Date: Wed, 20 Nov 2002 13:17:16 -0600
Subject: [Centaurs] Henryk Górecki

Thinking on the Kindertotenlieder made me realize that there is a much more modern, more poignant, and more dazzling set of verses and music on the same subject, and that is Gorecki's Symphony No.3, "Symphony of Sorrowful Songs", written in 1976, a "minimalist" composition of immense, almost infinite, emotional power.

Górecki (pronounced "Goreski") was only a "local" contemporary Polish composer until, to his surprise and everybody else's, one recording of his 1976 Symphony, made in London in May 1991, was released early in 1992. Shortly after its release by Elektra Nonesuch, it had sold the unprecedented amount of 60,000 copies, and by the beginning of 1994, sales were calculated to be between 800,000 to 1 million.

No other classical composer ever sold so much, by a very large margin. It is a historical landmark in classical music that left everybody wondering: what was happening in the world, that people was so hungry for this music? What were people getting from this particular recording of this particular music that made it into the greatest classical hit of all times?

If you want to know, you will have to hear the music yourself, especially the first movement, and, particularly the Electra-Nonesuch recording of 1991 featuring soprano Dawn Upshaw and the London Sinfonieta directed by David Zinman. Many other versions by other performers came soon after its success, but this is the recording that so phenomenally broke the record charts.

It is my intention to explore this astrologically.

I have written of Gorecki before, and would like to extract the relevant parts here:

Date: Fri, 30 Mar 2001 08:06:23 -0600
Subject: Re: [crp] Icarus on-line - WU24
"WU24 has appeared often in my research. It is in exact (less than 1 degree) conjunction with the Sun of Friedrich Engels, Robert Louis Stevenson, Andrew Jackson, Henry Gorecki, and it is in conjunction with the Moon of M. Gauquelin."

Date: Wed, 25 Jul 2001 09:39:23 -0600
Subject: RE: [centaurresearchproject] 2001 KX76
"I don't know if you have heard Henri Gorecki's Symphony No.3 (Symphony of the Sorrowful Songs). Yesterday I was listening with a friend to the great strings canon in crescendo of the first movement, and suddenly I began to see Israeli tanks invading and hitting Palestinian cities. This may not happen in reality, but it made me feel a deep sadness, a tragic contradiction of feelings because the music is sublime --but born out of pain, like passion, the passion of the Palestinians."

I will use one of the best non-technical descriptions I found, which starts like this:

<<Composed in Katowice in 1976 by the Polish composer, Henryk Górecki, it belongs to the group of music called Spiritual Minimalism. The Symphony has a prayer-like quality, is slow in tempo and uses very little material to "grow" huge musical structures. While modern and "postmodern" music still retained its experimental, dissonant and "inaccessible" reputation, the "Symphony of Sorrowful Songs" radiated within its darkness a powerful and universal light. Its simple harmonies spoke of its simple messages, its need to tell the world of its terrible story but also its prayer of hope.>>
I would extend the meaning of the word "hope" here and say: universal prayer of unlimited hope, faith, and compassion.

Henryk Górecki was born December 6, 1933, in Czernica, in the south-west part of Polland. His Sun is in exact conjunction with 1998WU24, a damoclian object (i.e. a pseudo-comet or dead comet) with a period of 59 years that connects the orbit of Mars to that of Neptune. But there are other possibilities, since I don't know the time of birth (do we have Polish investigators in this forum?). At noon GMT the day of his birth, I find:

       Neptune = 12,22 Virgo (tropical)
       1996PW = 12,14 Virgo
       1999TC36 = 12,55 Sagittarius
       Sun = 13,56 Sagittarius (noon GMT)
       WU24 = 14,13 Sagittarius (approx.)

TC36 is one of the brightest and largest plutinos, of about 700 Km in diameter and a distance range identical to that of Pluto. It is a "concentrated Pluto", with half the orbital inclination or "dynamical flexibility" of Pluto.

Unfortunately, without the hour of birth it is not possible to know where is the Moon. But at 12 GMT it is in 2,04 Leo, so we can ask ourselves the same question as in the case of Tchaikovsky: was he born with the Moon in Cancer or in Leo? My feeling, is that he had the Moon in early Leo (the faith), which opens the following possibilities:

       Venus = 0,42 Aquarius
       Moon = 2,04 Leo (noon GMT)
       TL66 = 2,46 Aquarius
       Chariklo = 5,24 Leo

Here, TL66, as far as I am concerned, undoubtedly means "the spiritual light".

