Henryk Mikołaj Górecki’s a cappella choir music. Come, Holy Spirit. op. 61
An exceptional place, due to its singularity, among compositions of Henryk Mikołaj
Górecki is taken by the prayer to the Holy Spirit which is a  musical interpretation of
a  text of one of the most popular sequences in the Catholic Church. Górecki reaches
towards Polish sources: the popular translation used in the liturgy of Pentecost, taking
them, according to his common practice, from a church song book, this time The Parish
Hymnbook (Śpiewnik parafialny) collected and arranged by Father Wojciech Lewkowicz.
From the formal point of view, Górecki’s composition refers on one hand to the se-quencing structure of the Latin original (aa bb cc etc.), whereas on the other  –  to the
Polish model, in which the basis are two repeating musical groups. The melodic layer
points to a strict connection with the two first melody segments of the Latin sequence.
The score astounds with the simplicity of homorhythmical texture; melodics are simpli-fied, the text is treated entirely syllabically. Exceptional specifics of the music are visible only while listening  –  the formogenic significance belongs to tonally approached har -monics and dynamic shadings and above all special, as if “stretched” sense of time.
The complete composition acquires the character of a  contemplative immersion in
prayer. Time is of no importance anymore, and the liveliness of the music is bestowed by
the waves of sometimes fervent and at other times calm expression and a specific nuance-like “play on colours” provided by harmony.
The biographical context of the composition is important here. The 80’s were difficult
for Górecki; he struggled with health and professional adversities; he was also experi -encing a creative crisis. In this context the ardent prayer to the Holy Spirit – the Com -forter, the Giver of Wisdom  –  acquires a  special meaning, particularly considering the
fact that in his work Górecki never reached for subjects that were “indifferent” to him.