This blog began in the fall of 2008 as a forum for the discussion of issues relating to classical music composition. Although my primary objective has always been pedagogical – posts are generally aimed at students and others wishing to improve their composition skills – feedback from all interested readers, irrespective of their background, is welcome via the "post a comment" link at the end of each post.
I used to get my composition students at Memorial University's School of Music to write their own weekly blog posts reflecting on things that went well and things that were challenging in the process of creating their own compositions; links to these student blogs can be found at the bottom of the right-hand column, grouped by course number (Mu3100 is "Introduction to Composition," and Mu4100 is the follow-up to that course).
Enjoy your visit, and please leave a comment on anything that interests you, even if you are not taking my courses! I receive automatic notifications of all comments, irrespective of how old the original post is, so if you leave a comment, I will see it.
I am a composer of music for soloists, chamber groups, orchestra, voice, and electronics, as well as a guitarist and professor of Composition and Theory (since 1992) at Memorial University of Newfoundland, Canada.
I teach Composition, 2nd-year Music Theory (chromatic harmony and large form classical music), Renaissance Counterpoint, Baroque Counterpoint, and Music Technology. I have also taught Electronic Music, Orchestration, 20th-Century Techniques, Music History, Ear-Training, and Classical Guitar.
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Another Górecki piece (with scrolling score), quite different in character from the Symphony of Sorrowful Songs. Here's the write-up of this piece posted at the publisher's website:
Three Pieces in the Old Style were written in 1963, in answer to a friendly accusation on the part of Tadeusz Ochlewski, then director of PWM Edition, who stated that Górecki's works were lacking in melody. Work on the new composition lasted from 28 November to 23 December 1963, and its premiere took place on 30 April 1964 in Warsaw.
This work was a sort of novelty - for here in the art of a young composer who had already openly declared himself as supporter of the avant-garde, there suddenly appeared three miniature pieces combined in one small cycle, characterized by a very strong reference to the style of Renaissance music. The composer himself mentioned years later that they had been an antidote for him, an attempt to go beyond the aesthetic of sonorism and post-serialism flourishing at the time.
Written for string orchestra, this little work encompasses three segments, maintained in different tempi and differing in character. The outer movements of the cycle, reminiscent of lively dances, surround the nostalgic second piece. About this piece, Tadeusz Zieliński wrote in 1975: The purposefully simple, but at the same time tasteful dosage of purely sonorist values of string sound, variation and contrast in its density and dynamics, lead us to the very essence of Góreckis individual style. These pieces represent a modest (as it were, simplified, adapted to the archaic theme), but effective and charming sample of this style and the typical aesthetic-technical issues of their creator.
I quite enjoyed this piece. It certainly had the renaissance feeling to it that was mentioned in the blog. I think Gorecki achieved what he set out to do. He claimed he wanted to go beyond the post-serialism and sonorism of the age he was living in. I think he did that quite well. Oftentimes in music, when we keep pushing forward and find ourselves at a crossroads, not knowing where to go next, it helps to go back to the past for new ideas. It sounds ironic but I think that's what many great composers have done. Simply applying a modern twist to an old idea often produces the most interesting and new music. Gorecki didn't copy Renaissance music but used it's appeal and quality to create something different than what many of his fellow composers were doing at the time. The long, drawn-out notes were more emblematic of minimalism while other sections such as movement two had a very bouncy, uplifting Renaissance feel. I think Gorecki blended these two qualities nicely.
This piece was very compelling. The middle piece was did a very good job of distributing the quarter notes and the eighth note gestures, they were not overused but not too repetitive. When the piece went to subito piano, it made me feel like I was on an adventure in a forest. Not much changed melody wise, but it just goes to show how much dynamics can changed a piece.
I actually enjoyed the first and last pieces more. Those long, sustained notes in the cello and double bass add that sombre feeling to the piece. Overall those slower pieces sound much more satisfying, and then when we get to the full strings playing half notes in unison, it immediately shifts the mood to a more fantasy-like feeling.
Górecki makes good use of all of his ideas, without overusing any to make it too predictable or boring.
I honestly think that the pieces were gorgeous. I especially loved the ending of the first movement that just left the suspense hanging without feeling unnatural. And all of the movements within the lines felt so fluid despite being simple, even in the more detached second movement. For me that fluidity and simplicity is what made me enjoy these pieces so much, since it established a tone that I could then sink into, and my favourite part of pieces is typically the atmosphere surrounding it. The fluid motions allowed everything to feel connected and deliberate, which I think is even more effective when kept clear and simple, without extra layers of complicated material blurring the tone.
I think this is also part of why I agree that Góreckis individual style is definitely apparent within the pieces. I went and listened to the Symphony of Sorrowful Songs immediately after the three pieces since I had never heard it before and wanted to see the different character that you mentioned. And despite all of the differences, I actually found that they felt quite similar. For both pieces, I found that over everything, the element that I could center most was the sonorism, since it just created such a visceral atmosphere. And both the symphony and the three pieces held that sense of fluidity that the sonorism created at the forefront. Even with the different inspirations with avant-garde and renaissance music, I think it just feels so grounded in the voice of a composer that knows what they want to communicate. And in that sense, I find both pieces incredibly effective and beautiful.
