Classical CD Reviews
WOJCIECH KILAR: September Symphony; Lament for a cappella choir
A moving symphonic work for 9/11 created by this noted Polish composer of abstract and film music; compare with John Adams' new work.
Published on May 24, 2005
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WOJCIECH KILAR: September Symphony; Lament for a cappella choir -
Chor Filharmonii Narodowej/Philharmonic Symphony Orchestra of
Narodowej/Henryk Wojnarowski - Accord ACD 130-2 (Distr. by Universal),
54:47 ****:
This important import presents a major work by the Polish composer known for his many film scores. It is his own reaction to the tragedy of September 11, and in several ways I found it more touching and worthwhile listening than the recent work on the same theme by John Adams. Kilar says the event was a stronger shock to him because he grew up on American culture from Mickey Mouse to John Cage. In an interview provided in the note booklet he mentions similar works by other Polish composers such as Panufnik’s Tragic Overture (for the Warsaw uprising of WWII), and Penderecki’s Trenody to the Victims of Hiroshima.
Kilar’s style is directly accessible, with consonances, wonderful harmonies and a good feeling for how long repetitions can be extended without becoming annoying. There are many ostinatos in the first movement, which serves as a sort of introduction to the second and third. The latter shows the film score side of the composer as well as his fascination with things American. There are reminders of such echt-American-sounding composers as Barber and Schuman, and a motive from America The Beautiful. The tight-lipped might call this movement kitsch but I frankly loved it. In the Moderato finale the Hollywoodish superficiality and the serious more chromatic material - which have been kept separate previously - come together and permeate one another.
This important import presents a major work by the Polish composer known for his many film scores. It is his own reaction to the tragedy of September 11, and in several ways I found it more touching and worthwhile listening than the recent work on the same theme by John Adams. Kilar says the event was a stronger shock to him because he grew up on American culture from Mickey Mouse to John Cage. In an interview provided in the note booklet he mentions similar works by other Polish composers such as Panufnik’s Tragic Overture (for the Warsaw uprising of WWII), and Penderecki’s Trenody to the Victims of Hiroshima.
Kilar’s style is directly accessible, with consonances, wonderful harmonies and a good feeling for how long repetitions can be extended without becoming annoying. There are many ostinatos in the first movement, which serves as a sort of introduction to the second and third. The latter shows the film score side of the composer as well as his fascination with things American. There are reminders of such echt-American-sounding composers as Barber and Schuman, and a motive from America The Beautiful. The tight-lipped might call this movement kitsch but I frankly loved it. In the Moderato finale the Hollywoodish superficiality and the serious more chromatic material - which have been kept separate previously - come together and permeate one another.
- John Sunier
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