Fini Autem Principium Est III for two guitars, rewritten using the “palimpsest technique” has bee recorded together with Vojin Kocic. We were incredibly fortunate to make this recording on a brand-new instrument, freshly completed by luthier Philip Woodfield and his son, Oliver Moore.
new version of my FINIS AUTEM PRINCIPIUM EST for two guitars, written using the 'palimpsest technique’. For many years I had been considering creating a two-guitar version of this piece, which is very special and deeply emotional for me. The work was composed in memory of John Tavener, who passed away in 2013. The recording will take place at the end of the month in England, and I will be joined by the outstanding Serbian musician and guitarist, currently based in Zurih, Vojin Kocic.
Day 2 of the recording sessions for “Mare Suebicum” – all 12 guitar-parts (each 40-minute long) has been recorded. Mateusz Kowalski, guitar, Iza & Maciek Wiejaczkowie, sound engineers, Zosia Kowalska, production, Mikołaj Szenfeld, documentary. This project was made possible thanks to the Towarzystwo Gitarowe in collaboration with Fundacja MARE
I’m starting the new year by completing another large-scale composition in 30 subdivisions – MARE SUEBICUM for Classical Guitar & Electronics (pre-recorded tape: 12 guitar parts/layers), 40 minutes long.
I’m happy to officially announce a major new piece I’ve been working on for the past ten weeks or so. It is a very unusual and large-scale composition. Its working title is 'Mare Suebicum’.
’Mare Suebicum’ is a composition for Classical Guitar & Electronics (Prerecorded Tape). It features eleven prerecorded guitars (including bass guitar) and a live soloist. The composition will be prerecorded in a panoramic manner: eleven unique tracks forming an orchestral sound world that coexists with the soloist performing live on stage. This is a monumental work—over 45-minutes long, written for 12 guitar parts, with a full-score of over 1200 bars. It is inspired by the Baltic Sea and its many shades, shaped by the ideas of waves, abyss, the power and energy of nature, and the importance of protecting it.
’Sakura no Hana’ Variations for Guitar and Marimba have just been recorded together with Thomas Burritt.
It’s a truly unique blend of two instruments that are normally worlds apart, brought together here through an idiom inspired by the colours and timbres of traditional Japanese instruments such as the koto, taiko, kane, and shakubyoshi. The piece waw commissioned by The University of Texas at Austin.
Behind the scenes of the recording session for my AFTERIMAGES: SONATA for Marimba Solo, featuring the outstanding Thomas Burritt. This project is supported and commissioned by fundings from The University of Texas at Austin.
Standing ovation! Together with Thomas Burritt, we premiered ’Sakura no Hana Variations’. Thomas also gave the world premiere of my ’Afterimages’: Sonata for solo marimba, and we performed the U.S. premiere of my ’Ex Nihilo (Nihil Fit) III’.
I’m truly honoured that my 12-movement suite POLISH IMPRESSIONS has been featured on the album SLAVIC SESSIONS by Mateusz Kowalski and Mak Grgić — officially nominated for a Recording Academy / GRAMMYs Award.
category: Best Chamber Music / Small Ensemble Performance.
The story goes like this: during a zoom with Mateusz Kowalski and Zosia Kowalska, I casually threw out the idea of writing, a triptych of mazurkas for Mateusz’s new album, which would include one of my pieces.
Both of them, laughing, said: “You have 48 hours, because that’s when Mateusz is flying from Poland to São Paulo.” I replied: “Of course, that’s impossible.” We said our goodbyes.
After the conversation, I asked myself a hypothetical question: would I be able to compose three mazurkas in one day, and the next day input them into the software, edit, make corrections, finger, finalize, and send them? No – it was simply impossible. These couldn’t be simple miniatures; they had to be full concert pieces.
However… around midnight I went to the piano, and soon two sketches 'came to me’ for the main themes of clearly two contrasting mazurkas…
The next morning, bright and early, I started composing. I did nothing but write.
