OST / Recording for the upcoming film

Recording for the upcoming film: ’The Wound Is Where The Light Enters’ (Uganda, ’21-’ 22) by Vardo Films, London, UK.

It’s a composition entitled 'Thula Baba, Thula Sana’ (from book ’Travels’ ) which has been composed in Pretoria, South Africa.

Pasieczny: Recording for the upcoming film: 'The Wound Is Where The Light Enters’

SUSURRUS I (for Lute & Guitar) – score

SUSURRUS I (for 13-course baroque lute and guitar) by Marek PASIECZNY

Edition Type: Full Score + parts: 13-course baroque lute, guitar & composer’s program notes | Publishers: SLE London | Catalogue Number: SLE073 | Date Published: 2 August 2022

get your copy now contacting us directly writing ✉️: slepayment@gmail.com

SUSURRUS I is OUT NOW!

Susurrus I for 13-course Lute and Guitar is OUT NOW!

SUSURRUS I

Cantus Planus | Incantatio et Psalmus | Canticulum (2021)

The title – Susurrus (Lat.: susurrare), meaning a whispering, murmuring, or rustling sound – depicts the gentleness and humbleness of the compositional materials used to establish the three movements of this piece.

The first sketches were created without any specific instrumentation in mind. I started on the piano and wrote in polyphony (single voicing and multi-voicing techniques). The melody is meant to flow and intertwine with other voices, horizontally, not vertically.

I was largely inspired by my study of chants, psalms and Gregorian hymns. The purity, modesty, asceticism, and minimalism conveyed were a complete detachment from contemporary music. The greatest attention was given to the smallest change of interval, and there was a complexity within its simplicity that fascinated me.

It was, however, not my intention to copy the past. I wanted only to draw on the consolidation of the atmosphere, asceticism and extremely careful consonance of successive intervals, single voices and their layering. Furthermore, I did not wish to use any original chants, psalms or hymns. Instead, I wanted to create every interval, every melody, and every co-interaction from scratch.

Cantus Planus

Cantus Planus (plainchant) is a body of chants used in the liturgies of the Western Church. When referring to the term plainsong, it is those sacred pieces that are composed in Latin text. Plainsong was the exclusive form of Christian church music until the ninth century, and the introduction of polyphony.

The monophonic chants of plainsong have a non-metric rhythm. Their rhythms are generally freer than the metered rhythm of later Western music, and they are sung without musical accompaniment (pure monody vs multi-layered monody). This inspired my decision to organize the time using an uneven but organic time signature.

I incorporated the essence of purity and asceticism through a very conscious choice of scales. The Chant in this movement is built on the aeolian pentatonic scale (A C D E F), which is a natural minor scale consisting only of 5 pure natural notes.

Incantatio et Psalmus

Incantatio et Psalmus is the supine form of incantō (“sing, recite, enchant”) integrated with psalm (a sacred song; a poetical composition for use in the praise or worship of God). Continuing with the depiction of purity, the second movement is built on the aeolian mode in its entirety.

Canticulum

Canticulum (song or incantation)  is a hymn, psalm or other Christian song of praise with lyrics taken from biblical or holy texts other than the Psalms.

The third movement breaks free from the dominance of one (Aeolian) scale. The main theme of Canticulum appears not only in different tonal forms in the same key, but modulates through a variety of different keys and tonics. The form of polyphony is mainly shaped by a dependence on the interval of a 3rd.

Number ‘3’:

The number 3 is of particular importance in Susurrus. It is one of the most important numbers in the Bible. It represents harmony, The Holy Trinity and God’s presence. In Susurrus, the number 3 is represented not only in the number of movements, but also in the interval of thirds, which shapes the monodic but also polyphonic compositional narrative of the whole three movements.

Instrumentation:

Susurrus can be orchestrated and adapted for many smaller or larger chamber ensembles. This is one possible version of the piece.

As its very first version, the combination of 2 instruments born more than 200 years apart (classical guitar and 13-course baroque lute) seemed extremely appropriate to the genesis of Susurrus.

I hope Susurrus will find many performances in new and unusual pairs of instruments or larger ensembles (across contemporary as well as historical instruments).

Marek PASIECZNY (17th of July, 2021)

New Video! PŌKAREKARE ANA

Newly recorded PŌKAREKARE ANA for Solo Guitar is now on YouTube. Based on famous Māori melody, originally written for my first concert tour in New Zealand.

world premieres at 57th Wieniawski International Music Festival

unforgettable memories from an evening concert at 57th Wieniawski International Music Festival w/ brilliant Krzysztof Pełech during which we gave world premieres of brand new transcriptions of Wieniawski’s pieces and performed extreme variety of music solo and duo!

