Górecki, Henryk Mikołaj (EN)

Górecki Henryk Mikołaj, *6 December 1933 Czernica (near Rybnik), †12 November 2010 Katowice, Polish composer and teacher. He came from a family in which music played an important role (his mother was a pianist, and his father ran amateur dance bands and orchestras), yet the beginnings of Górecki’s musical education were not easy. Difficult childhood experiences probably influenced his mental health and later work: the early death of his mother (1935), his father’s remarriage, moving to a new house in Rydułtowy, hip dislocation and related health complications, and the outbreak of the war. The musical abilities that the boy inherited from his parents were initially suppressed by his father. Only in 1943, Górecki began learning the violin with local musician Paweł Hajduga. It was an amateur education, although the composer recalled these lessons as an important stage in the development of his artistic attitude. In 1951, Górecki joined the Music Centre, and in 1952, the State Secondary Music School in Rybnik. At the same time (1951–53), after graduating from secondary school, he worked as a teacher at the Primary School in Radoszowa. At that time, he already made his first attempts at composition, mainly based on the scores he had studied himself; he also often went to Katowice for classical music concerts. In 1955, his creative output was so rich (with the Piano Concerto at the forefront) that he successfully passed the entrance exams to the State Higher School of Music (now the Academy of Music) in Katowice.

The time of his studies with Bolesław Szabelski (1955–60) left a clear mark on Górecki’s aesthetic attitude, visible, for example in the form of a passion for ostinato, expressive rhythm and strong contrasts, as important form-creating factors. From his teacher, he also took an interest in the music of Karol Szymanowski, to which he declared his attachment until the end of his life. Górecki turned out to be an exceptionally talented and receptive student, and the political breakthrough in 1956 made it much easier for him to learn contemporary music. At that time, Polish composers were freed from the obligation to be faithful to the principles of socialist realism and were the only ones in the entire bloc of countries dependent on the USSR who could afford far-reaching, avant-garde creative explorations. The year 1958 brought disruptive events in Górecki’s career – on 27 February, his monographic concert took place (the first of this type in the history of the PWSM in Katowice), followed by a successful debut at the Warsaw Autumn Festival. The then presented laconic Epitaph to words by Julian Tuwim, full of self-irony and discreet humour, showed a very modern stylistic attitude of the young composer.

A year later, Górecki married Jadwiga Rurańska (pianist), who was his most important source of spiritual support until the composer’s death. Shortly afterwards, after graduating (diploma with distinction), in 1961 Górecki went on a several-month trip to France, which resulted in new, valuable experiences (there he became acquainted with the works of O. Messiaen and met P. Boulez). Górecki then began his own ‘Sturm und Drang’ movement – he explored the secrets of serial technique and at the same time explored new sound ideas. However, he never remained an imitator of Western European composers – the works created at that time (including Symphony No. 1 “1959,” Scontri) are characterised by an exceptionally strong individual style, which, despite controversy, brought growing interest in the musical community – both in Poland and abroad. Thanks to this, Górecki was quickly recognised as one of the most outstanding Polish composers, a leading representative of the so-called Polish School of Compositions, while remaining an individual creator, gifted with the ability to express great emotions.

In 1965, Górecki started working at his alma mater. Two years later, his daughter, Anna, was born (*1967, pianist), and four years later his son, Mikołaj (*1971, composer). Górecki conducted theoretical classes at PWSM until 1979 – from 1968 as a lecturer, and from 1972 as a docent – he taught reading scores, instrumentation, propaedeutics to composition and composition. In 1975–79, he was a rector and in 1977, he received the title of associate professor. His students included Eugeniusz Knapik, Andrzej Krzanowski, Rafał Augustyn, and also later his son, Mikołaj (privately). Górecki stayed in Berlin for a year (1973/74) thanks to a scholarship from the Deutscher Akademischer Austauschdienst.

