Генрих Гурецкий: Польша аңызы

Polish composer (1933–2010)

Henryk Mikołaj Górecki (/ɡ//ə/'/r//ɛ//t//s//k//i/ gəRETskee, ; 6 December 1933 – 12 November 2010) was a Polish composer of contemporary classical music. According to critic Alex Ross, no recent classical composer has had as much commercial success as Górecki. He became a leading figure of the Polish avant garde during the post Stalin cultural thaw. His Anton Webern influenced serialist works of the 1950s and 1960s were characterized by adherence to dissonant modernism and influenced by Luigi Nono, Karlheinz Stockhausen, Krzysztof Penderecki and Kazimierz Serocki. He continued in this direction throughout the 1960s, but by the mid 1970s had changed to a less complex sacred minimalist sound, exemplified by the transitional Symphony No. 2 and the Symphony No. 3 (Symphony of Sorrowful Songs). This later style developed through several other distinct phases, from such works as his 1979 Beatus Vir, to the 1981 choral hymn Miserere, the 1993 Kleines Requiem für eine Polka and his requiem Good Night. Górecki was largely unknown outside Poland until the late 1980s. In 1992, 15 years after it was composed, a recording of his Symphony of Sorrowful Songs with soprano Dawn Upshaw and conductor David Zinman, released to commemorate the memory of those lost during the Holocaust, became a worldwide commercial and critical success, selling more than a million copies and vastly exceeding the typical lifetime sales of a recording of symphonic music by a 20th century composer. Commenting on its popularity, Górecki said, "Perhaps people find something they need in this piece of music somehow I hit the right note, something they were missing. Something somewhere had been lost to them. I feel that I instinctively knew what they needed." This popular acclaim did not generate wide interest in Górecki's other works, and he pointedly resisted the temptation to repeat earlier success, or compose for commercial reward. Nevertheless, his music drew the attention of Australian film director Peter Weir, who used a section of Symphony No. 3 in his 1993 film Fearless. Apart from two brief periods studying in Paris and a short time living in Berlin, Górecki spent most of his life in southern Poland.

I was born in Silesia It is old Polish land. But there were always three cultures present: Polish, Czech, and German. The folk art, all the art, had no boundaries. Polish culture is a wonderful mixture. When you look at the history of Poland, it is precisely the multiculturalism, the presence of the so called minorities that made Poland what it was. The cultural wealth, the diversity mixed and created a new entity.— Henryk Górecki
Henryk Górecki was born on 6 December 1933, in the village of Czernica, in present day Silesian Voivodeship, southwest Poland. His family lived modestly, though both parents had a love of music. His father Roman (1904–1991) worked at the goods office of a local railway station, but was an amateur musician, while his mother Otylia (1909–1935), played piano. Otylia died when her son was just two years old, and many of his early works were dedicated to her memory. Henryk developed an interest in music from an early age, though he was discouraged by both his father and new stepmother to the extent that he was not allowed to play his mother's old piano. He persisted, and in 1943 was allowed to take violin lessons with Paweł Hajduga, a local amateur musician, instrument maker, sculptor, painter, poet and chłopski filozof (peasant philosopher). In 1937, Górecki fell while playing in a neighbor’s yard and dislocated his hip. The resulting suppurative inflammation was misdiagnosed by a local doctor, and delay in proper treatment led to tubercular complications in the bone. The illness went largely untreated for two years, by which time permanent damage had been sustained. He spent the following twenty months in a hospital in Germany, where he underwent four operations. Górecki continued to suffer ill health throughout his life and as a result said he had "talked with death often". In the early 1950s, Górecki studied in the Szafrankowie Brothers State School of Music in Rybnik. Between 1955 and 1960, he studied at the State Higher School of Music in Katowice. In 1965 He joined the faculty of his alma mater in Katowice, where he was made a lecturer in 1968, and then rose to provost before resigning in 1979.

