January 8, 1995 |
When the mystical British composer John Tavener made a rare appearance in New York last year for a performance at Carnegie Hall of his cello concerto "The Protecting Veil," a large and curious crowd attended. The recording on Virgin of the work had become an international bestseller and was an outright sensation in London, practically on the order of Henryk Gorecki's Third Symphony. The work, rapt and reverential in tone, is long, static, repetitious.
October 5, 1997
How sad for Morton Subotnick that the best computer music was written 30 years ago, by Milton Babbitt ("The Barnum of Bytes," by Justin Davidson, Sept. 28). And then there's Henryk Gorecki, USC's favorite composer (Music News, Sept. 21). Schoenberg taught there 60 years ago, and they still can't figure him out. C. MULROONEY Los Angeles
September 21, 1997 |
Henryk Gorecki may be the best-selling living classical composer, but his visibility on the American scene lags far behind his reputation. The 1992 Nonesuch recording of his Third Symphony has sold nearly 1 million copies--virtually unheard of for any classical work. Still, geographical isolation, language barriers and a recently conquered aversion to flying have made visits to the Western Hemisphere scarce.
October 1, 1997 |
When Henryk Mikolaj Gorecki first came to America in 1992, he wasn't yet famous. His Third Symphony, newly released on Nonesuch Records, hadn't yet shot to No. 6 on the British pop charts or settled in for its long run on top of the classical charts here. So Gorecki didn't ask to meet Madonna or the New York Philharmonic. In fact, says Carol Yaple, then vice president for artist development at Nonesuch and now an independent producer of special musical events, he made just two requests.
CALIFORNIA | LOCAL
October 4, 1993
Henryk Gorecki's Third Symphony (editorial, "Musical Healing," Sept. 17) was inspired by the prayers to the mother of God by a Polish girl dying in a Gestapo prison. Its symbolism could and does include all of the victims of Nazi terror, Poles and Jews. But to write that it is a memorial to "Nazi Germany's attempt to exterminate the Jews" omits those for whom the symphony was written--all exterminated victims. And to further write that "anti-Semitic Poles were among the collaborators" is a gratuitous slap at Poles, unrelated to the performance, and denigrates the composition and the composer.