When opposition activities against the communist regime intensified in the country in the 2^nd half of the 1970s, the composer took an anti-regime stance and joined the activities of the Catholic intelligentsia. At the same time, in 1979, he resigned from the position of rector of the Katowice Academy of Music (which was the subject of excuses from Szabelski). In the next decade, passing in the shadow of the “military dictatorship” of General W. Jaruzelski, Górecki commented on current political events with his music (Miserere from 1981 was a demonstration of opposition to the use of force by the authorities during strikes, Totus Tuus expressed the feelings of Polish Catholics during the pilgrimage of Pope John Paul II to Poland in 1987). Numerous choral pieces, openly referring to folklore, expressed the artist’s concern and emotional involvement in the face of the stagnation prevailing in the country in the second half of the 1980s. At the same time, the composer was involved in cultural activities, he was a co-founder of the K. Szymanowski Society in Zakopane and in the years 1977-83 he served as vice-president of it (later honorary member); in the years 1980–84, he was the president of the Catholic Intelligentsia Club in Katowice.

A very important feature of Górecki as an artist was his aversion to all kinds of trends. He carefully avoided identifying with the mainstream, although, to a large extent, he created this trend himself (in the initial stages of his work). So when many Polish composers almost collectively started using serial and sonoristic means, Górecki presented the archaising Three Pieces in an Old Style (1963), consciously distancing himself from sonorism – the most popular aesthetic trend of contemporary music in Poland at that time. Since 1965, the composer’s turn towards a gradual reduction of modern technical means to emphasise expressive qualities has been visible, and Polish musical monuments also appear at the centre of interest (quotes of original songs in Old Polish Music, Symphony No. 3, stylizations in Symphony No. 2). It was a manifestation of the attitude of an outsider, an artist moving away from the artistic avant-garde at a time when its ideals dominated almost entirely. The tendency to separate oneself from the broadly understood community also found an outlet in the literal sense – the composer and his wife eagerly “escaped” from current reality, going in the 1960s to the Western Tatra Mountains, to the villages of Chochołów and Witów. This deepened the already awakened and gradually stronger sense of connection with the Podhale folklore, clearly manifested in music, among others, in the String Quartets No. 2 and No. 3.

Close contact with mountain nature went hand in hand with a growing fascination with sacred and eschatological themes, manifested in Górecki’s work since the early 1970s. It resulted in phenomenal works against the background of contemporary music: Symphony No. 2 ‘Copernicus,’ Symphony No. 3 ‘Symphony of Sorrowful Songs’ and the psalm Beatus vir. The first of the works mentioned above owes its origins to the composer’s meeting with the director Krzysztof Zanussi, who in a conversation interpreted the Copernican revolution as an overthrow of the previous system of perceiving the world. This vision allowed Górecki to implement his original cosmogonic concept and overcome the creative impasse in which he found himself unable to find the right path. In the process of creating Beatus vir, dedicated to Saint Stanislaus the Martyr, the news of Karol Wojtyła’s election to the papal throne in 1978 played a significant role. Górecki abandoned the previous concept of the work, feeling its inadequacy in the new situation, and composed the work practically from scratch. Its premiere took place in the presence of Pope John Paul II, which was an exceptionally moving experience for the composer. Symphony No. 3 breaks away from the sacred circle, although it refers to the religious topos of a suffering mother – but it is, above all, a work marked by a lively attitude to folklore. For this reason, the music of Symphony No. 3 is one of the most expressive, shocking experiences in the composer’s entire oeuvre.

With the fall of the communist system in Poland in 1989, Górecki’s work gained a new image, as if the political breakthrough and the arrival of the long-awaited freedom unleashed new forces in the composer. A moment later comes unexpected fame and popularity – in 1992–93 Symphony No. 3 becomes a bestseller on a par with popular music. A recording of the work performed by Dawn Upshaw and the London Sinfonietta under David Zinman (published by Elektra Nonesuch) hit the top of the commercial charts. The publishing house Boosey & Hawkes had a significant share in the success of Górecki’s music, actively promoting his works with regular releases. Thanks to this, Górecki gained the unquestionable authority of an artist who conveys an important message of outstanding artistic value and, at the same time accessible to the majority of recipients in the European cultural circle. Moreover, in most of the composer’s vocal and instrumental works, the attitude of the artist is clearly visible – a Christian, open to the sphere of the sacred and treating art in religious and transcendental categories.

