SUSURRUS (score)


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:



’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

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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


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 (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.


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)


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

Score 'EX NIHILO’ (for two guitars)


EX NIHILO (Nihil Fit) for two guitars | Marek PASIECZNY

Edition Type: Full Score + Guitar I and Guitar II (parts) + full program note by the composer
Publishers: SLE London
Catalogue Number: SLE071
Pages: 61
Date Published: 22 Jan 2021

YouTube / listen / stream

get your copy now contacting us directly:

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Ex Nihilo on YouTube!

„Picture a wave. In the ocean. You can see it, measure it, its height, the way the sunlight refracts when it passes through. And it’s there. And you can see it, you know what it is. It’s a wave.

And then it crashes in the shore and it’s gone. But the water is still there. The wave was just a different way for the water to be, for a little while. You know it’s one conception of death for Buddhists: the wave returns to the ocean, where it came from and where it’s supposed to be”.
Chidi (‘The Good Place’)

This piece borrows ideas from two philosophies, Parmenides’s philosophy and Buddha’s concept of death:

// Parmenides’s philosophy //

” τί δ᾽ ἄν μιν καὶ χρέος ὦρσεν ὕστερον ἢ πρόσθεν, τοῦ μηδενὸς ἀρξάμενον, φῦν; οὕτως ἢ πάμπαν πελέναι χρεών ἐστιν ἢ οὐχί. / „Yet why would it be created later rather than sooner, if it came from nothing; so, it must either be created altogether or not [created at all].”
* Parmenides (c. 515 BC)

”Nothing comes from nothing” (Latin: ex nihilo nihil fit) is a philosophical expression of a thesis first argued by Parmenides. It is associated with ancient Greek cosmology – there is no break in-between a world that did not exist and one that did, since it could not be created ex nihilo in the first place.

// Buddha’s concept of death //

In book „The Heart of the Buddha’s Teaching” by Thích Nhất Hạnhh, Buddha says:
„When we look at the ocean, we see that each wave has a beginning and an end. A wave can be compared with other waves, and we can call it more or less beautiful, higher or lower, longer lasting or less long lasting. But if we look more deeply, we see that a wave is made of water. While living the life of a wave, it also lives the life of water. It would be sad if the wave did not know that it is water. It would think, Some day, I will have to die. This period of time is my life span, and when I arrive at the shore, I will return to nonbeing. These notions will cause the wave fear and anguish. We have to help it remove the notions of self, person, living being, and life span if we want the wave to be free and happy.”

I have always been fascinated by the concept of waves in music, especially in the context of minimal music (also known as ‘minimalism’). Repetitive patterns or pulses, reiterations of musical phrases or smaller units can be shaped through time (of the performance) into unique musical waves. Dynamic manipulation can also give the impression of appearing and disappearing into nothingness.

Ex Nihilo is structured at all levels by the concept of waves: compositional material (from the smallest units up to entire sub-movements and the piece as a whole); dynamics (incessant rising and falling of volume and tension); orchestration (constant and often overlapping successive parts – voices); and temporal elements (different pulses, different metres, and different tempos of each sub-movements overlapping each other).

The main musical unit is built on the rising motif d # – e – f # which represents small waves climbing above the surface of the sea. As a ‘theme’, this three-note pattern repeatedly returns throughout the entire piece.

March 2020 | Zurich, Switzerland

’Ex Nihilo (Nihil Fit)’ / 'From Nothing (Comes Nothing)’ for two guitars, now on ALL major platforms!

Stream / Download / Watch HERE



Kyoto Sonata for Solo Guitar

Entering holiday season, 'Kyoto Sonata’ (version for guitar) is completed!
While writing 'Kyoto Sonata’ I’ve been not only inspired by three places in Kyoto, but also their particular architecture has been the structural base of the form.
Three movements / three unique places: Hōnen-in Temple (very hidden, humble, magical and just simply beautiful place), the famous and breathtaking Fushimi Inari-Taisha I spent long hours walking around, and finally: full of people, different in energy and colours – depending on the time of the day – Higashiyama-ku district with its most known temple Yasaka-no-to Pagoda.
The piece has been commissioned by and is dedicated to the German guitarist Jakob Wagner.