After ten hours, I had complete sketches for three mazurkas – nearly 180 bars of compositional material. Around midnight, I began entering them into the program.
The following day – Mateusz’s day of departure – I finished inputting the scores, started adapting them for guitar, and did the editing (fingerings, dynamics, tempos). I played them repeatedly, listened, made changes, listened again, and changed… until finally, it was done.
Mateusz was already on a plane from Warsaw to Portugal. He had to receive the score during a layover in Lisbon, giving him time for some “mental practice” on the flight to São Paulo.
I managed to send it. Mateusz had the entire, completed score.
After landing in São Paulo, between hours in the recording studio, Mateusz quickly mastered the technical aspects of the mazurkas, created a beautiful interpretation, sent me rough recordings, and by the end of the recording session, he performed them in perfect tempos, musically mature, as if he had been playing them for weeks… it took him all that around one working day.
Mateusz is simply brilliant.
The album, inspired by Chopin’s music and the Polish idiom, will be released in a few weeks. It’s a new project by Guitarcoop.
The core of the album will be the 24 Preludios Chopinianos by Sergio Assad, but it will also include my piece Szopen (Re:Membering), as well as the Three Mazurkas.
These mazurkas would never have come to life without this remarkable pair, Mateusz and Zosia Kowalska, and they are dedicated to them.
New commission completed! This work is a cycle of Japanese variations, SAKURA NO HANA, for Marimba & Guitar, based on the famous „Sakura, Sakura” (with form: Prelude, Theme, Variations I–VIII, Postlude). The premiere and recording will take place in a few weeks in Austin, TX.
ABBATIA FONTIUM: SUITA (Fountains Abbey: The Suite) for 13-course baroque lute Inspired by Fountains Abbey — the great Cistercian monastery in Ripon, North Yorkshire — its architecture, history, and legends. Commissioned by and dedicated to the Italian lutenist Alberto Crugnola.
Standing ovation, two encores! Truly an unforgettable evening! That was the scene just after the world premiere of POLONIKA: a Folk-Fantasy, a concert suite for two soloists and a guitar orchestra. ▪️ huge thanks to Marcin Chiliński for his tremendous work and for preparing the orchestra. ▪️ special thanks to Mateusz Kowalski – it’s a true pleasure (always) to share the stage with you! ▪️ finally, extra special thanks to those incredibly talented, passionate, and hardworking 18 young guitarists from all across Poland – thank you! Thanks to the project’s originator, Krzysztof Pełech and to Anna Kiepura: Fundacja Krzyżowa dla Porozumienia Europejskiego, Joanna Polak: Ośrodek Kultury i Sztuki we Wrocławiu photos by Lech Basel
POLONIKA: A Folk-Fantasy – a concert suite in 12 movements for two soloists and a guitar orchestra. Tonight, I’ll be joined by Mateusz Kowalski, Marcin Chiliński (conductor), and 18 young guitarists from all over Poland — participants of the Summer Guitar Festival. Polonika was commissioned with the support of a grant from the Fundacja Krzyżowa dla Porozumienia Europejskiego / Ośrodek Kultury i Sztuki we Wrocławiu on the occasion of the 25th anniversary of the Summer Guitar Festival in Krzyżowa
I’m pleased to announce a new composition commission straight from Italy. It will be a piece for 13-course Baroque lute, commissioned by and dedicated to the Italian lutenist and patron of the Baroque lute, Alberto Crugnola.
POLONIKA: A Folk-Fantasy, A concert suite in 12 movements and over 1000 bars long, written for two soloists and a guitar orchestra (six voices).
The premiere is in just 7 weeks! I’ll be joined by Mateusz Kowalski, Marcin Chiliński (who will conduct and prepare the orchestra), and participants of the Summer Guitar Festival, under the artistic direction of Krzysztof Pełech.
I already know that we have an overwhelming number of participants for this project! This makes me incredibly happy! Some of YOU will receive your parts in just a few days!
