Symphony No. 3 (Górecki)
Encyclopedia
The Symphony No. 3, Op
. 36, also known as the Symphony of Sorrowful Songs , is a symphony
in three movement
s composed by Henryk Górecki
in Katowice
, Poland, between October and December 1976. The work is indicative of the transition between Górecki's dissonant earlier manner and his more tonal
later style. It was premièred on 4 April 1977, at the Royan International Festival
, with Stefania Woytowicz as soprano and Ernest Bour
as conductor.
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 Silesia
n folk song of a mother searching for her 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, Górecki 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 chart
s in Britain and the United States. To date, it has sold more than a million copies, vastly exceeding the expected lifetime sales of a typical symphonic recording by a 20th-century composer. This success, however, has failed to generate interest in Górecki's other works.
" by the communist
authorities), post-war Polish composers enjoyed an unprecedented degree of compositional freedom following the establishment of the Warsaw Autumn
festival in 1956. Górecki had won recognition among avant-garde composers for the experimental, dissonant
and serialist
works of his early career; he became visible on the international scene through such modernist works as Scontri, which was a success at the 1960 Warsaw Autumn, and his First Symphony, which was awarded a prize at the 1961 Paris Youth Bienniale. Throughout the 1960s, he continued to form acquaintanceships with other experimental and serialist composers such as Pierre Boulez
and Karlheinz Stockhausen
.
During the 1970s, Górecki began to distance himself from the serialism and extreme dissonance of his earlier work, and his Third Symphony, like the preceding choral pieces Euntes ibant et flebant (Op. 32, 1972) and Amen (Op. 35, 1975), starkly rejects such techniques. The lack of harmonic variation in Górecki's Third Symphony, and its reliance on repetition, marked a stage in Górecki's progression towards the harmonic minimalism
and the simplified textures of his more recent work. Because of the religious nature of many of his works during this period, critics and musicologists often align him with other modernist composers who began to explore radically simplified musical textures, tonality
, and melody
, and who also infused many of their works with religious significance. Like-minded composers, such as Arvo Pärt
and John Tavener
, are frequently grouped with Górecki under the term "holy minimalism
," although none of the composers classified as such have admitted to common influences.
Adolf Dygacz in search of traditional melodies to incorporate in a new work. Dygacz presented four songs which had been recorded in the Silesia
region in south-western Poland. Górecki was impressed by the melody "Where has he gone, my dear young son" (Kajze mi sie podzioł mój synocek miły), which describes a mother's mourning for a son lost in war, and probably dates from the Silesian Uprisings of 1919–21. Górecki had heard a version of the song in the 1960s and had not been impressed by the arrangement, but the words and the melody of Dygacz's new version made a lasting impression on him. He said "for me, it is a wonderfully poetic text. I do not know if a 'professional' poet would create such a powerful entity out of such terse, simple words. It is not sorrow, despair or resignation, or the wringing of hands: it is just the great grief and lamenting of a mother who has lost her son."
Later that year Górecki learned of an inscription scrawled on the wall of a cell of a Gestapo
prison in the town of Zakopane
, which lies at the foot of the Tatra mountains
in southern Poland. The words were those of 18-year-old Helena Wanda Błażusiakówna, a highland woman incarcerated on 25 September 1944. It read O Mamo nie płacz nie—Niebios Przeczysta Królowo Ty zawsze wspieraj mnie (Oh Mamma do not cry—Immaculate Queen of Heaven support me always). The composer recalled, "I have to admit that I have always been irritated by grand words, by calls for revenge. Perhaps in the face of death I would shout out in this way. But the sentence I found is different, almost an apology or explanation for having got herself into such trouble; she is seeking comfort and support in simple, short but meaningful words". He later explained, "In prison, the whole wall was covered with inscriptions screaming out loud: 'I'm innocent', 'Murderers', 'Executioners', 'Free me', 'You have to save me'—it was all so loud, so banal. Adults were writing this, while here it is an eighteen-year-old girl, almost a child. And she is so different. She does not despair, does not cry, does not scream for revenge. She does not think about herself; whether she deserves her fate or not. Instead, she only thinks about her mother: because it is her mother who will experience true despair. This inscription was something extraordinary. And it really fascinated me."
Górecki now had two texts: one from a mother to her son, the other from a daughter to her mother. While looking for a third that would continue the theme, he decided on a mid-15th century folk song
from the southern city of Opole
. Its text contains a passage in which the Virgin Mary speaks to her Son
dying on the cross: "O my son, beloved and chosen, Share your wounds with your mother ..." (Synku miły i wybrany, Rozdziel z matką swoje rany ...). Górecki said, "this text was folk-like, anonymous. So now I had three acts, three persons ... Originally, I wanted to frame these texts with an introduction and a conclusion. I even chose two verses (5 and 6) from Psalm 93/94 in the translation by Wujek: 'They humiliated Your people, O Lord, and afflicted Your heritage, they killed the widow and the passer-by, murdered the orphans.'" However, he rejected this format because he believed the structure would position the work as a symphony "about war". Górecki sought to transcend such specifics, and instead structured the work as three independent lament
s.
al modes, but does not adhere strictly to medieval rules of composition. A performance typically lasts about 54 minutes. Ronald Blum describes the piece as "mournful, like Mahler
, but without the bombast of percussion, horns and choir, just the sorrow of strings and the lone soprano". The work consists of three elegiac
movements, each marked Lento to indicate their slow tempi. Strings dominate the musical textures and the music is rarely loud—the dynamics reach fortissimo in only a few bars.
The symphony is scored for solo soprano
, four flute
s (two players doubling on piccolo
s), four clarinet
s in B, two bassoon
s, two contrabassoon
s, four horn
s in F, four trombone
s, harp
, piano
and strings
. Górecki specifies exact complements for the string forces: 16 first violin
s, 14 second violins, 12 viola
s, 10 cello
s, and 8 double bass
es. Unusually, there are neither oboe
s nor English horns in this score. The bassoons, contrabassoons, and trombones play only in the first movement, and only for a few bars (bassoons and contrabassoons: 339–342 and 362–369; trombones: 343–348 and 367–369).
For most of the score, these are in turn divided into two parts, each notated on a separate staff
. Thus the string writing is mainly in ten different parts, on ten separate staves. In some sections some of these parts are divided even further into separate parts, which are written on the same staff, so that ten staves are still used for a greater number of parts.
Parts for transposing instrument
s (clarinets and horns) are written at actual pitch in the score. However, the usual octave transpositions are kept for piccolos, contrabassoons, and double basses – but their clefs have a small "8" added above (when a treble clef is used) or below (when a bass clef is used) to indicate the octave transposition. This is not traditionally done in classical orchestral scores, but is done by some twentieth-century composers.
