Grella-Możejko’s work [Missa instrumentalis], a completely non-vocal interpretation of the church mass, is an abridged version of the mass outline, but nevertheless, it was truly able to evoke the hope sought for in its texts.  Unlike the majority of his compositions… this work “is an unabashedly tonal/modal composition, based on ‘real’ melodies…   The music here has been clearly inspired by the traditions of Western European music, being both melodic and contrapuntal in the traditional sense. The melodies were derived [from old Polish Church hymns], and the orchestrations were, for the most part, transparent. Shifting between unison chant, monody and sections which were more contrapuntal, as well as being intermingled with interesting rhythmic plays, the music proved to be extremely listenable and uplifting…
Jerry Ozipko, MUZYKA 21

Euphonia […] is a boldly textured work reminiscent of both Beethoven and Bartók. The Penderecki Quartet captured Możejko’s keen concept of sonic possibility for strings, squandering creaminess of sound on the chordal parts, and a furious exactitude on the turbo motives.
Colleen Johnston, KW RECORD

[Piotr Grella-Mozejko’s] Euphonia opened with a great minor-sounding theme that kept recurring in unexpected but fitting places. Tension was maintained by alternating sections of silence with long tones in second violins and violas. There was also effective use of… fast repeated notes… – that I’m sure the orchestra found fun to play. Overall, the work had a very dark sort of mood, but it was a safe darkness, womb-like. Minor, but not atonal or frightening.

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