2019 - Poland
Symphony, Modern Classical, Holy Minimalism
In 2013, Portishead played in Karkow for the Sacrum Profanum Festival. That’s where the festival’s artistic director suggested that Beth could sing Gorecki’s Symphony of Sorrowful Songs. A simple remark. But how could it possibly happen, since Gibbons doesn’t speak Polish, isn’t a soprano (she’s a contralto) and doesn’t even read music ? Helped by a phonetic interpretation and a translation, as well as a vocal coach, she worked for months until she mastered the symphony and found the right angle. Because this was not meant to be just a rendition, it’s an interpretation. And by clearly understanding the lyrics, Gibbons made it her own.
Gibbons’ performance was praised for her authenticity, directness and simplicity. The Symphony of Sorrowful Songs has many interpretations (one of the most famous being the 1992 version conducted by David Zinman with soprano Dawn Upshaw, or in 2020 by Yordan Kamdzhalov and sung by no one else than Lisa Gerrard), but this one will be remembered for its uniqueness and sheer emotional intensity.
“My son, my chosen and beloved
Share your wounds with your mother
And because, dear son,
I have always carried you in my heart,
And always served you faithfully
Speak to your mother, to make her happy
Because you are already leaving me
My cherished hope.”
A mother to her son, a daughter to her mother, and then again, a mother to her son. The symphony is divided into three movements, each one supporting a text coming from different sources. The first one dates to the 15th century. Called the “Lamentation of the Holy Cross” (that you just read before), it tells the story of a mother grieving the departure of her son who vanished somewhere, but whose presence stays vivid in the light of her faith.
The second text is much more recent. It was written in 1944 on the wall 3 of cell no.3 in the basement of “Palace”, the Gestapo’s headquarters in Zakopane. “No Mother, do not weep” starts this prayer written by 18-year-old Halina Wanda Blazusiak. Here she asks for her mother’s support, telling her that she always must search for the light and for hope, even in the most tragic situation of all.
The third text is a folk song from the Opole region, South of Poland. Here a mother mourns the death of her son, and even if she doesn’t know where he’s buried, she prays to God, “And you, God’s little flowers / May you blossom all around / So that my son / May sleep happily”.
It’s tempting to see a correlation between the evolution of Gorecki’s work and the small dose of light spread in each one of those texts. When he wrote this symphony, it was the first time Gorecki left his dissonant style to embrace a more tonal approach. This evolution helped him gain worldwide recognition, and his Sorrowful Songs travelled across the world. But even if the title of the symphony tends toward endless tragedy, the talent of any soprano interpreting it, that’s what Beth Gibbons does exceptionally, is to make us hear that very small dose of light each character is looking for. And as you get lost in the stretched melodies, every word sung ravages your mind.
The term “classical crossover” is often used to undermine the quality of classical works when they are performed by collaborators coming from other fields. This elitist view cannot stand a second in front of this record, because Beth Gibbons’ greatest quality here is what she doesn’t have. Gibbons is not classically trained, and that allows her to pour her heart in her interpretation. Who could better understand this universal sorrow than the singer of Glory Box, Sour Times, Show or Roads ?
There are some works that we should all experience once in our lifetime, and the Symphony of Sorrowful Songs is one of them. And now, thanks to Krzysztof Penderecki and Beth Gibbons, we have the chance to rediscover this masterpiece.
Gibbons’ performance was praised for her authenticity, directness and simplicity. The Symphony of Sorrowful Songs has many interpretations (one of the most famous being the 1992 version conducted by David Zinman with soprano Dawn Upshaw, or in 2020 by Yordan Kamdzhalov and sung by no one else than Lisa Gerrard), but this one will be remembered for its uniqueness and sheer emotional intensity.
“My son, my chosen and beloved
Share your wounds with your mother
And because, dear son,
I have always carried you in my heart,
And always served you faithfully
Speak to your mother, to make her happy
Because you are already leaving me
My cherished hope.”
A mother to her son, a daughter to her mother, and then again, a mother to her son. The symphony is divided into three movements, each one supporting a text coming from different sources. The first one dates to the 15th century. Called the “Lamentation of the Holy Cross” (that you just read before), it tells the story of a mother grieving the departure of her son who vanished somewhere, but whose presence stays vivid in the light of her faith.
The second text is much more recent. It was written in 1944 on the wall 3 of cell no.3 in the basement of “Palace”, the Gestapo’s headquarters in Zakopane. “No Mother, do not weep” starts this prayer written by 18-year-old Halina Wanda Blazusiak. Here she asks for her mother’s support, telling her that she always must search for the light and for hope, even in the most tragic situation of all.
The third text is a folk song from the Opole region, South of Poland. Here a mother mourns the death of her son, and even if she doesn’t know where he’s buried, she prays to God, “And you, God’s little flowers / May you blossom all around / So that my son / May sleep happily”.
It’s tempting to see a correlation between the evolution of Gorecki’s work and the small dose of light spread in each one of those texts. When he wrote this symphony, it was the first time Gorecki left his dissonant style to embrace a more tonal approach. This evolution helped him gain worldwide recognition, and his Sorrowful Songs travelled across the world. But even if the title of the symphony tends toward endless tragedy, the talent of any soprano interpreting it, that’s what Beth Gibbons does exceptionally, is to make us hear that very small dose of light each character is looking for. And as you get lost in the stretched melodies, every word sung ravages your mind.
The term “classical crossover” is often used to undermine the quality of classical works when they are performed by collaborators coming from other fields. This elitist view cannot stand a second in front of this record, because Beth Gibbons’ greatest quality here is what she doesn’t have. Gibbons is not classically trained, and that allows her to pour her heart in her interpretation. Who could better understand this universal sorrow than the singer of Glory Box, Sour Times, Show or Roads ?
There are some works that we should all experience once in our lifetime, and the Symphony of Sorrowful Songs is one of them. And now, thanks to Krzysztof Penderecki and Beth Gibbons, we have the chance to rediscover this masterpiece.