The musicologist Adrian Thomas notes that the symphony lacks dissonance
outside of modal
inflections (that is, occasional use of pitches that fall outside the mode), and that it does not require nonstandard techniques or virtuosic
playing. Thomas further observes that "there is no second-hand stylistic referencing, although if predecessors were to be sought they might be found, distantly removed, in the music of composers as varied as Bach, Schubert
, Tchaikovsky, and even Debussy
."
of Mary
from the Lysagora Songs collection of the Holy Cross Monastery (Św. Krzyż Monastery) in the Świętokrzyskie Mountains
. Comprising three thematic
sections, the movement opens with a canon
based on a 24-bar theme, which is repeated several times. The canon begins in 2 parts; then, for each repetition of the theme, an extra part is added, until the canon is in eight parts (with the top two parts doubled at the octave, making for ten voices total), using a 24-bar melody in the Aeolian mode
on E. It begins with the double basses, 2nd part, with each succeeding entry occurring one measure later (i.e., a new entry begins every 25 measures), each starting a diatonic fifth
above the last. That means that each appearance of the melody in a new part is in a different mode, in this order:
After the 8-part canon is played, it is repeated, with the 1st parts of the 1st and 2nd violins (silent up to this point) doubling the other violin parts an octave higher.
After that, the canon continues, but the voices gradually drop out one by one, from the lowest upwards; but the instruments in question, instead of falling silent, double a higher voice that is still playing. Eventually the canon ends, with all the strings (except the double basses) ending on a single note, E4.
The soprano enters on the same note in the second section and builds to a climax on the final word, at which point the strings enter forcefully with the climax of the opening canon. The third section of the movement (Lento—Cantabile semplice) is a long dénouement, another canon based on the same melody in the opening canon; but this time it starts with 8 parts (the top two doubled in octaves), and the voices drop out, one by one, from high to low, leaving the movement to end with the second double basses playing the melody alone once more.
formed from the prayer to the Virgin Mary inscribed by Blazusiakówna on the cell wall in Zakopane
. According to the composer, "I wanted the second movement to be of a highland character, not in the sense of pure folklore, but the climate of Podhale
... I wanted the girl's monologue as if hummed ... on the one hand almost unreal, on the other towering over the orchestra."
The movement opens with a folk drone
, A–E, and a melodic fragment, E–G–F, which alternate with sudden plunges to a low B–D dyad
. Thomas describes the effect as "almost cinematic ... suggest[ing] the bright open air of the mountains". As the soprano begins to sing, her words are supported by the orchestra until she reaches a climaxing top A. The movement is resolved when the strings hold a chord without diminuendo
for nearly one and a half minutes. The final words of the movement are the first two lines of the Polish Ave Maria
, sung twice on a repeated pitch by the soprano.
make it more complex and involving than it may at first appear. With a duration of approximately seventeen minutes, it comprises three verses in A minor
and, like the first movement, is constructed from evolving variations on a simple motif. The melody is established in the opening verse, and the second and third verses revisit the cradling motifs of the second movement. As in the second movement, the motifs are built up from inversions of plain triad
s and seventh chord
s stretching across several octaves. As the soprano sings the final words, the key changes to a pure diatonic A major
which accompanies, in writer David Ellis's words, the "ecstatic final stanza":
The orchestra returns to A minor before a final postlude in A major. In Górecki's own words: "Finally there came that unvarying, persistent, obstinate 'walczyk' [on the chord of A], sounding well when played piano, so that all the notes were audible. For the soprano, I used a device characteristic of highland singing: suspending the melody on the third [C] and descending from the fifth to the third while the ensemble moves stepwise downward [in sixths]".
Górecki said of the work, "Many of my family died in concentration camps. I had a grandfather who was in Dachau, an aunt in Auschwitz. You know how it is between Poles and Germans. But Bach was a German too—and Schubert, and Strauss. Everyone has his place on this little earth. That's all behind me. So the Third Symphony is not about war; it's not a Dies Irae
; it's a normal Symphony of Sorrowful Songs."
conducting, was reviewed by six western critics, all of them harshly dismissive. Heinz Koch, writing for Musica, said that the symphony "drags through three old folk melodies (and nothing else) for an endless 55 minutes".
In 1985, the French filmmaker Maurice Pialat
featured a section of the third movement in the ending credits of his movie Police
. When the work was later repackaged as a "soundtrack album
", it sold well, although the sleeve notes provided little information about the work, and Górecki's name appeared in smaller type than those of the main actors. In the mid-1980s, British industrial music
group Test Dept
used the symphony as a backdrop for video collage
s during their concerts, recasting the symphony as a vehicle for the band's sympathy with the Polish Solidarity movement, which Górecki also supported (his 1981 piece Miserere
was composed in part as a response to government opposition of Solidarity trade unions). During the late 1980s, the symphony received increasing airplay on US and British classical radio stations, notably Classic FM
. The fall of communism helped to spread the popularity of Polish music generally, and by 1990 the symphony was being performed in major cities such as New York, London and Sydney. A 1991 recording with the London Sinfonietta
, conducted
by David Zinman
and featuring the soloist Dawn Upshaw
, was released in 1992 by the Elektra
imprint Nonesuch Records
. Within two years, the recording had sold more than 700,000 copies worldwide; the recording climbed to number 6 on the mainstream UK album charts, and while it did not appear on the US Billboard 200
, it stayed at the top of the US classical charts for 38 weeks and stayed on for 138 weeks. The Zinman/Upshaw recording has sold over a million copies.
The writer Michael Steinberg
described the symphony's success as essentially a phenomenon of the compact disc
, and while live performances are still given, they do not always sell out. Some critics, wondering at the sudden success of the piece nearly two decades after its composition, suggest that it resonated with a particular mood in the popular culture at the time. Stephen Johnson, writing in A guide to the symphony, wondered whether the commercial success of the work was "a flash in the pan" or would turn out to have lasting significance. In 1998, the critic Michael Steinberg asked, "[are people] really listening to this symphony? How many CD buyers discover that fifty-four minutes of very slow music with a little singing in a language they don't understand is more than they want? Is it being played as background music to Chardonnay and brie?" Steinberg compared the success of Górecki's symphony to the Doctor Zhivago
phenomenon of 1958: "Everybody rushed to buy the book; few managed actually to read it. The appearance of the movie in 1965 rescued us all from the necessity." Górecki was as surprised as any one else at the recording's success, and later speculated that "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."
At least a dozen recordings were issued in the wake of the success of the Nonesuch recording, and the work enjoyed significant exposure in a number of artistic media worldwide. The work was repeatedly used by filmmakers in the 1990s to elicit a sense of pathos or sorrow, including as an accompaniment to a plane crash in Peter Weir
's Fearless
(1993), and in the soundtrack to Julian Schnabel
's Basquiat (1996). An art gallery in Santa Fe, New Mexico
opened an exhibit in 1995 dedicated entirely to visual art inspired by the piece. In 1995 German rock band Faust
used the symphony in a music concrete piece "Eroberung Der Stille Teil 1" which can be found on their "Rien" CD. In 1997, the symphony was sampled for the song "Gorecki
" by the English trip-hop act Lamb
, which peaked at number 30 on the UK singles charts in 1997.
Opus number
An Opus number , pl. opera and opuses, abbreviated, sing. Op. and pl. Opp. refers to a number generally assigned by composers to an individual composition or set of compositions on publication, to help identify their works...
