Polish contemporary music magazine

NO. 6(12), MARCH 2012 | ISSN 2080-4598

An eighty-year-old …

by Andrzej Chłopecki Photo: M. Makowski

ooking at the history of Polish music of considerable significance. New aesthetic CONTENTS: since 1955, Wojciech Kilar comes impulses and exercising new technology L across an exceptional figure in caused a general stylistic change in Polish 1-4 The aesthetic voyage of composition. A figure which is essentially music of the late ‘50s and ‘60s. It became Wojciech KILAR a paradox – exceptional and emblematic at wide open to the accomplishments of Euro- the same time. pean modernism as well as the ideas of the 5-7 Wojciech KILAR’s sacred works avant-garde – such determinants as inno- When taking into account Polish con- vation, progress, exploration as well as the 8-9 Agata ZUBEL on her new works temporary composition in the context of the more pronounced areas of inspiration: seri- and immediate plans widescreen panorama of aesthetical phe- alism, aleatorism, and sound quality, often nomena leading up to the present day, one treated as the primary value. This situation 10 New operas: should start the diagnosis back in the mid- led to a noticeable loss of interest in (though MADAME CURIE by Elżbieta Sikora fifties of the past century. The breakthrough not a dogmatic dismissal of) the aesthetic and in the history of Polish musical creation was tendencies which dominated Polish music THE TRAP by marked by the birth of the international con- in the inter-war period as well as in the first temporary music festival called the ‘ decade after the war – the late-romantic aes- 11-13 Elżbieta SIKORA’s recent works Autumn’ in 1956, opening the Polish musical thetic and particularly the neo-classical ap- scene up to the influence of Western Euro- proach as well as folk inspirations. Music of 13 Paweł MYKIETYN in Oslo pean and North American music, as well as the rational kind, ‘technical’ music had come creating an interest in Polish music among in the foreground, taking precedence and 14 ’s ‘V-Symphony’ foreign observers. The Experimental Stu- overruling music that illustrated something dio of the Polish Radio, which came to life which is beyond music itself: programme in 1957, becoming one of the first studios of electro-acoustic music in the world was also continued on page 2

