Full score of SEVEN JAZZ PIECES is now available worldwide in hard copy! Get your copy now! First 25 people will get a signed copy HERE with 45% off the price!

Seven Jazz Pieces (solo guitar) composed and performed by Marek PASIECZNY out now on all major platforms

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

Video Premiere of DODECAPHONIC PRELUDE & FUGUE performed by Vojin Kocic

Happy to be back at Leeds Conservatoire for Composition Workshops in March / April. Joined by Giacomo Susani and Michael Butten for the April’s finale!

home recording session of SEVEN JAZZ PIECES (version for Solo Guitar) done! This collection of pieces includes many different forms, such as afro-samba, blues, milonga, jazz waltz, ballad, African jazz and others, all linked by jazz harmony with elements of written-out improvisation.

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)

Truly unforgettable memories during recording session of EX NIHILO (for Two Soloists and Large Ensemble) w/ Pia Gazarek Offermann , Prof Thomas Offermann (conductor) and 15 amazing guitarists from six different countries at Hochschule für Musik und Theater Rostock.

Rehearsals and recording of SUSURRUS and DODECAPHONIC PRELUDE and Fugue (for three guitars) w/ one of the finest guitarists in the UK: Giacomo Susani and Michael Butten at beautiful St Vedast Alias Foster.

It’s been truly amazing to be back at the Royal Birmingham Conservatoire!
Passionate and greatly talented students with such versatile and inspiring program to work on! Thank you Mark Ashford for organising master-classes! See you soon!

I’m thrilled to be back in February at the Royal Birmingham Conservatoire this February!

next week’s composition workshop (part one) at the Leeds Conservatoire

Two more transcriptions of SUSURRUS completed:

▪️ Harp and Guitar (to Poland) | ▪️ Guitar Trio (to UK)

the analysis of Dodecaphonic Prelude and Fugue, now on YouTube, performed by Vojin Kocic

DODECAPHONIC PRELUDE & FUGUE | for Guitar Solo | by Marek PASIECZNY

Edition Type: Full Score + The Structure| Publishers: SLE London

Catalogue Number: SLE076 | Pages: 9| Date Published: 3 Dec 2021

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

listen / stream / buy CLICK HERE

for all details | contact us: slepayment@gmail.com

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

video recording-session of SUSURRUS (for guitar duo) now in full:

SUSURRUS for Two Guitars now on all major platforms! stream / download / watch 

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

working with all those great musical personalities on my pieces such as: Scintilla (solo and duo), Neo Variations, Finis Autem Principium Est, After Brad Variations, Desejo, Little Sonata and many more… was an absolute blast!

’SUSURRUS I’ : transcribed for Two Guitars has been recorded! Unforgettable musical moments with my dear friend Marek Nosal. What a professional musician!

What a privilege to record it in this amazing concert hall which has been recently renovated (apparently with 1kg gold used for gilding) with amazing Krzysztof Pełech at Teatr Zdrojowy im. Henryka Wieniawskiego in Szczawno-Zdroj, Poland

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

’SUSURRUS’ : version for 13-course Baroque Lute and Guitar has been recorded with Polish legend of baroque lute: Jerzy Zak.

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 3^rd.

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 for multi-movement pieces to work on this summer:

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

Egberto Gismonti’s 'AGUA E VINHO’ in my new arr. for viola and guitar w/ brilliant Kaya Bryla-Weiss more HERE

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!