. 36, also known as the Symphony of Sorrowful Songs , is a symphony
Symphony
A symphony is an extended musical composition in Western classical music, scored almost always for orchestra. A symphony usually contains at least one movement or episode composed according to the sonata principle...
in three movement
Movement (music)
A movement is a self-contained part of a musical composition or musical form. While individual or selected movements from a composition are sometimes performed separately, a performance of the complete work requires all the movements to be performed in succession...
s composed by Henryk Górecki
Henryk Górecki
Henryk Mikołaj Górecki was a composer of contemporary classical music. He studied at the State Higher School of Music in Katowice between 1955 and 1960. In 1968, he joined the faculty and rose to provost before resigning in 1979. Górecki became a leading figure of the Polish avant-garde during...
in Katowice
Katowice
Katowice is a city in Silesia in southern Poland, on the Kłodnica and Rawa rivers . Katowice is located in the Silesian Highlands, about north of the Silesian Beskids and about southeast of the Sudetes Mountains.It is the central district of the Upper Silesian Metropolis, with a population of 2...
, Poland, between October and December 1976. The work is indicative of the transition between Górecki's dissonant earlier manner and his more tonal
Tonality
Tonality is a system of music in which specific hierarchical pitch relationships are based on a key "center", or tonic. The term tonalité originated with Alexandre-Étienne Choron and was borrowed by François-Joseph Fétis in 1840...
later style. It was premièred on 4 April 1977, at the Royan International Festival
Royan Festival
The Royan Festival was held in Royan from 1964 to 1977. It was a multi-disciplinary annual event, bringing together:* an important contemporary music festival;...
, with Stefania Woytowicz as soprano and Ernest Bour
Ernest Bour
Ernest Bour was a French conductor. Born in Thionville, Moselle, Bour studied at both the University and the Conservatoire of Strasbourg...
as conductor.
A solo soprano
Soprano
A soprano is a voice type with a vocal range from approximately middle C to "high A" in choral music, or to "soprano C" or higher in operatic music. In four-part chorale style harmony, the soprano takes the highest part, which usually encompasses the melody...
sings a different Polish text in each of the three movements. The first is a 15th-century Polish lament of Mary, mother of Jesus
Mary (mother of Jesus)
Mary , commonly referred to as "Saint Mary", "Mother Mary", the "Virgin Mary", the "Blessed Virgin Mary", or "Mary, Mother of God", was a Jewish woman of Nazareth in Galilee...
, the second a message written on the wall of a Gestapo
Gestapo
The Gestapo was the official secret police of Nazi Germany. Beginning on 20 April 1934, it was under the administration of the SS leader Heinrich Himmler in his position as Chief of German Police...
cell during World War II, and the third a Silesia
Silesia
Silesia is a historical region of Central Europe located mostly in Poland, with smaller parts also in the Czech Republic, and Germany.Silesia is rich in mineral and natural resources, and includes several important industrial areas. Silesia's largest city and historical capital is Wrocław...
n folk song of a mother searching for her son killed in the Silesian uprisings
Silesian Uprisings
The Silesian Uprisings were a series of three armed uprisings of the Poles and Polish Silesians of Upper Silesia, from 1919–1921, against German rule; the resistance hoped to break away from Germany in order to join the Second Polish Republic, which had been established in the wake of World War I...
. 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, Górecki 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 chart
Record chart
A record chart is a ranking of recorded music according to popularity during a given period of time. Examples of music charts are the Hit parade, Hot 100 or Top 40....
s in Britain and the United States. To date, it has sold more than a million copies, vastly exceeding the expected lifetime sales of a typical symphonic recording by a 20th-century composer. This success, however, has failed to generate interest in Górecki's other works.
Background
Despite a political climate that was unfavorable to modern art (often denounced as "formalistFormalism (music)
In music theory and especially in the branch of study called the aesthetics of music, formalism is the concept that a composition's meaning is entirely determined by its form.-Aesthetic theory:Leonard B...
" by the communist
Communism
Communism is a social, political and economic ideology that aims at the establishment of a classless, moneyless, revolutionary and stateless socialist society structured upon common ownership of the means of production...
authorities), post-war Polish composers enjoyed an unprecedented degree of compositional freedom following the establishment of the Warsaw Autumn
Warsaw Autumn
Warsaw Autumn is the largest international Polish festival of contemporary music. Indeed, for many years, it was the only festival of its type in Central and Eastern Europe. It was founded in 1956 by two composers, Tadeusz Baird and Kazimierz Serocki, and officially established by the Head Board...
festival in 1956. Górecki had won recognition among avant-garde composers for the experimental, dissonant
Consonance and dissonance
In music, a consonance is a harmony, chord, or interval considered stable, as opposed to a dissonance , which is considered to be unstable...
and serialist
Serialism
In music, serialism is a method or technique of composition that uses a series of values to manipulate different musical elements. Serialism began primarily with Arnold Schoenberg's twelve-tone technique, though his contemporaries were also working to establish serialism as one example of...
works of his early career; he became visible on the international scene through such modernist works as Scontri, which was a success at the 1960 Warsaw Autumn, and his First Symphony, which was awarded a prize at the 1961 Paris Youth Bienniale. Throughout the 1960s, he continued to form acquaintanceships with other experimental and serialist composers such as Pierre Boulez
Pierre Boulez
Pierre Boulez is a French composer of contemporary classical music, a pianist, and a conductor.-Early years:Boulez was born in Montbrison, Loire, France. As a child he began piano lessons and demonstrated aptitude in both music and mathematics...
and Karlheinz Stockhausen
Karlheinz Stockhausen
Karlheinz Stockhausen was a German composer, widely acknowledged by critics as one of the most important but also controversial composers of the 20th and early 21st centuries. Another critic calls him "one of the great visionaries of 20th-century music"...
.
During the 1970s, Górecki began to distance himself from the serialism and extreme dissonance of his earlier work, and his Third Symphony, like the preceding choral pieces Euntes ibant et flebant (Op. 32, 1972) and Amen (Op. 35, 1975), starkly rejects such techniques. The lack of harmonic variation in Górecki's Third Symphony, and its reliance on repetition, marked a stage in Górecki's progression towards the harmonic minimalism
Minimalist music
Minimal music is a style of music associated with the work of American composers La Monte Young, Terry Riley, Steve Reich, and Philip Glass. It originated in the New York Downtown scene of the 1960s and was initially viewed as a form of experimental music called the New York Hypnotic School....
and the simplified textures of his more recent work. Because of the religious nature of many of his works during this period, critics and musicologists often align him with other modernist composers who began to explore radically simplified musical textures, tonality
Tonality
Tonality is a system of music in which specific hierarchical pitch relationships are based on a key "center", or tonic. The term tonalité originated with Alexandre-Étienne Choron and was borrowed by François-Joseph Fétis in 1840...
, and melody
Melody
A melody , also tune, voice, or line, is a linear succession of musical tones which is perceived as a single entity...