quarta • March 2012 { editorial } { personality }

Dear Readers, continued from page 1 sic that thrilled with an eruption of sound inventiveness, an orgy of clusters, storming The new issue of QUARTA is dedicated to one of the music as well as music with religious con- cascades of percussion and a romantic ges- most important fi gures in Polish contemporary music – tent. Hence, when one looks at the history ture of ‘savage’ aesthetics. Among the com- Wojciech Kilar on his 80th birthday. of Polish music within this time-frame (1955- posers of the ‘Polish School of Composition’ 2012...), Wojciech Kilar comes across an ex- generation, for whom the idea of sonorism Wojciech Kilar describes himself as a man who is ceptional figure in composition. A figure became one of the main aesthetical determi- „happy-sad, like a minor chord with an added minor which is essentially a paradox – exceptional nants, Kilar was the one to find his own dis- seventh” which he likes and often uses in his works. and emblematic at the same time. tinct idiom within that Polish musical mod- Looking at his achievements as a , it is not Though born in 1932 (on July 17th in ), ernism, which exploded before the very eyes diffi cult to see that the music refl ects the dual nature Wojciech Kilar has been considered part of of a European audience both shocked and of various aspects of its creator: the avant-garde – a phenomenon called ‘Born in 1933’ of which impressed by the Polish ‘thaw’. This was the Neo-Romanticism, rhythmical – lyricism, concert and Henryk Mikołaj ‘60s. The ‘70s on the other hand, were a dif- music – fi lm music, religious music – music of the Górecki are also a part of (both actually born ferent epoch. mountains. Leszek Polony, in his monograph about in ’33). The debuts of these three Back then Riff 62, Générique i Diphthongos Kilar, captured its essence in two words: elemental in the late ‘50s at the newly sprung ‘Warsaw all became hits, thanks to Kilar’s infallible and prayer. Autumn’ all tasted of sensation. The con- intuition. From the beginning, this artistic cept of the ‘Polish School of Composition’ intuition was applied to feeling out the mu- The composer gained international fame as the creator was born, also in reference to older com- sical narration, the musical ‘happenings’, the of fi lm music, about which we wrote in one of the pre- posers as such as Grażyna Bacewicz, Witold sound story which ruled over the obedient vious numbers. This time we have focussed our atten- Lutosławski, Włodzimierz Kotoński, Kazimi- technical means of telling it. References to tion on his concert music, which the composer himself erz Serocki, Bogusław Schaeffer and Tadeusz jazz, simple yet brilliant resolutions in tone values more. In the cover article, Andrzej Chłopecki Baird. colour, a vivid design, often a ferocious per- writes about its aesthetic ‘transition’, about the role it Wojciech Kilar made his debut at the first sistence in holding on to an ostinato until the has played in the development of Polish and European ‘Warsaw Autumn’ in 1956 with his still neo- last possible moment – all of this in Kilar’s music in the second half of the twentieth century and classical Little Overture for written music was to grab the fellow human, the lis- its current place. On the other hand, Maria Wilczek- in 1955. The piece is listed in the composer’s tener, by the head only to let go after a few Krupa’s text is devoted to Kilar’s sacred works, which catalogue alongside such works as Symphony minutes when the piece – which was usually are an honest and direct expression of his worldview. No. 1 for strings (also 1955), Symphony No. short – came to an end. From the start, it was 2 Sinfonia Concertante for and a large music of flesh and blood – not the academic Referring to his famous Orawa, the composer once said symphony orchestra (1956), Beskidy Suite for kind which, tortured by theoretical dilem- with typical philosophical simplicity, that in this work tenor, mixed choir and small orchestra (1956), mas came down with anaemia. At the time, he satisfi es his goal - „to be the best Kilar. Every one Ode to Bela Bartók for violin, winds and 2 sets it was complemented by such achievements of us wants this - Krzysztof Penderecki to be the best of percussion (1957) and the Concerto for of Krzysztof Penderecki as Threnody to the Penderecki, Henryk Mikołaj Górecki to be the best two and percussion orchestra (1958). Victims of Hiroshima, Polymorphia and Fluo- Górecki, and only this has true sense.” Following this Though these pieces don’t really function in rescences, the Scontri and Refrain of Henryk line, on the following pages of ‘Quarta’ we also look for concert programmes of today, they do mark Mikołaj Górecki, Witold Szalonek’s Les Sons what is best in the music of Elżbieta Sikora in recent an aesthetic ‘transition’ in Kilar’s music from and various scores by Bogusław Schaeffer years, including in her opera Madame Curie, named in the neoclassical, marked by a marginal inter- and Kazimierz Serocki. Their power lay in Tri-City as ‘Storm of the Year 2011’ and for which the est in folk elements to drawing inspiration the rebellion against post-serialism, culti- composer was recently awarded the City of Gdańsk from the so-called ‘vitalistic’ music of Bela vated by the western modernists. They put Prize in the Field of Culture ‘Splendor Gedanensis’. We Bartók. He completed his compositional emphasis on tone colour (sonorism) and also recommend our interview with Agata Zubel about studies in (his second hometown the non-traditional articulation used on tra- her latest, intriguing works that will be premiered later to date, after Lviv, lost to after WWII) ditional instruments rather than interval this year. U.M. under the guidance of Bolesław Woytowicz, combinations – clearly referring more to the a rather conservative composer and teacher, tradition of Edgar Varese, than that of Anton and then (in the years 1959-1960), continued Webern. his studies with , the men- One should note the fact that Riff 62 with tor of the neoclassical style in . He also its solo piano, a large group of winds, two ANNIVERSARIES 2012 participated in the International sets of percussion and an ample string sec- Summer Courses for New Music in 1957. tion (though made up only of violin and Zbigniew BARGIELSKI *1937 ‘The New Kilar’ was born in mid-sixties, ) was a piece Kilar dedicated Feliks JANIEWICZ 1762-1848 which is when the following works were to Nadia Boulanger as a “modest tribute in Wojciech KILAR *1932 written and performed: Herbsttag for female celebration of her 75th birthday”. The jazzy Zygmunt KONIECZNY *1937 voice and string quartet (1960), Riff 62 for or- feeling of the score probably was to the taste Andrzej KOSZEWSKI *1922 chestra (1962), Générique for orchestra (1963), of the addressee of the dedication – after all, Bronius KUTAVIČIUS *1932 Diphthongos for mixed choir and orchestra her favourite, Stravinsky, had flirted with Juliusz ŁUCIUK *1927 (1964), Springfield Sonnet for orchestra (1965), jazz more than once – however, as she was Tadeusz MAKLAKIEWICZ 1922-1996 followed by Solenne per 67 esecutori (1967) and the apologist of the neoclassical, the sonic Zygmunt MYCIELSKI 1907-1987 Training 68 for clarinet, trombone, and fauvism of the score must have somewhat 1882-1937 piano (1968). 1958 also marks the beginning perplexed her.... Henryk WARS 1902-1977 of Wojciech Kilar’s career as composer of Just as in 1962 through Riff 62 and Gé- original film scores for both short and full- nérique Wojciech Kilar ‘changes his pace’ ANNIVERSARIES 2013 length documentary, animated, experimen- and heads for the noisy bruitistic sonorism, tal and feature films. By 1971, marked by his in 1972 he renounces his hitherto approach Zbigniew BUJARSKI b. 1933 Upstairs-Downstairs for two children’s choirs with a score known as Upstairs-Downstairs for Henryk CZYŻ 1923-2003 and orchestra, he had composed 70 film two children’s choirs and orchestra, and so Henryk Mikołaj GÓRECKI 1933-2010 scores. This gave him, a composer of ‘concert’ becomes a part of the minimalist landscape, Witold LUTOSŁAWSKI 1913-1994 and ‘festival’ music, financial independence though perceived individually. An ascet- Krzysztof PENDERECKI b. 1933 as well as served as a workshop yielding re- ism of technical means and getting rid of all Mata PTASZYŃSKA b. 1943 sults later used for other (non-film) music. tonal ‘ornamentation’ in mid-sixties became Witold RUDZIŃSKI 1913-2004 Wojciech Kilar and his music of that pe- a quality exhibited by the so-called ‘impov- Stanisław SKROWACZEWSKI *1923 riod helped create the new image of Polish erished music’ of Henryk Mikołaj Górecki, Stanisław WIECHOWICZ 1893-1963 music, readily called avant-garde. It was mu- whereas Kilar took the notion further. In an

