Every era has its own philosophy. Sometimes only disaster could destroy it and reevaluate order firmly established through comfort of doing routine. Some people try to live in ages that not belong to them. In music people try to perform old or overplayed pieces ignoring almost every musical aspect of them. They afraid of unknown. But not those two guys. They live in XXI century, play like belonging to the future and give what we all anticipated but not articulated because lack of courage and talent to do so. This piece is something which goes beyond our times. It connects past and future and we can experience it today. What a marvellous experience. Live even more. Thank you.
Beautifully said, Tomek. The world is truly strange; you, a physicist, professor, speak more wisely than most musicologists I know. The world has really turned upside down. But I'm glad that we met musically a good few years ago, and later on, guitar-wise (not to mention compositionally now). Thank you! Beautiful words!
I agree. I also think this piece fixes many of the excesses of modern music. Too often horror movie sound effects are passed off as musical genius that only “sophisticated” listeners can appreciate. There is no such pretense here, which makes the piece very interesting, even though it still challenges.
Thank you, everyone, for stopping by and watching! To help you navigate through this vast composition, I've decided to create some sections: opening 0:00 section I 0:50 section II 2:02 section III 5:31 section IV 6:41 section V 10:57 section VI 13:09 section VII 15:51 section VIII 16:50 section IX 18:39 section X 19:59 section XI 21:51 section XII 22:40 section XIII 24:24 section XIV 25:25 section XV 27:00 closing 29:55
It seems, God laid one hand on your head, and with the other He pressed into your hand an exquisite gift. "Here." He said. "Take this." And you did, taking care to tuck it into your heart; responding to His generosity with willingness, diligence and reverence. I have felt so soothed by your music that I have cried with relief, and so awakened, I am reminded of what I knew as a child - that life is an awe-inspiring gift beyond comprehension. How fortunate I am to be alive and to have discovered you. I hope to attend your performance some day. Thank you for sharing your heart.
I'm speechless. I truly am. Thank you so much. I'll cherish this comment. I was writing some parts of this piece when I was really, really sick (I think it was covid19 few weeks before covid19 was official). I had tears and pain in me. I guess some of it still is in the score.
The integration of philosophical ideas with the music is very interesting, the ideas come and go, appear and disappear like waves and provoke many sensations as they go through each section. An excellent work to enjoy. Congratulations to everyone for the performance.
Dear Michael, precisely: the broadly understood "wave" is one of the main factors shaping this composition. I'm very glad that EX NIHILO appealed to you. I had the great fortune to work with truly dedicated students, a conductor, and an outstanding soloist. Thanks again for dropping by to listen
'From nothing comes nothing'..in this way, I would say: ,, From everyone comes everything !!! '' Congratulations with this very special performance to all the guitarists, the conductor, the sound engineers and, of course, especially to Marek, the composer ... a masterpiece, again.!.
Joep, beautifully said! Indeed. Everyone gave their all! In literally just under 4 rehearsals, we put in so much work with these students! I don't even need to mention Mateusz... An absolute virtuoso, and what a pleasure to play with him. Look at him at 27:26, that's when I want to play, to have such a partner on stage! Thank you very much for the kind words!
Always amazed by the way you create new paths for guitar in XXI century. looking forward for new music of you, wich send us to beautiful and rich atmospheres. Places written from the heart and soul from a great and genuine artist.
Querido Gerardo, tus palabras siempre me dan la energía para trabajar en nuevas composiciones. Las palabras (un comentario como el tuyo) son increíblemente importantes (siendo tú mismo músico, lo entiendes). Las palabras pueden herir, pero también pueden construir y ayudar enormemente. Fue un gran proyecto y una pieza realmente desafiante para interpretar en vivo. Muchas gracias. Siempre espero con ansias tus comentarios. ¡Un cordial saludo! Dear Gerardo, your words always give me the energy to work on new pieces. Words (such a comment as yours) are incredibly important (you being a musician yourself, you understand). Words can hurt, but they can also greatly build, help. It was a big project and a truly challenging piece to perform live. Thank you very much. I always look forward to your comments. Warm regards!