, and who also infused many of their works with religious significance. Like-minded composers, such as Arvo Pärt
Arvo Pärt
Arvo Pärt is an Estonian classical composer and one of the most prominent living composers of sacred music. Since the late 1970s, Pärt has worked in a minimalist style that employs his self-made compositional technique, tintinnabuli. His music also finds its inspiration and influence from...
and John Tavener
John Tavener
Sir John Tavener is a British composer, best known for such religious, minimal works as "The Whale", and "Funeral Ikos"...
, are frequently grouped with Górecki under the term "holy minimalism
Holy minimalism
Holy minimalism, mystic minimalism, spiritual minimalism, or sacred minimalism are terms used to refer to a number of late-twentieth-century composers of Western classical music, whose works are distinguished by a minimalist compositional aesthetic and a distinctly religious or mystical subject...
," although none of the composers classified as such have admitted to common influences.
Composition
In 1973, Górecki approached the Polish folkloristFolklore
Folklore consists of legends, music, oral history, proverbs, jokes, popular beliefs, fairy tales and customs that are the traditions of a culture, subculture, or group. It is also the set of practices through which those expressive genres are shared. The study of folklore is sometimes called...
Adolf Dygacz in search of traditional melodies to incorporate in a new work. Dygacz presented four songs which had been recorded in the Silesia
Silesia
Silesia is a historical region of Central Europe located mostly in Poland, with smaller parts also in the Czech Republic, and Germany.Silesia is rich in mineral and natural resources, and includes several important industrial areas. Silesia's largest city and historical capital is Wrocław...
region in south-western Poland. Górecki was impressed by the melody "Where has he gone, my dear young son" (Kajze mi sie podzioł mój synocek miły), which describes a mother's mourning for a son lost in war, and probably dates from the Silesian Uprisings of 1919–21. Górecki had heard a version of the song in the 1960s and had not been impressed by the arrangement, but the words and the melody of Dygacz's new version made a lasting impression on him. He said "for me, it is a wonderfully poetic text. I do not know if a 'professional' poet would create such a powerful entity out of such terse, simple words. It is not sorrow, despair or resignation, or the wringing of hands: it is just the great grief and lamenting of a mother who has lost her son."
Later that year Górecki learned of an inscription scrawled on the wall of a cell of a Gestapo
Gestapo
The Gestapo was the official secret police of Nazi Germany. Beginning on 20 April 1934, it was under the administration of the SS leader Heinrich Himmler in his position as Chief of German Police...
prison in the town of Zakopane
Zakopane
Zakopane , is a town in southern Poland. It lies in the southern part of the Podhale region at the foot of the Tatra Mountains. From 1975 to 1998 it was in of Nowy Sącz Province, but since 1999 it has been in Lesser Poland Province. It had a population of about 28,000 as of 2004. Zakopane is a...
, which lies at the foot of the Tatra mountains
Tatra Mountains
The Tatra Mountains, Tatras or Tatra , are a mountain range which forms a natural border between Slovakia and Poland, and are the highest mountain range in the Carpathian Mountains...
in southern Poland. The words were those of 18-year-old Helena Wanda Błażusiakówna, a highland woman incarcerated on 25 September 1944. It read O Mamo nie płacz nie—Niebios Przeczysta Królowo Ty zawsze wspieraj mnie (Oh Mamma do not cry—Immaculate Queen of Heaven support me always). The composer recalled, "I have to admit that I have always been irritated by grand words, by calls for revenge. Perhaps in the face of death I would shout out in this way. But the sentence I found is different, almost an apology or explanation for having got herself into such trouble; she is seeking comfort and support in simple, short but meaningful words". He later explained, "In prison, the whole wall was covered with inscriptions screaming out loud: 'I'm innocent', 'Murderers', 'Executioners', 'Free me', 'You have to save me'—it was all so loud, so banal. Adults were writing this, while here it is an eighteen-year-old girl, almost a child. And she is so different. She does not despair, does not cry, does not scream for revenge. She does not think about herself; whether she deserves her fate or not. Instead, she only thinks about her mother: because it is her mother who will experience true despair. This inscription was something extraordinary. And it really fascinated me."
Górecki now had two texts: one from a mother to her son, the other from a daughter to her mother. While looking for a third that would continue the theme, he decided on a mid-15th century folk song
Folk music
Folk music is an English term encompassing both traditional folk music and contemporary folk music. The term originated in the 19th century. Traditional folk music has been defined in several ways: as music transmitted by mouth, as music of the lower classes, and as music with unknown composers....
from the southern city of Opole
Opole
Opole is a city in southern Poland on the Oder River . It has a population of 125,992 and is the capital of the Upper Silesia, Opole Voivodeship and, also the seat of Opole County...
. Its text contains a passage in which the Virgin Mary speaks to her Son
Jesus
Jesus of Nazareth , commonly referred to as Jesus Christ or simply as Jesus or Christ, is the central figure of Christianity...
dying on the cross: "O my son, beloved and chosen, Share your wounds with your mother ..." (Synku miły i wybrany, Rozdziel z matką swoje rany ...). Górecki said, "this text was folk-like, anonymous. So now I had three acts, three persons ... Originally, I wanted to frame these texts with an introduction and a conclusion. I even chose two verses (5 and 6) from Psalm 93/94 in the translation by Wujek: 'They humiliated Your people, O Lord, and afflicted Your heritage, they killed the widow and the passer-by, murdered the orphans.'" However, he rejected this format because he believed the structure would position the work as a symphony "about war". Górecki sought to transcend such specifics, and instead structured the work as three independent lament
Lament
A lament or lamentation is a song, poem, or piece of music expressing grief, regret, or mourning.-History:Many of the oldest and most lasting poems in human history have been laments. Laments are present in both the Iliad and the Odyssey, and laments continued to be sung in elegiacs accompanied by...
s.
Instrumentation and score
The symphony is constructed around simple harmonies, set in a neo-modal style which makes use of the medieval musicMedieval music
Medieval music is Western music written during the Middle Ages. This era begins with the fall of the Roman Empire and ends sometime in the early fifteenth century...
al modes, but does not adhere strictly to medieval rules of composition. A performance typically lasts about 54 minutes. Ronald Blum describes the piece as "mournful, like Mahler
Gustav Mahler
Gustav Mahler was a late-Romantic Austrian composer and one of the leading conductors of his generation. He was born in the village of Kalischt, Bohemia, in what was then Austria-Hungary, now Kaliště in the Czech Republic...
, but without the bombast of percussion, horns and choir, just the sorrow of strings and the lone soprano". The work consists of three elegiac
Elegiac
Elegiac refers either to those compositions that are like elegies or to a specific poetic meter used in Classical elegies. The Classical elegiac meter has two lines, making it a couplet: a line of dactylic hexameter, followed by a line of dactylic pentameter...
movements, each marked Lento to indicate their slow tempi. Strings dominate the musical textures and the music is rarely loud—the dynamics reach fortissimo in only a few bars.
The symphony is scored for solo soprano
Soprano
A soprano is a voice type with a vocal range from approximately middle C to "high A" in choral music, or to "soprano C" or higher in operatic music. In four-part chorale style harmony, the soprano takes the highest part, which usually encompasses the melody...