2 quarta • March 2012 { interview }

Włodzimierz Kotoński writes Róża Wiatrów [Wind Rose] and through debuts a new so- called generation of composers, the ‘Stalowa Wola generation’ (Eugeniusz Knapik, An- drzej Krzanowski and Aleksander Lasoń) is born. Paweł Szymański makes his debut with a gesture of ‘surconventialism’. In all these approaches there is an element of an attitude of opposition: turning away from the avant-garde, radical modernity, a refusal to place all that is new, progressive and re- vealing on a pedestal. For we can place our- selves where there is and had been beauty. It has not evaporated or been out to waste, like an expired product carelessly bought at the Photo: J. Zych supermarket. Wojciech Kilar. Katowice 1992 In 1972 Wojciech Kilar writes Prelude and Carol for 4 oboes and strings. In 1974 interview, he stated that he had discovered and folk (especially highland folk) sound- – the Krzesany, in 1975 – the ‘philosopher’s stone’ of his music, and scape, rooted in old Polish musical traditions Bogurodzica for mixed choir and orchestra, in that “there is nothing more beautiful than (such as that of renaissance master Wacław 1976 – the symphonic poem Kościelec 1909, in a note or chord that lasts an eternity, that that of Szamotuły – in Latin known as Venceslaus 1979 – Hoary Fog [or Grey Mist] for baritone is the deepest wisdom, not all those tricks we Samotulinus) as well as the tonal ectasy of and orchestra and in 1981 he finishes Exodus play with the sonata form, fugue or harmo- Karol Szymanowski’s music. Here he takes for orchestra and mixed choir. It is followed ny”. And so in the 12-minute composition the road that eventually leads to the Coper- by Victoria for mixed choir and orchestra in called Upstairs-Downstairs two pitches are nicus Symphony, Symphony No. 3 Symphony 1983, and by the Angelus for soprano, mixed heard continuously from beginning to end, of Sorrowful Songs, a piece called Beatus Vir choir and symphonic orchestra, completed transposed over and over. In 1995, a ‘rank- followed by, among others, the Recitatives in 1984. 1986 brings Orawa for chamber string ing’ of the most prominent Polish composi- and three string quartets. In 1972 Krzysztof orchestra, 1988 – the Choralvorspiel [Chorale tions from the years 1945-95 was created at Penderecki writes a short symphonic piece Prelude] for chamber orchestra. From 1972 a conference held at the Kraków Academy of called The Awakening of Jacob which leads the till the present day Kilar has composed about Music. Upstairs-Downstairs was among com- poser Paweł Szymański’s choices, since, as he put it “Kilar’s reductionism is not yet em- As for the ‘70s, it was then that after fifteen years, ployed to carry content, which can quickly cause damage to the naturally delicate mu- Wojciech Kilar had once again found himself among sical constructions, whose fragile joints and bearings can easily break...” One can say that those who shook up the existing state of aesthetic of the piece was a ‘joint’ in Wojciech Kilar’s modern music musical style, the music bidding yesterday goodbye and greeting tomorrow. What was this ‘tomorrow’ to bring, though? way towards his Violin Concerto and Paradise 80 film scores, collaborating, among others, In 1971, Henryk Mikołaj Górecki com- Lost, a manifesto of the Polish version of the with Hollywood since 1992, becoming one of poses Ad Matrem, opening up a new path ‘New Romantic’, resulting in more monu- the main figures of film music in Poland and for his later works: one leading to religious mental symphonies, post-modernist operas on the international scene. proclamation and emphasis on the word as such as The Black Mask and Ubu Rex, as well As for the ‘70s, it was then that after fif- a higher value, to the vivacious, nostalgic as and concerto-style pieces. teen years, Wojciech Kilar had once again found himself among those who shook up the existing state of aesthetic of modern music. The performance of Krzesany at the Magnifi cat; Victoria Camerata Silesia sings Kilar ‘Warsaw Autumn’ in 1974 caused a sensa- Paschal Hymn; Lamento; Dona I. Kłosińska, T. Krzysica, P. Nowacki, nobis pacem from Missa pro pace; Silesian Philharmonic Choir & tion: one of the most radical composers of Agnus Dei from the fi lm König der Orchestra, M.J. Błaszczyk (cond.), that ‘new wave’, which caused such a spec- letzten Tage; Apotheosis to words W. Stryk (cond.) tacular surge in Polish music of the late ‘50s by Shakespeare from the fi lm DUX 0592, 2007 and early ‘60s wrote a folk-inspired sym- A Week from a Man’s Life; Veni phonic poem – something which was just Creator Missa pro Pace AUKSO Chamber Orchestra, Wrocław Opera Choir, like the pieces against which he had com- Camerata Silesia, Ch. Daniels, Z. Kilanowicz, posed his Générique, Riff 62 and Diphtongos. A. Szostak (cond.) J. Rappé, P. Nowacki, Wrocław From a stage so used to post-serial, sonorist DUX 0856, 2012 Philharmonic Symphony Orchestra, and minimalist music, illustrative music was M. Pijarowski (cond.) heard. Music employing highlander motifs, Wojciech Kilar Katowicom DUX 0434, 2004 Solemn Overture; Paschal folk modality and evocative of typical indig- The Triptych Hymn; Symphony No. 5 “Advent enous highlander playing. Here Kilar refer- Bogurodzica; Angelus; Exodus Symphony” I. Kłosińska, Warsaw Philharmonic ences the vivid folk element directly, creat- Silesian Philharmonic Choir & Choir, PNRSO, A. Wit (cond.) ing a folk fresco, embracing the folklore and Orchestra, M.J. Błaszczyk (cond.) DUX 0484, 2004 all that it has to offer: melodic motifs, harmo- DUX 0781, 2010 ny, rhythm, performance practice, and the Piano Concerto; Choral Prelude; Kilar. The Best so-called characteristic, fiery playing style Orawa Orawa; Krzesany; Exodus; Victoria; known as ‘sparking’. And though the piece P. Jablonski; Polish Radio Orchestra, fi lm music was written with brash inventiveness for W. Rajski (cond.) Universal Music 524 396-2, 2000 a fully modern (or even – ingeniously treat- DUX 0708, 2009 [2CD]