I’m excited to begin work on a brand new, unique commission — a Concerto Suite for two guitars and guitar orchestra.
I’ll be joined by Mateusz Kowalski, Marcin Chiliński (who will conduct the orchestra), and students of the Summer Guitar Festival, under the artistic direction of Krzysztof Pełech.
The WATER-HORSE SUITE, for solo guitar, Inspired by “The Water-Horse of Barra” – a Scottish folktale as told by Winifred Finlay. Commissioned by and dedicated to Scottish guitarist Stewart Kelly.
Barra – “Once upon a time…”
The Loch – “Every morning”
The Girl (Scottish Air) – ‘Love Theme’
The Farm – “A Year and a Day”
Tír na nÓg – “The Land of Youth”
The Cuckoo and the Trip – “The cuckoo sings over Barra”
The Wise Man – “…and the potion”
The Water-Horse (Finale) – “…and there they lived happily for many a long year”
Premiere: August 2025 at the Edinburgh Festival Fringe
Recording: Featured on the upcoming album „To & From Scotland”, showcasing works by composers from around the world and Scotland.
Serenitatis(for piano solo) now available on all major platforms! Click HERE for more about the piece.
It is one of two solo piano miniatures recorded by the phenomenal Swedish-born, Canada-based pianist Carl Petersson for the Azure Sky label, as part of an album titled „MAGICAL MOON”.
The album will feature piano pieces inspired by the moon, composed by Beethoven, Debussy, Fauré, Dvořák, Godowsky, Hisaishi, Pasieczny, and others. A new piece will premiere each month during the full moon…
Recording engineer: Grant Rowledge Piano model: Steinway D
ORDER SCORE CONTACTING US DIRECTYL via e-mail: slepayment@gmail.com
five-movement SONATA for Solo Guitar is now complete. Inspired by Signs by the Roadside, a book by Serbian Nobel Prize-winning novelist Ivo Andrić. Commissioned by and dedicated to my dear friend and extraordinary musician, Vojin Kocić
SONATA: Echoes from the Roadside (for Guitar Solo)
I. Planando lievemente (Gliding lightly / Lagano klizeći)
II. Perduto nei sogui (Lost in dreams / Izgubljen u snovima)
III. Fredolo e limpido (Cold and clear / Hladno i jasno)
IV. Ballando nel dolore (Tema di Andrić) (Dancing in pain (Andrić’s Theme) / Plešući u boli (Andrićeva tema)
An extended version of my triptych: (SZOPEN) RE:MEMBERING —this time in a very unusual instrumentation for Guitar and Percussion (Marimba, Vibraphone, Crotales & Rainstick)—is now finished! The premiere is just under two weeks away in Warsaw, performed by two outstanding virtuoso musicians: Mateusz Kowalski (guitar) and Miłosz Pękala(percussion)
The new Sonata for solo guitar is nearly complete! It’s a large-scale work expanding into five movements, inspired and shaped by the book Signs by the Roadside by Nobel Prize-winning Serbian writer Ivo Andrić. Commissioned and dedicated to the amazing musician and guitar virtuoso Vojin Kocic. The world premiere will take place next month in Switzerland during Rencontres Guitares in Bulle on March 23
▪️The UT Percussion Ensemble, under the direction of Prof. Thomas Burritt, will perform the piece with the following student groupings: ▪️Variations 1–10 Left: Justin Middle: Ethan Right: Kevin ▪️Variations 11–17 Left: Erica Middle: Michael Right: Bryce ▪️Variations 18–22 Left: Sean Middle: Meghan Right: Gage ▪️Variations 23–26 Left: Aaryn Middle: Randy Right: Spencer ▪️Variations 27–34 Left: Sebastian Middle: Davin Right: JP ▪️The Fugue (Theme), Variation 35 Left: Ashley Middle: Marcos Right: Matt
„When we look at an object, its reflection is formed in our eye. The moment we stop looking at it and shift our gaze elsewhere, a afterimage of the object remains, a trace of the object, with the same shape but an opposite coloration. The afterimage, afterimages, are the color of the interior of the eye that has looked at a certain object. Because a person truly sees only what they make themselves aware of.”