, four flute
Flute
The flute is a musical instrument of the woodwind family. Unlike woodwind instruments with reeds, a flute is an aerophone or reedless wind instrument that produces its sound from the flow of air across an opening...
s (two players doubling on piccolo
Piccolo
The piccolo is a half-size flute, and a member of the woodwind family of musical instruments. The piccolo has the same fingerings as its larger sibling, the standard transverse flute, but the sound it produces is an octave higher than written...
s), four clarinet
Clarinet
The clarinet is a musical instrument of woodwind type. The name derives from adding the suffix -et to the Italian word clarino , as the first clarinets had a strident tone similar to that of a trumpet. The instrument has an approximately cylindrical bore, and uses a single reed...
s in B, two bassoon
Bassoon
The bassoon is a woodwind instrument in the double reed family that typically plays music written in the bass and tenor registers, and occasionally higher. Appearing in its modern form in the 19th century, the bassoon figures prominently in orchestral, concert band and chamber music literature...
s, two contrabassoon
Contrabassoon
The contrabassoon, also known as the double bassoon or double-bassoon, is a larger version of the bassoon, sounding an octave lower...
s, four horn
Horn (instrument)
The horn is a brass instrument consisting of about of tubing wrapped into a coil with a flared bell. A musician who plays the horn is called a horn player ....
s in F, four trombone
Trombone
The trombone is a musical instrument in the brass family. Like all brass instruments, sound is produced when the player’s vibrating lips cause the air column inside the instrument to vibrate...
s, harp
Harp
The harp is a multi-stringed instrument which has the plane of its strings positioned perpendicularly to the soundboard. Organologically, it is in the general category of chordophones and has its own sub category . All harps have a neck, resonator and strings...
, piano
Piano
The piano is a musical instrument played by means of a keyboard. It is one of the most popular instruments in the world. Widely used in classical and jazz music for solo performances, ensemble use, chamber music and accompaniment, the piano is also very popular as an aid to composing and rehearsal...
and strings
String section
The string section is the largest body of the standard orchestra and consists of bowed string instruments of the violin family.It normally comprises five sections: the first violins, the second violins, the violas, the cellos, and the double basses...
. Górecki specifies exact complements for the string forces: 16 first violin
Violin
The violin is a string instrument, usually with four strings tuned in perfect fifths. It is the smallest, highest-pitched member of the violin family of string instruments, which includes the viola and cello....
s, 14 second violins, 12 viola
Viola
The viola is a bowed string instrument. It is the middle voice of the violin family, between the violin and the cello.- Form :The viola is similar in material and construction to the violin. A full-size viola's body is between and longer than the body of a full-size violin , with an average...
s, 10 cello
Cello
The cello is a bowed string instrument with four strings tuned in perfect fifths. It is a member of the violin family of musical instruments, which also includes the violin, viola, and double bass. Old forms of the instrument in the Baroque era are baryton and viol .A person who plays a cello is...
s, and 8 double bass
Double bass
The double bass, also called the string bass, upright bass, standup bass or contrabass, is the largest and lowest-pitched bowed string instrument in the modern symphony orchestra, with strings usually tuned to E1, A1, D2 and G2...
es. Unusually, there are neither oboe
Oboe
The oboe is a double reed musical instrument of the woodwind family. In English, prior to 1770, the instrument was called "hautbois" , "hoboy", or "French hoboy". The spelling "oboe" was adopted into English ca...
s nor English horns in this score. The bassoons, contrabassoons, and trombones play only in the first movement, and only for a few bars (bassoons and contrabassoons: 339–342 and 362–369; trombones: 343–348 and 367–369).
For most of the score, these are in turn divided into two parts, each notated on a separate staff
Staff (music)
In standard Western musical notation, the staff, or stave, is a set of five horizontal lines and four spaces that each represent a different musical pitch—or, in the case of a percussion staff, different percussion instruments. Appropriate music symbols, depending upon the intended effect,...
. Thus the string writing is mainly in ten different parts, on ten separate staves. In some sections some of these parts are divided even further into separate parts, which are written on the same staff, so that ten staves are still used for a greater number of parts.
Parts for transposing instrument
Transposing instrument
A transposing instrument is a musical instrument for which written notes are read at a pitch different from the corresponding concert pitch, which a non-transposing instrument, such as a piano, would play. Playing a written C on a transposing instrument will produce a note other than concert C...
s (clarinets and horns) are written at actual pitch in the score. However, the usual octave transpositions are kept for piccolos, contrabassoons, and double basses – but their clefs have a small "8" added above (when a treble clef is used) or below (when a bass clef is used) to indicate the octave transposition. This is not traditionally done in classical orchestral scores, but is done by some twentieth-century composers.
The musicologist Adrian Thomas notes that the symphony lacks dissonance
Consonance and dissonance
In music, a consonance is a harmony, chord, or interval considered stable, as opposed to a dissonance , which is considered to be unstable...
outside of modal
Musical mode
In the theory of Western music since the ninth century, mode generally refers to a type of scale. This usage, still the most common in recent years, reflects a tradition dating to the middle ages, itself inspired by the theory of ancient Greek music.The word encompasses several additional...
inflections (that is, occasional use of pitches that fall outside the mode), and that it does not require nonstandard techniques or virtuosic
Virtuoso
A virtuoso is an individual who possesses outstanding technical ability in the fine arts, at singing or playing a musical instrument. The plural form is either virtuosi or the Anglicisation, virtuosos, and the feminine form sometimes used is virtuosa...
playing. Thomas further observes that "there is no second-hand stylistic referencing, although if predecessors were to be sought they might be found, distantly removed, in the music of composers as varied as Bach, Schubert
Franz Schubert
Franz Peter Schubert was an Austrian composer.Although he died at an early age, Schubert was tremendously prolific. He wrote some 600 Lieder, nine symphonies , liturgical music, operas, some incidental music, and a large body of chamber and solo piano music...
, Tchaikovsky, and even Debussy
Claude Debussy
Claude-Achille Debussy was a French composer. Along with Maurice Ravel, he was one of the most prominent figures working within the field of impressionist music, though he himself intensely disliked the term when applied to his compositions...
."
Lento—Sostenuto tranquillo ma cantabile
Typically 27 minutes in duration, the first movement equals the combined length of the second and third movements, and is based on a late-15th century lamentLament
A lament or lamentation is a song, poem, or piece of music expressing grief, regret, or mourning.-History:Many of the oldest and most lasting poems in human history have been laments. Laments are present in both the Iliad and the Odyssey, and laments continued to be sung in elegiacs accompanied by...
of Mary
Mary (mother of Jesus)
Mary , commonly referred to as "Saint Mary", "Mother Mary", the "Virgin Mary", the "Blessed Virgin Mary", or "Mary, Mother of God", was a Jewish woman of Nazareth in Galilee...
from the Lysagora Songs collection of the Holy Cross Monastery (Św. Krzyż Monastery) in the Świętokrzyskie Mountains
Swietokrzyskie Mountains
Świętokrzyskie Mountains , are a mountain range in central Poland, in the vicinity of the city of Kielce. The mountain range consists of a number of separate ranges, the highest of which is Łysogóry . The two highest peaks are Łysica at 612 meters and Łysa Góra at 593 meters...
