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ABSTRACT Composers As Spiritual Mediators: Henryk Górecki and John Luther Adams S. Grant Cooper, M.M. Thesis Committee Chairpe

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ABSTRACT Composers As Spiritual Mediators: Henryk Górecki and John Luther Adams S. Grant Cooper, M.M. Thesis Committee Chairpe ABSTRACT Composers as Spiritual Mediators: Henryk Górecki and John Luther Adams S. Grant Cooper, M.M. Thesis Committee Chairperson: Jean Ann Boyd, Ph.D. This thesis considers how composers act as agents of spiritual mediation. It examines two individuals of divergent philosophical and cultural perspectives. Henryk Górecki and John Luther Adams responded to twentieth-century crises with two signature works that reflect a desire to remediate the suppression of spiritual forces. Górecki’s Miserere, opus 44 is a plea for reconciliation prompted by the abuse of Poland’s Solidarity movement, and is examined as a product of political and religious oppression in the composer’s nation, and as an invocation of Roman Catholic traditions that relate to its biblical text. John Luther Adams’s In the White Silence, a defense of wilderness places in Alaska, is examined as an outgrowth of environmental activism that resulted in a musical idiom based on ecological principles. The object of this study is to illuminate the role of composers as mediators between corporeal and incorporeal forces, manifesting the spiritual exigencies of mankind. Composers as Spiritual Mediators: Henryk Górecki and John Luther Adams by S. Grant Cooper, B.M. A Thesis Approved by the School of Music ___________________________________ William V. May, Jr., Ph.D., Dean ___________________________________ David W. Music, D.M.A., Graduate Program Director Submitted to the Graduate Faculty of Baylor University in Partial Fulfillment of the Requirements for the Degree of Master of Music Approved by the Thesis Committee ___________________________________ Jean Ann Boyd, Ph.D., Chairperson ___________________________________ Jann M. Cosart, D.M. ___________________________________ Brian R. Marks, D.M.A. ___________________________________ S. Jane Abbott-Kirk, M.M. ___________________________________ Paul C. Grabow, Ph.D. Accepted by the Graduate School May 2012 ___________________________________ J. Larry Lyon, Ph.D., Dean Page bearing signatures is kept on file in the Graduate School. Copyright © 2012 by S. Grant Cooper All rights reserved CONTENTS LIST OF FIGURES iv LIST OF TABLES v LIST OF MUSICAL EXAMPLES vi ACKNOWLEDGMENTS vii DEDICATION viii CHAPTER 1. Introduction 1 PART I: HENRYK GÓRECKI CHAPTER 2. A Cultural and Historical Context 11 CHAPTER 3. Miserere Traditions 26 CHAPTER 4. A Musical Plea: Miserere, opus 44 38 PART II: JOHN LUTHER ADAMS CHAPTER 5. Environment and Influence 54 CHAPTER 6. Evoking the Arctic: In the White Silence 63 CHAPTER 7. A Spiritual Perspective on the Arctic 86 CHAPTER 8. Conclusion 103 BIBLIOGRAPHY 110 iii FIGURES Page 1. Location of the Arctic National Wildlife Refuge in Northern Alaska 59 2. Das Eismeer by Caspar David Friedrich 98 iv TABLES Page 1. Compositional and Structural Developments in Miserere, opus 44 43 v MUSICAL EXAMPLES Page 1. Miserere, opus 44, 1st mvt., mm. 1-4 39 2. Miserere, opus 44, 1st mvt., mm. 5-8 40 3. Miserere, opus 44, 2nd mvt., mm. 1-4 40 4. Miserere, opus 44, 8th mvt., mm. 1-10 41 5. Miserere, opus 44, 11th mvt., mm. 9-12 44 6. Miserere, opus 44, 10th mvt., opening indication 46 7. Miserere, opus 44, 6th mvt., mm. 35-41 48 8. In the White Silence, mm. 247-252 66 9. In the White Silence, mm. 41-42 67 10. In the White Silence, mm. 33-39 67 11. In the White Silence, mm. 1 & 41 78 12. In the White Silence, mm. 41 & 64 79 13. In the White Silence, mm. 1-6, 63-64, & 173-174 84 14. In the White Silence, mm. 63-64 95 15. In the White Silence, mm. 310, 557, 793, & 1029 96 vi ACKNOWLEDGMENTS Abundant gratitude is due, and eagerly rendered, to my advisors in the Baylor University School of Music. Dr. Jean Boyd has guided this project since its inception. Her belief in its first tentative expression provided the impetus that carried the work to its completion. I am grateful for her faith in new music and new scholarship. During my time at Baylor University, Dr. Jann Cosart has humbled me with her willingness to invest in my development as a student and scholar. Her interaction with me in the creation of this thesis has been characterized by academic insistence and great patience, a skillful combination that typifies her instruction. vii To Jack and Phyllis Fox viii CHAPTER ONE Introduction Two Premieres On September tenth, 1987, St. Stanislaw Church in the Polish city of Włocławek hosted the world premiere of a large-scale choral work by native composer Henryk Górecki. This event had a long gestation. The work in question, Miserere, opus 44, had been composed six years earlier in 1981, but due to the sensitive nature of the undertaking, and to the restrictive political climate of Poland in that era, there was no hope for its immediate performance.1 In the spring of 1987, Górecki revised his composition and submitted it to the Bydgoszcz