Throughout his entire creative path, Górecki was the recipient of various awards and distinctions many times. Already in 1960, he received the 1^st prize at the ZKP Youth Circle Competition for Monologhi, and in 1961 – the 1^st prize at the 2^nd Youth Biennial in Paris for Symphony No. 1 ‘1959.’ He gained recognition at the UNESCO International Rostrum of Composers in Paris: in 1967 he took third place for Refrain and in 1973 first place for Ad Matre. In 1968, he received the first prize at the Szczecin Composition Competition for Cantata for organ. Additionally, he was awarded: the music award of the Katowice Voivodeship (1958 and 1975), the award of the Minister of Culture and Art (3^rd degree – 1965, 1^st degree – 1969 and 1973), the state award of the 1^st degree (1970), the ZKP Award (1970), the Award of the Committee of Radio and TV (1974), the Award of the Minister of Foreign Affairs (1992), the Golden Cross of the Legion of Honour of the Polish National Union in the United States (1994), the TV Polonia award (1995), the Award of Highest Honor of Soka University in Tokyo (1996), the award “Totus,” awarded by the Foundation for the New Millennium of the Polish Episcopate (2002), the Polish Radio music award (2003), the “Lux ex Silesia” award (2003), the Commander’s Cross with Star of the Order of Polonia Restituta (2003), Gloria Artis Medal for Merit to Culture (2005), the highest papal distinction – Order of St. Gregory the Great (2009) and the Order of the White Eagle (2010). Górecki was also an honoris causa of the Academy of Catholic Theology in Warsaw (1993), the University of Warsaw (1994), the Jagiellonian University in Kraków (2000), the Catholic University of Lublin (2004), the Academy of Music in Katowice (2004; the first honorary doctorate of this university), the Academy of Music in Kraków (2008), also Catholic University in Washington, University of Michigan in Ann Arbor, University of Victoria in Victoria and University of Montreal.

The significance of Górecki’s work earned the composer the title of one of the most outstanding figures in Polish contemporary music, also recognised abroad. This is evidenced by, among others, foreign premieres: Symphony No. 3 in Royan in 1977 (France), Good Night in London in 1990 and Little Requiem in Amsterdam in 1993. The composer collaborated with many outstanding performers and artists (including choreographer Conrad Drzewiecki, conductors: W. Michniewski, J. Krenz, A. Wit, orchestras: NOSPR, National Philharmonic, London Sinfonietta, and bands: e.g. Kronos Quartet). The resonance of Górecki’s works is also manifested in the form of special events and festivals dedicated to him. Among them, the Polish Composers’ Festival in Bielsko-Biała should be highlighted, which took place under Górecki’s patronage for 14 years – from its foundation until the end of the composer’s life. There are also new ventures, such as Henryk Mikołaj Górecki Contemporary Music Festival, initiated in 2011 in Krakow. The greater or lesser influence of Górecki’s music on the work of young generations of Polish composers is undeniable, not limited to the imitation of elements of style, but also manifested through interest in the sacred trend.

The composer died after a long illness on 12 November 2010 in Katowice. His funeral which took place on 17 November at the Cathedral of Christ the King in Katowice gathered many personalities from the musical and artistic world.

Górecki’s compositional achievements include approximately 100 works, representing almost all musical genres except opera and electroacoustic music. The composer’s creative activity lasted over half a century, and the characteristic features of the works created during that time determine the subsequent stages of his work – stylistically diverse, evolving, although integrated by a constant factor: the primary form-creating role of ostinato and contrast.