continued on page 4

quarta • March 2012 3 { personality }

continued from page 3 string orchestra (2005), Magnificat for solo one thing. In what is allowed, Wojciech Kilar voices, choir and orchestra (2006), Sym- has set apart as set of ideas (regarding con- ed!) orchestra, there came to a life a piece in- phony No. 5 – Advent Symphony for mixed tent and aesthetics) that are not treated in tentionally popular and emotional. choir and orchestra (2007), Te Deum for solo a populist manner, which post-modernism This score insulted the subtle connoisseur voices, choir and orchestra (2008), Paschal allows; he does not juggle them with turpis- of music of the day. It seemed to treacherous- Hymn for mixed choir (2008), Veni Creator for tic glee, which can be a post-modernist man- ly whisper: isn’t this what you nerism; he does not manipulate like best? Don’t be ashamed his listeners or beguile them to publicly admit to it! What In a post-modernist and pluralist like television pop-culture does, was shocking was the sensual which can become a recipe for hedonism of a colourful, brash world, in which everything is allowed, life or even for a career in an and entertainingly composed post-modernist paradise; he has musical vista, it’s full-blooded a post-modernist is free to take his not created a couple of grim- musical realism. This type of inspirations seriously and shape them aces to build his image for the musical narration was easily mass-media as post-modernists explained – Wojciech Kilar at in an honestly artistic manner often do. However, in a post- the time had already become modernist and pluralist world, the greatest Polish composer in which everything is allowed, of film music. And so the music of Krzesamy, mixed string orchestra (2008), and the Piano a post-modernist is free to take his inspira- as well as later works like Exodus, Orawa and Concerto No. 2 (2011). They are pieces that tions seriously and shape them in an hon- Angelus, almost defiant of the main new mu- function well in the area of philharmonic estly artistic manner. Therefore, he is free to sic aesthetics (it is a choral recitation of the repertory, but poorly in new music festival glorify Tchaikovsky’s Symphony No. 6 and rosary to the Virgin Mary, a sort of a text- programs, so the presence of Kilar’s works at Maurice Ravel’s Bolero through his own crea- composition), as well as the 1997 Piano Con- the ‘Warsaw Autumn’ is gradually declining. tive output. He is allowed to write music that certo all affected the audience in a way film This however does not mean that it is music combines a of technical means music would, except that there was no film. unattractive to listeners. His creative output with a tone that’s not even newly romantic, The last phase of Wojciech Kilar’s output has returned to its starting point – tradition: but simply – romantic. When we listen to Ki- is directed mostly, though not completely, at first rejected in an radical innovator’s ges- lar’s latest works, mentioned above, we may towards expressing religious content, things ture, now embraced upon return, having re- feel that the composer, after much aesthetic generally metaphysical, omitting the high- jected former fascinations. Kilar is not alone voyaging has returned to some childhood lander folk motifs so characteristic of his in this, when compared to such composers arcadia, which he bid goodbye for decades, music from the ‘80s (inspired by the works of as Arvo Pärt, John Taverner, John Adams or but now lifts up and glorifies in later works Mieczysław Karłowicz and even Karol Szy- John Corigliano. after some time, or perhaps even has done manowski). Recent works include, among The more recent music of Wojciech Kilar so at the time of the aesthetic farewells. He others, the Agnus Dei for mixed choir a cap- – for instance, the original score for Francis no longer has to prove himself as a modern- pella (1997), Missa pro pace for soprano, alto, Ford Coppola’s Dracula will be detested by ist, a member of the avant-garde, innovator tenor, bass, mixed choir and symphony or- someone for whom aesthetics are dogmatic, or even post-modernist. He doesn’t have chestra (1999-2000), Symphony No. 3 – Sep- because of an overall hate for the post-mod- to, because he is free. Free of all vogues and tember Symphony (2003), Lamento for mixed ernistic approach. However, one must note dominant trends. Wojciech Kilar has put this choir (2003), Symphony No. 4 – Sinfonia de freedom to fascinating artistic use. And has motu for soprano, baritone, mixed choir and been doing it... And may he continue for symphony orchestra (2005), Ricordanza for years to come... Transl. J. Trafas

