guitarist and composer
’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.
Had a great pleasure of performing and taking part in today’s UT Percussion Studio Class workshops! Amazing students!
Preparations are underway for the concert premiere of my 'AFTERIMAGES: Sonata for Solo Marimba’, performed by the outstanding Thomas Burritt.
▪️ Premiere: Monday, November 10, 2025, at 7:30 p.m.
▪️ Venue: Jessen Auditorium, Homer Rainey Hall, The University of Texas at Austin
▪️ this commission is supported by funding from The University of Texas at Austin and is dedicated to Professor Thomas Burritt.
’Three Mazurkas’ (2025)
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.
This commission was supported by funding from The University of Texas at Austin and is dedicated to Thomas Burritt.
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!
commissioned w/ the support of a grant from the Fundacja Krzyżowa and Ośrodek Kultury i Sztuki we Wrocławiu
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.
And YOU can be part of it too! Join us HERE
The piece was commissioned with the support of a grant from Ośrodek Kultury i Sztuki we Wrocławiu (OKiS) and Fundacja Krzyżowa / Stiftung Kreisau
I feel honored to be part of the Warsaw Guitar Conference for the third time. It is always a great privilege for me. World-class organization and stunning venues – this year not only at the Uniwersytet Muzyczny Fryderyka Chopina but also at the Royal Łazienki Museum!
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.
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)
The world premiere will take place next month in Switzerland during Rencontres Guitares in Bulle on March 23, 2025
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)
Where: Museum of the University of Warsaw, Poland
When: 5th of March, ’25
This composition was commissioned thanks to the support of the Museum of the University of Warsaw.
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
Excited to share that 18 students (!) will give the world premiere of my RECURSIVE REFLECTIONS II (35 Variations & Fugue) – for Three Marimbas
▪️This Thursday, February 6, Bates Recital Hall, 7:30 pm | The University of Texas at Austin
▪️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
Afterimages (Powidoki) by Marek PASIECZNY
Sonata for marimba solo
I. Blurred II. Gossamer III. Ragged IV. Zesty
„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.
Marek Pasieczny
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.
Afterimages (Powidoki): Sonata for Marimba Solo (in four mvnts) is nearly complete!
This new commission is supported by funding from The University of Texas at Austin and is dedicated to the brilliant percussionist, Prof. 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.
The reimagined and newly arranged version of RECURSIVE REFLECTIONS II: 35 Variations and a Fugue for Three Marimbas has 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!
„Nine Polish Impressions” has been recorded!
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.”
photo by Wojtek Rudnik
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.
Max’s Lunar Lullaby for piano solo FULL SCORE is now available to PURCHASE
“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.”
Marek Pasieczny
Max’s Lunar Lullaby for piano solo now available on all major platforms!
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!
Smoothly and perfectly organized by Ośrodek Kultury i Sztuki we Wrocławiu (OKiS), Fundacja Krzyżowa dla Porozumienia Europejskiego / Stiftung Kreisau
Happy to be back in Poland this summer for two major guitar workshops. I’ll be giving composition and guitar classes at:
▪️ The 24th International Summer Guitar Festival in Krzyżowa (July 12-21)
▪️The 16th Master & Student (Mistrz i uczeń) in Krzeszowice (August 25-31)
MUSIC FOR PERCUSSION & GUITAR, The Austin, TX | Session, now available on All Major Platforms!
credits:
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
’RECURSIVE REFLECTIONS’, has been recorded by Mateusz Kowalski, Andrzej Grygier and myself.
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.
Recursive Reflections: 35 Variations with Fugue (for Guitar Trio) (2024)
The form of a guitar trio has always fascinated me, especially the sonic effects produced by three identical instruments. The balance, symmetry, and perhaps most importantly, the stereophonic and expansive sound that such instrumentation creates. The initial sketches for Recursive Reflections were made several years ago, already with the idea of a guitar trio in mind. This is one of those rare instances of a composer revisiting old sketches from the past.
Despite the undeniable sonic appeal of such an ensemble, original repertoire for guitar trio practically does not exist (compared to hundreds, or perhaps even thousands, of guitar duets and quartets).
The main inspiration for the musical architecture of Recursive Reflections came from four sets of variations, all with the same instrumentation (the piano as the composer’s instrument of interest), but entirely different in style, time of creation, and compositional material: J.S. Bach and his 30 Goldberg Variations, BWV 988; 14 variations on the theme ‘Enigma’ by Edward Elgar (in the solo piano version); 33 variations for piano, Op. 120 (on a theme by Antonio Diabelli), by Ludwig van Beethoven; and finally The 48 Variations for Two Pianos by John McGuire from 1976-1980.
It is worth noting from the outset that in this composition, I didn’t distinguish between guitar: one, two, and three, but rather divided them into central, left, and right guitar. I did this very consciously, guided within this compositional architecture by the most important factor shaping the entire trio – the aforementioned sonic aspect (stereophonic effect).
