I don’t tend to listen to a lot of serialism. My process with unfamiliar music is always to play on repeat many times while listening only subliminally, then give it proper attention when it has percolated through. I listen particularly for the composer’s choices because the music is never as random as you first think. Although freed from structure, tonal conventions and traditional melody, the composer still dictates the palette, tempo, feel and direction. Here, there is a keen intelligence at work directing the texture and mood of the piece. There is also a lovely contrast between the material and the performance. Dodecaphony can sound soulless and cerebral; but two wonderful guitarists playing these lovely instruments just can’t - the guitar is an intensely personal, emotional instrument and the performances add an intriguing layer of meaning and emotion. Interesting because I have never really thought it possible to achieve such good results with serialism on a guitar - Marek’s solution of multiple instruments makes it work really naturally.
Lovely commentary and great observation, Andrew. Thanks! You're right, the composer (it's his task, even duty) has the task of consciously and according to his knowledge and experience - choose what's best for a given composition. This 'chain of cause' and effect decisions is extremely important. The more experience (and knowledge), the better the result. Paradoxically, when writing so-called tonal music, the composer has much more freedom. In this case, when the framework of the language of dodecaphony is imposed in advance, the composer's task is only to perform them in the best possible way according to rules. It's pure mathematics, and the selection of the series of these 12 sounds is somewhat accidental. Therefore, from the very beginning, I knew that I had to have a very clear (especially for the listener) form that is friendly to the ear. The form of a fugue is with us since 16th century, therfore decided to use that form. Thank you very much for such a constructive comment. You're the best! I greet you very warmly!
That is deep. Not only and mainly in the sense of music but thinking about musicianship and duet construction. Everything rigorously turned into respectfulness of material and feeling of untouchables. And performing…that is a masterpiece of a duet. My favorite for now.
Thanks Tomek!!!! You're fast! It's a cold, calculated, mathematical structure, a compositional exercise that I wanted to 'humanize' at all costs. You: as a professor of physics and mathematics, but also a budding composer seems to appreciate it. Thanks a lot! dzieki Tomek!
To me this is the musical equivelant of a Jackson Pollock painting. So much to hear and listen to at so many levels. . Marek and Mateusz best of classs all the way.
John! Wow...I've never thought about this dodecaphonic language in this way! Exactly! Like Pollock: abstract with no sense up close, however in distance starting to get some form / some sense.... THANK YOU! Good ear!
The experience of collaborating with you, Marek, was something incredibly special. The rehearsals and recording sessions - communicating almost without words - it was a stream of interpretational ideas exchange. Working on this composition was a truly inspiring journey. Thank you for that!
Mateusz, thanks for the beautiful words. I think (and even know) that this is only the beginning of a very interesting and fruitful cooperation. You're right: our pre-live/pre-recording sessions were extremely fruitful musically. This really rarely happens to me (especially with guitarists). Thank you for that! More to come!
These two pieces display an unique approach to creative ambiguity in that the strict form of Prelude and Fugue matched to the discipline of dodecaphony leads the listener to expect a particular known experience. And yet! Marek has, through imagination, expression and tonal variety, found a way to directly stimulate pleasure in the listener, through anticipation being pleasantly surprised throughout. He has found a way of almost mainlining delight to the listener, and expectation is exceeded through his talent. The production and quality of performance set the benchmark of quality which is rarely if ever exceeded by any other performers on the guitar. Wir fühlen Luft von anderen Planeten/Guitarren. Or in fewer long words, Wow!
Richard, thank you very much! From me but on Mateusz's behalf. Nice and informative commentary. Beautiful. I think that in this case (it was not a commission but my personal desire) during covid19 I had (like all of us) a little more time... and I wanted to prove (mainly to myself) that I can write in such a 'strict and closed system', something 'human' and what (despite some people's musical taste ) ok to listen. I'm glad you can enjoy that piece. Thanks again for the kind words, Richard!!!
I remember Bream always had a 'modern' composition in his live-performances in the Concertgebouw-kleine zaal in Amsterdam and I was always concentrated then, because it was new... nowadays I'm glad that modern music is common and you can lean back and take it up in you like the outstanding compositions and performances from Marek and Mateusz; thank you, for all this beauty 🤲 🙏 ❤ ❤
A beautiful allegory to Julian Bream. Yes, he was a great ambassador of the guitar, and thus the new (sometimes difficult for the listener) repertoire. Always, however, the repertoire of the highest quality. I envy you that you heard Bream live! Unfortunately, I didn't have that honour. Thank you so much, Joep for the kind words! I appreciate it very much, as always!