Krzysztof Pełech & Marek Pasieczny | for. Anita Wojcinowicz
Krzysztof Pełech & Marek Pasieczny | for. Krzysztof Sai

organised by Ośrodek Kultury i Sztuki we Wrocławiu (OKiS) & Festiwal im. H. Wieniawskiego w Szczawnie-Zdroju.

Poland / Summer ’22

CZERWIEC:
5ty – solo i duo razem z Prof. Piotr ROJEK (organ)
16:00 | Kościół Parafialny pw. Wniebowzięcia NMP, Kamieniec Ząbkowicki (II Festiwal Muzyczny im. Marianny Opańskiej) m.in. PRAWYKONANIE: SUSURRUS III (na organy solo)

18ty – duo z/ Krzysztof PEŁECH
19:00 | Teatr Zdrojowy, Szczawno-Zdrój 57th Wieniawski International Music Festival
m.in. PRAWYKONANIE: Henryk Wieniawski, cztery kompozycje na dwie gitary

LIPIEC:

15sty – duo z/ Krzysztof PEŁECH
19:00 | Trzebiatów, Trzebiatowski Ośrodek Kultury

17sty– duo z/ Krzysztof PEŁECH
16:00 | Kośćiół Św. Pawła i Piotra, Namysłów (XXIII Letnie Koncerty Organowe)

17sty – 24ty warsztaty kompozycji i gitarowe: Summer Guitar Festival | Krzyżowa ZAPISY

SIERPIEŃ:
24ty – 30ty warsztaty gitarowe: Mistrz i Uczeń | Krzeszowice ZAPISY

Seven Jazz Pieces – score order

SEVEN JAZZ PIECES SCORE PASIECZNY

SEVEN JAZZ PIECES | for Guitar Solo | by Marek PASIECZNY

▪️ African Sketch ▪️ (The Other) Milonga ▪️ For Sylvia (Jazz Waltz ▪️ Tom’s Blues ▪️ (Afro) Samba ▪️ Lyle’s Maze ▪️ Until Then (Jazz Ballad)

Edition Type: Full Score | Publishers: SLE London | Catalogue Number: SLE071 | Pages: 20 | Date Published: April 2022

ORDER YOUR COPY NOW  contacting us directly 📧 via: slepayment@gmail.com

SEVEN JAZZ PIECES MAREK PASIECZNY score 3 SEVEN JAZZ PIECES MAREK PASIECZNY score

Untitled-1

WIENIAWSKI for Two Guitars!

I’m happy to announce new project: I’m going to transcribe and arrange set of pieces by Polish violin virtuoso and composer Henryk WIENIAWSKI for two guitars!

The première will take place in June during the ’57th Wieniawski International Music Festival’ in Teatr Zdrojowy im. Henryka Wieniawskiego w Szczawnie-Zdroju. I’ll première them w/ amazing guitarist and Polish guitar legend: Krzysztof Pełech

The project is commissioned by Ośrodek Kultury i Sztuki we Wrocławiu (OKiS)

275706568_488834459359419_4688610531708591616_n

SUSURRUS (score)

SUSURRUS SCORE PASIECZNY

SUSURRUS (for Two Guitars) by Marek PASIECZNY

Cantus Planus | Incantatio et Psalmus | Canticulum (video)

Edition Type: Full Score + I guitar and II guitar (parts) | Publishers: SLE London
Catalogue Number: SLE073 | Pages: 23 | Date Published: 28 Oct 2021

get your copy now contacting us directly writing via:   slepayment@gmail.com

 

 

’EX NIHILO’ for Two Guitars and Large Guitar Ensemble (pre-premiere)

One of a kind and very rare experience for any living composer to have entire concert dedicated to his music. Solos, duo and All together!
Amazing students from Germany, Costa Rica, South Korea, Serbia, Czech Republic, Brazil, Bolivia, Armenia, and Italy; united by music and their great talents, working extremely hard to make it happen under conducting of Prof. Thomas Offermann.

from Universities: Hochschule für Musik und Theater Rostock| Hochschule für Künste Bremen | Hans-Werner-Henze Musikschule

241419844_373869840855882_3252846618549746181_n (1) 241205279_373869937522539_8236579078213739678_n 241287864_373869980855868_3362868924112979181_n

 

Live from Germany!

