Brand new composition commissioned and dedicated to the ISCM World Music Days (this year based in Poland, Wroclaw) entitled ANAMNESIS is going to be premiered during the concert Strings + . This three movement duo for cello and guitar will be premiered by world renowend cellist Andrzej BAUER and the composer Marek PASIECZNY himself. All details HERE
Premiere of Marek Pasieczny’s brand new symphonic concerto for two guitars and large orchestra entitled: ‘THE DOUBLE PORTRAIT ’ now available on CD! Listen examples HERE
Marek Pasieczny will be a member of the international adjudicating panel during the Jan Edmund Jurkowski Memorial Guitar Competition as part of The SILESIAN GUITAR AUTUMN. Also Pasieczny’s “GO-DAI concerto: Takemitsu: in Memoriam” is one of the ‘optional guitar concertos’ for the final 3rd stage of the competition. Invited guests of the festival include Jordi Savall, Andrew York, Odair Assad, Andrew Lawrence-King (among many others)
Standing ovation after the world premiere of Marek Pasieczny’s brand new symphonic concerto for two guitars and large orchestra! The concerto entitled: ‘THE DOUBLE PORTRAIT ’ – concerto for two guitars and symphonic orchestra, was commissioned by the 10th International Guitar Festival in Zielona Gora, Poland. The premiere took place on the 9th of May 2014 in Zielona Góra, Poland at the Philharmony Concert Hall.
ANAMNESIS | After Toru Takemitsu by MAREK PASIECZNY
performed by SYLVIA SZE-HUA JEN
I. Spaciously II. Slightly faster III. With more movement
(…) perhaps I am one of those who try to see the invisible, to hear the inaudible. Human perception is not uniform but has varying levels. My music is something like a signal sent to the unknown. Moreover, I imagine and believe that my signal meets another’s signal, and the resulting physical change creates a new harmony different from the original two. And this is a continuous, changing process. Therefore, my music will not be complete in the form of a score. Rather, if refuses completion.
(from ‘Gardener of Time’; September 16, 1993 Tokyo)
ANAMNESIS | After Toru Takemitsu
From the Greek words anamimnēskein meaning to recall, to remember; and mimnēskein: to call to mind. In psychology, ‘anamnesis’ is used to describe the recall to memory, a recollection; while in medicine, it represents the ability to recall past events. In philosophy, ‘anamnesis’ is a concept in Plato’s epistemological and psychological theory. Platonicism is a recollection of the ideas which the soul had known in a previous existence, especially by means of reasoning. It is the idea that humans possess knowledge from past incarnations and that learning consists of rediscovering that knowledge within us. In the Catholic religion, ‘anamnesis’ appears as a prayer in a Eucharistic service, recalling the Passion, Resurrection, and Ascension of Christ.
In 1992, Takemitsu composed a trio for flute, viola and harp entitled “And then I knew ’twas wind”. This work is a late example of Takemitsu’s life-long interest in French music. It was his tribute to Claude Debussy. Takemitsu borrowed the instrumentation of Debussy’s Sonata No. 2 for flute, viola, and harp, and also alluded to it by a literal quote of a rising figure that first appears in the viola. He described the piece as a “…soul, or unconscious mind (we could even call it a ‘dream’), which continued to blow, like the wind, invisibly, through human consciousness.” Following Takemitsu’s idea of borrowing and quoting, I took a figure from the harp solo in the very first opening bar of Takemitsu’s “And then I knew ’twas wind”. The original material is a six-note figure which I have used throughout my piece, partially presented six times (twice in every movement) and finally appearing in its complete form at the end of the piece.
ANAMNESIS has been divided into three movements, with each movement increasing in tempo resulting in a gradual condensation in the flow of time. The piece is however meant as a whole, with the movements connected in two ways. Firstly, each movement consists of materials from the other two movements; however this diminishes progressively towards the end. Almost half of the first movement consists of materials from the 2nd and 3rd movements. The second movement, however, contains only nearly 30% of the materials from the 1st and 3rd movements. Finally the third movement is made up of 80% new material with the remaining 20% from the 1st and 2nd movements. The core linking factor of the piece is a five-note pattern – forming the main theme (based in part on the Japanese Ichikosucho scale) — which unfolds partially in the first movement, finally presented in its entirety in the second movement, and returning in reminiscence at the very end of movement three.
Composed simultaneously in two versions – for solo piano and solo guitar (in December 2013 – January 2014), I have based ANAMNESIS on the same guitar tuning I used for The GO-DAI Concerto (both in memory of Toru Takemitsu), to recall the compositional steps I took while composing that piece. The phenomenon of ANAMNESIS (i.e. recalling to memory) is also reflected musically via a number of ‘central notes’ which continuously recur (indicated in the guitar score by dotted lines). This suggests (for the listener) the illusion of memory of previously heard notes. In the piano version, ANAMNESIS is captured through dynamic contrasts (the echo effect); while in the guitar version, it is achieved through repeating the same note on different strings or via natural or artificial harmonics.
LONDON, The UK Jan.2014
Marek Pasieczny is going to perform solo recital and give lecture during the GitarFest 2013 International Festival in Banja Luka, Bosnia and Herzegovina | 28-30 of November 2013 details: here
Marek’s new composition for solo guitar titled AFTER BRAD : VARIATIONS (to Brad Mehldau) is available in score!
Marek Pasieczny has released brand new recording of his AFTER BRAD : VARIATIONS (to Brad MEHLDAU)
After Brad: Variations came into being during the day of the 13th of August 2013. In the ensuing weeks, it went through the “cleaning up from superfluous settings” process (the already existing structure remaining untouched). The construction of the piece is based on classical form of theme and variations (opening theme followed by ten variations closing with reminiscence of the theme). The theme deliberately does not have a melody but only a defined harmonic structure, followed by variations precisely based on this harmonic skeleton. Only notes used in the main theme are used in the variations. Also the variations themselves correspond with each other (in terms of articulation, dynamic and material). Half the variations (and the main theme itself) have purposely been written without note stems in “open time” X/4 signature. This is meant to give freedom, independence, creativity and sense of improvisation to the performer. In terms of language and harmony, this piece is advanced; however, technically it is not truly demanding and very short in form.
For many years I have been under the huge influence of composer and jazz pianist virtuoso Brad Mehldau. His work entitled “Variations on a Melancholy Theme” for piano solo had a major compositional impact on me. I decided to capture (in least obvious way and without quoting any of his original music) Brad’s harmonic mood on solo classical guitar.
Naturally this composition is dedicated to Brad as my tribute and gratitude.
London, The UK | October 2013