It's great you gave us more music for duet! A great work as interesting as the others. Thank you so much! I really hope to play it soon! All the best, Maestro!
hey Gerardo, really appreciate you stopping by and listening! Oh yes, there is solo version of that piece - you can play it solo or in duo. Thanks so much!
big thank you Alberto for stopping by and listening. Are you keen for dodecaphonic piece on lute? Do you know any pieces originally written for baroque lute in dodecaphonic language?
@@MarekPasieczny Hello, I don't know any lute piece in the dodecaphonic language. And I must admit that I am not fond of this genre, but your composition is very interesting and I will definitely listen to it again and again.
@@AlbertoCrugnola fair enough! It's not my personally favourite language either. I was just curious if anything dodecaphonic exist for historic instruments. I'm sure we both can find some good and thrilling compromise while collaborating. I already have one idea...
After listening to Marek's dodecaphonic compositions, the question arises - who is its creator: Pasieczny or maybe two outstanding players? Without perfect performance, such music makes little sense. It is also difficult to look for traditional building emotions resulting from classical harmony or counterpoint in it. Instead, there are simple strings of numbers and their equally simple transformations that replace the traditional form. The terms "Prelude" and "Fugue" are purely conventional and refer only vaguely to the musical tradition. Yes, over 100 years ago Berg, Schönberg and Webern tried to take away from us the musical pleasures of predictable cadences, modulations, vertical and horizontal relations of sounds to each other, but they failed. Live performance (recorded here) won over formal analysis on paper. Mathematical calculation loses to human talent and intuition. So who is the composer? Maestro Pasieczny, who wrote it down, or two eminent performers virtuosically using 12 notes of the musical scale, as if improvising their course?
Beautiful. Jurek, I should ask you to write program notes for sheet music editions. And I think we'll start doing that! I agree wholeheartedly - it was my original experiment based on a dodecaphonic language. Soon (hopefully) , will share with everyone the version (paradoxically recorded much, much sonoristic Thanks Jurek!
@@MarekPasieczny You know what, Marek, maybe something disgustingly traditional now, e.g. some traditional suite: Allemande-Courante-Sarabande-Gigue cycle for lute, or lute with guitar, hm? Who but you will extract the fresh essence from these old forms? ;)
@@jerzyzak7328 maybe...maybe....and I'm thinking (you'll laugh:)))) of writing some crazy, spatial piece for solo lute based on.... the oldest known melodies or scraps of notated music... I know, I know... that what is the oldest now may not be the oldest tomorrow, but I have such a desire.... to make the lute a somewhat contemporary instrument for the compositional material.... and not in the form of a suite... just a large monolithic piece... just a thought......
Dear Marek! For me, dissonance, atonality, as a structure for the whole piece, is unsatisfactory. It somehow seems too self-serving or professionally in-depth to me. But this stems from my own attitude, since, as you noted during our exchange of letters, I like harmonies and place the emphasis on them, I prefer them. I regard dissonance and atonality as tools to be used/to be used for resolution, confirmation, shaking up, and shaking the head. And I use them accordingly. In addition to all that, your Dodecaphonic is enjoyable even for a listener like me. The melancholy of the Prelude smooths out the roughness from the atonality. The Fugue, on the other hand, pays tribute to science, and within it to mathematics, with an extremely precise precision, due to which sincere homage excludes selfishness (as the melancholy in the Prelude makes this possible). And the quality of the performance is brilliant. Congratulations!!!!
Dear Laszlo, beautiful words. I never thought of the Prelude so poetically. You're right, this first part has a certain element of delicacy, melancholy and transience. Thank you for drawing attention to it. The very form of the fugue is - you are right - a tribute to mathematics. And from the very beginning of her existence. Here, due to the technique of dodecaphony, this trubut was even more magnified. Mateusz is great. I plan to record some of my more complicated duets with him more than once. I greet you very warmly!
I don’t tend to listen to a lot of serialism. My process with unfamiliar music is always to play on repeat many times while listening only subliminally, then give it proper attention when it has percolated through. I listen particularly for the composer’s choices because the music is never as random as you first think. Although freed from structure, tonal conventions and traditional melody, the composer still dictates the palette, tempo, feel and direction. Here, there is a keen intelligence at work directing the texture and mood of the piece. There is also a lovely contrast between the material and the performance. Dodecaphony can sound soulless and cerebral; but two wonderful guitarists playing these lovely instruments just can’t - the guitar is an intensely personal, emotional instrument and the performances add an intriguing layer of meaning and emotion. Interesting because I have never really thought it possible to achieve such good results with serialism on a guitar - Marek’s solution of multiple instruments makes it work really naturally.