At the initial stage of his studies (1955–57), Górecki wrote mostly chamber and formally concise works (opuses 1–11); the exception is Songs of Joy and Rhythm. Despite a certain stylistic independence of the works from this period (influence of neoclassicism), they contain the inherent features of the composer’s later style: expressive metro-rhythmics, the presence of contrasts – especially dynamic ones (often extreme: ppp–fff), the use of large ambitus of registers, strong expression, rapidity of gestures. This music is characterised by dynamism, flow (resulting from a strongly emphasised pulse) and clear melodic contours. The following years, 1957–63, were dominated by the composer’s interest in serial and sonoristic techniques. Starting with the Concerto for 5 instruments and string quartet, Górecki used serialism as the main or exclusive method of organising pitches within the full 12-note material and combined it with a highly heterogenised texture, often taking a pointillistic form. The two most important compositions of this time were Symphony No. 1 ‘1959’ and Scontri – works showing the influence of individually processed sonorism. By emphasising the sound colour, the composer often turned it into a form-creating element, as important as the serial organization of the high-pitch material. Both factors are closely related to each other – e.g. colour models are subject to serial structuring methods, and at the same time the expressionistic aura of the music stands out. Górecki, striving for the greatest expressiveness, used a huge range of sonic, articulatory and register means, maintaining quite restrictively a priori construction rules. In Symphony No. 1 ‘1959,’ the sound material is subjected to total serialisation, 12 sounds in a series create 12 vertical models, implemented by 12 separate groups of instruments. A constant feature that stands out in the course of the pieces is the combination of a dispersed pointillistic texture with aggressive chord clusters, usually occurring in very extreme dynamics.

In Scontri, serialistic rules determine the order not only in pitch but also in rhythm and dynamics. Structural accuracy goes hand in hand with unrestrained, spontaneous narrative. The juxtaposition of different types of textural complexes is violent, giving the impression of a musical fight. Another example of the dominance of structuralist methods is Three diagrams for solo flute, in which, in addition to pitch and rhythm, dynamics, tempo and articulation were serialised. Moreover, the composer used an aleatoric formal concept – the order of the component sections of the whole is determined by the performer. The apogee of sonoristic interests falls on the Genesis cycle, which includes three pieces for various instruments: Elementi (Genesis 1) for violin, viola and cello; Canti strumentali (Genesis 2) for 2 flutes (including piccolo), trumpet, mandolin, guitar, percussion instruments, string instruments and 2 pianos; Monodrama (Genesis 3) for soprano, 6 (or 12) double basses and 49 percussion instruments. At the same time, the composer moved away from strict parameter regulation, shifting the focus to a broadly explored sound sphere, in which the main role is played by percussion effects, unusual ways of articulation and rarely used instrument registers. The course of the narrative is based primarily on the contrasting juxtaposition of various sound qualities and the creation of a distinctive colour counterpoint.

The period of Górecki’s creative activity, covering the years 1964–70, was described by K. Droba as the “reduction phase.” Works from this period, exclusively instrumental (including Choros, Refrain, Canticum graduum), testify to the composer’s complete abandonment of the serialist method and departure from a highly condensed narrative, composed of many small formal sections, marked by particularly high contrast. Górecki’s music gains a “longer breath,” a significant reduction in pitch and sound measures results in a very clear form of the works (Choros – ABA, Refrain – ABA’). The composer used various clusters whose texture, ambitus and the specificity of their internal structure (semitones, whole-tones) determine the course of the piece – the musical development is therefore closely correlated with the evolution of cluster models. Some of the pieces are constructed based on the juxtaposition of different structural and textural models, the alternating occurrence of which constitutes the basis of the musical flow. In Canticum graduum it is an opposition of various cluster models, while in Old Polish Music there is an interweaving of violent fanfare and repetitive motifs of brass instruments and vast, muted multi-notes of string sections (built based on a quotation from the organum Benedicamus Domino from the antiphonary of the Poor Clares from Stary Sącz from around 1300) and the melody of the song Już się zmierzcha by Wacław from Szamotuły. Refrain, with a very simple form, is considered Górecki’s peak achievement from that time; the extreme sections of the piece develop based on the method of layering (section A) and reducing (section A’) the components of the whole-tone cluster. The middle segment, however, has a form radically different from the others; it is characterised by narrow ambitus, the restlessness of small rhythmic values and the dynamism of motivic gestures, which become factors shaping the increase in tension to a powerful, explosive climax. All of Górecki’s works from this period are characterised by a far-reaching economy of musical material, extreme contrast and almost obsessive repetition of short motifs.