Music Festival.2 The long-delayed premiere of Miserere was finally permitted by the authorities later that year, albeit with no public announcement to signal the event.3 On the following night, September eleventh, a second performance took place just north of Włocławek, in Bydgoszcz itself. Namesake city of the Music Festival and dedicatee of Górecki’s composition, Bydgoszcz was the site of the incident that inspired Miserere. In March, 1981, a violent encounter between Rural Solidarity and the Soviet militia had resulted in serious injury to members of the labor union. On these two evenings in 1987, that event was commemorated by an a cappella chorus dictated by the composer to consist of at least 120 singers, which 1 Reg Didham, “Henryk Górecki, Miserere,” Program Notes excerpted from Chorus Pro Musica’s November 8, 1997 concert, http://www.choruspromusica.org/press/Martin/Gorecki1997- ProgramNotes.html (accessed September 20, 2010). 2 Adrian Thomas, Górecki (Oxford: Clarendon Press, 1997), 102. 3 Bernard Jacobson, liner notes to Górecki Miserere; Gubaidulina Alleluia, Chandos, CHAN 9523, Compact Disc, 1997. 1 presented Górecki’s most ambitious choral work to date, a composition with text consisting of only five words: Domine Deus noster, miserere nobis.4 The implications stemming from the traditions associated with these words and the nature of their musical setting attest to the spiritual nature of Henryk Górecki, and reflect the struggles of the Polish nation under Communism. In the White Silence was composed in 1998 by John Luther Adams. When it was premiered that same year by the Oberlin Contemporary Music Ensemble, the breadth and austerity of the Alaskan tundra was transplanted to the university’s Finney Chapel, the site of the performance. Using traditional musical elements, the composer capitalized upon a unique compositional and philosophical vision that had been developing for many years – a conception of music as place.5 This aesthetic was an extension of his work as an environmental activist, and in this seventy-five minute instrumental composition, John Luther Adams transferred to the chapel not just the almost-tangible sensation of physical landscape, but a reverence for the wilderness places in Alaska. In the White Silence acquainted the urban ear with the perception of the sacred in the natural. These two premieres featured musical compositions that are weighty with implication. In these works, Górecki and Adams asserted their belief in the metaphysical. These individuals and these pieces illustrate the ability of a composer to place himself between disparate forces in defense of incorporeal values. The circumstances of the origin of these works and the philosophies that gave rise to them invite a spiritual interpretation. 4 Translation: Lord our God, have mercy upon us. 5 John Luther Adams, Winter Music (Middletown, Connecticut: Wesleyan University Press, 2004), 15. 2 John Luther Adams and Henryk Górecki created music that mediates. Górecki once stated, “I want to express great sorrow. The war, the rotten times under Communism, our life today, the starving . This sorrow, it burns inside me. I cannot shake it off.”6 Miserere reflects this preoccupation by expressing the personal and national sorrow and outrage associated with the events in Bydgoszcz. To accomplish this, Górecki adopted a text with strong spiritual implications, and a mediatory function rooted in the liturgical and musical traditions of the Catholic Church. John Luther Adams has been involved in efforts to preserve the wildernesses of Alaska for over thirty years. Adams’s environmental activism is more than a political gesture; it is a faith- based expression of spiritual beliefs rooted in the perception of the divine in the natural world. In the White Silence uses a musical syntax emerging from the composer’s environmental awareness, and designed to communicate the spiritual properties of the Alaskan arctic and mediate for their value. This document investigates the role of composers as mediators. Mediators deal in issues political, legal, religious, and even metaphysical. As practitioners of an abstract art, composers are ideally suited for the expression of the spiritual. Adams and Górecki have composed works that demonstrate a going-between of the sacred and the human. Miserere and In the White Silence advocate for spiritual forces while evincing a common human need for the sacred. This bidirectional expression is suggestive of mediation, and informs the designation of Henryk Górecki and John Luther Adams as spiritual mediators. 6 “Poland’s sorrowful smash hit – Henryk Górecki,” The Observer (London), 11 April 1993, 21. 3 Spiritual Mediators The English verb mediate comes from the Latin medius, meaning “middle.” The noun “median” shares the same root, and denotes a middle value in an ordered sequence of numbers.7 Thus to mediate is to assume a central position, to be, or to place oneself, in the middle. A mediator is called a “go-between,” signifying an active role in the midst of two, often opposing entities.8 The function of a mediator is bilateral.
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