Muchísimas gracias por su música la verdad a mi me encanta estos sonidos es mi tipo de música que escucho yo los felicito y dios los bendiga siempre y reciban un fuerte abrazo desde México ❤❤
Огромное спасибо, за прекрасное сочинение и его исполнение. Эта премьера имеет мировое значение для гитары, во всех отношениях. Вам удалось выразить космос современной гитары, через изумительное взаимодействие двух гитар и оркестра, которое погружает слушателя в медитативный транс. Не могли бы вы написать о философии вашего произведения, которая видимо заложена в его названии? Еще раз, от всей души поздравляю Вас!!!👍👏👏👏
Какой красивый комментарий и положительные слова! Огромное тебе спасибо. Это для меня много значит! Вот философия (переведенная на русский), которая скрыта за EX NIHILO. ◾ ◾ ЗАМЕТКИ КОМПОЗИТОРА ◾ ◾ Однако почему было бы создано позже, а не раньше, если оно возникло из ничего; таким образом, оно должно быть создано целиком или вообще не создано. ◾ Парменид (ок. 515 г. до н. э.) Представьте волну. В океане. Вы видите ее, измеряете, ее высоту, как свет преломляется, проходя через нее. И она там. И вы видите ее, знаете, что это. Это волна. А затем она разбивается о берег, и ее нет. Но вода все еще там. Волна была просто другим способом для воды быть, на какое-то время. Знаете, это одно из представлений смерти для буддистов: волна возвращается в океан, откуда она пришла и где ей и следовало быть. ◾ Чиди ('Доброе место') Этот произведение заимствует идеи из двух философий, философии Парменида и концепции смерти Будды: Философия Парменида "Ничто не возникает из ничего" (латински: ex nihilo nihil fit) - это философское выражение тезиса, впервые выдвинутого Парменидом. Это связано с древнегреческой космологией - нет разрыва между миром, который не существовал, и миром, который существует, поскольку его нельзя было создать из ничего. ◾ Концепция смерти Будды В книге "Суть учения Будды" Тхич Нхат Ханха, Будда говорит: "Когда мы смотрим на океан, мы видим, что у каждой волны есть начало и конец. Волну можно сравнить с другими волнами, и мы можем назвать ее более или менее красивой, выше или ниже, длительной или менее длительной. Но если мы посмотрим глубже, мы увидим, что волна состоит из воды. Волна, живущая жизнью волны, также живет жизнью воды. Было бы печально, если бы волна не знала, что она вода. Она подумает: 'Как-то раз, мне придется умереть. Этот период времени - мой срок жизни, и когда я дойду до берега, я вернусь в небытие.' Эти представления вызовут у волны страх и тоску. Мы должны помочь ей избавиться от понятий о самости, личности, живом существе и сроке жизни, если мы хотим, чтобы волна была свободной и счастливой." ◾ ◾ ◾ Меня всегда поражал концепт волн в музыке, особенно в контексте минималистской музыки. Повторяющиеся узоры или импульсы, повторения музыкальных фраз или более мелких единиц, могут формироваться через время (в исполнении) в уникальные музыкальные волны. Динамическая манипуляция также может создать впечатление появления и исчезновения в ничто. Ex Nihilo структурировано на всех уровнях концепцией волн: композиционный материал (от самых малых единиц до целых поддвижений и всего произведения); динамика (непрерывное поднимание и опускание громкости и напряженности); оркестрация (постоянные и часто перекрывающие друг друга последовательные части - голоса); и временные элементы (разные импульсы, разные метры и разные темпы каждого поддвижения, перекрывающиеся друг с другом). Основная музыкальная единица построена на мотиве подъема D# - E - F#, который представляет собой маленькие волны, поднимающиеся над поверхностью моря. Как "тема", этот трехнотный узор повторяется на протяжении всего произведения.
@@MarekPasieczny Марек,большое спасибо тебе за ответ. Поэтому я и задал тебе этот вопрос, так как думал, что в этой музыке присутствует философия древних духовных учений. Капля или волна, всегда будет океном. У тебя действительно получилось отразить это в музыке и это потрясающе!!!❤🙏👍👏👏👏
Пожалуйста! Очень ценю ваши добрые слова. Хотя я понимаю, что это может быть не коммерчески выгодным, я твердо верю в важность оставлять после себя нечто значимое, а не поверхностное. Еще раз спасибо за возможность!@@igorkuzmitski9679
Mikołaj, tak oficjalnie: raz jeszcze dziękuję za użyczenie sprzętu, dobre oko i mega materiał. Edycja byla czystą przyjemnością. Mam nadzieję że to niebawem powtórzymy!