The decade that began in 1971 brought works considered the most important in Górecki’s work. Reductionist tendencies are still noticeable, but at the same time the size of the pieces increases significantly – both in terms of duration (Symphony No. 3 lasts 55 minutes) and the cast. The semantic element plays an important role in them, usually related to texts of religious and folklore origin. This phase opens with Ad Matrem, a dramatic vocal-instrumental piece composed of two segments: the choral invocation Mater mea and an extremely lyrical soprano solo song. The breadth and monumentality of the sound go hand in hand with reduced high-pitch material, clearly marked rhythm, ostinato and repeatability of models, emphasising contrasts, which significantly increases the dramatic character of the music. A special example is Symphony No. 2 ‘Copernicus’ for 2 soloists, choir and large orchestra (114 instruments), in which the composer realized his personal cosmogonic vision using radically simple means and almost the maximum of the sound material available within the tempered system that could be extracted onto the instruments of the symphony orchestra. The narrative axis of the first part of the work is the juxtaposition of percussion accents with a powerful whole-tone cluster, covering almost the entire space of pitches available to the orchestra (over 6 octaves, from E-flat 1 to F4), appearing in both possible transpositions and correlated with isorhythmic models (strong homophonisation of texture). The culmination in the finale of the first movement takes the form of a choral invocation based on a text taken from a Latin psalm: Deus qui fecit caelum et terram, qui fecit luminaria magna. The second part of the work is characterised by an even further reduction of resources. The basis of the harmonic structure of this link is the anhemitonic cluster (the so-called cluster on the black keys), which is the background for the alternating verticals of E-flat minor, G-flat major and A-flat major. The melodic lines of the soloists’ parts are mostly based on a sequence of second steps, these are repeated descending supplication motifs (Deus in the baritone part) or ascending lines (Luminaria magna in the soprano part). This gives the effect of almost ritual, prayerful concentration. A similar tendency can be found in all vocal-instrumental works of this period, including Symphony No. 3, in which the use of simplified melodic models (based mainly on tonal scales) combined with elements of Polish folklore resulted in an exceptionally strong expression of a lyrical nature. The directness of expression coexists here with the still present structuralist tendency – for example, the first part of the work, lasting almost half an hour, is filled with a strict canon in the natural key of E minor, divided inside by a short song. The text of the 10-minute 2^nd part comes from an inscription on the wall of one of the cells of the Gestapo prison “Palace” in Zakopane. The author of the inscription was a young prisoner (the words addressed to her mother could have been taken from the song Ballada o Jurku Bitschanie, popular in the interwar years). The final 3^rd part has the form of a rondo and is based on the melody and text of a folk song from the Opole region; in the harmonic layer, one can find a reference to the Mazurka in A minor Op. 17 No. 4 by Chopin (the two opening chords of both works are identical). All movements are in very slow tempos (Largo or Lento, often with the specification tranquilissimo). Music is often only a pretext, a means of expressing an eschatological message (the archetype of a mother in the face of the death of a child), combined with a huge load of expression.

In the oratorio Beatus vir, a monumental cast and a wide ambitus (from C₁ to g³) coexist with reduced sound material. The work consists of several very broadly planned sections. The choral invocation of Domine is preceded by a moving baritone song (Domine, exaudi orationem meam), its slow development leading to an ecstatic culmination in which both the soloist and the choir take up the text Spiritus meus es Tu in unison. Immediately after the culmination, there is a return to the convention of lament – this section ends with a chorale based on a fragment of the psalm Gustate et videte and the culmination of the whole, illuminated by the sounds of bells and chimes.