I will leave you with the rest of the description of the 3rd Symphony (from the reference above, written by Chia Han-Leon). I will be using this material later.

The three movements are marked "Lento". This hints immediately at the profound slowness and meditative angst of the work. The first movement, 27 minutes in length, is to be played "sostenuto tranquillo ma cantabile" (sustained and tranquil, in a song-like manner). Beginning in the darkest of the dark, the double basses lead the strings in a great canon of deep sorrow. As the music rises four octaves through the celli, violas and violins, one can feel the immense sadness of the composer. The souls of the dead float in their hundreds and thousands by us, invisible in the darkness, marked only by the music as it gains in intensity. And yet, within the blackness and the tragedy, there always lies the hint of hope, asking you to listen on, to hear the tale.
Nestled in the heart of the movement is a 15th century Polish prayer known as the Lamentation of the Holy Cross. Suddenly the strings fade. Heralded ominously by an orchestral piano, the Mother (of Christ), accompanied by floating chords, begs her dying son to speak to her:

      My son, chosen and loved,
      Let your mother share your wounds
      And since, my dear son,
      I have always kept you in my heart,
      And loyally served you,
      Speak to your mother,
      make her happy,
      Though, my cherished hope,
      you are now leaving me.

Charged with hope, yet aware of the terrible fate of her son, the Mother sings with heartwrenching power, climaxing in a great paean which brings back the 8-part string canon. This time, it moves in reverse, beginning on violins and descending into the basses. To the quiet tolling of the piano, everything fades into oblivion.

THE SECOND movement, Lento e largo - tranquillissimo, begins with the radiant theme which has made it so famous. A simple rising and falling motif, it makes all the more poignant the words of the movement's text.

      No, Mother, do not weep,
      Most chaste Queen of Heaven
      Help me always.
      Hail Mary.

The music darkens. Deep underneath the Gestapo headquarters in Zakopane, inside Cell No.3, on 26th September 1944, the then 18-year-old Helena Wanda Blazusiakówna scratched this prayer to the Queen of Heaven on one of the stone walls that imprisoned her. In a voice of gloom, Helena asks her Mother not to cry for her, thus linking this prayer to the previous where she mourns her dying son. Out of the darkness, the ringing radiance of the opening theme returns as the soprano calls out to "Mamo" (Mother). In music which weaves subtly between misery and hope, the great current of love in all its joy and pain melds together mother and child, child and mother. The movement ends with the soprano praying, reciting "Zdrowa Mario", the equivalent of "Ave Maria" in Polish. Hail Mary.

THE FINAL movement, Lento - cantabile semplice, begins in resignation. The text is a folksong, depicting a Mother seeking the body of her dead son.

      Where has he gone,
      My dearest son?
      Killed by the harsh enemy, perhaps,
      In the rebellion.
      You bad people,
      In the name of the Holy God,
      Tell me why you killed
      My dear son.

But here, in the reality of the Holocaust, the Mother cannot find her boy. She traverses great distances, as portrayed in the music with its insistent ostinato. Resigned, she asks the song-birds of God to sing for him, and beseeches the flowers to make for him a bed of peace for which he may sleep forever. By her love, the music surges into the radiant luminosity of A major - transcending all cultures, all peoples, all places, all time.

       Sing for him,
       Little song-birds of God,
       For his mother
       Cannot find him.
       And God's little flowers,
       May you bloom all around
       So that my son
       May sleep happily.


The complete text by Chia Han-Leon is found here



Date: Thu, 21 Nov 2002 12:28:07 -0600
Subject: [Centaurs] Henryk Górecki, 2: Neptune

I have not found exact dates on anything of Gorecki, except his birthday. This limits the investigation a lot, since the Sun of a 1st performance or of a recording, etc. gives very important clues.

He composed his 3rd Symphony in Katowice in 1976, and dedicated it to his wife. It was first performed in April of 1976 by the orchestra of South-West German Radio under Ernest Bour.

