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The Symphony No. 3, Op. 36, also known as the ''Symphony of Sorrowful Songs'' ((ポーランド語:Symfonia pieśni żałosnych)), is a symphony in three movements composed by Henryk Górecki in Katowice, Poland, between October and December 1976. The work is indicative of the transition between Górecki's dissonant earlier manner and his more tonal later style. It was premièred on 4 April 1977, at the Royan International Festival, with Stefania Woytowicz as soprano and Ernest Bour as conductor.〔Thomas, 163〕 A solo soprano sings a different Polish text in each of the three movements. The first is a 15th-century Polish lament of Mary, mother of Jesus, the second a message written on the wall of a Gestapo cell during World War II, and the third a Silesian folk song of a mother searching for her son killed by the Germans in the Silesian uprisings.〔Ellis, David. "(Evocations of Mahler )" (PDF). ''Naturlaut'' 4(1): 2–7, 2005. Retrieved 22 June 2007.〕 The first and third movements are written from the perspective of a parent who has lost a child, and the second movement from that of a child separated from a parent. The dominant themes of the symphony are motherhood and separation through war. Until 1992, Górecki was known only to connoisseurs, primarily as one of several composers responsible for the postwar Polish music renaissance. That year, Elektra-Nonesuch released a recording of the 24-year-old symphony that topped the classical charts in Britain and the United States. To date, it has sold more than a million copies, vastly exceeding the expected lifetime sales of a typical symphonic recording by a 20th-century composer. This success, however, has not generated similar interest in Górecki's other works. ==Background== Despite a political climate that was unfavorable to modern art (often denounced as "formalist" by the communist authorities), post-war Polish composers enjoyed an unprecedented degree of compositional freedom following the establishment of the Warsaw Autumn festival in 1956. Górecki had won recognition among avant-garde composers for the experimental, dissonant and serialist works of his early career; he became visible on the international scene through such modernist works as ''Scontri'', which was a success at the 1960 Warsaw Autumn, and his First Symphony, which was awarded a prize at the 1961 Paris Youth Bienniale. Throughout the 1960s, he continued to form acquaintanceships with other experimental and serialist composers such as Pierre Boulez and Karlheinz Stockhausen. During the 1970s, Górecki began to distance himself from the serialism and extreme dissonance of his earlier work, and his Third Symphony, like the preceding choral pieces ''Euntes ibant et flebant'' (Op. 32, 1972) and ''Amen'' (Op. 35, 1975), starkly rejects such techniques. The lack of harmonic variation in Górecki's Third Symphony, and its reliance on repetition, marked a stage in Górecki's progression towards the harmonic minimalism and the simplified textures of his more recent work.〔 Because of the religious nature of many of his works during this period, critics and musicologists often align him with other modernist composers who began to explore radically simplified musical textures, tonality, and melody, and who also infused many of their works with religious significance. Like-minded composers, such as Arvo Pärt and John Tavener, are frequently grouped with Górecki under the term "holy minimalism," although none of the composers classified as such has admitted to common influences. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Symphony No. 3 (Górecki)」の詳細全文を読む スポンサード リンク
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