. Comprising three thematic
Theme (music)
In music, a theme is the material, usually a recognizable melody, upon which part or all of a composition is based.-Characteristics:A theme may be perceivable as a complete musical expression in itself, separate from the work in which it is found . In contrast to an idea or motif, a theme is...
sections, the movement opens with a canon
Canon (music)
In music, a canon is a contrapuntal composition that employs a melody with one or more imitations of the melody played after a given duration . The initial melody is called the leader , while the imitative melody, which is played in a different voice, is called the follower...
based on a 24-bar theme, which is repeated several times. The canon begins in 2 parts; then, for each repetition of the theme, an extra part is added, until the canon is in eight parts (with the top two parts doubled at the octave, making for ten voices total), using a 24-bar melody in the Aeolian mode
Aeolian mode
The Aeolian mode is a musical mode or, in modern usage, a diatonic scale called the natural minor scale.The word "Aeolian" in the music theory of ancient Greece was an alternative name for what Aristoxenus called the Low Lydian tonos , nine semitones...
on E. It begins with the double basses, 2nd part, with each succeeding entry occurring one measure later (i.e., a new entry begins every 25 measures), each starting a diatonic fifth
Interval (music)
In music theory, an interval is a combination of two notes, or the ratio between their frequencies. Two-note combinations are also called dyads...
above the last. That means that each appearance of the melody in a new part is in a different mode, in this order:
- AeolianAeolian modeThe Aeolian mode is a musical mode or, in modern usage, a diatonic scale called the natural minor scale.The word "Aeolian" in the music theory of ancient Greece was an alternative name for what Aristoxenus called the Low Lydian tonos , nine semitones...
on E (double basses, 2nd part) - PhrygianPhrygian modeThe Phrygian mode can refer to three different musical modes: the ancient Greek tonos or harmonia sometimes called Phrygian, formed on a particular set octave species or scales; the Medieval Phrygian mode, and the modern conception of the Phrygian mode as a diatonic scale, based on the latter...
on B (double basses, 1st part) - LocrianLocrian modeThe Locrian mode is either a musical mode or simply a diatonic scale. Although the term occurs in several classical authors on music theory, including Cleonides and Athenaeus , there is no warrant for the modern usage of Locrian as equivalent to Glarean's Hyperaeolian mode, in either classical,...
on F# (cellos, 2nd part) - LydianLydian modeThe Lydian musical scale is a rising pattern of pitches comprising three whole tones, a semitone, two more whole tones, and a final semitone. This sequence of pitches roughly describes the fifth of the eight Gregorian modes, known as Mode V or the authentic mode on F, theoretically using B but in...
on C (cellos, 1st part) - IonianIonian modeIonian mode is the name assigned by Heinrich Glarean in 1547 to his new authentic mode on C , which uses the diatonic octave species from C to the C an octave higher, divided at G into a fourth species of perfect fifth plus a third species of perfect fourth : C D...
on G (violas, 2nd part) - MixolydianMixolydian modeMixolydian mode may refer to one of three things: the name applied to one of the ancient Greek harmoniai or tonoi, based on a particular octave species or scale; one of the medieval church modes; a modern musical mode or diatonic scale, related to the medieval mode.-Greek Mixolydian:The idea of a...
on D (violas, 1st part) - DorianDorian modeDue to historical confusion, Dorian mode or Doric mode can refer to three very different musical modes or diatonic scales, the Greek, the medieval, and the modern.- Greek Dorian mode :...
on A (2nd violins, 2nd part) - AeolianAeolian modeThe Aeolian mode is a musical mode or, in modern usage, a diatonic scale called the natural minor scale.The word "Aeolian" in the music theory of ancient Greece was an alternative name for what Aristoxenus called the Low Lydian tonos , nine semitones...
on E (1st violins, 2nd part)
After the 8-part canon is played, it is repeated, with the 1st parts of the 1st and 2nd violins (silent up to this point) doubling the other violin parts an octave higher.
After that, the canon continues, but the voices gradually drop out one by one, from the lowest upwards; but the instruments in question, instead of falling silent, double a higher voice that is still playing. Eventually the canon ends, with all the strings (except the double basses) ending on a single note, E4.
The soprano enters on the same note in the second section and builds to a climax on the final word, at which point the strings enter forcefully with the climax of the opening canon. The third section of the movement (Lento—Cantabile semplice) is a long dénouement, another canon based on the same melody in the opening canon; but this time it starts with 8 parts (the top two doubled in octaves), and the voices drop out, one by one, from high to low, leaving the movement to end with the second double basses playing the melody alone once more.
Lento e largo—Tranquillissimo
The nine-minute second movement is for soprano, clarinets, horns, harp, piano, and strings, and contains a librettoLibretto
A libretto is the text used in an extended musical work such as an opera, operetta, masque, oratorio, cantata, or musical. The term "libretto" is also sometimes used to refer to the text of major liturgical works, such as mass, requiem, and sacred cantata, or even the story line of a...
formed from the prayer to the Virgin Mary inscribed by Blazusiakówna on the cell wall in Zakopane
Zakopane
Zakopane , is a town in southern Poland. It lies in the southern part of the Podhale region at the foot of the Tatra Mountains. From 1975 to 1998 it was in of Nowy Sącz Province, but since 1999 it has been in Lesser Poland Province. It had a population of about 28,000 as of 2004. Zakopane is a...
. According to the composer, "I wanted the second movement to be of a highland character, not in the sense of pure folklore, but the climate of Podhale
Podhale
The Podhale is Poland's most southern region, sometimes referred to as the "Polish highlands". The Podhale is located in the foothills of the Tatra range of the Carpathian mountains, and is characterized by a rich tradition of folklore that is much romanticized in the Polish patriotic imagination...
... I wanted the girl's monologue as if hummed ... on the one hand almost unreal, on the other towering over the orchestra."
The movement opens with a folk drone
Drone (music)
In music, a drone is a harmonic or monophonic effect or accompaniment where a note or chord is continuously sounded throughout most or all of a piece. The word drone is also used to refer to any part of a musical instrument that is just used to produce such an effect.-A musical effect:A drone...
, A–E, and a melodic fragment, E–G–F, which alternate with sudden plunges to a low B–D dyad
Dyad (music)
In music, a dyad is a set of two notes or pitches. Although most chords have three or more notes, in certain contexts a dyad may be considered to be a chord. The most common two-note chord is made from the interval of a perfect fifth, which may be suggestive of music of the Medieval or Renaissance...
. Thomas describes the effect as "almost cinematic ... suggest[ing] the bright open air of the mountains". As the soprano begins to sing, her words are supported by the orchestra until she reaches a climaxing top A. The movement is resolved when the strings hold a chord without diminuendo
Dynamics (music)
In music, dynamics normally refers to the volume of a sound or note, but can also refer to every aspect of the execution of a given piece, either stylistic or functional . The term is also applied to the written or printed musical notation used to indicate dynamics...
for nearly one and a half minutes. The final words of the movement are the first two lines of the Polish Ave Maria
Ave Maria
Ave Maria may refer to:*Ave Maria , the "Hail Mary", a traditional Roman Catholic and Eastern Orthodox prayer calling for the intercession of Mary, the mother of Jesus-Music:...
