Utrenya: I. The Entombment of Christ II. The Resurrection of Christ
Opis materiału
In Utrenja, completed in 1971, the
emotional temperatures can reach very high levels, the polychorality is
particularly effective and the expression borders on ecstatic. Fascinated with
the Eastern churches since his childhood, Penderecki turns in this piece to the
East: to Russian and Bulgarian Orthodox music. He could count on the musical
and expressive potential of his “initial material” in the form of Orthodox
church choral songs and liturgy.
In the first part, Utrenja I. The Entombment of Christ, the composer uses liturgical texts for Good Friday and Holy Saturday to create a kind of “audio report” enriched by sonoristic elements – very effectively reflecting the emotions of the crowd. The second part, Utrenja II. Resurrection, with the addition of a boys’ choir, sets liturgical texts for Holy Saturday and Easter Sunday as well as a fragment from the Gospel of Matthew. Here, the impression of a live report is even stronger, enhanced by congregational songs that the composer heard and wrote down during his journeys. The representation of the musical and expressive climate of Orthodox Easter comes complete with whispers and shouts, tolling bells, the sound of wooden rattles and other “illustrative” effects produced in the brass and percussion.
The first part was premiered in April 1970 in a Romanesque cathedral near Cologne; the second was first performed in Münster Cathedral in May 1971. The completed work was presented later in 1971 under Andrzej Markowski in Vienna. The writer and musicologist Andrzej Chłopecki suggested that the two-part Utrenja, together with the earlier St. Luke Passion, can be seen as an ecumenical Paschal Triptych, a kind of “dialogue of the two versions of Christianity”.
In the first part, Utrenja I. The Entombment of Christ, the composer uses liturgical texts for Good Friday and Holy Saturday to create a kind of “audio report” enriched by sonoristic elements – very effectively reflecting the emotions of the crowd. The second part, Utrenja II. Resurrection, with the addition of a boys’ choir, sets liturgical texts for Holy Saturday and Easter Sunday as well as a fragment from the Gospel of Matthew. Here, the impression of a live report is even stronger, enhanced by congregational songs that the composer heard and wrote down during his journeys. The representation of the musical and expressive climate of Orthodox Easter comes complete with whispers and shouts, tolling bells, the sound of wooden rattles and other “illustrative” effects produced in the brass and percussion.
The first part was premiered in April 1970 in a Romanesque cathedral near Cologne; the second was first performed in Münster Cathedral in May 1971. The completed work was presented later in 1971 under Andrzej Markowski in Vienna. The writer and musicologist Andrzej Chłopecki suggested that the two-part Utrenja, together with the earlier St. Luke Passion, can be seen as an ecumenical Paschal Triptych, a kind of “dialogue of the two versions of Christianity”.
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