I use the sidereal zodiac in order to account for precession. First, I note the importance of Neptune at birth:

      Sun = 20,07 Scorpio (12h GMT)
      Neptune = 18,33 Leo

Then, I note transiting Neptune during the composition and the 1st performance of his 3rd Symphony:

        1 Jan 1976  18Sc07.1
       11 Jan 1976  18Sc26.9
       21 Jan 1976  18Sc44.8
       31 Jan 1976  19Sc00.4
       10 Feb 1976  19Sc13.3
       20 Feb 1976  19Sc23.2
        1 Mar 1976  19Sc29.9
       11 Mar 1976  19Sc33.2
       21 Mar 1976  19Sc33.2
       31 Mar 1976  19Sc29.8
       10 Apr 1976  19Sc23.4
       20 Apr 1976  19Sc14.2
       30 Apr 1976  19Sc02.5

NOTE added later: the premiere was in April, 1977 (see below for the post analyzing the correction, which didn't change the exactness of the Neptune/Sun transit)

This transit is critical in his life because if allows to integrate (conjunction) what at birth is divided (square). The Neptune energies that have challenged the integrity of his Sun all his life are being united in a new light here, giving him the opportunity to "embrace Neptune" instead of having to fight with it. That same year he had been awarded by the Polish State ("State Award of the First Degree", whatever that means), but apparently, because of his commitment to sacred music and his very strong Catholicism, he had always had problems with the Communist Government. Here we see one clear manifestation  of the Sun/Neptune square:

<<Henryk Gorecki's life in Poland has been touched by tragedy. His step-grandfather died in a concentration camp and during his life Gorecki was harassed by the Communist regime.>>

<<During the 1950s and 60s, he was one of the foremost Polish experimentalists. Communist censors removed the end of his first symphony; even Boulez was shocked at the aural assault of Collisions (1960).>>

I think the "aural assault" is an image that belongs to his Sun/TC36 which should be modelled at least in part after Sun/Pluto, it is not a Sun square Neptune image (or maybe it is Sun/WU24?).

The following account offers interesting insights about Goecki as a person:

<<When Henryk Mikolaj Gorecki first came to America in 1992, he wasn't yet famous. His Third Symphony, newly released on Nonesuch Records, hadn't yet shot to No. 6 on the British pop charts or settled in for its long run on top of the classical charts here. So Gorecki didn't ask to meet Madonna or the New York Philharmonic. In fact, says Carol Yaple, then vice president for artist development at Nonesuch and now an independent producer of special musical events, he made just two requests. One was for a cardiologist; the other was to see some mountains. Yaple made sure a doctor was on hand. Gorecki's health is poor; he has had heart attacks and kidney trouble, even a brain tumor. But where could she find mountains close to New York City? She compromised and took Gorecki to a crowded park above the Hudson River called Bear Mountain, though it's really just a chain of woodsy hills. "There he was," she remembers, smiling, "with that bad leg" (he limps from a childhood injury), walking everywhere, far from his native Poland, but "ecstatic" and completely at home.>>

I can feel the Sun/Neptune square here strongly, but can see also the Sun/Pluto overtones expected from Sun/TC36. Continuing with the same reference:

<<Who is this man who loves mountains more than fame? What do we know about the first living classical composer to sell a million records who, starting tonight, is going to be honored with four days of concerts, appearances and discussions at USC? If all goes as scheduled, he'll even conduct his Third Symphony for the first time in America. But here the plans conflict with Gorecki's reputation, because he's often said to be a recluse. And certainly the 63-year-old composer won't allow himself to be a public figure. He was wary, Yaple says, of press attention; on this trip, he won't allow press conferences or face-to-face interviews.>>

All this is reflected in his music. The music and the man are one.

This takes me back to the 3rd Symphony, which represents the blending of the Sun and Neptune. I will deal with this symphony in more detail later, based on the description posted yesterday.

In the following, all quotes are taken from the Gorecki Portrait for the Los Angeles Times, written by Greg Shadow, published October 1, 1997 (the url reference above):

<<He doesn't live in Poland's intellectual and artistic center, Warsaw, but instead (with his wife and two children) in the industrial city of Katowice, near the Tatra Mountains, a rugged region he prefers to any other place on Earth. He travels to the English-speaking world for Polish events more often than for performances. And, according to Maria Anna Harley, professor of music and director of the Polish Music Reference Center at USC (and creator of this week's festival), he'll turn around and leave if the arrangements don't suit him.
<<Yet, as Yaple says, he's also "capable of great force and warmth." As evidence, she points to a documentary that was shown on Dutch TV. Speaking happily in German, his second language, Gorecki welcomes a Dutch conductor to his Katowice apartment. The city is notoriously polluted, and the outside of Gorecki's building is blackened with a haze of soot. But inside, all is welcoming, with folk art and religious paintings hanging everywhere.
<<There, and later in a trip to the Netherlands, the centerpiece of the film, Gorecki talks about his work with both authority and a boyish sense of wonder. After the premiere of a new composition, he jumps on stage to cheer the Dutch musicians. He wears an absurdly wrinkled bright blue suit and shines with happiness.