Between 1951 and 1953, Górecki taught 10 and 11 year olds at a school suburb of Rydułtowy, in southern Poland. Górecki continued his formal study of music at the Academy of Music in Katowice, where he studied under the composer Bolesław Szabelski, a former student of Karol Szymanowski. Szabelski drew much of his inspiration from Polish highland folklore. and formed a local branch of the "Catholic Intellectuals Club", an organisation devoted to the struggle against the Communist Party (Polish United Workers' Party). According to Terry Teachout, Górecki's "more conventional array of compositional techniques includes both elaborate counterpoint and the ritualistic repetition of melodic fragments and harmonic patterns." Górecki's first works, dating from the last half of the 1950s, were in the avant garde style of Webern and other serialists of that time. Some of these twelve tone and serial pieces include Epitaph (1958), First Symphony (1959), and Scontri (1960). At that time, Górecki's reputation was not lagging behind that of Penderecki and his status was confirmed in 1960s when Monologhi won a first prize. Even until 1962, he was firmly ensconced in the minds of the Warsaw Autumn public as a leader of the Polish Modern School, alongside Penderecki. Danuta Mirka has shown that Górecki's compositional techniques in the 1960s were often based on geometry, including axes, figures, one and two dimensional patterns, and especially symmetry. She proposes the term "geometrical period" for his works between 1962 and 1970. Building on Krzysztof Droba's classifications, she further divides this period into two phases: "the phase of sonoristic means" (1962–63) and "the phase of reductive constructicism" (1964–70. During the mid 1960s and early 1970s, Górecki progressively moved away from his early career as radical modernist, and began to compose in a more traditional, romantic mode of expression. His change of style was viewed as an affront to the then avant garde establishment, and though he continued to receive commissions from various Polish agencies, by the mid 1970s Górecki was no longer regarded as a composer of importance. In the words of one critic, his "new material was no longer cerebral and sparse; rather, it was intensely expressive, persistently rhythmic and often richly colored in the darkest of orchestral hues". The festival announced Górecki's arrival on the international scene, and he quickly became a favorite of the West's avant garde musical elite. In 1991, the music critic James Wierzbicki wrote that at this time "Górecki was seen as a Polish heir to the new aesthetic of post Webernian serialism, with his taut structures, lean orchestrations and painstaking concern for the logical ordering of pitches". By 1961, Górecki was at the forefront of the Polish avant garde, having absorbed the modernism of Webern, Iannis Xenakis and Pierre Boulez, and his Symphony No. 1 gained international acclaim at the Paris Biennial Festival of Youth. He moved to Paris to continue his studies, and while there was influenced by contemporaries including Olivier Messiaen, Roman Palester, and Karlheinz Stockhausen. Due to his commitments as a teacher and also because of bouts of ill health, he composed only intermittently during this period.

By the early 1970s, Górecki had begun to move away from his earlier radical modernism, and was working toward a more traditional mode of expression dominated by the human voice. His change of style affronted the avant garde establishment, and although various Polish agencies continued to commission works from him, Górecki ceased to be viewed as an important composer. One critic later wrote, "Górecki's new material was no longer cerebral and sparse; rather, it was intensely expressive, persistently rhythmic and often richly colored in the darkest of orchestral hues". It is in two movements, and a typical performance lasts 35 minutes. It was commissioned by the Kosciuszko Foundation in New York, and presented an early opportunity for Górecki to reach an audience outside Poland. As was usual, he undertook extensive research on the subject, and was in particular concerned with the philosophical implications of Copernicus's discovery, not all of which he viewed as positive. As the historian Norman Davies commented, "His discovery of the earth's motion round the sun caused the most fundamental revolutions possible in the prevailing concepts of the human predicament". By the mid 1980s, Górecki began to attract a more international audience, and in 1989 the London Sinfonietta held a weekend of concerts in which his work was played alongside that of the Russian composer Alfred Schnittke. In 1990, the American Kronos Quartet commissioned and recorded his First String Quartet, Already It Is Dusk, Op. 62, an occasion that marked the beginning of a long relationship between the quartet and Górecki. Górecki's most popular piece is his Third Symphony, also known as the "Symphony of Sorrowful Songs" (Symfonia pieśni żałosnych). The work is slow and contemplative, and each of its three movements is for orchestra and solo soprano. The libretto for the first movement is taken from a 15th century lament, while the second movement uses the words of a teenage girl, Helena Błażusiakówna (Helena Błażusiak), which she wrote on the wall of a Gestapo prison cell in Zakopane to invoke the protection of the Virgin Mary. The third uses the text of a Silesian folk song which describes the pain of a mother searching for a son killed in the Silesian Uprisings. The symphony's dominant themes are motherhood and separation through war. While the first and third movements are written from the perspective of a parent who has lost a child, the second is from that of a child separated from a parent. The completion of Górecki's Fourth Symphony, subtitled "Tansman Episodes", was delayed for many years, partly by Górecki's unease at his newfound fame. Indeed, it had not even been orchestrated when he died in 2010, and his son Mikołaj completed it after his death from the piano score and notes left behind by his father. It uses similar repetition techniques as the Second and Third Symphonies, but to very different effect; for example, its opening consists of a series of very loud, repeated cells that together spell out the name of the composer Alexandre Tansman via a musical cryptogram, punctuated with heavy strokes on the bass drum and clashing bitonality between the chords of A and E flat.

