«Утреня» Кшиштофа Пендерецкого: к вопросу о влиянии музыкальных традиций православия

Abstract

The object of research in article is Krzysztof Penderecki’s large-scale work Utrenya composed in 1970–1971 after the composer’s visit to The Trinity Lavra of St. Sergius. The author analyzes the textual basis of the composition, explaining the principles of selection of the verbal texts, and describes the relationships between individual techniques of the position of the words to the music with the tendencies in the development of choral music in the 1950s and 1960s. Analysis of textural and timbre features of the composition reveals three main sources of the technical compositional solutions: Krzysztof Penderecki’s own methods of choral writing, applied in Stabat Mater and in Passio Et Mors Domini Nostri Jesu Christi Secundum Lucam; the innovations of the post-war avant-garde, which became widespread in the works of Karlheinz Stockhausen, Luigi Nono, Mauricio Kagel, György Ligeti; the intonational and textural elements of choral writing typical of Orthodox Christian worship. All these components of Penderecki’s choral style are organically combined with each other as part of the embodiment of a vivid sound picture of the climactic services of the church year, reflecting the extreme contrast between the mourning of Christ (Orthros of the Great Saturday) and the joy of His resurrection (Easter). A separate issue studied in the article is the position of sacred works in Penderecki’s legacy and the relationship between the composer’s choral oeuvres composed between 1962 and 1971.