The serial avant-garde shows limitations in expressing the sense of the Sacred, for such expression is often related to the use of an archaistic musical language. In the second movement of his third symphony, Górecki uses a simple counterpoint in order to form a musical plan that interacts with the lyrics, thus creating some singular meaning-effects that are part neither of the musical system nor
... [Show full abstract] of the verbal one. These singularities describe both the passional interiority of the subject and her dramaturgic exteriority.