Music

Maciej Zoltowski, Selected Works
24 February 2013
Zoltowski: Victimae paschali laudes Play
Ensemble: Schola Cantorum Gedanensis
Conductor: Jan Lukaszewski
Victimae paschali laudes is a well-known medieval sequence in Gregorian chant, sung during Easters, touching upon a question of life and death. I use the whole original text; there is also a fragment of the original melody. I tried to join the musical tradition with contemporary thinking. It’s also a sacral music. The text is most important. Everything is subordinated to the text. The piece was awarded with the second prize in the competition organised by the Choir of the Academy of Catholic Theology in Warsaw and Musica Sacra Society. 6’
Victimae paschali laudes Play
Zoltowski: Intermezzi per pianoforte Play
Artist: Iwona Mironiuk (Piano)
The idea of writing Intermezzi for piano emerged during my stay in Künstlerhaus Schloss Wiepersdorf in Germany. The atmosphere of this place had awaken two opposite feelings: lazy, as passing outside of time reflection and tempestuous, even importunate manifestation of activity. Such are these three pieces. The thing connecting them is their harmonic structure - one chord with its symmetrical transformation. The chord itself is at the same time object of perception and subject of happening action. Everything what "happens" in this music I tried to educe from dynamics characteristic of such an phenomenon, which the chord is. Author's interference resolved itself into careful listening. 8’
I - Intermezzo I Play
II - Intermezzo II Play
III - Intermezzo III Play
Zoltowski: Two Songs to German Poems by Ralph Grueneberger Play
Artists: Jerzy Artysz (Baritone); Krzysztof Komar (Clarinet); Iwona Mironiuk (Piano)
I - Fruehlingswinter Play
II - Wiepers Dorf Play
Zoltowski: Praeludium I per violino solo Play
Artist: Krzysztof Bakowski (Violin)
Praeludium I per violino solo Play
Zoltowski: Thang-ka Play
Thang-ka was written during the IV International Computer Music Workshops in Warsaw in 1994. All sound material was prepared from recordings – samples of two instruments: Indian esraj and Mongolian khuucir. Thang-ka is a name for Buddhist icon in tantric Buddhist tradition in Tibet. Each element of these paintings have a symbolical meaning, the material on which they are painted (usually silk), colours, proportions taken from a strict canon, even the act of unrolling and rolling back the icon (act of unfolding and folding the Universe). I tried to use the symbolical proportions and other symbols in this piece. 10’20”
Thang-ka Play
Zoltowski: Anagoge for Sarangi, Percussion and Organ Play
Artists: Jan Szypowski (Organ); Maria Pomianowska (Sarangi); Stanislaw Skoczynski (Percussion)
ANAGOGE was commissioned by the festival „Conversatorium“ in Legnica, and was first performed there in 1995. I have used an Indian rubbed string instrument – sarangi – together with the big organ of the Evangelic church in Legnica and percussion (one player). The spatial disposition requires the sarangi player to play in the frontal part of a church, in the front of public, the organ and percussion are playing from behind. The title is a notion taken from neoplatonic philosophy. It means the way up, going up in spiritual development. The motto is "?ry to raise what is divine in you to that, what is divine in the Universe" – the sentence said by the great philosopher ???t???? on his death bed. 13’
Anagoge for Sarangi, Percussion and Organ Play
Zoltowski: Madrigal per coro misto e quartetto d'archi Play
Ensembles: Camerata Silesia Singers; Orkiestra Muzyki Nowej
Conductor: Anna Szostak
Madrygal – utwór wokalny lub wokalno-instrumentalny do swieckiego tekstu poetyckiego, w którym muzyka jest scisle podporzadkowana tekstowi; forma szczególnie popularna w XVI i XVII w. Przekornie wybralem taki tytul dla utworu, który ani nie odwoluje sie do muzycznego idiomu twórczosci wloskich, czy angielskich madrygalistów, ani za podstawe nie przyjmuje tekstu poetyckiego. Zgadza sie, tekst jest swiecki i to tak bardzo, ze jego autor byl czesto posadzany o bezboznosc. Mowa o jednym z najwiekszych filozofów czasów nowozytnych, Benedykcie Spinozie. Oswieceniowa madrosc Spinozy byla dla mnie inspiracja do napisania juz kilku wczesniejszych utworów, do których odniesienia znajduja sie tez w „Madrygale”. Muzyka utworu podaza za „geometrycznoscia” tekstu, za jego zewnetrzna surowoscia, ale nie ucieka od emocjonalnosci jego glebszych tresci. Dwanascie wybranych twierdzen z lacinskiego oryginalu V czesci „Etyki” opisuje tryumfujaca moc ludzkiego rozumu, jego role w poskromieniu biernosci i tym samym osiaganiu szczescia. Ich trescia sa ludzkie sprawy, ludzkie szczescie, ludzkie odczuwanie, myslenie i dazenie, ludzkie przesady, idealy i prawdy zyciowe. Jak zauwaza dr Ignacy Myslicki, autor polskiego przekladu pism filozofa, „Spinoza wskazuje ludziom ideal kultury i cywilizacji, który sie osiaga przez twórczosc, a nie przez zdawanie sie w pokorze na laske boska, przez umilowanie rzeczywistosci, a nie przez gardzenie materia jako zlem i praca jako kara, przez wyswietlanie sobie wszystkiego rozumem, a nie przez poleganie na niezbadanych wyrokach. Dzielnosc, milowanie i poznanie lacza sie w jedosc trójcy bóstwo-natura-istota a ta trójca jest podniesiona do nieskonczonej potegi trescia wyrazów: tworzymy rzeczywistosc rozumnie. […] Czlowiek powinien zyc za przewodem rozumu zgodnie z poznanymi prawami natury, sluchac sie swojego popedu samozachowawczego, a nie tlumic go, uznawac, ze czlowiek jest dla czlowieka bogiem, a nie srodkiem do jego celów, poczytywac dzielnosc za cnote i za nagrode cnoty ja sama, a nie zbawienie zagrobowe.”
Madrigal per coro misto e quartetto d'archi Play
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Radio

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Bacewicz: Quintet for Piano and Strings no 1


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