What a fascinating and unique work executed with finesse, dynamism and inspiration! With Marek we never get bored, whether for the composition or for the execution, the intensity and the novelty are always there, Bravo to all! 👌💪
Hello Blaise, thanks for the beautiful words and recognition! I always try something new. For me, a composer is a craftsman. We need to blend genres, languages, styles, and techniques. The world is a global village, and music is its universal language! Warm regards to you!
@@stewartkellyguitarist wow! Cool. Those two are probably the most pleasant to perform. We enjoyed every minute with Mateusz playing the XV one. With those amazing students singing it's just always so great feeling. Hope to be able to play in here in the UK one day....
My first thought was to write that you are pushing the limits of the classical guitar. But that's a cliché, too simple to describe what's happening in the music. You are showing that there are no limits!!! I was fully absorbed in the performance until my cat started it over from the beginning. But it was an amazing experience. I also noticed some echoes of "electric counterpoint" harmonies from Steve reich, particularly in part IV. But you went beyond that, into realms as yet unexplored or very seldom explored in music, generally, and especially for classical guitar! Thank you for your hard work and persistence! It pays off!!!!
Thanks, Ben! Give your cat a pat from me :P But seriously, thank you for your honest words. I didn't consciously draw inspiration from Reich, but how can one not be close to his language when writing in a minimalist style? I highly value his "Electric Counterpoint," so it's even more pleasing that you compared me to him. For me, the inspiration in EX NIHILO definitely came from John Adams' creativity, especially in his approach to composition, openness, and stylistic versatility. However, perhaps most importantly, the form of "THE WAY UP" created years ago by Lyle Mays and Pat Metheny influenced me. It was their unique 'protest' against the few-second 'compositions' on TikTok or the increasingly trivial, predictable songs flooding the airwaves. I wanted to prove to myself, primarily, that it's possible to write a monumental composition for two guitars. This version is just slightly expanded (intro - beginning). Thanks, Ben!
I have listened to this piece at last in it's entirety 3 times now. At first listen my impression was that the ensemble seemed a little timid this more du to the recording balance but after listening to it again on a better device it sounds just perfect. The ensemble is very good and tight this is quite apparent in the last sections where their presence is really felt. I really like this, how to put it? For me it's like a shadow play soundscape. As for the solo parts well nothing to say here except great the two soloists are extensions of one another and it just flows and it is very colorfull. A very nice piece, just love it !
Hello Brian, thanks for the comment and careful listening. Yes, I agree - I would also like the orchestra to be more present. The recording quality is phenomenal. When we were editing audio back in college in Warsaw, the proportions were good. I think with very good equipment and excellent speakers, everything would fall into place. In other words, it was fine in the recording studio. Our home equipment, let alone mobile phones or laptops, is not sufficient. // I really like your analogy to shadows. It's a very good and accurate observation! Thank you very much for listening! Warm regards!
Nothing. Nothing but the best. I have never been disapointed by the work of MP and those he collaberates with. Thanks for antother wonderful performance always worth a listen.
Cool wordplay, John! From nothing comes nothing (but the best). Thanks a lot for your long-time support! You can always count on you! I have a question: since I divided this recording into sections, which one do you like the most? Which one speaks to you the most?
I've taken months to listen to this, coming back to it many many times. It's tremendous - completely absorbing and hypnotic. I won't attempt any clever comparisons or analysis: it's its own unique thing and speaks for itself. It is full of cycling cross-currents, like tidal movement. It contains a great deal of what I think of as electricity. At many points it achieves a really strange dreamlike atmosphere where you seem to have aeons conveyed in sound, with echoes of kora music, harp, mandolins, and electronica. All produced with quite slender means - think how limited in pitch the guitar is, compared with the huge ranges available in a symphony orchestra. The performances too are mesmerising. Congratulations to all concerned and chapeau Marek, what a stunning composition.