Premiere of rather primitive melody drawing you into the dance. Everything moves towards the closing Wojciech Kilar’s bells, triumphant fanfares, which is a kind of liberation of the soul and opens the gates to Piano Concerto No. 2 the eternal world.” Beata Bilińska Wojciech Kilar returned to this musical form 14 years after composing his Piano Wojciech Kilar and Jacek Kaspszyk “In terms of technical and stylistic solutions, the Concerto No. I, writing his second work after the premiere of Piano Concerto No. 2. composer presents his well-known face in the for piano and orchestra. The composer Katowice, 14 Oct 2011 Concerto No. 2, and his individual language is started work on the Piano Concerto No. recognizable from the fi rst bars. Kilar gathered 2 in 2010. Although Kilar does not say number of notes. The composer retreats from almost everything characteristic of his mature directly, one can imagine that the inpulse the virtuosic element to the absolute extreme style in this composition, and so limited, care- to write the piece was the catastrophe in of concentration and metaphysical contempla- fully selected musical material (scales, chord Smoleńsk. tion. The repetition of the motifs is intended to types), repetitive texture, melodics with a cho- induce a trance in both performer and listener. ral and folk (highlander) character, the broad The obsessiveness in these repetitions refer to harmonic-textural sweep, sonic intensifi cation Piano Concerto No. 2 was fi rst performed in eternity... In this concerto one can hear the se- are all present. The piece presents a type of Katowice 14th October 2011 by Beata Bilińska and riousness of a funeral march at the beginning, virtuosity similar to the Piano Concerto No. 1; PNRSO conducted by Jacek Kaspszyk. On March in the second part the rhythmic vitality of a it is based primarily on a demanding condition 16th this year the piece received its international wildly energetic octave – chordal ostinato that requiring fast and precise multiple repetitions premiere in Latvia. Beata Bilińska played the Con- demands extraordinary physical stamina from or alternating chords. certo accompanied by the Liepajas Simfoniskais the pianist. The third part is a rest for the pian- The Concerto also confi rms the thesis that in Orkestris conducted by Tadeusz Wojciechowski ist and the listener. Here one can hear soft an- Kilar’s recent works he has increased the role in Liepaja, during the 20th International Piano Star gelic choirs. The holding on to long sounds is given to melodic sections, although the melody Festival. reminiscent of a lullaby and spreading harmony is often quite ascetic and does not compare to in the universe. The most ‘earthly’ is part is the the composer’s melodies famous from fi lm “Wojciech Kilar’s Piano Concerto No. 2 is a fourth movement, which recalls the sounds of music.” work whose quality is not measured by the a highlanders’ band, its exuberance, energy, Stanisław Będkowski

4 quarta • March 2012 { personality } Music in Prayer – Prayer in Music On Kilar’s sacred works