Recursive Reflections consist of 35 variations and a three-voice fugue. In Beethoven’s aforementioned variations, the 29th variation is written in the form of a fugue. In the case of Recursive Reflections, the fugue itself appears in its pure form as the penultimate part. The fugue form and the polyphony of the psalms are nods to Bach. However, the reminiscence (sketches of the theme) of the fugue appears throughout the variation form in a hidden manner (as in the case of the mysterious theme of the ’Enigma’ in Elgar’s variations). The theme appears in six scattered variations throughout the entire piece, in different modes, intensities, tonalities, and contexts. The fluidity between variations, the sonic element, post-minimalism, and ambient qualities are references to the aforementioned McGuire Variations.
The variations themselves are divided into five interwoven groups.
In terms of quantity, the first group (also the titular group) is ‘Recursive Reflection’, where the three instruments perform the same compositional material. However, this portion of the material is presented with very precisely planned delays. It’s a kind of recursive reflection (not in visual, physical, or mathematical form), but in musical form, in the form of sound.
The second group is ‘Mirror’. The central guitar serves as the compositional center (often in the form of an ostinato or an integral part). In this center, the neighboring guitars (left and right) musically reflect each other alternately, like in a mirror.
The third group is ‘Bells’. Here, all elements of the composition are subordinate to sonority – the classical effect of bells. Resonance, space, time, and the meditative character are significant in shaping the form of each variation.
The fourth group is ‘Psalm’. A short form serving as a purifying and reflective effect. Polyphonic, almost choral in its compositional material.
The fifth group is ‘Shadows’. In contrast to the previous groups, here the harmonic monolith is the entirety of the trio’s sound. None of the three parts is integral or stands out. The material of each part is different, yet each part complements and supplements its neighboring parts simultaneously.
Recursive Reflections are my personal variations on the sonority of three identical instruments, in this case, classical guitars. Despite the reminiscence of the fugue theme as an element integrating the entire form, it is not the theme but rather the stereophonic aspect that was the reason for the creation of the piece and the shaping factor.
I hope that Recursive Reflections will, at least to some extent; help rediscover the unique potential that a chamber ensemble composed of three classical guitars carries.
The piece is dedicated to my friend, the outstanding luthier and artist – Philip Woodfield.
Marek Pasieczny
(Leeds, United Kingdom, April 2024)
(in Polish)
Rekursywne Odbicia: 35 Wariacji i Fuga (na Trio Gitarowe) (2024)
Od zawsze fascynowała mnie forma tria gitarowego, zwłaszcza efekty sonorystyczne trzech takich samych instrumentów. Balans, symetria oraz, być może przede wszystkim, stereofoniczne i szerokie brzmienie, jakie daje takie instrumentarium. Pierwsze szkice do Recursive Reflections powstały kilka lat temu, już wtedy z myślą o trio gitarowym. To jeden z tych rzadkich przypadków kompozytorskiego powrotu do starych szkiców z przeszłości.
Mimo niezaprzeczalnej atrakcyjności brzmieniowej takiego składu, oryginalny repertuar na trio gitarowe praktycznie nie istnieje (w porównaniu do setek, a może nawet tysięcy duetów i kwartetów gitarowych).
Główną inspiracją muzycznej architektury Recursive Reflections były cztery formy wariacyjne, tej samej instrumentacji (fortepian jako instrument zainteresowania kompozytora), jednak zupełnie różne w stylu, czasie powstania i samym materiale kompozytorskim: J.S. Bach i jego 30 wariacji Goldbergowskich, BWV 988; 14 wariacji z tematem „Enigma” Edwarda Elgara (w wersji na fortepian solo); 33 wariacje na fortepian, Op. 120 (na temat walca Antonio Diabellego), Ludwiga van Beethovena oraz 48 wariacji na dwa fortepiany Johna McGuire’a z lat 1976-1980.
Warto na samym początku zaznaczyć, że w tej kompozycji nie rozróżniłem gitar na pierwszą, drugą i trzecią, a podzieliłem je na gitarę środkową, lewą i prawą. Zrobiłem to bardzo świadomie, kierując się w ramach tej kompozytorskiej architektury, najważniejszym czynnikiem kształtującym całe trio – przywołanym już aspektem sonorystycznym (efektem stereofonii).
Recursive Reflections składają się z 35 wariacji oraz trzygłosowej fugi. W wspomnianych wariacjach Beethovenowskich, wariacja 29-ta napisana jest właśnie w formie fugi. W przypadku Recursive Reflections, sama fuga pojawia się w czystej formie jako część przedostatnia. Forma fugi oraz polifoniczność psalmów to nawiązanie do Bacha. Jednak reminiscencja (szkice tematu) fugi pojawiają się na wskroś formy wariacyjnej w ukryty sposób (tak jak w przypadku tajemniczego tematu ‘Enigmy’ w wariacjach Elgar’a). Temat występuje w sześciu rozproszonych na przestrzeni całego utworu, wariacjach w różych trybach, o różym natężniu, w różych tonacjach oraz w różym kontekscie. Płynność pomiędzy wariacjami, element sonorystyczny, post-minimalizm i ambient to odwołanie do przywołanych Wariacji McGuire’a.