Dear Andrew, What can I say? It's definitely been worth the wait for such an honest and original comment. You already know how much I value your opinion; it means a great deal to me. I love your comparisons on various levels - colors, pitch, orchestration. I absolutely agree with your thoughts on the possibilities of a guitar orchestra versus a traditional orchestra. There's simply no comparison. I prefer to think of a guitar orchestra or large guitar ensemble as a percussion ensemble(s). For me, the most unique and interesting aspect of large guitar ensembles is the sonoristic dimension. The stereo/quadraphonic effects are fascinating. Have you ever composed for a large guitar ensemble, or perhaps are you planning to? What do you find most interesting about writing for a guitar orchestra, if anything? I have to admit, I was and still am somewhat skeptical about writing for more than four guitars... What's your opinion on that matter? Thank you so much, Marek
@@MarekPasieczny yes that's it, somewhere between percussion and some sort of heightened continuo. I've never written for any large ensembles and in fact only rarely for multiple instruments. I'm by nature a miniaturist, I think! I'd love to have the wide vision for the broader canvas ....but I just do what I can.
I have really been enjoying your guitar-orchestral oriented pieces lately, Marek. As someone else stated, you prove there are no limits to what composers can achieve with their musical pallet. The varying colors, fluctuating tones, repetitive phrases and other dynamics really lend themselves well to an oceanic/wave-like setting. I find myself in a state of tranquility when I listen; much like I would when surrounded by a great body of water. Much thanks!
Beautiful words, Armando. I'm trying my best. Sometimes, facing obstacles like a 'guitar orchestra' or a 'large guitar ensemble' makes it easier to be aware of composing something new, something different, and fresh. I'm currently working on a very complex, long piece for three guitars and trying to prove (especially to myself) that it can be written in a very different, new, and exciting way. Thank you so much for your support!
Adams, Andriessen, Glass, Reich and other leaders of minimalism let them be cursed forever, how I don't like them, how poor, cheap and predictable music becomes in their hands, how they prey on bare effect, how they fake form without building anything, eh... However, I am at a loss, because I was at the concert, I wasn't bored, I wasn't impatient, I was absorbed in it and this half hour passed quickly, as if inspired. The room was focused, full of tension, aware of the uniqueness of the event. However, I still have a lot of distrust towards minimal music, I still say "no" to it!, but Marek's music in this style sometimes manages to break my reluctance. However, I am still waiting for his real compositions, not such "patchworks". The performance, as usual with both men, top notch!
Solid stuff, Jurek! Seriously, strong vibes! If I didn't know you, I might be scared :P But I know you very well, and you know me - and I trust your opinion, your taste. I wouldn't be that harsh towards those four gentlemen you mentioned. John Adams - I just love his way of composition and orchestration. Early works of Reich are also great. But as they say: "Tastes may not be discussed, but they are certainly shaped." Thanks for coming to the live concert back then. It was a boost to have you in the second row :P
I usually find guitar orchestras to be unremarkable because they often play pieces that aren’t intended for plucked instruments. But this was inspiring. I love that the composition was both modern and musical. Perhaps a bit overwrought at times, but musical nonetheless.
Dear Scott, thank you for your constructive comment. I, too, am very skeptical about the so-called "guitar orchestra." In EX NIHILO, I wanted to create (or rather, orchestrate) a piece in which I would avoid typical musical solutions that I usually dislike in guitar orchestras. I tried my best. Thank you very much for listening and for your kind words. Warm regards!
Every era has its own philosophy. Sometimes only disaster could destroy it and reevaluate order firmly established through comfort of doing routine. Some people try to live in ages that not belong to them. In music people try to perform old or overplayed pieces ignoring almost every musical aspect of them. They afraid of unknown. But not those two guys. They live in XXI century, play like belonging to the future and give what we all anticipated but not articulated because lack of courage and talent to do so. This piece is something which goes beyond our times. It connects past and future and we can experience it today. What a marvellous experience. Live even more. Thank you.
Beautifully said, Tomek. The world is truly strange; you, a physicist, professor, speak more wisely than most musicologists I know. The world has really turned upside down. But I'm glad that we met musically a good few years ago, and later on, guitar-wise (not to mention compositionally now). Thank you! Beautiful words!
