Genesis III: Monodramma op. 19 nr 3
In this respect, Monodramma differs radically from Górecki’s earlier vocal-instrumental works Epitaph and Monologhi. In Monodramma, the vocal part is primarily a sonoristic layer of the work, contrasted with the other layers. As in the previous compositions in this cycle, the composer attracts the listener’s attention from the very first bars: The piece opens with a captivating variety of sound colours and an extremely powerful exposition of the percussion (ffff dynamics), joined by the soprano with its suggestive, melismatic vocalise that later transforms into a kind of declamation. In Monodramma, Górecki’s quest for the “essence” of sound reveals an atavistic and almost primitive, ritualistic streak – more so than in his other works, partly due to the scoring of the piece. The listener may well have an impression of participating in a secret, engaging mystery rite.
The works in the Genesis
cycle are outstanding examples of extremely suggestive, powerful sonorism, and
constitute Górecki’s important, highly original contribution to this current
that developed in Polish music in the early 1960s. These works compel
admiration today for the young artist’s uncompromising, courageous attitude and
for his ability to build his completely novel musical world.