Now see the Sun/Pluto overtones, presumably coming from Sun/TC36:

<<It's also true, however, that he has been isolated. That's partly because of his health. But it's also because -- as a fervent Catholic and supporter of Pope John Paul II -- he fought with Poland's former ruling communists. "Little yapping dogs," he calls them now, but in 1979, they forced him to resign from an important teaching job. "They treated me as if I was dead," he later said.
<<And he was also set apart by his music. While other Polish composers oriented themselves toward Western Europe, Gorecki "remains in close contact with his Polish roots," Maria Harley says. Nourished by the folk music of the Tatra Mountains, he evolved what Yaple calls his "elemental" style, which with its apparent simplicity defied the modernist musicians' rule that music should be complicated.

Here are the extremes, the light/darkness, the passion, the depths, the abrassiveness one would expect from all plutinos:

<<But that simplicity can be deceptive, because Gorecki's music stretches toward extremes. Much of the Third Symphony is low-pitched, painted in a thousand shades of darkness. It's static, sorrowful, and all of it is slow. In the Dutch video, Gorecki plays a new work on the piano, treating the slow parts, where time nearly stops, with rapt attention. Then, when the music gets faster, he attacks it with almost shocking ferocity. "Everything with him has to be maximum," Harley says, "played with maximum passion."
<<His concentration on his vision grows abrasive, even "ruthless," as one of his students once reported (admiringly). Apart from "thank you," Carol Yaple heard him say just two words of English in New York five years ago. "Be honest," he told a student chorus that had rehearsed his work. But Gorecki's independence also can be charming. He won't speculate, for instance, on why his symphony became so popular. "I can tell you why I wear red or green pants," he once said, "but not what happened, or why it happened."

And now the Sun conjunct Neptune (the honesty), Sun conjunct TC36 (the depth), both being "distant echoes":

<<What people find arresting in the work, however, might be Gorecki's honesty, along with a sense of religious awe. Robert Hurwitz, the president of Nonesuch Records, says Gorecki has "a depth that you don't find in Western music." Harley finds him "white-hot, reaching into archetypes." Gorecki himself won't speak about the deepest meaning of his work, though he did once quote the pope: "[Artists] know that what they do is only a distant echo of God's word.">>



Date: Fri, 22 Nov 2002 07:27:56 -0600
Subject: [Centaurs] Henryk Górecki, 3: WU24

We saw that the composition and 1st performance of the 3rd Symphony in 1976 marked the blending of Sun and Neptune in Gorecki's chart, and that the natal Sun/TC36 could explain the Sun/Pluto overtones of his personality and of all his compositions. But astrologically, TC36 is really secondary compared to the more focal position of the damocloid 1998WU24.

Normally, I ignore damocloids in my analysis. I still have that size prejudice (WU24, for example, is about 5 Km in diameter), and they belong to a different dynamical category, being the closest one can get to a comet. They are actually "dark" comets, comets that have become inactive or are inactive temporarily, not unlike, perhaps, inactive (but not "dead") volcanoes.

So, in the name of consistency, it is very difficult for me to consider damocloids and ignore comets.

Remember the extraordinary, completely unprecedented rise to fame and popularity of Gorecki in 1992 after the release of the Elektra-Nonesuch recording of his 3rd Symphony. More than a marketing phenomenon, this was a cultural phenomenon, probably a symptom of a deep longing for awe of the sacred or for "God's voice" in the Western world.

This phenomenon probably has different angles astrologically. It resembles the visitation of a comet. In terms of Gorecki's chart at least, the damocloid 1998WU24 seems to chart it very well.

NOTE: We must take into account the ephemeris uncertainty. WU24 was observed only 87 days in 1998-99, very near its perihelion of August 17, 1998, and has not been seen since February 20, 1999. But because of its very large cometary eccentricity (0.9066), a shorter span of time when at perihelion shows a larger orbital arc. It has an uncertainty index of "3" according to the MPC, and a peak uncertainty of 22" after 10 years according to Bowell's "Astorb" database. This is not yet "excellent" but is good enough to trust its positions within a few arcminutes in the 20th Century.