I agree. I also think this piece fixes many of the excesses of modern music. Too often horror movie sound effects are passed off as musical genius that only “sophisticated” listeners can appreciate. There is no such pretense here, which makes the piece very interesting, even though it still challenges.
Thank you, everyone, for stopping by and watching! To help you navigate through this vast composition, I've decided to create some sections:
opening 0:00
section I 0:50
section II 2:02
section III 5:31
section IV 6:41
section V 10:57
section VI 13:09
section VII 15:51
section VIII 16:50
section IX 18:39
section X 19:59
section XI 21:51
section XII 22:40
section XIII 24:24
section XIV 25:25
section XV 27:00
closing 29:55
It seems, God laid one hand on your head, and with the other He pressed into your hand an exquisite gift. "Here." He said. "Take this." And you did, taking care to tuck it into your heart; responding to His generosity with willingness, diligence and reverence.
I have felt so soothed by your music that I have cried with relief, and so awakened, I am reminded of what I knew as a child - that life is an awe-inspiring gift beyond comprehension. How fortunate I am to be alive and to have discovered you. I hope to attend your performance some day. Thank you for sharing your heart.
I'm speechless. I truly am. Thank you so much. I'll cherish this comment. I was writing some parts of this piece when I was really, really sick (I think it was covid19 few weeks before covid19 was official). I had tears and pain in me. I guess some of it still is in the score.
The integration of philosophical ideas with the music is very interesting, the ideas come and go, appear and disappear like waves and provoke many sensations as they go through each section. An excellent work to enjoy. Congratulations to everyone for the performance.
Dear Michael, precisely: the broadly understood "wave" is one of the main factors shaping this composition. I'm very glad that EX NIHILO appealed to you. I had the great fortune to work with truly dedicated students, a conductor, and an outstanding soloist. Thanks again for dropping by to listen
Sixteen musicians, and the sound is downright symphonic! A mind-blowing piece.
Dzięki piękne, Wojtek! 🙏
'From nothing comes nothing'..in this way, I would say: ,, From everyone comes everything !!! '' Congratulations with this very special performance to all the guitarists, the conductor, the sound engineers and, of course, especially to Marek, the composer ... a masterpiece, again.!.
Joep, beautifully said! Indeed. Everyone gave their all! In literally just under 4 rehearsals, we put in so much work with these students! I don't even need to mention Mateusz... An absolute virtuoso, and what a pleasure to play with him. Look at him at 27:26, that's when I want to play, to have such a partner on stage! Thank you very much for the kind words!
@@MarekPasieczny Yes Marek, you're right!
Always amazed by the way you create new paths for guitar in XXI century. looking forward for new music of you, wich send us to beautiful and rich atmospheres. Places written from the heart and soul from a great and genuine artist.
Querido Gerardo, tus palabras siempre me dan la energía para trabajar en nuevas composiciones. Las palabras (un comentario como el tuyo) son increíblemente importantes (siendo tú mismo músico, lo entiendes). Las palabras pueden herir, pero también pueden construir y ayudar enormemente. Fue un gran proyecto y una pieza realmente desafiante para interpretar en vivo. Muchas gracias. Siempre espero con ansias tus comentarios. ¡Un cordial saludo!
Dear Gerardo, your words always give me the energy to work on new pieces. Words (such a comment as yours) are incredibly important (you being a musician yourself, you understand). Words can hurt, but they can also greatly build, help. It was a big project and a truly challenging piece to perform live. Thank you very much. I always look forward to your comments. Warm regards!
Muchísimas gracias por su música la verdad a mi me encanta estos sonidos es mi tipo de música que escucho yo los felicito y dios los bendiga siempre y reciban un fuerte abrazo desde México ❤❤
¡Eres muy amable! ¡Me alegro de que te guste! ¡Espero poder venir a México algún día! ¡Saludos desde el Reino Unido!
Огромное спасибо, за прекрасное сочинение и его исполнение.
Эта премьера имеет мировое значение для гитары, во всех отношениях.
Вам удалось выразить космос современной гитары, через изумительное взаимодействие двух гитар и оркестра, которое погружает слушателя в медитативный транс.
Не могли бы вы написать о философии вашего произведения, которая видимо заложена в его названии?