Lovely commentary and great observation, Andrew. Thanks! You're right, the composer (it's his task, even duty) has the task of consciously and according to his knowledge and experience - choose what's best for a given composition. This 'chain of cause' and effect decisions is extremely important. The more experience (and knowledge), the better the result.
Paradoxically, when writing so-called tonal music, the composer has much more freedom. In this case, when the framework of the language of dodecaphony is imposed in advance, the composer's task is only to perform them in the best possible way according to rules. It's pure mathematics, and the selection of the series of these 12 sounds is somewhat accidental. Therefore, from the very beginning, I knew that I had to have a very clear (especially for the listener) form that is friendly to the ear. The form of a fugue is with us since 16th century, therfore decided to use that form.
Thank you very much for such a constructive comment. You're the best! I greet you very warmly!
As always mesmerizing, intriguing and stepping on clouds
Music is an extraordinary universe
That is deep. Not only and mainly in the sense of music but thinking about musicianship and duet construction. Everything rigorously turned into respectfulness of material and feeling of untouchables. And performing…that is a masterpiece of a duet. My favorite for now.
Thanks Tomek!!!! You're fast! It's a cold, calculated, mathematical structure, a compositional exercise that I wanted to 'humanize' at all costs. You: as a professor of physics and mathematics, but also a budding composer seems to appreciate it. Thanks a lot! dzieki Tomek!
To me this is the musical equivelant of a Jackson Pollock painting. So much to hear and listen to at so many levels. . Marek and Mateusz best of classs all the way.
John! Wow...I've never thought about this dodecaphonic language in this way! Exactly! Like Pollock: abstract with no sense up close, however in distance starting to get some form / some sense.... THANK YOU! Good ear!
The experience of collaborating with you, Marek, was something incredibly special. The rehearsals and recording sessions - communicating almost without words - it was a stream of interpretational ideas exchange. Working on this composition was a truly inspiring journey.
Thank you for that!
Mateusz, thanks for the beautiful words. I think (and even know) that this is only the beginning of a very interesting and fruitful cooperation. You're right: our pre-live/pre-recording sessions were extremely fruitful musically. This really rarely happens to me (especially with guitarists). Thank you for that! More to come!
These two pieces display an unique approach to creative ambiguity in that the strict form of Prelude and Fugue matched to the discipline of dodecaphony leads the listener to expect a particular known experience. And yet! Marek has, through imagination, expression and tonal variety, found a way to directly stimulate pleasure in the listener, through anticipation being pleasantly surprised throughout. He has found a way of almost mainlining delight to the listener, and expectation is exceeded through his talent. The production and quality of performance set the benchmark of quality which is rarely if ever exceeded by any other performers on the guitar. Wir fühlen Luft von anderen Planeten/Guitarren.
Or in fewer long words, Wow!
Richard, thank you very much! From me but on Mateusz's behalf. Nice and informative commentary. Beautiful. I think that in this case (it was not a commission but my personal desire) during covid19 I had (like all of us) a little more time... and I wanted to prove (mainly to myself) that I can write in such a 'strict and closed system', something 'human' and what (despite some people's musical taste ) ok to listen. I'm glad you can enjoy that piece. Thanks again for the kind words, Richard!!!
I remember Bream always had a 'modern' composition in his live-performances in the Concertgebouw-kleine zaal in Amsterdam and I was always concentrated then, because it was new... nowadays I'm glad that modern music is common and you can lean back and take it up in you like the outstanding compositions and performances from Marek and Mateusz; thank you, for all this beauty 🤲 🙏 ❤ ❤
A beautiful allegory to Julian Bream. Yes, he was a great ambassador of the guitar, and thus the new (sometimes difficult for the listener) repertoire. Always, however, the repertoire of the highest quality. I envy you that you heard Bream live! Unfortunately, I didn't have that honour. Thank you so much, Joep for the kind words! I appreciate it very much, as always!
@@MarekPasieczny This is very cool, thanks! hello from mordor, dziękuję!
@@psychosculptor bardzo się cieszę! Dzięki!
@@MarekPasieczny standard tuning? Sorry i'm not a guitarist
@@psychosculptor yes, it's standard tuning in this one.
It's great you gave us more music for duet! A great work as interesting as the others. Thank you so much! I really hope to play it soon! All the best, Maestro!
hey Gerardo, really appreciate you stopping by and listening! Oh yes, there is solo version of that piece - you can play it solo or in duo. Thanks so much!
Congratulations, Marek and Mateusz, flawless execution. And very good Marek brilliant composition.
big thank you Alberto for stopping by and listening. Are you keen for dodecaphonic piece on lute? Do you know any pieces originally written for baroque lute in dodecaphonic language?