, sung twice on a repeated pitch by the soprano.
Lento—Cantabile-semplice
The tempo of the third movement is similar to that of the previous two, and subtle changes in dynamism and modeMusical mode
In the theory of Western music since the ninth century, mode generally refers to a type of scale. This usage, still the most common in recent years, reflects a tradition dating to the middle ages, itself inspired by the theory of ancient Greek music.The word encompasses several additional...
make it more complex and involving than it may at first appear. With a duration of approximately seventeen minutes, it comprises three verses in A minor
A minor
A minor is a minor scale based on A, consisting of the pitches A, B, C, D, E, F, and G. The harmonic minor scale raises the G to G...
and, like the first movement, is constructed from evolving variations on a simple motif. The melody is established in the opening verse, and the second and third verses revisit the cradling motifs of the second movement. As in the second movement, the motifs are built up from inversions of plain triad
Triad (music)
In music and music theory, a triad is a three-note chord that can be stacked in thirds. Its members, when actually stacked in thirds, from lowest pitched tone to highest, are called:* the Root...
s and seventh chord
Seventh chord
A seventh chord is a chord consisting of a triad plus a note forming an interval of a seventh above the chord's root. When not otherwise specified, a "seventh chord" usually means a major triad with an added minor seventh...
s stretching across several octaves. As the soprano sings the final words, the key changes to a pure diatonic A major
A major
A major is a major scale based on A, with the pitches A, B, C, D, E, F, and G. Its key signature has three sharps.Its relative minor is F-sharp minor and its parallel minor is A minor...
which accompanies, in writer David Ellis's words, the "ecstatic final stanza":
The orchestra returns to A minor before a final postlude in A major. In Górecki's own words: "Finally there came that unvarying, persistent, obstinate 'walczyk' [on the chord of A], sounding well when played piano, so that all the notes were audible. For the soprano, I used a device characteristic of highland singing: suspending the melody on the third [C] and descending from the fifth to the third while the ensemble moves stepwise downward [in sixths]".
Interpretation
The symphony was dedicated to Górecki's wife Jadwiga Rurańska. When asked why, Górecki responded, "Who was I supposed to dedicate it to?" He never sought to explain the symphony as a response to a political or historical event. Instead, he maintained that the work is an evocation of the ties between mother and child. Some critics have seen the symphony as a memorial to victims of the Nazis in Poland during the Holocaust, particularly in the light of Górecki's choice of texts. Górecki was commissioned to write music in response to the Holocaust in the 1960s but was unable to finish any of the pieces he started for that purpose. While Górecki stated that for many years he sought to produce a work specifically in response to Auschwitz, he resisted that interpretation of the symphony, which he preferred to be viewed in a wider context. Other critics have attempted to interpret the symphony in spiritual terms, an approach which Górecki also dismissed.Górecki said of the work, "Many of my family died in concentration camps. I had a grandfather who was in Dachau, an aunt in Auschwitz. You know how it is between Poles and Germans. But Bach was a German too—and Schubert, and Strauss. Everyone has his place on this little earth. That's all behind me. So the Third Symphony is not about war; it's not a Dies Irae
Dies Irae
Dies Irae is a thirteenth century Latin hymn thought to be written by Thomas of Celano . It is a medieval Latin poem characterized by its accentual stress and its rhymed lines. The metre is trochaic...
; it's a normal Symphony of Sorrowful Songs."
Critical and cultural reception
Górecki's Symphony No. 3 was written in 1976, when Górecki was, in the words of the music critic Jane Perlez, "a fiery figure, fashionable only among a small circle of modern-music aficionados". The symphony was first recorded in Poland in 1978 by the soprano Stefania Woytowicz. During the late 1970s and early 1980s, recordings and performances of the work were widely criticised by the press outside Poland. The symphony drew hostility from critics who felt that Górecki had moved too far away from the established avant-garde style and was, according to Dietmar Polaczek (writing for Österreichische Musikzeitschrift), "simply adding to the decadent trash that encircled the true pinnacles of avant-gardism". The world première at the Royan Festival, Ernest BourErnest Bour
Ernest Bour was a French conductor. Born in Thionville, Moselle, Bour studied at both the University and the Conservatoire of Strasbourg...
conducting, was reviewed by six western critics, all of them harshly dismissive. Heinz Koch, writing for Musica, said that the symphony "drags through three old folk melodies (and nothing else) for an endless 55 minutes".
In 1985, the French filmmaker Maurice Pialat
Maurice Pialat
Maurice Pialat was a French film director, screenwriter and actor noted for the rigorous and unsentimental style of his films...
featured a section of the third movement in the ending credits of his movie Police
Police (1985 film)
Police is a 1985 French film, starring Gérard Depardieu, Sophie Marceau and Sandrine Bonnaire. It was directed by Maurice Pialat and written by Catherine Breillat.-Plot:...
. When the work was later repackaged as a "soundtrack album
Soundtrack album
A soundtrack album is any album that incorporates music directly recorded from the soundtrack of a particular feature film or television program. In some cases, not all the tracks from the movie are included in the album; however there are rare cases of songs in the trailers that do not appear in...
", it sold well, although the sleeve notes provided little information about the work, and Górecki's name appeared in smaller type than those of the main actors. In the mid-1980s, British industrial music
Industrial music
Industrial music is a style of experimental music that draws on transgressive and provocative themes. The term was coined in the mid-1970s with the founding of Industrial Records by the band Throbbing Gristle, and the creation of the slogan "industrial music for industrial people". In general, the...
group Test Dept
Test Dept
Test Dept were an industrial music group from London, one of the most important and influential early industrial music acts. Their approach was marked by a strong commitment to radical socialist politics.-History:...
used the symphony as a backdrop for video collage
Collage
A collage is a work of formal art, primarily in the visual arts, made from an assemblage of different forms, thus creating a new whole....
s during their concerts, recasting the symphony as a vehicle for the band's sympathy with the Polish Solidarity movement, which Górecki also supported (his 1981 piece Miserere
Miserere (Górecki)
, Op. 44 was written in 1981 by Polish composer Henryk Górecki. Written for large a cappella mixed choir, a typical performance lasts 35 minutes. The text comprises five words: , which are repeated for the first seven sections, resolved by a chorus of in the eleventh and final section...
was composed in part as a response to government opposition of Solidarity trade unions). During the late 1980s, the symphony received increasing airplay on US and British classical radio stations, notably Classic FM
Classic FM (UK)
Classic FM, one of the United Kingdom's three Independent National Radio stations, broadcasts classical music in a popular and accessible style.-Overview:...
. The fall of communism helped to spread the popularity of Polish music generally, and by 1990 the symphony was being performed in major cities such as New York, London and Sydney. A 1991 recording with the London Sinfonietta
London Sinfonietta
The London Sinfonietta is an English chamber orchestra founded in 1968 and based in London. The ensemble specialises in contemporary music and works across a wide range of genres, performing modern classics alongside world premieres, and includes music by electronica artists as well as folk and...