Еще раз, от всей души поздравляю Вас!!!👍👏👏👏
Какой красивый комментарий и положительные слова! Огромное тебе спасибо. Это для меня много значит! Вот философия (переведенная на русский), которая скрыта за EX NIHILO.
◾ ◾ ЗАМЕТКИ КОМПОЗИТОРА ◾ ◾
Однако почему было бы создано позже, а не раньше, если оно возникло из ничего; таким образом, оно должно быть создано целиком или вообще не создано.
◾ Парменид (ок. 515 г. до н. э.)
Представьте волну. В океане. Вы видите ее, измеряете, ее высоту, как свет преломляется, проходя через нее. И она там. И вы видите ее, знаете, что это. Это волна.
А затем она разбивается о берег, и ее нет. Но вода все еще там. Волна была просто другим способом для воды быть, на какое-то время. Знаете, это одно из представлений смерти для буддистов: волна возвращается в океан, откуда она пришла и где ей и следовало быть.
◾ Чиди ('Доброе место')
Этот произведение заимствует идеи из двух философий, философии Парменида и концепции смерти Будды:
Философия Парменида
"Ничто не возникает из ничего" (латински: ex nihilo nihil fit) - это философское выражение тезиса, впервые выдвинутого Парменидом. Это связано с древнегреческой космологией - нет разрыва между миром, который не существовал, и миром, который существует, поскольку его нельзя было создать из ничего.
◾ Концепция смерти Будды
В книге "Суть учения Будды" Тхич Нхат Ханха, Будда говорит:
"Когда мы смотрим на океан, мы видим, что у каждой волны есть начало и конец. Волну можно сравнить с другими волнами, и мы можем назвать ее более или менее красивой, выше или ниже, длительной или менее длительной. Но если мы посмотрим глубже, мы увидим, что волна состоит из воды. Волна, живущая жизнью волны, также живет жизнью воды. Было бы печально, если бы волна не знала, что она вода. Она подумает: 'Как-то раз, мне придется умереть. Этот период времени - мой срок жизни, и когда я дойду до берега, я вернусь в небытие.' Эти представления вызовут у волны страх и тоску. Мы должны помочь ей избавиться от понятий о самости, личности, живом существе и сроке жизни, если мы хотим, чтобы волна была свободной и счастливой."
◾ ◾ ◾
Меня всегда поражал концепт волн в музыке, особенно в контексте минималистской музыки. Повторяющиеся узоры или импульсы, повторения музыкальных фраз или более мелких единиц, могут формироваться через время (в исполнении) в уникальные музыкальные волны. Динамическая манипуляция также может создать впечатление появления и исчезновения в ничто.
Ex Nihilo структурировано на всех уровнях концепцией волн: композиционный материал (от самых малых единиц до целых поддвижений и всего произведения); динамика (непрерывное поднимание и опускание громкости и напряженности); оркестрация (постоянные и часто перекрывающие друг друга последовательные части - голоса); и временные элементы (разные импульсы, разные метры и разные темпы каждого поддвижения, перекрывающиеся друг с другом).
Основная музыкальная единица построена на мотиве подъема D# - E - F#, который представляет собой маленькие волны, поднимающиеся над поверхностью моря. Как "тема", этот трехнотный узор повторяется на протяжении всего произведения.
@@MarekPasieczny
Марек,большое спасибо тебе за ответ.
Поэтому я и задал тебе этот вопрос, так как думал, что в этой музыке присутствует философия древних духовных учений.
Капля или волна, всегда будет океном.
У тебя действительно получилось отразить это в музыке и это потрясающе!!!❤🙏👍👏👏👏
Пожалуйста! Очень ценю ваши добрые слова. Хотя я понимаю, что это может быть не коммерчески выгодным, я твердо верю в важность оставлять после себя нечто значимое, а не поверхностное. Еще раз спасибо за возможность!@@igorkuzmitski9679
It was such a blast! Such metaphysical experience! Nothing compares with live performance, but this recording really came out wonderfully!
Mikołaj, tak oficjalnie: raz jeszcze dziękuję za użyczenie sprzętu, dobre oko i mega materiał. Edycja byla czystą przyjemnością. Mam nadzieję że to niebawem powtórzymy!