„There’s one occupation – apart from composing – that I would like to have, that is to be a priest. Not only for the sake of faith, but also because of my fascination with the sacrifice the clerics bear for us”1, said Wojciech Kilar a year before the beginning of the new millennium. This confession reflects one of the most important life attitudes of the composer, this, which is less fashionable in the contemporary world and surely the one that associates the least with the vampiric sounds illustrating the film frames of Coppola’s Dracula which were awarded by American Society of Composers, Authors and Publishers. © The Fitzwilliam Museum, Cambridge Score published by PWM. On the cover: Maria Wilczek-Krupa of my techniques”2. Thus, Bogurodzica, which The Ancient of Days, frontispiece to initiated the religious works, was written a Prophecy, by William Blake with the 75th jubilee of the Warsaw Philhar- ilar is not ashamed of his views. He monic in mind, but also to commemorate cry sound out”, the composer explains. “Af- reads the Bible every day and doesn’t the 30th anniversary of the Warsaw Uprising, ter all these years I think that a traditional K leave home without rosary beads. If which had been celebrated the year before. form of ending an opus, such a one that un- this attitude, full of humility and modesty The prevention of its first performance is equivocally suggests that no more is bound suits a show-business man and a master associated with the only repression that the to happen, is best. But then I was driven by from Hollywood – it’s a secondary consid- Communist authorities carried out against a metaphorical, in a sense, thinking – this cut eration. Besides, even in his film music there the composer. “I have written Bogurodzica cry was, for me, something like a noose or are examples of compositions of sacred con- for the Philharmonic, and then I composed a sword swing which was to bring the Com- notations, e.g. the soundtrack to the German Kościelec. The second composition was per- munist system to an end”5. In 1979, when television film The King of the Last Days, con- formed during the jubilee celebrations, how- Kilar starts working on Exodus, the anxiety structed in a form of a small Mass, or Requiem ever, the authorities didn’t allow Bogurodzica connected with the political situation of the for Father Kolbe from ’s film to be staged”3, the composer recalls. country starts growing within Polish society. A Life for Life. The influence of the artist’s Bogurodzica is Wojciech Kilar’s first such A similar gradation of tension – soon Kilar’s views on an opus itself, as well as the power complex vocal and instrumental composi- trademark – can be also observed in the of inspiration and the creative embodiment tion – in the cast we hear quadruple brass course of the poem. The musical narration of an idea seem to be more interesting than and quadruple woodwind, two harps, a pi- of Exodus to some extent accompanies the their complexity. ano, 12 first violins, 12 second, 10 of each: actual events – the dynamics and emotions Wojciech Kilar’s devoutness deepens violas, , double basses; fortified per- grow with each time, so that the end (in 1981, gradually – just like his composing activity. cussion and a mixed choir. The beginning of the year of Martial Law introduction) is cut In its early phase, first of all filled with film, the opus, a characteristic drum sequence of with the choked cry of the choir, dies under piano, chamber and orchestral works, the increasing dynamics, bears testimony to the the metaphorical swing of a sword. The ti- sphere of sacrum practically doesn’t exist. national and historical intentions of the com- tle, flight of the Jewish nation from Egyptian The first great religious composition appears poser. During the narration, however, we slavery therefore gains a symbolic meaning, only in 1975, that is in the period of creative find out, that we deal with something more and the religious and national references maturity. Kilar, with his breakthrough sym- than a composition of a military character: intertwine with one another creating a sig- phonic opus Krzesany behind him, has, in his with an expressive and zealous musical nificant musical hybrid – a testimony of the mind, the birth of the first motives of a poem prayer. A direct quote from the Bogurodzica social anxiety of those days. The aforemen- dedicated to the memory of Mieczysław hymn appears not till the epilogue; a musical tioned Victoria becomes a supplement to this Karłowicz, Kościelec 1909. Through the next incipit of this oldest of Polish songs also con- dramatic history told with sounds, as it is an thirty-few years, both in the composer’s stitutes the beginning of Victoria, which was opus born of optimism and hope for better life and in the history of the Polish nation, composed six years later under the influence times to come. “I knew that sooner or later a lot will happen – these changes will be fol- of the public mood following the introduc- the system, which resorts to such repres- lowed by Kilar’s sacred works, starting with tion of Martial Law, but also connected with sions, will come to an end”6, the composer Bogurodzica (1975) up to Veni Creator and Te the emotions accompanying the prepara- explains. Deum (2008.) tions for the visit of John Paul II to Poland. The stylistics of the work solidified Kilar’s However, before the score of Victoria will position as an artist connected to the mini- AROUND HISTORY, IN THE HEART OF see the light of day, Kilar finishes another malism trend. Although Exodus is considered POLITICS national and religious poem, Exodus. On the to be a result of the composer’s fascination The works of a religious message appear 30th anniversary of the composition’s first with Ravel’s Bolero, the manner of processing in Kilar’s composing in some measure in two performance he says: “I was writing this the main motive, however, its modifications stages. The first of them, from Bogurodzica to opus a very long time – two years. I consider and the gradation of the dynamic allow the Angelus (1984) is closely connected with the it, however, to be one of my most success- assumption that the aesthetics of American history of Poland and contemporary political ful works, disregarding certain technique minimalism is closer to him, especially the events. Several dozen years after the ‘sacred shortcomings”4. One of these ‘shortcomings’ works of Steve Reich. The melody of the debut’, the composer himself confirms the is, according to Kilar, the end of the compo- poem (drawn from Jewish cantor recordings existence of such a dependency: “Religious sition itself – abrupt, sudden, with a short containing a track of a melodious reading of matters intertwined somehow with the na- cry of the word Hosanna by the choir. “My tional matters, and also with some changes mistake lies in the fact that I didn’t let the continued on page 6

