Autor w haśle w "Encyklopedii Biblii i jej recepcji" opisuje biografię i twórczość Henryka Mikołaja Góreckiego (Czernica 1933- Katowice 2010), kompozytora polskiego. Przedstawia motywy biblijne w jego twórczości muzycznej oraz jego pierwszych muzycznych nauczycieli (mistrzów) lub szkoły muzyczne w Rydułtowach Rybniku i Katowicach na Górnym Śląsku w Polsce we wczesnej mlodości (Paweł Hajduga, Augustyn Dreinert, Antoni Szafranek, Karol Szafranek, Bolesław Szabelski). W haśle opisano także jego fascynacje Karolem Szymanowskim i jego muzyczne relacje z kardynałem Karolem Wojtyłą (papieżem Janem Pawłem II)The author in the entry in "the Encyclopedia of the Bible and Its Reception'  describes biography and creative works of Henryk Mikołaj Górecki (born in Czernica 1933 died in Katowice -2010), the Polish composer. He presents biblical motives in his music creative works and his first music teachers (masters) or music schools in Rydułtowy, Rybnik and Katowice in Upper Silesia in Poland in his early young life (Paweł Hajduga, Augustyn Dreinert, Antoni szafranek, Karol Szafranek, Bolesław Szabelski). In the entry there are described also his fascinations of Karol Szymanowski and his relations with Karol Wojtyła (the pope John Paul II

Tytko, Marek Mariusz

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665 Górecki, Henryk Mikołajtence fragments within their original (biblical) con-texts.Gordon is often described as being on the cuspof the Hebrew literary and national renaissance, al-though even in his later years, he continued to ad-here primarily to the literary principles of the Has-kalah rather than the new trends. Many of hispoems are characteristic of the Romantic period ofthe Hebrew Haskalah, delving into biblical and his-toric themes, as their titles indicate. Among his nu-merous poems, one can discern a preoccupationwith biblical narratives in works such as “The Loveof David and Michal” (1857) and “Asenath, daugh-ter of Potiphera" (1865). In the latter, for example,he blends elements of legend into a narrative stud-ded with biblical verses and vocabulary. Gordonwas also the translator of a considerable number ofLord Byron’s poems, including those with biblicalthemes.In terms of the contents of his poetic oeuvre,Gordon tended to write analogically, exploitingbiblical themes and tales to represent contemporaryevents. An example is his magisterial epic poem,Tsidqiyahu be-vet ha-pequdot (“Zedekiah in the prisonhouse,” 1879). In this work, Gordon examined theimage of the ancient biblical king who, Job-like,raises his voice concerning the divine injustice thathas been meted out to him, as a consequence of theonslaught of fate and fanatical messengers speakingin God’s name. The work is considered to expressthe poet’s anger against his ideological enemies,primarily ultra-Orthodox Jews, who in 1879 falselydenounced him to the authorities as a participant ina plot against the Russian throne. Their accusationsresulted in his imprisonment and exile from St. Pe-tersburg. Gordon was ultimately able to return tohis city, where he later died.Bibliography: ■ Gordon, Y. L., “Tsidkiyahu be-veyt ha-pe-kudot,” [Zedekiah in the Prison House] CCAR Journal 50/2(trans. S. Nash; Spring 2003) 33–48. ■ Stanislawski, M., ForWhom Do I Toil? Judah Leib Gordon and the Crisis of RussianJewry (New York 1988).Stephen KatzSee also/Byron, George Gordon (Lord Byron);/EnlightenmentGórecki, Henryk MikołajHenryk Mikołaj Górecki (1933–2010) was a Polishcomposer. One of his specializations was the adap-tation of religious and biblical subjects as well asfolk motifs. He is regarded as one of the most out-standing 20th-century Polish composers, alongsideWitold Lutosławski (1913–1994) and KrzysztofPenderecki (b. 1933); together, they created the so-called Polish School of Composition.Górecki’s earliest musical instruction, in violin,was under teacher Paweł Hajduga in Rydułtowy,Upper Silesia (1943), where Górecki lived during666his childhood and youth (1935–55). He graduatedfrom the General Secondary School in Rydułtowy(1951), where Augustyn Dreinert was his first mas-ter of choir and music education. From 1952 to1955 he studied at the State Music High School inRybnik, Upper Silesia, under the brothers KarolSzafranek and Antoni