Wodiczko Conducts Stravinsky

In 1930 Igor Stravinsky composed Symphony of Psalms. It was first in the series of his three symphonies. Decade of twentieth in Stravinsky’s work is often described as neoclassical phase of his creative development. And this was main direction in the time he intended to write symphony. He felt he was able to renew as the idea of musical construction and as medium for deep emotional and philosophical meanings. So when he received a commission for composition devoted to 50 years anniversary of Boston Symphony Orchestra he chose form of symphony. This time, after decade of experiences with neoclassical style, symphony was for Stravinky the leading idea of classical balance and intellectual plenitude. 

Trying to accomplish his idea, Stravinsky referred to the primary area of European culture, which implement the most important axiological problems. So he turned to religious tradition and used in his symphony some short fragments taken from Psalms in Latin – 38th Exaudi orationem meam, Domine, 31st Expectus expectavi Dominum, 150th Alleluia, laudate Dominum. Composed of universal religious phrases but exceeding any denotation Symphony of Psalms is unique piece of work. Stravinsky was intended to wrote for male singers but it was resulted by assumption of the work. Composing Symphony he expanded vocal group to the mixed choir with the proposition to use boys instead of female singers. Symphony of Psalms is unbelievably condensed, polyphonic work for choir and orchestra. Three movements of the symphony are linked to a form of organic unity, where polyphonic elaboration is discreet and integrated into a significant musical and verbal structure. The effect is profoundly moving, inventive and solemn.

Igor Stravinsky - Symphony of Psalms, Firebird Suite - Wodiczko (1973)

Although the Symphony of Psalms is one of the greatest works in twentieth-century music, this work has never been appreciated according to its artistic value. Otherwise than ballet music which was always Stravinsky’s specialty. Compositions for scene, connected to visual and dramatic case were more readable, thus even some difficult musical fragments were much closer to the public acceptance. His ballet music was always sounded quite well as concert pieces, even though many complicated passages and fragments were difficult to common concert audiences in first half of 20th century. Giving his first great ballet more chance for concert performances, composer set three suites in 1911, 1919 and 1945. The first great success, Firebird ballet music owes its success to the 1911 Firebird suite which was perfect orchestral music as well. This value was clearly part of composers idea fulfilling in his subsequent ballets, increasingly more compact and condensed.
These two great works, Symphony of Psalms and Firebird suite were first phonographic presentation of Igor Stravinsky’s music in Poland. Album was recorded in 1971 for main Polish label of this time Muza – Polskie Nagrania. Both performances were conducted by Bohdan Wodiczko and both were played by Polish Radio Symphony Orchestra – today Polish National Radio Symphony Orchestra in Katowice. Since 1935, when this orchestra was founded by Grzegorz Fitelberg and after war outbreak this institution was one of leading orchestras in Polish music. Recording Stravinsky’s Symphony of Psalms Wodiczko was artistic director and first conductor of the orchestra. Performing set was been augmented in Symphony of Psalms with vocal part sung by The Cracow Radio Choir (led by Adam Pałka). Album has been published two years later and in October 1973 awarded with prize of Polish musical industry „Złota Muza” 1973. This award was well deserved. The inclusion of two works of Stravinsky is as fresh as deeply thought-out and related to the essence of the great composer's music.

Krzysztof Penderecki - Polish Requiem

In late 1970s it became clear that Krzysztof Penderecki has turned to neoromanticism. The public opinion received this turn as a meaningful gesture towards tradition and against progress-focused contemporary culture. The profound meaning of this attitude was strongly visible in the era of changes, when political and economical stabilization in end of decade has run to an end. In Poland, after strikes, the rise of Solidarity and political collapse of the system, a quite new context for new music was established. And social acceptance of new traditional style was bigger than anybody could expect.

Two months after victorious workers’ strikes, Penderecki received historical order. The monument of shipyard workers killed in 1970 was going to be unveiled in Gdansk December 1980. For this ceremony composer wrote Lacrimosa. After the death of the Polish primate cardinal Stefan Wyszyński in May 1981, in few hours Penderecki wrote Agnus Dei for choir a cappella. It was performed for the first time during the funeral in St. John Cathedral in Warsaw. These pieces became the two parts of his newly planned work. The next two movements which the composer wrote for the cycle were Dies irae, devoted to 40th anniversary of Warsaw Uprising, and Libera me, Domine in memoriam of Katyń victims.  The premiere performance of the complete Polish Requiem took place in Stuttgart, September 28th, 1984 under the direction of Mstislav Rostropovich.

