Here are two works
(one for choir the other for orchestra)
seemingly kindred in their inspiring
spark: the tragedy of the Twin Towers
and 9-11. The notes tell us much first-hand
about September Symphony but
hardly anything about Lament.
This a cappella piece is for mixed choir.
It is reverential, awed and with the
warming subtle sustaining tone of Stanford's
Bluebird blended with Rachmaninov's
Vespers. There is absolutely
nothing dissonant about it - in fact
you might liken it to an East European
Tavener or Rutter. The piece is rounded
with a sleep of peaceful blessing on
the faintest of dissonances. It is a
lovely piece and well worth preparation
by any choir. It is sung here by the
dedicatee group.
The September
Symphony is in four movements:
two big tragic largos (13.15 and 12.53)
interspersed with an allegro (5.26)
and a final moderato (8.47). The first
largo has the brass retching out a tragic
note cell while the strings intone soulfully.
The dark introspective humming of the
strings ends the movement complete with
a gentle valedictory gesture from the
trumpet. The Allegro buzzes and stings
with attacking playing from the unison
violins like a Bernard Herrmann chase
(Psycho or North by Northwest)
taken up by the rest of the orchestra
in thunder and tempest. Horns boil into
action at 3.20.
The second Largo has
a Barber- or Harris-like gentle glow
and develops a monumental weight bearing
down on the listener. There are clear
memorial gestures as in the subtle light
of the brass choir at 6.30 which rises
to the heights of tragic protest without
barbarism. A deftly calm ending follows.
The finale has a quickish pulse instinct
with characteristic determination -
fixed on high hopes. The motoric drive
of the section from 5.00 onwards has
the qualities of a William Schuman scherzo
and of Bernstein's Serenade. Out of
it emerges a fine heroic theme carried
first by the horns and then by the strings.
That theme has something of Rubbra about
it. The composer mentions that this
movement quotes from America the
beautiful, music for westerns, gospel,
blues and Gershwin. No need to fear
a kitsch collage; if these influences
are present they are subtly subsumed.
The Symphony is dedicated
to 'my friend Antoni Wit' fulfilling
a longstanding promise. It is Kilar's
Third Symphony but he has disowned the
other two as student works uncharacteristic
of his true voice.
Two sincere works with
aspirations to eternity and with the
expressed capacity for eloquence. The
modest applause at the end of the Symphony
surely echoes poignant quietude rather
than disappointment.
Rob Barnett
The
complete CDAccord catalogue can be purchased
from MusicWeb
for
details 
Warsaw Philharmonic Choir/Henryk Wojnarowski