Szafranek.Early in his career, Górecki was associated from1955 to 1960 with the Silesian composer BolesławSzabelski (1896–1979), who instructed him in com-position at the State Music University, Katowice.Szabelski, a student of Karol Szymanowski (1882–1937), had a strong impact on Górecki, especially inhis interest in Szymanowski’s music, whose mod-ern methods of expression Górecki adapted for usein his own compositions. From these two masters,Górecki learned to organize musical material (e.g.,ostinato, strong contrasts, clear expressive rhythm).He graduated from the university summa cum laudein 1960, won the first prize (for his Symphony No.1 “1959,” for violin, orchestra, and percussion,opus 14) in the Biennale of Young Composers atParis (1961), and in 1961 spent time in France,studying the technique of the composer OlivierMessiaen’s musical language, serialism. There, healso became acquainted with the composer PierreBoulez (b. 1925), who was using serialism in hisown works.Górecki established his independent individual(archaic as well as modern) style in the years 1960–65, expressing grand emotions in his compositions.Reflecting his fascination with sacred and eschato-logical themes, his interpretations of biblical textsemerged from the Roman Catholic canonical tradi-tion and from the music of the old Polish folk re-gional tradition of the Tatra Mountains, specificallythe Podhale region. He used motifs of contempo-rary modern music and regional folk archaic stylesas well as medieval music. He experimented techni-cally, creating new musical effects (e.g., “tone clus-ters,” “serialism,” etc.), and helped to create a newmusic style called “sonorism.”His instrumental music inspired by the biblicalaccount of creation includes Genesis I. Elementi per trearchi, op. 19, no. 1 (1962), for violin, viola, and cello;and Genesis II. Canti strumentali, op. 19, no. 2 (1962),for chamber music ensemble of fifteen players. Healso composed vocal music for mixed choir a capellabased upon biblical motifs: Euntes ibant et flebant(Those who go forth and weep), op. 32 (1972), fromPss 125 : 6 and 94 : 6; Amen, op. 35 (1975); Miserere,op. 39 (1981–87), for large mixed choir; Songs of OurLady (Pieśni Maryjne, a.k.a. Marian Songs), op. 54(1985), five songs; Under Your Protection (Pod Twojąobronę), op. 56 (1985), for eight-part mixed choir;The Bells are ringing for the Angel of the Lord (Na AniołPański biją dzwony), op. 57 (1986); Church Songs (Pieśnikościelne, 1986); Totus Tuus, op. 60 (1987), for PopeJohn Paul II, a piece with Marian motifs; Come HolyBereitgestellt von | De Gruyter / TCSAngemeldetHeruntergeladen am | 29.05.15 14:23667 Goren, ShlomoSpirit (Przybądź Duchu Święty), op. 61 (1988), a se-quence of Veni Sancte Spiritus.Additionally, he wrote songs for solo voice andpiano (or for other instruments), inspired by the Bi-ble and sacred motifs: Monologhi (Monologues), op. 16(1960), soprano and three instrumental groups;Genesis III. Monodramma, op. 19, no. 3 (1963), so-prano and ensemble, with metal percussion anddouble bass; Oh, Domina Nostra. Meditations on OurLady of Jasna Góra (Medytacje o Jasnogórskiej Pani Nas-zej), op. 55 (1985), for soprano and organ.Górecki also composed pieces for solo voice (orfor choir and instruments) and orchestra that wereinspired by the Bible and various sacred motifs: Domatki (Ad Matrem, To Mother), op. 29 (1971), so-prano, mixed choir, and orchestra, based on theStabat Mater Dolorosa; Two Sacred Songs (Dwie pieśnisakralne), op. 30 (1971), baritone and orchestra;Symphony No. 2, “Compernican” (“Kopernikow-ska”), op. 31 (1972), soprano, baritone, mixed choir,and orchestra, inspired by Pss 145/146 : 6; 135 : 7–9;and also by Nicolaus Copernicus’ De RevolutionibusOrbium Coelestium; Symphony No. 3, known as theSymphony of Mournful Songs (Symfonia pieśni żałosnych),op. 36 (1976), for soprano and orchestra, inspiredby the St. Cross Lament [or Dirge] (Swietokrzyski Dirge);Beatus Vir, op. 38 (1979), for baritone, mixed choir,and orchestra, inspired by Pss 142: 1, 6, 7, 8, 10;30 : 15–16; 37 : 23; 66 : 7; and 33 : 9; Salve Sidus Polo-norum. Cantata of the St. Wojciech [Adalbertus] (Salve Si-dus Polonorum. Kantata o Św. Wojciechu), op. 72 (1997–2000), for large mixed choir, two