[inspic=144,left,,0]‘Mays’ (‘maze…’) for piano and tape (performed by Sylvia Sze-Hua Jen)
With the modern piano technology now available (specifically the Yamaha Disclavier system), it is possible to record, in addition to the acoustic piano performance itself, other information about the notes played to a computer simultaneously. This allows the addition and shaping of the orchestration that accompany the acoustic piano after the fact. These orchestrations contain a new set of sounds taken from the piano itself, sounds which are transformed into dramatic effects that retain an organic connection to their source. The result: piano composition of the moment, combined with an expansive extra layer of musical orchestration that derives almost exclusively from the notes and textures of the initial piano performance. This system inspired me to compose a piece for piano and tape, where the tape part is not used as a background but provides the harmonic basis and possesses equal rights as an element in the music space. This is also my tribute to one of the greatest contemporary jazz musicians in my opinion – pianist and composer Lyle Mays. watch VIDEO here
[inspic=143,left,,0]‘SEQUENZA’ for guitar solo (perforemd by Sean Shuji Tebble Shibe) dedicated to Riardo Jesus Gallen
This work is written in the avant-garde modern classical language and an innovative investigation into the dramatic and virtuosic possibilities of musical performance, and in compositional terms – investigation into a widely comprehended sonority of the instrument. Very unusual tuning (5th string to A flat and 6th down to E flat) at the beginning and re-tuning the instrument occur several times during the actual playing. A variety of guitar techniques are explored in this piece including different kinds of rasqueados, vibrato, tremolo, harmonics, glissandos, percussive effects (such as tambora, golpeado) as well as techniques from the electric guitar – such as tapping and hammering, making this piece very flashy but at the same time technically and musically very complex. Italian virtuoso guitarist Edoardo Catemario will give an English premiere of this work at the Wigmore Hall and record on the CD with contemporary music recordings aside Ginastera, Henze and Morales for DECCA in spring 2010.
[inspic=145,left,,0]‘ESSAY for 16 players’ (performed by the RSAMD chamber orchestra with Pasieczny on guitar, conducted by Alejandro De Palma Garrido)
The word essay derives from the French infinitive essayer, “to try” or “to attempt”. Like the novel, the essay is a literary device for saying almost everything about almost anything, usually on a certain topic. By tradition, almost by definition, the essay is a short piece, and it is therefore impossible to give all things full play within the limits of a single essay. The explorers of this genre shows connection with the popular in the antiquity form of the dialogue. In this case, dialogue takes place in a more global meaning – between woodwinds and string instruments, but as well in smaller scales between guitar and harp; within the string quintet and among the percussion instruments etc. In terms of musical material, harmony as an element shapes the form and structure. Harmony has been for me the most important element in this work. I consider it an extremely essential factor in the process of composition, influencing greatly the shape of my works especially this one. It is harmony that is responsible for the so-called density of the music – the space and its control of the other elements i.e. rhythm, melody etc. is an indescribably interesting phenomenon for me. In October this year, I am going to perform an extended version of this piece with the ‘Swietokrzyska’ Philharmonic Orchestra conducted by J.Rogala in the W.Lutoslawski’s Hall in Warsaw.
when,where etc. HERE