, conducted
Conducting
Conducting is the art of directing a musical performance by way of visible gestures. The primary duties of the conductor are to unify performers, set the tempo, execute clear preparations and beats, and to listen critically and shape the sound of the ensemble...
by David Zinman
David Zinman
David Zinman is an American conductor and violinist.After early violin studies at the Oberlin Conservatory, Zinman studied theory and composition at the University of Minnesota and took up conducting at Tanglewood...
and featuring the soloist Dawn Upshaw
Dawn Upshaw
Dawn Upshaw is an American soprano described as "one of the most consequential performers of our time" by the Los Angeles Times. The recipient of several Grammy Awards and Edison Prize-winning discs, Upshaw is at home both in opera and art song, and in repertoire from Baroque to contemporary...
, was released in 1992 by the Elektra
Elektra Records
Elektra Records is an American record label owned by Warner Music Group. In 2004, it was consolidated into WMG's Atlantic Records Group. After five years of dormancy, the label was revived by Atlantic in 2009....
imprint Nonesuch Records
Nonesuch Records
Nonesuch Records is an American record label, owned by Warner Music Group and distributed by Warner Bros. Records.-Company history:Nonesuch was founded in 1964 by Jac Holzman to produce "fine records at the same price as a trade paperback", which would be half the price of a normal LP...
. Within two years, the recording had sold more than 700,000 copies worldwide; the recording climbed to number 6 on the mainstream UK album charts, and while it did not appear on the US Billboard 200
Billboard 200
The Billboard 200 is a ranking of the 200 highest-selling music albums and EPs in the United States, published weekly by Billboard magazine. It is frequently used to convey the popularity of an artist or groups of artists...
, it stayed at the top of the US classical charts for 38 weeks and stayed on for 138 weeks. The Zinman/Upshaw recording has sold over a million copies.
The writer Michael Steinberg
Michael Steinberg (music critic)
Michael Steinberg was an American music critic, musicologist, and writer. Born in Breslau, Germany , Steinberg left Germany as one of the Kindertransport child refugees...
described the symphony's success as essentially a phenomenon of the compact disc
Compact Disc
The Compact Disc is an optical disc used to store digital data. It was originally developed to store and playback sound recordings exclusively, but later expanded to encompass data storage , write-once audio and data storage , rewritable media , Video Compact Discs , Super Video Compact Discs ,...
, and while live performances are still given, they do not always sell out. Some critics, wondering at the sudden success of the piece nearly two decades after its composition, suggest that it resonated with a particular mood in the popular culture at the time. Stephen Johnson, writing in A guide to the symphony, wondered whether the commercial success of the work was "a flash in the pan" or would turn out to have lasting significance. In 1998, the critic Michael Steinberg asked, "[are people] really listening to this symphony? How many CD buyers discover that fifty-four minutes of very slow music with a little singing in a language they don't understand is more than they want? Is it being played as background music to Chardonnay and brie?" Steinberg compared the success of Górecki's symphony to the Doctor Zhivago
Doctor Zhivago
-Original creation:*Doctor Zhivago, by Boris Pasternak, published in 1957**Yuri Andreyevich Zhivago, a fictional character and the main protagonist of the book Doctor Zhivago-Adaptations:There are several adaptations based on the Doctor Zhivago book:...
phenomenon of 1958: "Everybody rushed to buy the book; few managed actually to read it. The appearance of the movie in 1965 rescued us all from the necessity." Górecki was as surprised as any one else at the recording's success, and later speculated that "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."
At least a dozen recordings were issued in the wake of the success of the Nonesuch recording, and the work enjoyed significant exposure in a number of artistic media worldwide. The work was repeatedly used by filmmakers in the 1990s to elicit a sense of pathos or sorrow, including as an accompaniment to a plane crash in Peter Weir
Peter Weir
Peter Lindsay Weir, AM is an Australian film director. After playing a leading role in the Australian New Wave cinema with his films such as Picnic at Hanging Rock, The Last Wave and Gallipoli, Weir directed a diverse group of American and international films—many of them major box office...
's Fearless
Fearless (1993 film)
Fearless is a 1993 film directed by Peter Weir and written by Rafael Yglesias from his novel of the same name. It was shot entirely in California....
(1993), and in the soundtrack to Julian Schnabel
Julian Schnabel
Julian Schnabel is an American artist and filmmaker. In the 1980s, Schnabel received international media attention for his "plate paintings"—large-scale paintings set on broken ceramic plates....
's Basquiat (1996). An art gallery in Santa Fe, New Mexico
Santa Fe, New Mexico
Santa Fe is the capital of the U.S. state of New Mexico. It is the fourth-largest city in the state and is the seat of . Santa Fe had a population of 67,947 in the 2010 census...
opened an exhibit in 1995 dedicated entirely to visual art inspired by the piece. In 1995 German rock band Faust
Faust (band)
Faust are a German krautrock band. Formed in 1971 in Wümme, the group was originally composed of Werner "Zappi" Diermaier, Hans Joachim Irmler, Arnulf Meifert, Jean-Hervé Péron, Rudolf Sosna and Gunther Wüsthoff, working with record producer Uwe Nettelbeck and engineer Kurt Graupner.-History:Faust...
used the symphony in a music concrete piece "Eroberung Der Stille Teil 1" which can be found on their "Rien" CD. In 1997, the symphony was sampled for the song "Gorecki
Górecki (song)
"Górecki" is a 1997 single by Lamb from their debut album Lamb.The song starts with a tenuous atmosphere and the lyrics "If I should die this very moment"...
" by the English trip-hop act Lamb
Lamb (band)
Lamb is an electronic music duo from Manchester, England, whose music is influenced by trip hop and drum and bass. The duo consists of producer Andy Barlow, who also produces under the pseudonym Hipoptimist, and singer-songwriter Lou Rhodes...
, which peaked at number 30 on the UK singles charts in 1997.
Sources
- Howard, Luke. "Motherhood, Billboard, and the Holocaust: Perceptions and Receptions of Górecki's Symphony No. 3". The Musical QuarterlyThe Musical QuarterlyThe Musical Quarterly is the oldest academic journal on music in America. Originally established in 1915 by Oscar Sonneck, the journal was edited by Sonneck until his death in 1928...
, 82, 1998. 131–159 - Jacobson, Bernard. "A Polish Renaissance". London: Phaidon, 1995. ISBN 0-7148-3251-0.
- Layton, Robert, editor. A Guide To The Symphony. Oxford: Oxford University Press, 1995. ISBN 0-19-288005-5.
- Steinberg, Michael. "The Symphony: A Listener's Guide". New York: Oxford University Press, 1998. ISBN 0-19-512665-3.
- Thomas, Adrian. "Górecki (Oxford Studies of Composers)". Oxford: Clarendon Press, 1997. ISBN 0-19-816394-0.
- Thomas, Adrian. "Polish Music Since Szymanowski". London: Cambridge, 2005. ISBN 0-521-58284-9.