There is a text file that you can download with the calculated uncertainties, the assumed diameters, the distance range, orbital period, orbital arc observed, brightness compared to Pluto and Varuna, etc, of ALL the 120+ bodies of Riyal. It can be downloaded here:

Going back to Gorecki: We have first its position at birth (assuming 12h GMT):

       Sun = 20,07 Scorpio (sidereal)
       WU24 = 20,23 Scorpio (latitude=22n15,distance=19.26 AU)

The recording of the strings-only 3rd Symphony, with David Zinman conducting the London Sinfonieta and soprano Dawn Upshaw, was made in May 1991 at CTS Studios in London, but the same performers had been doing live performances of the same work long before.

In early 1992, when the sales of this recording rose spectacularly to everybody's amazement, the composer was 58 years old, not far from his WU24 return at 59-60.

WU24 reached its aphelion, close to the distance of  Neptune, on 27 August 1970. By mid-1992 it was at the point of its maximum crossing angle (64deg45'). An examination of the WU24 transits over Gorecki's natal Sun (i.e., repeating its birth configuration) shows the following dates for the conjunction:

    0 = 10 Mar 1987, 1st approach (stat. retr. in 19,17 Scorpio)
    1 =  5 Feb 1988
    2 = 13 Apr 1988
    3 =  2 Jan 1989
    4 = 19 May 1989
    5 =  9 Dec 1989
    6 = 17 Jun 1990
    7 = 14 Nov 1990
    8 = 21 Jul 1991
    9 = 16 Oct 1991

In September 1992, WU24 was stationary retrograde in 20,53 Scorpio (sidereal), making the last effective pass over the natal Sun. These multiple conjunctions, considering that they are in exact conjunction at birth, represent a "spectacular" seeding of the Sun by WU24.

Recall the composer's statement: <<I can tell you why I wear red or green pants, but not what happened, or why it happened.>>. But It seems to me that from the above, one can say that, astrologically, without fear of being wrong or of exaggeration, the sociological phenomenon ("event sociologique") of Gorecki's 3rd Symphony rise to fame --and consequently of the composer himself--, at least from the point of view of the composer's birth chart, was a Sun/WU24 phenomenon.

I have not the slightest idea of what WU24 means. I know it will take me a long time before I figure that out, especially because Damocloids like this one, travelling from the inner to the outer solar system, are dynamically and physically very different from centaurs and transneptunians. I feel they represent a different concept, and I still don't grasp what the essence of that concept may be, as I can do with the other classes.

In astrological terms, I can say that Gorecki's 3rd symphony is mainly Sun/Neptune, plus Sun/TC36 and Sun/WU24, the last being for the moment the most mysterious of all. I end this post with notes based on orbital symbolism on a commentary written about Gorecki's music:

<<There are those artists who, through their use of symbolism [Neptune], create an atmosphere that leads to a profound sense of contemplation and loneliness [the transneptunian belt]. These artists accompany us, like Dante's Virgil [the Plutinos, no doubt], to the deepest ramparts of our own being [the plutinos at aphelion]. It is here where our faith lies, the most private of human dwellings [Neptune].

Perhaps what WU24 is doing is joining the Neptune/trans-Neptune world with this "profane", materialistic, and competitive world of ours (Mars), and this is the key to understand its role in Gorecki's chart and to understand what the "Gorecki phenomenon" is about. Maybe WU24 does not speak of the characteristics of his music but of the impact it was destined to have. WU24 brought his music to the world of marketing and banality... etc.



Date: Fri, 22 Nov 2002 11:09:25 -0600
Subject: [Centaurs] Henryk Górecki, 5: Hylonome, Neptune.

Here is one date that provides some beautiful correspondences. I posted this already, taken from

It is part of a description of the Second Movement of the 3rd Symphony:

No, Mother, do not weep,
Most chaste Queen of Heaven
Help me always.
Hail Mary.
The music darkens. Deep underneath the Gestapo headquarters in Zakopane, inside Cell No.3, on 26th September 1944, the then 18-year-old Helena Wanda Blazusiakówna scratched this prayer to the Queen of Heaven on one of the stone walls that imprisoned her. In a voice of gloom, Helena asks her Mother not to cry for her, thus linking this prayer to the previous where she mourns her dying son. Out of the darkness, the ringing radiance of the opening theme returns as the soprano calls out to "Mamo" (Mother). In music which weaves subtly between misery and hope, the great current of love in all its joy and pain melds together mother and child, child and mother. The movement ends with the soprano praying, reciting "Zdrowa Mario", the equivalent of "Ave Maria" in Polish. Hail Mary.

