colours and rhythms of folk music: the strong accents, harsh timbres, and relentless ostinati of mountain dances from the Tatras and Podhale region, the melancholy clarinet tunes of Silesia, the impetousness of the Czech--or Silesian--polka. There is so much to admire!.

Symphony No. 3 comes just about the halfway point in Górecki's output to date. For many people, his achievement as a composer is fixed there. It should be known, however, that he has moved on, far beyond, while at the same time carrying forward the musical, emotional and spiritual concerns with which he has been preoccupied from the beginning. For, as the composer states, "music is one of the domains that people really need, and its importance only depends on whether one knows how to receive it."


"Composing is a terribly personal matter: the overcoming of difficulties, gaining knowledge, deciding upon a certain order, a certain method of constructing a new piece. This is important. You have to chose your way, you have to pick a proper path from an infinite number of possibilities. What do I do? In the past I invented and worked out detailed frameworks for my pieces. I had everything prepared and described before the work was composed. This started from the First Symphony; also in Scontri, Monologhi, Elementi I introduced different ways of structuring the pieces. Later I just knew - I had a technique and then other ideas came in ... Let me put it this way: you scholars would want to know too much. Of course it is important to know how a piece is constructed and how it was made. But later this mechanism, this architecture ceases to be all important; the composer thinks about the forms that the music should be "poured into." [...] Music begins with sound. It is always based on some musical association, a musical theme or a structure. Now it is fashionable to say that there are no themes, but they continue to exist. At times I even treated a 12-tone series as a theme. When composing I always begin with introducing some order. I have many things prepared much, much earlier than I begin to compose a piece. In this way I have researched and analyzed the possibilities provided by my materials. However, many pieces that I had worked on have never been finished. I only ordered the materials". [Górecki, unpublished interview with Trochimczyk, 1998]

"I think that music is one of the domains that people really need, and its importance only depends on whether one knows how to receive it. Every person needs to be prepared to know how to "use" music. Not only music -- also literature, painting, sculpture, and film [. . .] Tarkowski said that art is prayer. It is something that I also emphasize. But it is difficult to understand: one has to mature to this thought. It seems to many people that prayer means to "recite the Hail Mary"-- but someone may recite "Hail Mary" as many times as one wants and it will not be prayer. Olivier Messiaen said during a meeting in Katowice that he is a man of prayer. But what does he do? He writes his notes down, he listens to his birds. And this is supposed to be prayer?" [Górecki, interview with Maja Trochimczyk, 1997]


    1960 - First Prize at the Young Composers's Competition of the Polish
        Composers' Union for Monologi I
        1961 - First Prize at the Youth Biennale in Paris for Symphony no. 1 "1959"
        1965 - Award of Third Degree from the Ministry of Culture and Fine Arts
        1968 - First Prize at the Szczecin Composers' Competition for Kantata for organ
        1969 - Award of First Degree from the Ministry of Culture and Fine Arts
        1970 - Annual Award from the Polish Composers' Union
        1973 - First Prize at the UNESCO International Composers Rostrum in Paris for
        Ad Matrem
        1973 - Award of First Degree from the Ministry of Culture and Fine Arts
        1976 - State Award of the First Degree
        1992 - Award of the Ministry of Foreign Affairs
        1994 - Honorary Doctorate from the University of Warsaw


James Harley and Maja Trochimczyk
Polish Music Center / University of Southern California

bravo998 2010-11-13 11:08 AM

Henryk Mikołaj Górecki [December 6, 1933 – November 12, 2010]

Polish composer Henryk Gorecki has died at the age of 76, the country's national orchestra has announced.

He was best known for his Symphony of Sorrowful Songs, which was composed in 1976 and sold more than a million copies following a 1992 re-release. The symphony - part of which drew on an inscription scrawled on a Nazi prison wall during World War II - featured vocals from US soprano Dawn Upshaw. It was often played on radio station Classic FM when it launched in 1992.

Gorecki had been suffering from a prolonged illness, a spokeswoman for Polish Radio's National Symphony Orchestra said.

Henryk Mikolaj Gorecki was born close to the industrial city of Katowice in southern Poland, where he studied music and taught at the city's music academy. His early works were avant-garde in style, and later influenced by folk music of his native land. By the 1970s he had developed the monumental style for which he became famous.

He was often at odds with the communist authorities in Poland and withdrew from public life in the 1980s to concentrate on composing. His Symphony No. 3, which dealt with themes of war and separation in a slow, stark style, became the best-selling record by a contemporary composer.

Gorecki had completed his fourth symphony, the premiere of which was shelved on account of his illness.

Last month he was awarded the Order of the White Eagle, Poland's highest honour.


kenchan10 2010-11-22 01:14 PM

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