What a fascinating and unique work executed with finesse, dynamism and inspiration! With Marek we never get bored, whether for the composition or for the execution, the intensity and the novelty are always there, Bravo to all! 👌💪
Hello Blaise, thanks for the beautiful words and recognition! I always try something new. For me, a composer is a craftsman. We need to blend genres, languages, styles, and techniques. The world is a global village, and music is its universal language! Warm regards to you!
@@MarekPasieczny And you succeed brilliantly! I can't wait for what's next!
You are very kind! I think the next would be some music for three guitars...... @@BlaiseLaflamme
This is mesmerising! Amazing performance by all ⭐️❤
Thanks Stewart! Glad you like it! Tell me: which section(s) / part(s) you like personally most?
I really enjoyed sections IV and XV in particular 😊
@@stewartkellyguitarist wow! Cool. Those two are probably the most pleasant to perform. We enjoyed every minute with Mateusz playing the XV one. With those amazing students singing it's just always so great feeling. Hope to be able to play in here in the UK one day....
My first thought was to write that you are pushing the limits of the classical guitar. But that's a cliché, too simple to describe what's happening in the music. You are showing that there are no limits!!! I was fully absorbed in the performance until my cat started it over from the beginning. But it was an amazing experience. I also noticed some echoes of "electric counterpoint" harmonies from Steve reich, particularly in part IV. But you went beyond that, into realms as yet unexplored or very seldom explored in music, generally, and especially for classical guitar! Thank you for your hard work and persistence! It pays off!!!!
Thanks, Ben! Give your cat a pat from me :P But seriously, thank you for your honest words. I didn't consciously draw inspiration from Reich, but how can one not be close to his language when writing in a minimalist style? I highly value his "Electric Counterpoint," so it's even more pleasing that you compared me to him. For me, the inspiration in EX NIHILO definitely came from John Adams' creativity, especially in his approach to composition, openness, and stylistic versatility. However, perhaps most importantly, the form of "THE WAY UP" created years ago by Lyle Mays and Pat Metheny influenced me. It was their unique 'protest' against the few-second 'compositions' on TikTok or the increasingly trivial, predictable songs flooding the airwaves. I wanted to prove to myself, primarily, that it's possible to write a monumental composition for two guitars. This version is just slightly expanded (intro - beginning). Thanks, Ben!
I have listened to this piece at last in it's entirety 3 times now. At first listen my impression was that the ensemble seemed a little timid this more du to the recording balance but after listening to it again on a better device it sounds just perfect. The ensemble is very good and tight this is quite apparent in the last sections where their presence is really felt. I really like this, how to put it? For me it's like a shadow play soundscape. As for the solo parts well nothing to say here except great the two soloists are extensions of one another and it just flows and it is very colorfull. A very nice piece, just love it !
Hello Brian, thanks for the comment and careful listening. Yes, I agree - I would also like the orchestra to be more present. The recording quality is phenomenal. When we were editing audio back in college in Warsaw, the proportions were good. I think with very good equipment and excellent speakers, everything would fall into place. In other words, it was fine in the recording studio. Our home equipment, let alone mobile phones or laptops, is not sufficient. // I really like your analogy to shadows. It's a very good and accurate observation! Thank you very much for listening! Warm regards!
@@MarekPasieczny Thanks Marek always nice to share with you take care and till next time regards Brian
@@brianpenny6890 absolutely, Brian! I'll let you know when next recording will come out. Thanks for your kind words!
Nothing. Nothing but the best. I have never been disapointed by the work of MP and those he collaberates with. Thanks for antother wonderful performance always worth a listen.
Cool wordplay, John! From nothing comes nothing (but the best). Thanks a lot for your long-time support! You can always count on you! I have a question: since I divided this recording into sections, which one do you like the most? Which one speaks to you the most?
This is such an interesting piece. Thank you for having me there! ✨
Thank you very much, Irmina, for your participation and hard work! I hope we can all make music together once again! Warm regards, Marek
I've taken months to listen to this, coming back to it many many times. It's tremendous - completely absorbing and hypnotic. I won't attempt any clever comparisons or analysis: it's its own unique thing and speaks for itself. It is full of cycling cross-currents, like tidal movement. It contains a great deal of what I think of as electricity. At many points it achieves a really strange dreamlike atmosphere where you seem to have aeons conveyed in sound, with echoes of kora music, harp, mandolins, and electronica. All produced with quite slender means - think how limited in pitch the guitar is, compared with the huge ranges available in a symphony orchestra. The performances too are mesmerising. Congratulations to all concerned and chapeau Marek, what a stunning composition.