26 September 1944, 12h GMT, sidereal zodiac:

       Sun = 9,18 Virgo
       Neptune = 10,00 Virgo
       Hylonome at Gorecki's birth = 9,51 Pisces

Hylonome is how the composer sees the 18-year old girl who wrote the inscription on the wall, Neptune is the confirmation of how the Symphoby blends Neptune and the Sun. We already found the association of Hylonome with the Virgin Mary in the examination of Bulwer-Lytton's "Zanoni", and have recently mentioned it in the case of Mahler in a personal reference to him by Freud.


I have to make one correction regarding the time of the composition and the first performance of the 3rd Symphony. I had used an Internet  reference that said wrongly that the 1st performance was in 1976, but it was 1977:

<<Composed in Katowice during the last 3 months of 1976, and dedicated to Gorecki's wife, the Symphony was first performed in April of the following year by the orchestra of South-West German Radio (Baden-Baden), under its conductor Ernest Bour. Orchestra and conductor alike were (and are) famed for their interpretation of the most "advanced" contemporary music; and the festival of Royan, at which the premiere took place, was likewise famed for supporting it.>> [ref.: Elektra-Nonesuch CD notes written by David Drew, February, 1992].

With this clue as to the Royan Festival, I found the exact date of the premiere here:

<<premiere: 4 April 1977, Royan International Festival of Contemporary Art: Stefania Woytowicz - soprano, South-West German Radio Symphony Orchestra, Ernest Bour - cond.>>
I check transiting Neptune the last 3 months of 1976 first:
   1 Oct 1976|  17Sc11.1
  11 Oct 1976|  17Sc24.7
  21 Oct 1976|  17Sc40.9
  31 Oct 1976|  17Sc59.2
  10 Nov 1976|  18Sc19.4
  20 Nov 1976|  18Sc40.8
  30 Nov 1976|  19Sc03.1
  10 Dec 1976|  19Sc25.7
  20 Dec 1976|  19Sc48.0
  30 Dec 1976|  20Sc09.7
The above reference puts the date of composition <<30 October - 30 December 1976>>

As we can see, the mathematics of the Sun/Neptune transit doesn't change (natal Sun at 12 GMT in 20, 07 Scorpio). Neptune had gone retrograde after making a first approach to the natal Sun and now it was passing over the Sun with great impetus. On the date of the premiere (4 April 1977, 18h GMT):

       Pluto = 18,20 Virgo
       Sun = 20,25 Pisces
       Venus = 22,53 Pisces
       Neptune = 21, 38 Scorpio

Unfortunately I couldn't find the exact date of the famous recording in May, 1991. The CD was released in April, 1992. Let's check transiting Neptune in May 1991:

  1 May 1991| 22Sa06 |
 21 May 1991| 21Sa52 |
 10 Jun 1991| 21Sa29 |
If we take the Sun/Venus conjunction in 20-22 Pisces as the birth chart of the Symphony, we can see that the recording was triggered by Neptune, confirming once more its heavy Neptune/Sun signature.



Date: Fri, 22 Nov 2002 11:53:55 -0600
Subject: Re: [Centaurs] Henryk Górecki, 3: WU24

"In early 1992, when the sales of this recording rose spectacularly to everybody's amazement, the composer was 62 years old, not far from his WU24 return at 59-60."

Well, I made another mistake here. On April 1992, when the recording was released, Gorecki was 58. On 21 January 1994, when it received the "1993 Recording of the Year" award by the Classical Music Awards, London, he was 60. So the return of WU24 charted the event to perfection.

By the way, this award date reiterates the Sun/Venus conjunction of the 1976 premiere of the Symphony:

       Sun 1994 award = 6,48 Capricorn
       Venus 1994 award = 7,55 Capricorn

The significance of this date is enhanced if we consider the natal Venus of Gorecki:

       Gorecki natal Venus = 6,53 Capricorn (12h GMT)
       Gorecki natal TL66 = 8,57 Capricorn

and by its very interesting TD10 signature:

       TD10 1994 award = 6,30 Capricorn

the date (21 Jan 1994) is found here:


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