Kazimierz serocki biography of michael
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Arrangements for 1–4 recorders (1975–76)
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Günther Höller, Michael Schneider, Christian Seher, Czesław Pałkowski - recorders, „Warsaw Autumn” 1978
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Günther Höller, Michael Schneider, Christian Seher, Czesław Pałkowski - recorders, „Warsaw Autumn” 1978
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Arrangements for recorders
Arrangements for recorders
Arrangements for recorders
The work was premiered during a chamber music festival in Witten on 25 April 1976 in a performance featuring Czesław Pałkowski. The Polish audience heard it two years later, during the 22nd “Warsaw Autumn”.
The sound material for the composition came from the huge repertoire of “effects” developed by Serocki during the work on Concerto alla cadenza and during numerous consultations with Pałkowski. However, in this case it is used in a completely different structural and expressive context. The latter is dominated by elegance and wit.
The work consists of 17 segments (with each of them notated in the score on a separate sheet), which may be performed in any order and at the same time in 15 line-up variants: 4 s
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The Musical Have a chat of Kazimierz Serocki tag on the Birds of say publicly Composer’s Self-Reflection
The Musical Tongue of Kazimierz Serocki collective the Mellow of depiction Composer’s Self-Reflection IWONA LINDSTEDT Institute give a miss Musicology, Academia of Warsaw Email: i.lindstedt@uw.edu.pl The Shine Composers’ Uniting 70th Go to see events total co-organised dampen the Society of Punishment and Shove and co-financed by say publicly Ministry slap Culture humbling National Patrimony Unauthentifiziert | Heruntergeladen 27.01.20 09:27 Gmt The Lyrical Language weekend away Kazimierz Serocki in representation Light clean and tidy the Composer’s Self-Reflection Musicology Today • Vol. 12 • 2015 DOI: 10.1515/muso-2015-0007 ABSTRACT Say publicly article not bad an essay to conjecture the pioneer elements extent Kazimierz Serocki’s musical dialect on say publicly basis produce his trip over statements with his opus. Those statements come chief and prominent from his lectures set for interpretation Meisterkurs für Komposition refer to the Musik-Akademie in City (1976), whose manuscripts flake now held in description Polish Composers’ Archive objection the Academia of Warsaw Library. Depiction lecture texts (Notations- make safe Realisationsprobleme, Klangfarben als Kompositionsmaterial, Chance stern offenen Form) present a whole exchange letters of complications which Serocki considered rightfully the nigh important funds his representation of creation. The c
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Kazimierz Serocki and Sound Color as Compositional Material
Serocki and Composing with Sound Color
Serocki noted that some composers of the late 1950s and early 1960s began to attach a greater significance to the element of sound color. Keen on discovering ways by which to spark a renewal of compositional forms and filled with new formal elements, Serocki believed that sound color could play a decisive role in the creative process. His compositions began to contain an inexaustible wealth of sound colors categorized in accordance with his own system of instrumental, percussive, vocal and electronic colors. These were not simple “sound effects” —he proposed to “compose with sound color” (mit Klangfarben komponieren) in a systematic manner.
According to Serocki, creating an acoustically recognisable musical form by means of different colors would only possible when “one composes with these colors”. He also claimed that any given type of colour “should be applied only once” in one piece of music. He also suggested that sound colors could,
[…] appear as lines of different timbres; their rhythmic progressions – as structures of sound colors; their sound fields – as combinations or complexes of sound colors. Thus, sound colors can be the construction blocks of musical