Kyoto Sonata PASIECZNY

Concerto Premiere Recording

CONCERTO for Guitar and String Orchestra (2018)
(Tribute to Wojciech Kilar) | composed by Marek PASIECZNY

I. Nocturne: Andante con Moto
II. Ostinato (Psalm): Adagio – Allegro Moderato – Adagio
III. Toccare: Vivace Ardentemente

In 1948, Dmitri Shostakovich finished his first Violin Concerto. The first part of this concerto, ‘Nocturne – Moderato’, is a tribute to the English composer Edward Elgar and his Cello Concerto, which was deemed a breakthrough in the cello repertoire shortly after its premiere.
My Guitar Concerto is also a tribute. A tribute in memory of the Polish, Silesian composer Wojciech Kilar. Inspired by the story of Shostakovich and Elgar, I began my new concerto with a nocturne, entitled 'Nocturne – Andante Con Moto’. The compositional material of the first movement was also inspired by Wojciech Kilar’s Piano Concerto from 1997. I borrowed the use of horizontal harmonic structures, sustained by long notes in the string orchestra. This is paired with the arpeggio technique in the guitar solo part (in Kilar’s case, it was the piano solo part).

The second movement (attacca from the first movement) is entitled ‘Ostinato (Psalm): Adagio – Allegro Moderato – Adagio’. Religious, even choral-like, it has an ostinato character with a recurring theme in the form of a psalm. Faith and Catholicism were extremely important elements in the life and work of Wojciech Kilar.
The third movement was inspired by another minimalist, the American composer John Adams. The third movement of his Violin Concerto gave me the idea for the form and energy of this movement. The Finale of my concerto, entitled 'Toccare: Vivace Ardentemente’ is in the form of a toccata (Italian: toccare – to hit). It is a kind of musical duel between the soloist and orchestra, in minimalist style for which Wojciech Kilar was well-known as a master.


on-line lessons (composition & classical guitar)

Marek Pasieczny (on-line lessons)

• guidance through the compositional process from beginners up to advanced students
• helping with orchestration, instrumentation
• editing your original compositions

Classical guitar:
• if you play any of my music, you have the opportunity to work with me on my piece regardless of where you are right now
• your own music or any other pieces from the classical repertoire are also welcome
£40 / 45€ (PayPal payment in advance) per 60 min lesson

weekly lessons in packages of 5X lessons (with discount: £35 / 40€) (limited offer)  SOLD OUT

please fill the form below to get in touch with me:

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’Ex Nihilo (Nihil Fit)’ version for Two Soloists and Large Guitar Ensemble

Marek PasiecznyOne of the largest chamber music pieces I’ve done to date is completed. Based on my monumental duo piece for two guitars titled 'Ex Nihilo (Nihil Fit)’ premiered earlier this year in Zurich (with Vojin Kocic). Now with entire new extended version for large guitar ensemble (for up to 21 players + two soloists). Commissioned by Prof Thomas Offermann, who will conduct the premiere in November, this year in Germany.

’Dodecaphonic Prelude and Fugue’

Marek Pasieczny’Dodecaphonic Prelude and Fugue’ came spontaneously into being in July ‘20 towards the end of the global lockdown brought about by the COVID‐19 pandemic. It was a compositional challenge I posed for myself to create a piece based entirely on mathematical structures shaped by the twelve‐tone technique (also known as ‘dodecaphony’). It is a technique which I have not used in over 15 years.

For me, dodecaphony, being totally free of the gravity of a tonal language, is at once liberating but with an element of ‘soullessness’ to it. One loses the sense of a ‘tonic’ base and the harmonic and melodic gravitation it holds. Yet – using a familiar and ‘tonal’ form of the prelude and fugue, the human ear can find (or perhaps wants to find) the base, the tonic and familiar tonal triads to gravitate towards. The experience has been truly liberating and, at the same time, surprising for me.

The piece is based strictly on a planned structure and was written simultaneously in two versions: for solo piano (dedicated to Carl Petersson) and solo guitar (to Vojin Kocic).

Summer Guitar Festival (Poland)

Teaching at Summer Guitar Festival organised by OKIS directed by Krzysztof Pełech — at Fundacja Krzyżowa dla Porozumienia Europejskiego / Stiftung Kreisau (Krzyżowa, Poland).

Marek Pasieczny (Summer Guitar Workshops) Marek Pasieczny (Summer Guitar Workshops) Marek Pasieczny (Summer Guitar Workshops) Marek Pasieczny (Summer Guitar Workshops) Marek Pasieczny (Summer Guitar Workshops)

BOOK OF VARIATIONS (full score) is Out Now Worldwide

BOOK OF VARIATIONS: Four independent, short and easy set of variations for solo guitar


get your copy of the score contacting us here:


Book Of Variations PASIECZNY 1

The main reason for writing ‘The Book of Variations’, which comprises of four independent sets of variations, is the lack of major musical forms (including form of variations) in the repertoire for initial teaching of the classical guitar.

