Henryk Gorecki Research Papers - Academia.edu (original) (raw)

The musical output of Henryk Mikołaj Górecki (1933-2010) is commonly perceived and evaluated in the West from the point of the astounding commercial success of his Symphony No. 3 “Symfonia pieśni żałosnych” (1977), resulting in a fixed... more

The musical output of Henryk Mikołaj Górecki (1933-2010) is commonly
perceived and evaluated in the West from the point of the astounding commercial success of his Symphony No. 3 “Symfonia pieśni żałosnych” (1977), resulting in a fixed and highly limited reference point to the composer’s earlier musical output. The musical trajectory of Górecki’s stylistic development is often mythologized in the press and media to create a narrative of divinatory or spiritual “revelation” surrounding Górecki’s post-Symphony No. 3 output (1977-2010), grouping him rather
erroneously as a “holy minimalist”, along with John Tavener (1944-2013) and Arvo Pärt (1935-). While these characterizations helped bolster Górecki’s mystique and reputation in the West, it frequently undermined and occasionally disparaged the composer’s roots in the Polish avant-garde and his artistic contribution to this musical environment.
From a surfaced viewpoint, it appears that Górecki’s earlier and later works are like oil and water, but in reality they form a continuous stream of artistic progress, unified by both an ardent personality and an unrelenting hunger for reconfiguration and development as a composer. This paper will argue that Górecki’s mature works are the result of a gradual stylistic morphologization, passing through periods of various
aesthetic fixations that define several “eras” in his composition output from 1960 to 1974.

Dissertazione in Letteratura Polacca, Laurea triennale

Este artículo recoge una investigación acerca de la repercusión de la música del compositor polaco Heryk Górecki, así como del significado atribuido a su música en España. Este compositor es presentado por la editorial británica Boosey &... more

Este artículo recoge una investigación acerca de la repercusión de la música del compositor polaco Heryk Górecki, así como del significado atribuido a su música en España. Este compositor es presentado por la editorial británica Boosey & Hawkes, actual poseedora de los derechos de edición de la obra del música, como uno de los compositores contemporáneos más conocidos en la actualidad. Desde 1992 se han vendido más de un millón de discos de grabaciones de composiciones de este músico, resultando su Tercera sinfonía la obra más conocida.

The paper discusses the development of the New Simplicity from its inception to the present day and New Spirituality as one of its manifestations. The first part of the paper will discuss the historical facts that established the concept... more

Published in Organized Sound vol. 3 no. 2, pp. 147-166, 1998. Note: Author's name changed from Maria Anna Harley to Maja Trochimczyk. Contains sections: Introduction. Bach in Space. 2. Bregman on Spatial Cues. 3. Spatial Distance and... more

Published in Organized Sound vol. 3 no. 2, pp. 147-166, 1998. Note: Author's name changed from Maria Anna Harley to Maja Trochimczyk. Contains sections: Introduction. Bach in Space. 2. Bregman on Spatial Cues. 3. Spatial Distance and Stream Segregation: Brant and Cage. 4. Spatial Movement and Streaming Effects: Stockhausen, Xenakis and Serocki. 5. Avant-Garde Mistake 1: The Serialisation of Direction. 6. Spatiality on the Stage: Boulez, Andriessen and Bartok. 7. Avant-Garde Mistake 2: Geometric Sound Shapes. 8. Spatialization, Sound Masses and Fusion: Gorecki's Copernican Symphony. 9. Conclusion

This volume gathers interviews and studies of the music of the Polish composer, Henryk Mikołaj Górecki (1933-2010). Contributors include the composer himself – in a series of interviews spanning his entire career, from 1962 to 2008 – as... more

This volume gathers interviews and studies of the music of the Polish composer, Henryk Mikołaj Górecki (1933-2010). Contributors include the composer himself – in a series of interviews spanning his entire career, from 1962 to 2008 – as well as leading Górecki scholars from Poland, the U.K., the U.S., and Australia. Chapters highlight three of the four symphonies: the Second Copernican (Kinga Kiwała), the Third, The Symphony of Sorrowful Songs (Maja Trochimczyk) and the Fourth Tansman Episodes (Andrzej Wendland). Two studies by eminent Polish scholar and Górecki’s personal friend, Prof. Teresa Malecka present the composer’s links to Polish musical traditions and an overview of his piano music. An overview of Górecki’s life and career and a case study of his visit to Los Angeles in 1997, when he conducted his Third Symphony for the first time outside of Poland, round up the volume. The collection includes also a list of works, music examples, portraits, photographs, and a bibliography.