Penderecki: "Polish Requiem"
Created for the musical work
By Krzysztof Penderecki
Penderecki is a brutal listening experience.
It is unforgivingly dissonant, elitist, at times physically painful music, but if you listen and you let it draw you in, it can remind you (or teach you for the very first time) that there are places music can take you, that music can put you in a vast majority of "music lovers" that others will never understand.
No one can predict which pieces amid the flood of works commemorating 9/11 will endure.
It is based upon a sonorism in sound- of the en- masse combination of all musical voices (instruments and human vocal) together.
“Penderecki: "Polish Requiem"” is also a pictorial of brutal experience associated by the injustice of justice and man’s failure to achieve peace in a world that turns on collective and on individual justice.
It is an ongoing painting. Begun 1979, a an historical, allegorical image vignettes of human agony, this art can find individuals by identification. Penderecki: "Polish Requiem" is inspired by many events of injustice including the rememberance of the Holocaust, the Warsaw Ghetto, War, Crimes, and my personal experiences.
“Penderecki: "Polish Requiem"” is the largest work of the Tone Poem Collection that transitions the art of tone poem writing for a large subject as real event, not fantasy or idea.
Penderecki’s DIES IREA, The Auschwitz Oratorio, another work of Penderecki in the same style, is the name of the greatest of all Medieval Latin hymns, the Gregorian Chant of the Dead and a part of the Requiem Mass since the sixteenth century.
Dies Irae has been used as the inspiration for many great works of religious music, including the Requiems of Bach, the Church Music of Mozart, Brahms, and Verdi, Berlioz's Symphonie Fantastique, Lizst’s Totentaz, Tchaikovsky’s Third Suite, and Saint-Saens’s Symphony No. 3.
Rachmaninoff used it repeatedly, in Isle of the Dead, Symphonic Dances, and other compositions.
"A memorial to the victims at Auschwitz," (the Auschwitz Oratorio, Dies Irae) by Penderecki allows the singers and players to improvise according to their talents and abilities. The chorus recites words, rather than singing them, and the instruments are the framework for the rhythm and pitch.
In the motion picture titled Citizen Kane, Dies Irae is the basis of the Bernard Herrmann theme. At the end of the film, one can hear the thrilling, anguished music that accompanies the tragic burning of Kane's Rosebud sled—it is Dies Irae.
When America was attacked on September 11, many said it was our nation's Dies Irae. A Goggle search of "September 11" and "dies Irae" will produce a large number of results. In the aftermath of the attacks, several composers produced symphonies entitled Dies Irae for U.S. memorial services.
Upon reflecting on the current political realities of nuclear weapons on this dark anniversary I am less than convinced that the "leadership" holding the largest arsenal of these terrifying bombs has made even a partial effort to learn from Hiroshima. Is 60 years so long ago that we cannot understand why such weapons should never be used? These weapons are so extreme that they do not serve any tangible defensive or offensive purpose. Change is in the wind of global politics, and “…those who do not remember the past are condemned to relive it….”Santayana.