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English

The lack of harmonic variation in Górecki's Third Symphony, and its reliance on repetition, marked a stage in Górecki's progression towards the harmonic minimalism and the simplified textures of his more recent work.[3] Because of the religious nature of many of his works during this period, critics and musicologists often align him with other modernist composers who began to explore radically simplified musical textures, tonality, and melody, and who also infused many of their works with religious significance. Like-minded composers, such as Arvo Pärt and John Tavener, are frequently grouped with Górecki under the term "holy minimalism," although none of the composers classified as such has admitted to common influences.

Spanish

Así, tanto la Tercera Sinfonía, como las piezas corales marca un paso en la trayectoria de Górecki hacia el minimalismo y las texturas simples que caracterizan su obra posterior.[5] Dada la naturaleza religiosa de gran parte de sus obras de esta etapa, muchos críticos y musicólogos lo sitúan al lado de otros compositores contemporáneos que exploran igualmente con estructuras y texturas sencillas, con la tonalidad y la melodía, y que también adoptan temáticas religiosas, tales como Arvo Pärt o John Tavener; sin embargo, ninguno de los autores calificados bajo esta etiqueta de «minimalismo religioso» o «minimalismo sacro» admite haber recibido influencias comunes con los demás.