In 1980, Górecki’s work took a sudden turn: after the monumental Beatus vir, he created the nearly 9-minute Harpsichord Concerto, a work of neoclassical and folkloric provenance. Vocal and vocal-instrumental works lose their importance in this period; mostly works closely related to Polish folk music or religious works, not very complex (the exception is the approximately half-hour Miserere for a cappella mixed choir). In purely instrumental music, the ostinato technique and the repetition of small models still dominate as the basic methods of shaping the form; the composer gave the motifs exceptionally expressive features, reaching for extreme registers, which makes their repetitions seem insistent (Recitativa and ariosa), especially in the climactic sections, where the motifs are “looped.” At the end of this period, there was a slight but noticeable expansion of the range of high-altitude measures; the composer emphasised the epic element more strongly (String Quartets No. 1 and No. 2, Kleines Requiem für eine Polka), coexisting with strong drama. The period after 1994 resulted in works with features strongly related to Polish culture and history. It is national creativity par excellence; its character is induced both by reaching for folklore, especially the Podhale region (including String Quartet No. 3), and historical threads (Pieśń Rodzin Katyńskich). Vocal and vocal-instrumental genres have gained importance again, and at the same time, the religious factor has returned, present in the selection of texts, genres, and musical quotations. This thread was most clearly exposed in the work Salve sidus polonorum, dedicated to the memory of Adalbert of Prague on the 1000^th anniversary of his death. Both mentioned trends (religious and folk) meet in numerous choral works. The softening of the expressive features, a more intimate expression, as well as a smaller share of obsessive repetitions and ostinatos in the process of building the narrative are factors probably evoked by the nature of Górecki’s earlier works. The composer often approached the style of choral works from the first half of 1980s and to modality as the main way of organising sound pitches.

The axis that connects Górecki’s sometimes very different works is the pursuit of exceptionally strong expression, often extreme, and a far-reaching connection with the sphere of spirituality. In the vast majority of cases, the expressive layer dominates in Górecki’s works, while the technical and aesthetic means play a secondary role and are subordinated to the main idea of the work. More than once, the composer gave up on using the different sounds of the instruments and treated them only as a medium to increase the volume (Symphony No. 2, Beatus vir). In the works composed after 1965 (starting with the Refrain), the dramaturgy is visible, built by the polarization of two main types of narrative: static or developing very slowly based on concentrated melodic lines, and dominated by a steady pulse and expressive rhythm, usually ostinato. The style of Górecki’s music in this period is characterised by a significant simplification of means, a strong emotionality and the presence of a religious element; the evolution of the musical language has led to the restoration of the primary importance of tonality. At the end of the 1970s, it took the form of monumentalism previously unheard of in Polish music (Symphony No. 3, Beatus vir), which was also an eloquent type of contestation of the political situation in Poland. Also in chamber music, the imperative to highlight connections with the cultural heritage of past centuries plays a priority role. The composer deeply expressed the need to maintain an active dialogue with musical tradition.