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the Book of Esther) is persistently repeated in the course of narration and – following the rule of the gradual growth of the sound volume – it wanders around particular in- struments of the large orchestra. Its nearly ecstatic finale belongs to the choir. The Latin text “Hosanna homini, Hosanna ei qui venit hodie in nomine Domini” here is put to a melody connected to the Old Testament tradition, and these two religious elements collide with the contemporary inspiration constituted by the political events of the 1970s and ‘80s. The period of Martial Law Wojciech Kilar spends within the walls of Jasna Góra mon- astery. This is where we can find the sources of the ‘new’ sacrum sphere of a private, truly mystical significance. The time of spiritual calming and collective prayer results with an opus which closes the national and reli- gious trend in Kilar’s works and at the same time signals the coming of the new era born of prayer, sense of communion and the pro- Score published by PWM. On the cover: Jerzy Duda-Gracz, Exodus fessed faith. “Angelus originated from saying (You may recognize the face of the composer in a right down corner) the rosary and participating in a commu- nity,” the composer recalls. “My greatest life doubles the strength and releases the en- num corresponding to liturgical antiphonal achievement is understanding the sense of ergy. The composer, at the same time, gives and responsorial singing, then Sanctus-Bene- participation in the Church, the pleasure and his ‘musical Rosary’ a different word context dictus, which is the most beautiful Baroque the joy of being in communion”7. Therefore, – from a recitative part of the choir, through aria da capo with a soprano part, and the fi- the year 1984 is the turning point in the his- transformation of the recitative into singing nale Agnus Dei, which is a monumental can- tory of Wojciech Kilar’s sacred works – An- and plea, up to a desperate call for Mary. tata in the Romantic style, with variations gelus slowly slips from the religious concept on the words Dona nobis pacem. According to of an opus of an earthly and perhaps even MUSICAL MYSTICISM Leszek Polony, the composer’s biographer, of a human dimension and reveals the artist- Fifteen years passes from the spiritual in Missa pro pace, through the medium of mystic stepping to the next level of spiritual katharsis, which is Angelus, to the musical the three aforementioned stylistic idioms, existence. Word is at the centre of musical profession of faith, that will be Missa pro pace. the key symbols of Christianity, the Trinity, events here. The rosary passes numerous At that time the world knows such master- the cross and the opposition of heaven and transformations and modifications, it is also pieces as Orawa for Strings (1986) or Piano earth, were included. “This is a story about subjected to persistent repetitions, both in Concerto No. 1 (1997), about which the com- God, who settled among man and about the whole and in the form of single verses. poser speaks as his musical self-portrait and man being called to emulate him”8, claims Therefore Kilar emphasises the significance to which he also gives a characteristic spiritu- Polony. and meaning of the text in harmony with al message. During these fifteen years Kilar’s With this longed-for mass Kilar begins the Christian philosophy, for which word is greatest film masterpieces are also created, the second stage of his sacred creativity be- a source of spiritual power and its recurrence among others, the music for the film Korc- ing a particular kind of musical mysticism. In magnifies the impression of mysteriousness, zak directed by (1990), whose 2005 he composes another monumental, vo- significance is compared by the composer cal and instrumental work - Sinfonia de motu, to Exodus, or ’s Dracula dedicated to the “Polish Physicists” on the (1992). While working with the film crews occasion of the World Year of Physics. The Wojciech Kilar, however, dreams about com- musical metaphysics takes its own direction posing a cyclic monumental sacred opus. here – from the chaos and darkness of hell The proposition of writing a mass comes at to the gates of paradise and everlasting light the end of the century – the work honouring and love. The text again appears in the cen- the occasion of the 100th anniversary of the tre of events – Kilar spins the musical threads Warsaw Philharmonic and initiating the new of Sinfonia around the song of Dante’s Divine millennium is commissioned by its the then Comedy. Particular parts receive titles symbol- director, Kazimierz Kord. ising the successive stages of this metaphysi- Missa pro pace, therefore, is not only of cal journey: Selva (forest), Cammino (way), a sacred, liturgical and occasional character, Luce (light) and at the end Amor (love). it is also an intimate profession of faith, an The year 2007 brings Kilar the proverbial expression of a personal prayer of the com- ‘shadow line’ – in November, after over forty poser. Wojciech Kilar quotes here a tradi- years of having been together, his beloved tional mass cycle in the whole, like in Angelus wife passes away. Supported by his deep applying the recurrence of chosen parts of faith, the composer creates two opuses – Te the text. The most interesting technical treat- Deum and Veni Creator (2008), which are ment is the pursuit of form towards the fi- dedicated to her memory and of which the nale, not only from the point of music, but first particularly is an expression of his deep also from the point of the stylistics. In Missa gratitude to God for the time spent with his pro pace, the aesthetics of the musical Middle wife. Similarly to Missa pro pace, in the five- Ages, Baroque and Romanticism are voiced. part monumental Te Deum Kilar applies sty- This formal and stylistic wander is started by listic borrowings, however, this time he goes Score published by PWM. Kyrie in a form of passacaglia, in the centre a bit further: in the course of narration we Cover: Marek Repetowski of the cycle appears a choral Credo – an orga- meet musical innuendos, references to com-