pianos, organ,and percussion;Lobgesang (Song of Praise), op. 76 (1999), formixed choir and glockenspiel, inspired by Psalms.Górecki’s unfinished Symphony No. 4 (extant inmanuscript form) is also inspired by sacred and bib-lical motifs. The Polish cardinal Karol Wojtyła(1920–2005), later Pope John Paul II (from 1978),was among his most prominent patrons. He com-missioned Górecki’s Beatus Vir.Górecki employed contemporary methods ofcompositions, adapting them to traditional and ar-chaic motifs. His sublime music evoked the immen-sity of the sacred images and impression of majestyin the listener.Bibliography: ■ Bolesławska-Lewandowska, B. (ed.), Górecki:Portret w pamięci [Górecki: A Portrait in Memory] (Cracow2013). ■ Droba, A., “Górecki Henryk Mikołaj,” EncyklopediaMuzyczna PWM: Część biograficzna 3 (ed. E. Dziębowska; Cra-cow 1987) 420–33. ■ Jabłoński, M. (ed.), Górecki (Cracow2011). ■ Thomas, A., Górecki (Cracow 1998). ■ Tytko, M.M., “Z Czernicy w świat: Z prof. Henrykiem MikołajemJózefem Góreckim, kompozytorem – rozmawia MarekTytko,” [From Czernica to the World: With Prof. HenrykMikołaj Józef Górecki – Marek Tytko is talking] Czas Krakow-ski (April 10, 1993) 10–11. ■ Tytko, M. M., “Typ spokojnyze skrzypcami pod pachą: Z Augustynem Dreinertem, wyc-howawcą Henryka Mikołaja Góreckiego rozmawia MarekMariusz Tytko,” [A Quiet Type with a Violin under HisArm: With Augustyn Dreinert, a Teacher of Henryk Mikołaj668Górecki - Interview with Marek Mariusz Tytko] Plama: PismoArtystyczne (Rybnik) 3 (1998) nos. 3–4 (6–7) 78.Marek Mariusz TytkoSee also/John Paul II;/Lutoslawski, Witold;/Szymanowski, KarolGoren, ShlomoShlomo Goren (1917–1994) was an Orthodox rabbiand religious Zionist. He served as chief chaplainfor the Israeli Defense Forces (1948–68), Ashkenazichief rabbi of Tel Aviv (1968–72), and AshkenaziChief Rabbi of Israel (1972–83). Born in Poland, hemoved with his family to Palestine in 1925. His fa-ther was one of the founders of the Orthodox settle-ment Kfar Hunderdot asidim. By age seventeen, he had pub-lished his first religious writings, comments onMaimonides’ Mishneh Torah. In 1948 the chief rab-bis of Israel named him the first chief chaplain ofthe new state’s new army; he eventually achievedthe rank of brigadier general. Goren joined thetroops who had conquered the Western Wall in Je-rusalem during the Six-Day War (1967). Retiredfrom the army in 1968, he was elected Israel’s Ash-kenazi chief rabbi in 1972. He was the author ofmany books, and in 1961 received the Israel Prizefor rabbinic literature. In 1944 Goren obtained anacademic degree in natural science and philologyfrom the Hebrew University of Jerusalem, an excep-tional educational attainment for a rabbinic author-ity in Israel.Goren was a highly innovative Orthodox hal-akhist. His main work was to adopt Jewish religiouslaw to establish rules for aspects of the governanceof the Israeli state and army. The halakhah hadbeen developed during the exile, the period of Jew-ish history in which Jews had no responsibility forgovernment and state affairs, and no Jewish army.Therefore, halakhah lacked normative arrange-ments in those areas. As a chief chaplain, Gorenwrote intensively on the laws, justification and mo-rality of wars, topics that had almost never beendiscussed before by halakhic authorities, certainlynot in such practical detail. His main vision wasto establish religious norms that would allow themilitary to function within the halakhah, and allowOrthodox Jews such as himself to serve in the IsraeliArmy, and that would indeed guide Israeli militarythinking and action. His halakhic arguments makeexceptional use of biblical precedents for Jewishwarfare, such as the narratives of King David andJoshua, and also the books of Maccabees.Goren was a controversial figure in other waysas well. He established new leniencies in findinghalakhic permission for the widows of soldierskilled in action to remarry, including soldiers andsailors whose bodies had not been found, such asthose lost at sea in ships or submarines. He gave alenient interpretation to the law of the mamzer, thatBereitgestellt von | De Gruyter / TCSAngemeldetHeruntergeladen am | 29.05.15 14:23

Górecki, Henryk Mikołaj

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