Władysław Strzemiński (1893-1952), Polish painter, art theorist, publicist, educator.
Definition
The above quote is a simple, very painterly, almost poetic, and for me, incredibly inspiring definition of a phenomenon called an afterimage. But what is an afterimage from a scientific perspective?
An afterimage is a physiological phenomenon where an image persists in the visual system after the exposure to light stimuli has ceased. It results from changes in the activity of retinal photoreceptors, particularly the cones, which become adapted due to prolonged stimulation. This leads to the appearance of a complementary image in the form of a negative or positive afterimage. This phenomenon is the result of the exhaustion of the photoreceptors’ sensitivity to certain wavelengths of light, followed by their recovery.
For many years, intrigued by this phenomenon, I wanted to transfer its aspect (image, vision) into the world of music and sound.
„Because a person will truly only see what they are aware of” (W. Strzemiński) – moving further, not just what we see, but also what we hear.
How we perceive and experience the world is extremely subjective. Looking at the same object in space or listening to the same piece of music, each of us will perceive, experience, and interpret it completely differently. Our emotions, life experiences, act as a unique filter through which we first process objective (created by someone else) visual or auditory stimuli, which are then transformed by us and remain within us as an 'afterimage’.
Form
Afterimages is written in a loose sonata form. On one hand, it is a monolithic, one-movement sonata, where traditional divisions into distinct sections are blurred, and the form is more flexible. On the other hand, the component sections still exist, interpenetrating and interacting with each other.
Each of the titles of the four main subsections represents my impulsive and subjective perception of the respective part. These are not balanced, composer’s characterizations of the section, but rather my personal „afterimages” — quick, intuitive „glimpses” of the section, which I describe with a single word that feels closest to me. These are Blurred, Gossamer, Ragged, and Zesty.
Afterimage and Music
The element of the „afterimage” is also reflected in the compositional material. Fragments and harmonic-rhythmic structures that appear in one section often return in a form of reminiscence, serving as a kind of „afterimage” of themselves in adjacent sections.
Another aspect of the afterimage phenomenon in this sonata is the constant, yet consistent and very fluid transition between slow, open, ethereal fragments and faster, energy-charged ones. This represents my musical (auditory) stimulation of alternating complementary images, in the form of both negative and positive afterimages.
Afterimage as opposed to the Marimba Idiom
I am a composer, but not a percussionist. My perception and experience of the marimba are my very subjective, personal, and, of course, musical „afterimages.”
I wanted to capture the essence of the marimba in as varied and colorful a way as possible (in terms of timbre), almost like a painter’s palette. This is why I used the bow in „Blurred” or light preparations in „Zesty,” as well as changing mallets during the performance of „Afterimages.” But that’s not all – the melodic aspect of the marimba, in the form of a winding monophony, constantly intertwines with the harmonic aspect, where four-note chords appear.
The style of „Afterimages” is intentionally undefined. I wanted to show different faces of the marimba – my various perspectives (afterimages) on this instrument. „Blurred” is impressionistic, „Gossamer” – post-romantic, „Ragged” – post-minimalistic, and „Zesty” – distinctly jazz and swinging in its character. For me, it’s a very positive, bright, and energetic sonata, bursting with colors and ideas.
„Afterimages” was written as a commission from the University of Texas at Austin and is dedicated to my friend, the distinguished percussionist and educator, Thomas Burritt.
I’m thrilled to announce a new commission from my dear friend, guitarist, and brilliant musician, Vojin Kocić: A multi-movement piece for solo guitar, inspired by the works of Serbian poet, writer, and Nobel Prize-winning novelist Ivo Andrić.