Despite the Third Symphony's success, Górecki resisted the temptation to compose again in that style, and, according to AllMusic, continued to work, not to further his career or reputation, but largely "in response to inner creative dictates". In February 1994, the Kronos Quartet performed at the Brooklyn Academy of Music four concerts honoring postmodern revival of interest in new music. The first three concerts featured string quartets and the works of three living composers: two Americans (Philip Glass and George Crumb) and one Pole (Górecki). Songs are Sung is his third string quartet, inspired by a poem by Velimir Khlebnikov. When asked why it took almost 13 years to finish, he replied, "I continued to hold back from releasing it to the world. I don’t know why."

During the last decade of his life, Górecki suffered from frequent illnesses. His Symphony No. 4 (oP. 85, 2006) was due to be premiered in London in 2010 by the London Philharmonic Orchestra, but the event was cancelled due to the composer's ill health. He died on 12 November 2010, in his home city of Katowice, from complications arising from a lung infection. Reacting to his death, the head of the Karol Szymanowski Academy of Music, Professor Eugeniusz Knapik, said "Górecki's work is like a huge boulder that lies in our path and forces us to make a spiritual and emotional effort". Adrian Thomas, professor of music at Cardiff University, said, "The strength and startling originality of Górecki's character shone through his music Yet he was an intensely private man, sometimes impossible, with a strong belief in family, a great sense of humour, a physical courage in the face of unrelenting illness, and a capacity for firm friendship". He was survived by five grandchildren. President of the Republic of Poland Bronisław Komorowski awarded Górecki the Order of the White Eagle, Poland's highest honour, a month before his death. The Order was presented by Komorowski's wife in Górecki's hospital bed. Earlier, Górecki received the Order of Polonia Restituta II class and III class and the Order of St. Gregory the Great. The world premiere of his Symphony No. 4 took place on 12 April 2014. It was performed, as originally scheduled in 2010, by the London Philharmonic Orchestra at the Royal Festival Hall, London, but with Andrey Boreyko conducting instead of Marin Alsop. Symphony No. 4 is an extensive, 37 minute composition set for an approximately 100 person orchestra with piano and organ obbligato. The composer left a cryptogram that explains the way he built the theme for the symphony using musical letters from the first and last names of Alexandre Tansman. In 2004, Górecki left the piano reduction of Two Tristan Postludes and Chorale for orchestra, which received Op. 82. It was orchestrated by his son Mikolaj Górecki and premiered at the Tansman Festival, on October 16, 2016, at the Polish Radio Witold Lutosławski Studio Hall in Warsaw, by Jerzy Maksymiuk and the Sinfonia Varsovia orchestra.

Some of Górecki's music has been adapted for film soundtracks, most notably fragments of his Symphony of Sorrowful Songs. They are featured in Peter Weir's 1993 film Fearless, Julian Schnabel's 1996 biographical drama film Basquiat, Shona Auerbach's 1996 film Seven, Jaime Marqués's 2007 film Ladrones, Terrence Malick's 2012 experimental romantic drama To the Wonder, Paolo Sorrentino's 2013 art drama film The Great Beauty, Felix van Groeningen's 2018 biographical film Beautiful Boy, and Malick's 2019 historical drama A Hidden Life. It has also appeared on television in numerous TV shows, including the American crime drama television series The Sopranos, American TV series Legion, crime thriller television series The Blacklist, and the historical drama The Crown. In 2017, Canadian choreographer Crystal Pite set the first movement of the Symphony of Sorrowful Songs as a ballet, Flight Pattern. In 2022, she set the whole symphony as a larger work, Light of Passage. French filmmaker Bertrand Blier used Beatus Vir in his 1996 film My Man.

When placing Górecki in context, musicologists and critics generally compare his work with such composers as Olivier Messiaen and Charles Ives. He himself said that he also felt kindred with such figures as Bach, Mozart and Haydn, though he felt most affinity with Franz Schubert, particularly in terms of tonal design and treatment of basic materials. In 2007, Górecki claimed 32nd place on the list of Top 100 Living Geniuses compiled by The Daily Telegraph. In 2008, he received an honorary doctorate from the Academy of Music in Kraków. At the awarding ceremony a selection of his choral works was performed by the choir of the city's Franciscan Church.