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.

Toru Takemitsu
(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.

Marek Pasieczny
LONDON, The UK Jan.2014

Posted by Marek Pasieczny, filed under Inne. Date: February 1, 2014, 2:38 pm | No Comments »

Marek Pasieczny Polskie Radio II

Posted by Marek Pasieczny, filed under Inne. Date: December 10, 2013, 9:55 pm | No Comments »

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

Posted by Marek Pasieczny, filed under Inne. Date: November 11, 2013, 2:01 pm | No Comments »

Marek’s new composition for solo guitar titled AFTER BRAD : VARIATIONS (to Brad Mehldau) is available in score!



Posted by Marek Pasieczny, filed under Inne. Date: November 10, 2013, 10:47 pm | No Comments »

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.

Marek Pasieczny
London, The UK | October 2013

Posted by Marek Pasieczny, filed under Inne. Date: November 9, 2013, 12:49 pm | No Comments »

Marek Pasieczny is going to perform his GO-DAI CONCERTO back in Poland during the Warsaw Guitar Festival. The performance will take place 7pm 16th of November 2013 at Witold Lutoslawski Hall | Concert Radio, Warsaw. Marek Pasieczny (soloist) with Swietokrzyska Philharmonic Orchestra, conducted by Maestro Jacek Rogala.

Posted by Marek Pasieczny, filed under Inne. Date: November 7, 2013, 11:52 am | No Comments »

full score of Marek’s SAKURA NO HANA recently recorded with Michał Stanikowski and dedicated to DUO JONCOL is now available!

Posted by Marek Pasieczny, filed under Inne. Date: October 5, 2013, 12:39 pm | No Comments »

Marek Pasieczny GO-DAI

Marek Pasieczny GO-DAI

“ (…) The Go-Dai Concerto is not only a triumph for the guitar technically; it marks a turning point in the instrument’s repertoire for the concerto medium. For many commentators the guitar’s relationship with ensemble has always had great potential, but few examples have come to the fore to define the instrument in this way.
Pasieczny has shown here not only what level of musical interaction is possible with orchestra, but also how the guitar might come to redefine the orchestral palette for a new crop of composers. I am certain that its significance will lie in its future status as a milestone for the guitar canon.”


“Go-Dai Koncert to nie tylko triumf dla instrumentu, jakim jest gitara; to punkt zwrotny w repertuarze koncertów gitarowych w ogóle. Dla wielu komentatorów związek, jakim jest gitara z towarzyszeniem orkiestry, miał zawsze ogromny potencjał, jednak zaledwie tylko kilka przykładów koncertów w całej ich historii zdaje się to potwierdzać. Pasieczny wykazał nie tylko jak wysoki poziom muzycznej interakcji między solistą a orkiestrą jest możliwy do osiągnięcia w tej formie, ale także jak gitara może przedefiniować całą kompozytorską paletę orkiestracji koncertu na gitarę. Jestem pewien, że koncert ten wkrótce otrzyma status „kamienia milowego” wpisując się tym wkrótce w światowy kanon gitarowy.

Guy Traviss

(muzykolog, dziennikarz) Marzec 2013, Londyn (Classical Guitar Magazine)

Posted by Marek Pasieczny, filed under Inne. Date: September 6, 2013, 6:08 pm | No Comments »

22  Aug

Sept 11 Auckland concert 7.30pm School of Music Auckland University, Music Theatre, 6 Symonds St

Sept 12 Auckland concert 10-12pm / 1-2pm master class / composer workshop Auckland University, Studio One Kenneth Myers Centre

Sept 13 concert 7.30 pm Hamilton Guitar Society, Lady Goodfellow Chapel, Waikato University.

Sept 15 concert 7.30 pm New Plymouth Guitar Society, 4th Wall Theatre, 11 Baring Terrace, Strandon.

Sept 17 Wellington NZSM master class Massey Theatrette 6-9pm

Sept 18 12-2pm master class

Sept 18 Wellington NZSM composition workshop (3.10-4.30pm)

Sept 19 Wellington Polish Embassy/NZSM concert Massey Theatrette 7.30pm

Posted by Marek Pasieczny, filed under Inne. Date: August 22, 2013, 11:06 pm | No Comments »

Lutoslawski: In Memoriam | for solo guitar - score now available!

Pasieczny | LUTOSLAWSKI: In Memoriam

Pasieczny | LUTOSLAWSKI: In Memoriam

Posted by Marek Pasieczny, filed under Inne. Date: August 13, 2013, 6:34 pm | No Comments »

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