The world premiere will take place in Switzerland during Rencontres Guitares in Bulle on March 23, 2025.
The reimagined and newly arranged version of RECURSIVE REFLECTIONS II: 35 Variations and a Fugue for Three Marimbashas been officially completed! The premiere will take place on February 6, 2025, at the The University of Texas at Austin. The piece will be performed by the UT Percussion Ensemble under the direction of Prof. Thomas Burritt
I had the extraordinary pleasure of leading guitar workshops at the Akademia Muzyczna w Gdańsku. This was made possible thanks to the great organization and welcoming atmosphere created by the wonderful teacher and outstanding guitarist, Monika Dżuła-Radkiewicz. Thank you to all the students for your beautiful playing and collaboration – I hope to see you again!
This is a set of nine miniatures based on the most famous Polish folk melodies, reimagined and reharmonized. The recordings feature the incredible musicians, Mateusz Kowalski and Andrzej Grygier.
Standing ovation after our trio concert at the 4th Nadmorski Festiwal Gitarowy Martinez w Gdyni. Together with outstanding musicians and one of the best guitarists around: Andrzej Grygier and Mateusz Kowalski, we gave premiere to my newly re-composed „Nine Polish Impressions” and performed monumental „Recursive Reflections: 35 Variations & Fugue.”
I’m excited to share a new commission for a marimba solo piece, supported by The University of Texas at Austin and Professor Thomas Burritt
The premiere will take place at the prestigious PASIC Percussive Arts Society International Convention, one of the largest percussion events worldwide, in fall 2025 in Indianapolis, Indiana, USA.
Additionally, I’m developing a version of 'Recursive Reflections II: 35 Variations & Fugue’ for Marimba Trio.
“I composed this miniature at the piano, spontaneously, while improvising on March 8, 2024. My intention was to create a piece as delicate, modest, and pure as possible, yet also joyful, warm, and brimming with hope. The miracle of new life and that fleeting moment, captured and held within the notes of a small lullaby.”
It is one of two solo piano miniatures recorded by the phenomenal Swedish-born, Canada-based pianist Carl Petersson for the Azure Sky label, as part of an album titled „MAGICAL MOON”.
The album will feature piano pieces inspired by the moon, composed by Beethoven, Debussy, Fauré, Dvořák, Godowsky, Hisaishi, Pasieczny, and others. A new piece will premiere each month during the full moon…
recording engineer: Grant Rowledge piano model: Steinway D
I am delighted to share with you my recently completed project for Estonia: 24 STUDIUMS for unspecified instrumentation, in this case for solo guitar and solo piano.
Once again, I had the great pleasure of leading masterclasses for exceptionally diligent and talented young guitarists from all over Poland during the 16th edition of Mistrz i uczeń (Master & Student) in Krzeszowice.
Very intensive summer week: I gave over 40 composition and guitar classes during the 24th Summer Guitar Festival in Krzyżowa, Poland. I also had the chance to reunite with some of my old friends! So many young guitarists devoted to the guitar and music, with amazing talent!
all music composed and orchestrated by Marek Pasieczny ▪️ Marek Pasieczny: Guitar ▪️ Thomas Burritt: Vibraphone, Marimba, Glockenspiel, Thai Gongs, Tibetan Tingsha, Temple Bell & Tam-Tam.
▪️ recording engineers: Jess Griggs & Jordan Walsh ▪️ video editing & post-production: Marek Pasieczny ▪️ recorded at The University of Texas, Austin TX, USA
New album with Thomas Burritt 'MUSIC FOR GUITAR & PERCUSSION’ will be out soon! Recorded at the recording studio of The University of Texas at Austin, TX, USA
audio recording by: Daniela Rippel-Markiewicz , Franciszek Jakubiak, and Dr. hab. Ewa Lasocka of Uniwersytet Muzyczny Fryderyka Chopina, video footage and pictures by Mikołaj Szenfeld.