I also really enjoyed these pieces and I agree with Madison's comment that there is something similar about this work and Gorecki's "Sorrowful Songs". My favourite movement was the first one as I think this best captured the renaissance sound. I think the use of good counterpoint is really key to capturing the essence of this style and this first movement did a great job of displaying how independent lines can fit smoothly together. Although perhaps stylistically different, I think this where I hear the similarity to the "sorrowful songs". The beginning of this symphony slowly adds more voices with different voices shifting in and out of the forefront throughout. I think the ability to smoothly combine different voice in this way is perhaps one of the best skills for a composers to have and can make for some very effective music, whether or not you are writing in a "renaissance" or contemporary style.
I love music like this that respects the past but goes at the eras sound in a completely unique and modern way. Depending on the composition but I love doing this as well in my own music. I think we can't understand the future if we don't know the past. The same idea can be applied to trying to understand abnormal psychology before you know normal psychology, I think it is reasonable to conclude that this doesn't work. I think though we shouldn't be limited to influence from incredibly ancient music but neo-romantic music as well. This blog is a gem I think. I'd like seeing more things like this and the Tavener post.
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5 comments:
I quite enjoyed this piece. It certainly had the renaissance feeling to it that was mentioned in the blog. I think Gorecki achieved what he set out to do. He claimed he wanted to go beyond the post-serialism and sonorism of the age he was living in. I think he did that quite well. Oftentimes in music, when we keep pushing forward and find ourselves at a crossroads, not knowing where to go next, it helps to go back to the past for new ideas. It sounds ironic but I think that's what many great composers have done. Simply applying a modern twist to an old idea often produces the most interesting and new music. Gorecki didn't copy Renaissance music but used it's appeal and quality to create something different than what many of his fellow composers were doing at the time. The long, drawn-out notes were more emblematic of minimalism while other sections such as movement two had a very bouncy, uplifting Renaissance feel. I think Gorecki blended these two qualities nicely.
This piece was very compelling. The middle piece was did a very good job of distributing the quarter notes and the eighth note gestures, they were not overused but not too repetitive. When the piece went to subito piano, it made me feel like I was on an adventure in a forest. Not much changed melody wise, but it just goes to show how much dynamics can changed a piece.
I actually enjoyed the first and last pieces more. Those long, sustained notes in the cello and double bass add that sombre feeling to the piece. Overall those slower pieces sound much more satisfying, and then when we get to the full strings playing half notes in unison, it immediately shifts the mood to a more fantasy-like feeling.
Górecki makes good use of all of his ideas, without overusing any to make it too predictable or boring.
I honestly think that the pieces were gorgeous. I especially loved the ending of the first movement that just left the suspense hanging without feeling unnatural. And all of the movements within the lines felt so fluid despite being simple, even in the more detached second movement. For me that fluidity and simplicity is what made me enjoy these pieces so much, since it established a tone that I could then sink into, and my favourite part of pieces is typically the atmosphere surrounding it. The fluid motions allowed everything to feel connected and deliberate, which I think is even more effective when kept clear and simple, without extra layers of complicated material blurring the tone.
I think this is also part of why I agree that Góreckis individual style is definitely apparent within the pieces. I went and listened to the Symphony of Sorrowful Songs immediately after the three pieces since I had never heard it before and wanted to see the different character that you mentioned. And despite all of the differences, I actually found that they felt quite similar. For both pieces, I found that over everything, the element that I could center most was the sonorism, since it just created such a visceral atmosphere. And both the symphony and the three pieces held that sense of fluidity that the sonorism created at the forefront. Even with the different inspirations with avant-garde and renaissance music, I think it just feels so grounded in the voice of a composer that knows what they want to communicate. And in that sense, I find both pieces incredibly effective and beautiful.
I also really enjoyed these pieces and I agree with Madison's comment that there is something similar about this work and Gorecki's "Sorrowful Songs". My favourite movement was the first one as I think this best captured the renaissance sound. I think the use of good counterpoint is really key to capturing the essence of this style and this first movement did a great job of displaying how independent lines can fit smoothly together. Although perhaps stylistically different, I think this where I hear the similarity to the "sorrowful songs". The beginning of this symphony slowly adds more voices with different voices shifting in and out of the forefront throughout. I think the ability to smoothly combine different voice in this way is perhaps one of the best skills for a composers to have and can make for some very effective music, whether or not you are writing in a "renaissance" or contemporary style.
I love music like this that respects the past but goes at the eras sound in a completely unique and modern way. Depending on the composition but I love doing this as well in my own music. I think we can't understand the future if we don't know the past. The same idea can be applied to trying to understand abnormal psychology before you know normal psychology, I think it is reasonable to conclude that this doesn't work. I think though we shouldn't be limited to influence from incredibly ancient music but neo-romantic music as well. This blog is a gem I think. I'd like seeing more things like this and the Tavener post.
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