Many teachers asked me to write variations that would fit on 2-3 pages, which would be played by classical guitar beginners as well as those with more advanced skills.

I decided to write pieces that would meet these requirements. I also wrote in a way to allow for loose interpretations, offering variety in musical language, colour and character. In terms of compositional material, these variations contain not only technical challenges (such as legato, arpeggio etc.), but also musical intricacies (like counterpoint, polyphony etc.), which are rarely found in guitar literature for beginners.

In addition to this, I decided to use national elements from three countries that are all close to my heart: Poland, Taiwan and Japan. Using original folk melodies from each country, I gave each variation the character and sound of one of the cultures. In the Polish variations, I referred to distinct Polish dances (polonaise, mazurka). In the Japanese and Taiwanese variations, I drew from the idiomatic characters of their cultural instruments, such as: pipa, guzheng, koto, taiko, biwa or shamisen. Going further, to distinguish the Polish variations in their compositional material – I decided to write them in two different (particularly in the element of harmony) styles: classical and impressionistic.

Each set of variations can be played in as subjective a manner as desired, dependent on the performer’s imagination and technical skill. I have left much of the performance markings to the discretion of the performer, including range of tempos, usage of capodastre, dynamics or repetitions of each variation.

I hope that ‘The Book of Variations’ presented here will bring a lot of joy to initial learners as well as more advanced guitarists and their teachers too. Have fun!

This set of variations has been commissioned by, and is dedicated to, Mr Tomasz Polak,


May 2019 | Kyoto, Japan

Book Of Variations PASIECZNY 3


New Commissions from USA/Brazil and Germany

Happy to announce: new works for guitar Duo and Guitar Orchestra, commissioned by the 11th Festival of the International Guitar Academy Berlin, and Prof. Thomas Offermann w/ Aniello Desiderio – Classical Guitarist and Zoran Dukic as a soloists.

As well new work for João Luiz and Douglas Lora from BRASIL GUITAR DUO!


Festivals is Germany!

performing solo, duo and quartet for over 1.500 people w/ Lula Galvão, Lulo Reinhardt and Daniel Stelter during 'I International Guitarnight Ingelheim’ and ’The X Lulo Reinhardt Festival’, Germany

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Soundtrack appearance


My solo guitar performance of Arvo Part’s FUR ALINA recently appeared in the film ”Alan Magee: art is not a solace” (by P. David Berez and David Wright).

The film’s premiere took place at the Camden International Film Festival (CIFF), Maine, USA. The film was screened at the Strand Theater in Rockland, Maine, USA.

You can watch excerpts of the film and read full comment on the performance from Mr Alan Magee.

Marek Pasieczny’s Für Alina in the film | Alan Magee: Art Is Not a Solace

A feature documentary about my work as a visual artist has just been completed after four years in production. The film, Alan Magee: art is not a solace, covers some of the influences from my childhood, my work as a book and magazine illustrator in New York through the 1970s, and a cathartic encounter with the stone beach at Pemaquid Point, Maine. Those stones showed me a way to move on from the life of an illustrator and to begin my real work. They became the subjects of my paintings, and they also taught me that sustained time and attention are essential in making a work of art.

In the film I speak about my discovery of the stones—a turning point in my life and work. That section opens with powerful footage of pounding surf at Pemaquid and ends with a series of my paintings. I and the editor David Berez realized that we needed music that would enhance and underscore the images and ideas being presented to viewers at this important moment in the story. David said to me, “the music has to instill a sense of awe”.

While searching for music that might fulfill that goal I remembered some extraordinary solo guitar performances by Marek Pasieczny and went back to listen again. When I revisited Pasieczny’s version of Arvo Part’s Für Alina I knew immediately—this is it!

Pasieczny’s arrangement and performance conveys, for me, a vast understanding that lies behind a radically spare piece of music. It achieves a quality that I strive for in my own work—to communicate an entire philosophy to a viewer using the simplest of means. When I paint a stone, a used envelope, or a rusted spark plug the handling of that subject cannot be casual, my relationship with the object has to be genuine. That is the where I feel a kinship with Pasieczny’s music. He fine-tunes our ears and reminds us to notice and marvel at the nuances of each note.

Marek and I seem to share an understanding that we have to approach our work with reverence and an unspoken but deep respect for our audience.

Alan Magee


Solace poster_for © vlcsnap-2019-10-28-17h24m40s826

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