Krzysztof Penderecki - Polish Requiem

In April 1985 Polish Requiem has been recorded in Center of Arts in Katowice. Performance was successful and was recorded under the direction of Antoni Wit, who was an alumnus of Krzysztof Penderecki's composition class. The performing team was the best possible of this time. Soloists Jadwiga Gadulanka, Jadwiga Rappé, Henryk Grychnik and Carlo Zardo, two Krakow choirs: Radio-Television and Philharmonic and Polish National Radio Symphony Orchestra in Katowice joined the top quality performing body. Dramatic tension and monumental construction of the Polish Requiem are features which made impact on public acceptance.
Musical form of Polish Requiem is in close relations with the order of missa pro defunctis. Traditional construction of mass for the dead was based on contrasting comparison of lamentations alternated by dramatic movements pointing visions of the last judgment. Krzysztof Penderecki gave this composition clear message. The most dramatic and moving fragment of the whole cycle is Recordare where lyrical lamentation in Latin is sung along with Polish supplication Święty Boże, Święty mocny (Holy Lord, Holy and Mighty). This culmination point is so much affecting on listener because of the double musical narration. Themes to the Latin text and Polish religious song come together in form of passacaglia. The supplication I have mentioned before is based on Polish religious song which is singing while the moments of peculiar threat. The same motive returns in final part Libera animas and it is clearly a prayer for his country.

Henryk Mikołaj Górecki – Symphony No 3 Op. 36

Third Symphony by Henryk Mikołaj Górecki, widely known as The Symphony of Sorrowful Songs is one of most important works of the last quarter of 20th century. Composed in autumn 1976, it became one of turning points in the newest history of music. Before this moment music including external meanings was out-of-fashion. Composers of three after-war decades were trying to oppose against music at the service of ideology by apply to the idea of musica pura. But after the great rise of serialism and sonorism, after decades of creating avant-garde intellectual formulas, comes discouragement. In mid ’70s, group of modern composers decided to turn back to the melodic and harmonic roots of European music. Amid many ways of anti-avant-gardism, return to romantic idioms in modernity had long tradition since Gustav Mahler, Alexander Zemlinsky or Charles Ives to Oliver Messiaen, Arvo Pärt and John Tavener. And this way was looking exceptionally effective. In Poland the one of very few was Henryk Mikołaj Górecki. But before his Symphony No. 3 became well known all over the world, criticism of mainstream media was huge. 

Henryk Mikołaj Górecki – Symphony No 3 Op. 36

The Symphony of Sorrowful Songs was composed for the commision of Radio Südwestfunk in Baden-Baden and premiered at the International Festival of Contemporary Music in Royan by Südwestfunk Orchestra with soprano Stefania Woytowicz under the direction of Ernest Bour on April 4th, 1977. None of renowned critics gives this work positive opinion and in many reviews it was just crushed. One year later in May 1978 this work was recorded by Polish National Radio Symphony Orchestra in Katowice with the same soloist Stefania Woytowicz and conducted by Jerzy Katlewicz. Record has been published in 1980 by Polskie Nagrania – Muza (SX 1648). Critics didn't notice the values of this work until 1985, when Maurice Pialat used fragments of Górecki's Symphony in soundtrack to movie Police. Subsequently radio stations begin to play this record with success. In 1992 in Nonesuch Records came out second recording of The Symphony of Sorrowful Songs recorded by David Zinman with Dawn Upshow and London Sinfonietta and became an immediate hit, with over one million copies sold.

Structure of Symphony No. 3 consist of three songs. 1st Song Lento, Sostenuto tranquillo ma cantabile is a canon based on folk theme from Kurpie region. Middle section of this part is soprano lamentation - lyrics came from 15th century codex found in Holly Cross Monastery in Łysa Góra.  For litany in Song No. 2 Lento e Largo composer used the praying scratched by a girl prisoner on the wall of Gestapo prison in Zakopane during the war. 3rd Song Lento cantabile - semplice is variation of folk lamentation from Opole region. Górecki used very small amount of resources in this work. His style was always minimalist, but this work is compromise between modern language and traditional form. Archaic timbre and religious connections give this work unusual strength and change minimalistic limitations into highly effective rules of organizing musical form.

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After many months of heavy illness, Henryk Mikołaj Górecki died November the 12th, 2010, leaving over eighty works of  modern, sometimes avantgarde, though very legible music. In youngest period his works were avantgarde and serialistic the same manner as the works of many other composers of this time. Then in second period he abandon the formal and intellectual complexity thus his music became readable and highly valued by the audience. He is known mainly for his choral works in which he joints economy of resources and emotional intensity. Nonetheless his work is still under critical pressure of those critics who believe they known better than anybody else what and why is worth to hear.