@@MarekPasieczny Hello, I don't know any lute piece in the dodecaphonic language. And I must admit that I am not fond of this genre, but your composition is very interesting and I will definitely listen to it again and again.
@@AlbertoCrugnola fair enough! It's not my personally favourite language either. I was just curious if anything dodecaphonic exist for historic instruments. I'm sure we both can find some good and thrilling compromise while collaborating. I already have one idea...
After listening to Marek's dodecaphonic compositions, the question arises - who is its creator: Pasieczny or maybe two outstanding players? Without perfect performance, such music makes little sense. It is also difficult to look for traditional building emotions resulting from classical harmony or counterpoint in it. Instead, there are simple strings of numbers and their equally simple transformations that replace the traditional form. The terms "Prelude" and "Fugue" are purely conventional and refer only vaguely to the musical tradition.
Yes, over 100 years ago Berg, Schönberg and Webern tried to take away from us the musical pleasures of predictable cadences, modulations, vertical and horizontal relations of sounds to each other, but they failed. Live performance (recorded here) won over formal analysis on paper. Mathematical calculation loses to human talent and intuition. So who is the composer? Maestro Pasieczny, who wrote it down, or two eminent performers virtuosically using 12 notes of the musical scale, as if improvising their course?
Beautiful. Jurek, I should ask you to write program notes for sheet music editions. And I think we'll start doing that!
I agree wholeheartedly - it was my original experiment based on a dodecaphonic language. Soon (hopefully) , will share with everyone the version (paradoxically recorded much, much sonoristic
Thanks Jurek!
@@MarekPasieczny You know what, Marek, maybe something disgustingly traditional now, e.g. some traditional suite: Allemande-Courante-Sarabande-Gigue cycle for lute, or lute with guitar, hm? Who but you will extract the fresh essence from these old forms? ;)
@@jerzyzak7328 maybe...maybe....and I'm thinking (you'll laugh:)))) of writing some crazy, spatial piece for solo lute based on.... the oldest known melodies or scraps of notated music... I know, I know... that what is the oldest now may not be the oldest tomorrow, but I have such a desire.... to make the lute a somewhat contemporary instrument for the compositional material.... and not in the form of a suite... just a large monolithic piece... just a thought......
@@MarekPasieczny ...and your thoughts, once expressed, have a strange tendency to materialize ;) I freeze in anticipation!
@@jerzyzak7328 very optimistic 😋 well... I'll certainly doubles check with you Jurek any of the 'documented oldest melodies' before writing 🤔🙏
Fantastic stuff. Love this. Good tone. Nice piece.
I'm glad you like it despite not so easy language as dodecaphony is. Thank you!
A fascinating and masterfully-composed piece. Bravo!
Thanks very much, Greg. Nice to see feedback from the fellow composer!
solo version by brilliant Vojin Kocic ruclips.net/video/c527IDM1gOA/видео.html
amazing
Thanks very much, Luis!
Amazing sound and beautiful composition 🎶 🎵
Thanks very much, Kristian! Glad you like it. Greetings!
Amazing composition, interpretation and recording.
thanks very much Claudio!
Heh jakie to odjechane. Uwielbiam obu geniuszy. 🙂
Czysta matematyka :) eksperyment w czasie pandemii covid19. Dziękuję za obejrzenie!
Dear Marek!
For me, dissonance, atonality, as a structure for the whole piece, is unsatisfactory. It somehow seems too self-serving or professionally in-depth to me.
But this stems from my own attitude, since, as you noted during our exchange of letters, I like harmonies and place the emphasis on them, I prefer them.
I regard dissonance and atonality as tools to be used/to be used for resolution, confirmation, shaking up, and shaking the head. And I use them accordingly.
In addition to all that, your Dodecaphonic is enjoyable even for a listener like me.
The melancholy of the Prelude smooths out the roughness from the atonality. The Fugue, on the other hand, pays tribute to science, and within it to mathematics, with an extremely precise precision, due to which sincere homage excludes selfishness (as the melancholy in the Prelude makes this possible).
And the quality of the performance is brilliant.
Congratulations!!!!
Dear Laszlo, beautiful words. I never thought of the Prelude so poetically. You're right, this first part has a certain element of delicacy, melancholy and transience. Thank you for drawing attention to it.
The very form of the fugue is - you are right - a tribute to mathematics. And from the very beginning of her existence. Here, due to the technique of dodecaphony, this trubut was even more magnified.
Mateusz is great. I plan to record some of my more complicated duets with him more than once. I greet you very warmly!
❤
@@MarekPasieczny
standard tuning?