6 quarta • March 2012 EPERTOIRE posing techniques characteristic of other artists, 1 Janowska K., Mucharski P., Rozmowy na koniec R ECOMMENDATIONS quotations and themes or motives drawn from wieku 3, Znak Publishing House, Kraków 1999, religious songs. In relation to the performance, p. 229 Orawa we observe a return to the tendencies of the 2 K. Podobińska, L. Polony, Cieszę się darem życia, for chamber string orchestra (1986), 9’ 1970s – the expanded cast includes solo voices, PWM, Kraków, p. 37 Premiere: 10 March 1986, a choir and an orchestra. 3 The quotation comes from an unpublished Polish Chamber Orchestra, W. Michniewski Te Deum also has its occasional origin – the conversation with Wojciech Kilar held by the (cond.) first performance of this work honoured the author of the text on December 18th 2011 in celebration of the 90th anniversary of Polish in- Katowice Kościelec 1909 dependence. Therefore the history of the sacred 4 from the conversation with the author Symphonic Poem (1976), 18’ works of Wojciech Kilar has come full circle: af- 5 from the conversation with the author 4444-4441-batt (6esec) 2ar pf-archi (16.14.12.10.8) ter thirty years since Bogurodzica was created, 6 Wojciech Kilar na Jasnej Górze. Odnalazłem wolną Premiere: 5 Nov 1976, Warsaw the composer goes back to the historical and Polskę i... siebie, Częstochowa 2003, p. 15 Warsaw Philharmonic Symphony Orchestra, national stage of his sacrum sphere. However, 7 K. Janowska, P. Mucharski, op.cit. p. 223-224 W. Rowicki (cond.) it is a weightier stage when it comes down to 8 L. Polony, Kilar. Żywioł i modlitwa, PWM, expression and much richer: of a religious ex- Kraków 2005, p. 150 Krzesany perience, suffering and the metaphysics of faith Symphonic Poem (1974), 17’ being deepened. Transl. A. Ó hAlmhain 4444-4440-batt (6esec) org (ad lib.)-archi (12.12.10.10.8) Premiere: 24 Sept 1974, Warsaw Warsaw Philharmonic Symphony Orchestra, Krzesany; Bogurodzica; Riff 62; Dracula (OST) Kościelec 1909; Exodus A. Coppola (cond.) J. Krenz (cond.) Choir of Polish Radio & TV Sony 53165, 1992 in Kraków, Warsaw Philharmonic Exodus Symphony Orchestra and Choir, for mixed choir & orchestra (1981), 23’ W. Rowicki (cond.), coro misto-4444-6661-batt (6esec) cel 2ar 2pf-archi A. Markowski (cond.), PNRSO, A. Wit (cond.) (16.16.14.12.10) Sound-Pol SPB 034, 1993 Death and the Maiden (OST) Text: Lat. English Chamber Orchestra, Premiere: 19 Sept 1981, Warsaw Angelus; Exodus; Krzesany H. Rabinowitz (cond.) PNRSO, J. Kaspszyk (cond.) Hasmik Papian, PNRSO, A. Wit Erato 9842-2, 1994 (cond.), Kraków Philharmonic Symphony No. 3 ‘September Symphony’ Choir, J. Mentel (cond.) Naxos 8.554788, 2002 (2003) 40’ The Portrait of a Lady (OST) 3333-4441-batt (5esec) cel ar pf-archi S. Konicek, N. Raine (cond.) Premiere: 2 Sept 2003, Warsaw Decca Records 1996 Muzyka gór. Korzenie Warsaw Philharmonic Symphony Orchestra, i.a. W. Kilar: Orawa, Krzesany A. Wit (cond.) Silesian Philharmonic Symphony Orchestra, M.J. Błaszczyk (cond.) Symphony No. 4 ‘Sinfonia de motu’ Pol Music PMCD 113, 2003 for soprano, baritone, choir & orchestra (2005) Requiem for Father Kolbe; Choral Prelude; Orawa; Kościelec 1909; 50-55’ Krzesany S Bar solo-4444-4441-pf ar cel-batt-archi Bogurodzica; Piano Concerto; Warsaw Philharmonic Symphony Text: Dante Alighieri, It. Hoary Fog [or Grey Mist]; Orchestra, K. Kord (cond.), PNRSO, Premiere: 12 IX 2005, Warsaw Kościelec 1909 A. Wit (cond.) I. Hossa, J. Bręk, Warsaw Philharmonic Choir & W. Malicki, W. Ochman, Warsaw Milan Records 73138 35779-2, Orchestra, A. Wit (cond.) National Philharmonic Choir 1996 & Orchestra Fantôme avec chauffeur (OST) H. Wojnarowski (choirmaster), Symphony No. 5 ‘Advent Symphony’ City of Prague Philharmonic A. Wit (cond.) for choir & symphony orchestra (2007), 45’ Naxos 8.557813, 2006 Orchestra, S. Konicek (cond.) Auvidis Travelling K 1024, 1996 coro misto-3333-4332-batt(3esec)-pfte-archi Text: St John, Lat. Exodus; Kościelec 1909; Premiere: 16 Nov 2007, Katowice Przygrywka i kolęda; Angelus Silesian Philharmonic Orchestra & Choir, D. Ambroziak, Choir of the Polish Radio & TV in Kraków, Zemsta (OST) M.J. Błaszczyk (cond.) PNRSO, A. Wit (cond.), Warsaw Warsaw Philharmonic Symphony Philharmonic Symphony Orchestra, A. Wit (cond.) Dracula Warner Music Poland, 2002 Orchestra, W. Rowicki (cond.) Suite from F.F. Coppola’s film (1992), 25’ Olympia OCD 308, 1988 coro misto-4444-4442-batt (6esec) cel 2ar pf-archi Kilar. Moś. Aukso Orawa; Choral Prelude, Przygrywka i kolęda; Ricordanza König der Letzten Tage The Vocalise from R. Polański’s film Pavel Kühns Mixed Choir, Prague AUKSO Chamber Orchestra, (1999), 4’ M. Moś (cond.) Philharmonic Orchestra, S. Konicek S solo-0000-0000-pf cemb-archi Polish Radio Katowice PRK 070, (cond.) 2005 Decca 443 253-2, 2003 Pan Tadeusz September Symphony; Lamento Suite from A. Wajda’s film (1998), 25’ Warsaw Philharmonic Symphony Le Roi et l’Oiseau (OST) 3332-4330-batt(3esec) 2ar pf(cel)- Orchestra, A. Wit (cond.); PNRSO, S. Wisłocki (cond.) archi(16.12.12.8.8) Warsaw Philharmonic Choir, FGL Music, PL0908156, 2011 H. Wojnarowski (chorusmaster) (LP Gatefold – 1980/ CD – 1999; The Pianist: Moving to the Ghetto CD ACCORD ACD 130-2, 2003 2011) Theme from R. Polański’s film (2002) for clarinet & string orchestra, 2’

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