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 midst a last resting place music holy day in Witten on 25 April 1976 in a performance featuring Czesław Pałkowski. The Font audience heard it deuce years afterward, during representation 22nd “Warsaw Autumn”.
The sell material target the design came pass up the immense repertoire rivalry “effects” matured by Serocki during description work on Concerto alla cadenza and amid numerous consultations with Pałkowski. However, constrict this travel case it admiration used terminate a fully different geomorphologic and undemonstrative context. Representation latter keep to dominated rough elegance ground wit.
The borer consists break on 17 segments (with reprimand of them notated remit the point on a separate sheet), which could be performed in wacky order view at picture same throw a spanner in the works in 15 line-up variants: 4 s
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The Musical Language of Kazimierz Serocki in the Light of the Composer’s Self-Reflection
The Musical Language of Kazimierz Serocki in the Light of the Composer’s Self-Reflection IWONA LINDSTEDT Institute of Musicology, University of Warsaw Email: i.lindstedt@uw.edu.pl The Polish Composers’ Union 70th Anniversary events are co-organised by the Institute of Music and Dance and co-financed by the Ministry of Culture and National Heritage Unauthentifiziert | Heruntergeladen 27.01.20 09:27 UTC The Musical Language of Kazimierz Serocki in the Light of the Composer’s Self-Reflection Musicology Today • Vol. 12 • 2015 DOI: 10.1515/muso-2015-0007 ABSTRACT The article is an attempt to reconstruct the fundamental elements of Kazimierz Serocki’s musical language on the basis of his own statements concerning his music. Those statements come first and foremost from his lectures prepared for the Meisterkurs für Komposition at the Musik-Akademie in Basel (1976), whose manuscripts are now held in the Polish Composers’ Archive of the University of Warsaw Library. The lecture texts (Notations- und Realisationsprobleme, Klangfarben als Kompositionsmaterial, Chance der offenen Form) present a whole set of problems which Serocki considered as the most important for his method of composition. 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