Please join us in person or on Live Stream from Hochschule für Musik und Theater Rostock on the 3rd of September, 7:30pm!
I’m going to give master-classes and première the extended version of ▪️EX NIHILO for Two Soloists and Large Guitar Ensemble | conducted by Prof Thomas Offermann

▪️11 other brilliant students of HMT Rostock will also be performing my music throughout the concert!
Book it / Join us

Marek Pasieczny HMT Rostock

Susurrus (new composition completed)

susurrus pasieczny

SUSURRUS

Cantus Planus | Incantatio et Psalmus | Canticulum (2021)

The title – Susurrus (Lat.: susurrare), meaning a whispering, murmuring, or rustling sound – depicts the gentleness and humbleness of the compositional materials used to establish the three movements of this piece.

The first sketches were created without any specific instrumentation in mind. I started on the piano and wrote in polyphony (single voicing and multi-voicing techniques). The melody is meant to flow and intertwine with other voices, horizontally, not vertically.

I was largely inspired by my study of chants, psalms and Gregorian hymns. The purity, modesty, asceticism, and minimalism conveyed were a complete detachment from contemporary music. The greatest attention was given to the smallest change of interval, and there was a complexity within its simplicity that fascinated me.

It was, however, not my intention to copy the past. I wanted only to draw on the consolidation of the atmosphere, asceticism and extremely careful consonance of successive intervals, single voices and their layering. Furthermore, I did not wish to use any original chants, psalms or hymns. Instead, I wanted to create every interval, every melody, and every co-interaction from scratch.

Cantus Planus

Cantus Planus (plainchant) is a body of chants used in the liturgies of the Western Church. When referring to the term plainsong, it is those sacred pieces that are composed in Latin text. Plainsong was the exclusive form of Christian church music until the ninth century, and the introduction of polyphony.

The monophonic chants of plainsong have a non-metric rhythm. Their rhythms are generally freer than the metered rhythm of later Western music, and they are sung without musical accompaniment (pure monody vs multi-layered monody). This inspired my decision to organize the time using an uneven but organic time signature.

I incorporated the essence of purity and asceticism through a very conscious choice of scales. The Chant in this movement is built on the aeolian pentatonic scale (A C D E F), which is a natural minor scale consisting only of 5 pure natural notes.

Incantatio et Psalmus

Incantatio et Psalmus is the supine form of incantō (“sing, recite, enchant”) integrated with psalm (a sacred song; a poetical composition for use in the praise or worship of God). Continuing with the depiction of purity, the second movement is built on the aeolian mode in its entirety.

Canticulum

Canticulum (song or incantation)  is a hymn, psalm or other Christian song of praise with lyrics taken from biblical or holy texts other than the Psalms.

The third movement breaks free from the dominance of one (Aeolian) scale. The main theme of Canticulum appears not only in different tonal forms in the same key, but modulates through a variety of different keys and tonics. The form of polyphony is mainly shaped by a dependence on the interval of a 3rd.

Number ‘3’:

The number 3 is of particular importance in Susurrus. It is one of the most important numbers in the Bible. It represents harmony, The Holy Trinity and God’s presence. In Susurrus, the number 3 is represented not only in the number of movements, but also in the interval of thirds, which shapes the monodic but also polyphonic compositional narrative of the whole three movements.

Instrumentation:

Susurrus can be orchestrated and adapted for many smaller or larger chamber ensembles. This is one possible version of the piece.

As its very first version, the combination of 2 instruments born more than 200 years apart (classical guitar and 13-course baroque lute) seemed extremely appropriate to the genesis of Susurrus.

I hope Susurrus will find many performances in new and unusual pairs of instruments or larger ensembles (across contemporary as well as historical instruments).

Marek PASIECZNY (17th of July, 2021)

LISTEN / STREAM / WATCH

Three New Commissions

Three new commissions for multi-movement pieces to work on this summer:

▪️ Baroque Lute and Guitar (Poland / UK)
▪️ Chinese Pipa and Guitar (Switzerland / China)
▪️ Cello (solo) (Poland)

marek pasieczny susurrus

Seven Jazz Pieces

Recently commissioned set of solo guitar pieces in jazz-style has now also been extended for two guitars. I will be recording and releasing them this summer!

Seven Jazz Pieces Marek PASIECZNY

Dumnie wspierane przez WordPressa | Motyw: Baskerville 2. Autor motywu: Anders Noren.

Up ↑