Same wariacje występują w pięciu przemieszanych ze sobą grupach.
Pod względem liczebności, pierwsza grupa (zarazem grupa tytułowa) to Recursive Reflection (rekursywne odbicie). Trzy instrumenty wykonują ten sam materiał kompozytorski. Jednak ten potrójnie zaprezentowany materiał zostaje pokazany z bardzo dokładnie zaplanowanym opóźnieniem. To swego rodzaju rekursywne odbicie (nie w formie wizualnej, fizycznej czy matematycznej ), ale w formie muzycznej, w formie dźwięku.
Druga grupa to Mirror (lustro). Gitara środkowa stanowi kompozytorskie centrum (często w formie ostinato lub integralnej partii). W owym centrum, naprzemiennie jak w lustrze: muzycznie odbijają się gitary sąsiadujące (lewa i prawa).
Grupa trzecia to Bells (dzwony). Tu wszystkie elementy kompozycji podporządkowane są sonorystyce – klasycznemu efektowi dzwonów. Wybrzmienie, przestrzeń, czas, charakter medytacji ma tu znaczenie kształtujące formę danej wariacji.
Czwarta grupa to Psalm. Krótka forma pełniąca efekt oczyszczający i refleksyjny. Polifoniczna, wręcz w swoim charakterze materiału kompozytorskiego – chóralna.
Grupa piąta, to Shadows (cienie). W opozycji do poprzednich grup. Jedyna grupa, w której harmonicznym monolitem jest całokształt brzmienia tria. Tu żadna z trzech partii nie jest integralna, czy wyróżniająca się. Materiał każdej z nich jest inny, równocześnie zarazem każda partia z osobna dopełnia i uzupełnia partie jej sąsiadujące.
Recursive Reflections to moje osobiste wariacje na temat sonorystyki trzech takich samych instrumentów, w tym przypadku gitar klasycznych. Mimo reminiscencji tematu fugi jako elementu integrującego całą formę, to nie temat, a właśnie aspekt stereofoniczny był powodem powstania utworu oraz czynnikiem jego kształtującym.
Mam nadzieję, że Recursive Reflections pomogą choć w małym stopniu odkryć na nowo unikalny potencjał, jaki niesie ze sobą zespół kameralny złożony z trzech gitar klasycznych.
Utwór dedykuję mojemu przyjacielowi, wybitnemu lutnikowi i artyście – Philipowi Woodfieldowi.
Marek Pasieczny
(Leeds,Wielka Brytania, kwiecień, 2024)
RECURSIVE REFLECTIONS: 35 Variations with Fugue, for a Guitar Trio, has been world-premiered during The 2nd Warsaw Guitar Conference at the Auditorium Maximum, Warsaw University (in collaboration with UMFC Fryderyk Chopin University). This over 50-minute-long composition was premiered by Marek Pasieczny, Mateusz Kowalski and Andrzej Grygier
Marek Pasieczny has been featured on the latest cover of the April-June edition of ’SZESC STRUN SWIATA’ the Polish Classical Guitar Magazine.
The in-depth interview was conducted by the great researcher Wojciech Gurgul. We discussed topics such as:
➡ The compositional process, writing for baritone guitar, over 20 percussion instruments, 80 guitars and piano solo album
➡ My artist residency with ACG (Austin, TX)
➡ Latest collaborations with amazing musicians and luthiers including: Bion Tsang, Thomas Burritt, Joe Williams, Carl Petersson, Mateusz Kowalski, Bartlomiej Wezner, Philip Woodfield, Oliver Moore, and many more.
➡ New upcoming albums and videos for solo piano, guitar and percussion, guitar and piano, and also the latest guitar trio project.
➡ The magazine includes the Full Score of my piece UNTITLED (Black & Blood Orange) thanks to the generosity of Tomasz Polak.
The magazine will be available starting tomorrow (2nd of April) at chain store EMPIK.
Photo by Grzegorz Pulit
Just completed one of the biggest and most complex chamber music pieces I’ve ever done. It spans over 50 pages of hand-written sketches. The piece is in the form of variations and has been written for a Guitar Trio. It contains 35 (!) variations followed by a three-voice, full-size Fugue.
EX NIHILO (NIHIL FIT) 2: The Warsaw Session w/ Mateusz Kowalski, Ryszard Bałauszko (conductor) and The UMFC Guitar Orchestra is Out Now on All major platforms!
Entire recording session of Carols (Reimagined) now on YouTube!
Five traditional polish carols newly arranged and re-harmonised has been recorded on baritone guitar in 'Half Nashville Tuning’ by Oliver Moore and Philip Woodfield
my 'EX NIHILO (NIHIL FIT) IV and 'LA CASE DONDE VIVE MIEDO, for Piano & Guitar w/ brilliant Bartłomiej Wezner has been premiered during The VI Festiwal Muzyka w Willi Blumwego, Bydgoszcz, Poland
Dumnie wspierane przez WordPressa | Motyw: Baskerville 2. Autor motywu: Anders Noren.