by assassination, is an intrinsic symbol of the state at odds with the church and held particular poignancy in 1970s Poland. Górecki's acceptance of the cardinal's commission forced him into the role of outsider and he was summarily ostracized by his peers. Party members even went so far as to remove all mention of Górecki from documents and newspapers pertaining to important musical events in Poland. The composer quickly resigned his post as Rector of the Higher School and, upon the election of Cardinal Wojtyła to the papal throne in October 1978, found himself working at breakneck pace to complete the work in time for its premiere; it was to be June 9, 1979, the first pilgrimage of then Pope John Paul II to his native land since his election. The premiere occurred as planned, with the composer conducting the work in the presence of the pope, who praised the Beatus vir publicly even as he was openly condemning Poland's communist leaders. This would add to already rising tensions between the Church and the Polish Government. Position in Górecki musical development Beginning in the late 1960s and early 1970s, Górecki began to compose larger scale works. At the same time, his music became both harmonically and melodically simpler in his writing than his previous serial compositions. Three primary musical influences also became apparent in his compositional style: Polish folksong, Catholic chant and the Polish music of the past, primarily the works of Karol Szymanowski. Out of these influences evolved two compositional kernels in Górecki's music: Górecki's "motto" motif (a rise of a minor third, usually on the first three pitches of the Aeolian or Dorian scales); and the "Skierkowski turn" (the Górecki motto followed by a descending half-step) named for the Polish folk music collector who influenced the music of Karol Szymanowski. Górecki's motto and turn are found throughout the Beatus Vir Psalm. Two examples are in the baritone in the Lento section beginning at measure 123 and in the final Molto Lento section in the upper instruments of the orchestra beginning in measure 541. The repetitive nature of the melodic writing throughout the Beatus Vir Psalm is a direct descendant of the chant-like responses sung in Catholic churches. Notes References Górecki, Henryk M. Beatus Vir Psalm na Baryton solo, chor mieszany i wielka, orkiestre, Op. 38 Partitur. Kraków: Bazylika OO, 1979. Harley, James. "Charting the Extremes: Performance Issues in