Dear Andrew,
What can I say? It's definitely been worth the wait for such an honest and original comment. You already know how much I value your opinion; it means a great deal to me.
I love your comparisons on various levels - colors, pitch, orchestration. I absolutely agree with your thoughts on the possibilities of a guitar orchestra versus a traditional orchestra. There's simply no comparison. I prefer to think of a guitar orchestra or large guitar ensemble as a percussion ensemble(s).
For me, the most unique and interesting aspect of large guitar ensembles is the sonoristic dimension. The stereo/quadraphonic effects are fascinating.
Have you ever composed for a large guitar ensemble, or perhaps are you planning to? What do you find most interesting about writing for a guitar orchestra, if anything?
I have to admit, I was and still am somewhat skeptical about writing for more than four guitars... What's your opinion on that matter?
Thank you so much,
Marek
@@MarekPasieczny yes that's it, somewhere between percussion and some sort of heightened continuo.
I've never written for any large ensembles and in fact only rarely for multiple instruments. I'm by nature a miniaturist, I think! I'd love to have the wide vision for the broader canvas ....but I just do what I can.
great works, i wish could meet you once ❤
Thanks very much! I'm sure we will!
Spectacular!
dzieki Kuba!
I have really been enjoying your guitar-orchestral oriented pieces lately, Marek. As someone else stated, you prove there are no limits to what composers can achieve with their musical pallet. The varying colors, fluctuating tones, repetitive phrases and other dynamics really lend themselves well to an oceanic/wave-like setting. I find myself in a state of tranquility when I listen; much like I would when surrounded by a great body of water. Much thanks!
Beautiful words, Armando. I'm trying my best. Sometimes, facing obstacles like a 'guitar orchestra' or a 'large guitar ensemble' makes it easier to be aware of composing something new, something different, and fresh. I'm currently working on a very complex, long piece for three guitars and trying to prove (especially to myself) that it can be written in a very different, new, and exciting way. Thank you so much for your support!
Mystery and mastery. Great piece and playing! Congratulations!
Christiaan, thanks for listening! Thank you on behalf of all the students, the conductor, Mateusz and all people involved in this project! Greetings!
Adams, Andriessen, Glass, Reich and other leaders of minimalism let them be cursed forever, how I don't like them, how poor, cheap and predictable music becomes in their hands, how they prey on bare effect, how they fake form without building anything, eh... However, I am at a loss, because I was at the concert, I wasn't bored, I wasn't impatient, I was absorbed in it and this half hour passed quickly, as if inspired. The room was focused, full of tension, aware of the uniqueness of the event.
However, I still have a lot of distrust towards minimal music, I still say "no" to it!, but Marek's music in this style sometimes manages to break my reluctance. However, I am still waiting for his real compositions, not such "patchworks".
The performance, as usual with both men, top notch!
Solid stuff, Jurek! Seriously, strong vibes! If I didn't know you, I might be scared :P But I know you very well, and you know me - and I trust your opinion, your taste. I wouldn't be that harsh towards those four gentlemen you mentioned. John Adams - I just love his way of composition and orchestration. Early works of Reich are also great. But as they say: "Tastes may not be discussed, but they are certainly shaped." Thanks for coming to the live concert back then. It was a boost to have you in the second row :P
Your videos are really Awesome
thanks so much, man! appreciate it!
I usually find guitar orchestras to be unremarkable because they often play pieces that aren’t intended for plucked instruments. But this was inspiring. I love that the composition was both modern and musical. Perhaps a bit overwrought at times, but musical nonetheless.
Dear Scott, thank you for your constructive comment. I, too, am very skeptical about the so-called "guitar orchestra." In EX NIHILO, I wanted to create (or rather, orchestrate) a piece in which I would avoid typical musical solutions that I usually dislike in guitar orchestras. I tried my best. Thank you very much for listening and for your kind words. Warm regards!
Does anyone know what microphones they used?
Nobody knows....