Literatura: Henryk Mikołaj Górecki w piśmiennictwie polskim i obcym. Bibliografia, ed. K. Jaraczewska-Mockałło, «Prace Biblioteki Głównej (F. Chopin Music Academy)» No. 13, Warsaw 1994; Henryk Mikołaj Górecki Powiem Państwu szczerze, “Vivo” 1994 No. 1; B. Jacobson A Polish Renaissance, London 1996; A. Thomas Górecki, Oxford 1997, Polish translation E. Gabryś, Kraków 1998;  B. Pociej „Epitafium” Henryka Góreckiego, “Ruch Muzyczny” 1959 No. 6; B. Pociej „Zderzenia” Henryka Góreckiego, “Ruch Muzyczny” 1960 No. 18; L. Markiewicz Rozmowa z Henrykiem Góreckim, “Ruch Muzyczny” 1962 No. 17; L. Markiewicz „Choros I” Henryka Góreckiego, “Ruch Muzyczny” 1964 No. 21; L. Markiewicz „Elementy” Henryka Góreckiego, “Ruch Muzyczny” 1965 No. 17; T. Kaczyński, B. Pociej Dwugłos o „Refrenie,” “Ruch Muzyczny” 1966 No. 23; B. Pociej Opis – analiza – interpretacja (na materiale „Elementi” i „Canti strumentali” Henryka Mikołaja Góreckiego), «Res Facta» 4, 1970; B. Pociej Kosmos, tradycja, brzmienie. O II Symfonii Kopernikowskiej Henryka Mikołaja Góreckiego, “Ruch Muzyczny” 1973 No. 15; J.M. Chomiński The Contribution of Polish Composers to the Shaping of a Modern Language in Music, “Polish Musicological Studies” vol. 1, ed. Z. Chechlińska and J. Stęszewski, Kraków 1977; M. Gąsiorowska „Symfonia pieśni żałobnych” [sic!], “Ruch Muzyczny” 1978 No. 3; B. Pociej „Symfonia pieśni żałosnych,” “Tygodnik Powszechny” 1978 No. 3; K. Droba Wielkość – dziwność. O „III Symfonii” i „Koncercie klawesynowym” Henryka Mikołaja Góreckiego, “Ruch Muzyczny” 1980 No. 10; K. Droba Słowo w muzyce Góreckiego, “Ruch Muzyczny” 1981 No. 22; M. Gąsiorowska Czas zatrzymany Henryka Mikołaja Góreckiego, “Ruch Muzyczny” 1983 No. 25; K. Droba The Music of Henryk Mikołaj Górecki, “Music in Poland” 1984 No. 1; T. Malecka O „Koncercie klawesynowym” Henryka Mikołaja Góreckiego, in: Księga jubileuszowa Mieczysława Tomaszewskiego w 60-lecie urodzin, ed. T. Malecka, Kraków 1984; K. Droba Od „Refrenu” do „Beatus vir” czyli o redukcjonizmie konstruktywistycznym i ekspresjonizmie muzyki Henryka Mikołaja Góreckiego, in: Przemiany techniki dźwiękowej, stylu i estetyki w polskiej muzyce lat 70., ed. L. Polony, Kraków 1986; B. Pociej „Recytatywy i ariosa” Henryka Mikołaja Góreckiego, “Ruch Muzyczny” 1986 No. 3; B. Pociej Eléments religieux dans la nouvelle musique polonaise, “Polish Art Studies” XI, 1990; M. Homma Das Minimale und das Absolute. Die Musik Henryk Mikołaj Goreckis von der Mitte der sechziger Jahre bis 1985, “MusikTexte” No. 44, 1992; D. Maciejewicz Między jednością a różnorodnością – analizując „Muzyczkę II,” “Muzyka” 1994 No. 4; M.A. Harley To Be Good with God. Catholic Composers and the Mystical Experience, in: “Contemporary Music Review” XII, 1995 No. 2; D. Mirka Górecki’s musica geometrica, “Dysonanse” 1998 No. 1; A. Chłopecki Górecki – kompozytor kultowy, “Polish Culture” No. 1, 1998; M. Dziadek Henryk Mikołaj Górecki – źródła i spełnienia, “Śląsk” 2003 No. 11; K. Droba Między wzniosłością a cierpieniem. O muzyce Henryka Mikołaja Góreckiego, “Ruch Muzyczny” 2008 No. 25; B. Bolesławska-Lewandowska Henryk Mikołaj Górecki (1933–2010), “Ruch Muzyczny” 2010 No. 24; T. Malecka Henryk Mikołaj Górecki wobec myśli Jana Pawła II, “Ruch Muzyczny” 2011 No. 9; I. Janik Górecki absolutny, “Ruch Muzyczny” 2011 No. 19.