Page 296 - Vinkler, Jonatan, in Jernej Weiss. ur. 2014. Musica et Artes: ob osemdesetletnici Primoža Kureta. Koper: Založba Univerze na Primorskem.
P. 296
musica et artes
tutti sounds and accented by piano and celesta timbre combination together
with bells, wood winds, violins divided into 3 parts and the violin solo.
Compositional Lines – Marian Borkowski De profundis
Now I am going to present a musical composition in the analytical perspec-
tive outlined with reference to the architectural compostitional lines. I decid-
ed to submit the test of De profundis – a composition by Marian Borkowski –
one of the most famous Polish modern composers and professors of Fryderyk
Chopin University of Music in Warsaw, born in 1933.
Let’s ask at the beginning what kind of compositional lines are estab-
lished in this composition. This is the first decision concerning organisation
of the musical work. Let’s try to discover this intention.
The title: De profundis for the mixed choir and orchestra. The text, in-
struments and voices used in a composition are very important for its signif-
icance. We can observe that the space is designed in a wide range of its mu-
sical and significant spectrum and these are the basic elementary lines of the
composition.
De profundis clamavi ad Te, Domine… incipit of Psalm 130 (129) is used
as the text of a composition (From the depth I call to you my Lord). In order
to give dynamics and expression hidden in this text the composer engages a
full set of performers: a mixed choir and orchestra – the bigger musical set in
modern history of music, which can assign the widest space of sound in all of
its dimensions (dynamics, colours, harmony, registers, combination of voices
and tints). One can say that this is a multiplication of lines and mix of diffe-
rent musical and symbolic lines in one composition. How is this wide space
organized by using the compositional lines here? To give the light on this pro-
blem I would like to refer to remarks we find in commentaries to the works
of Marian Borkowski.
Bohdan Pociej, fascinated with music of Borkowski23, says that his mu-
sical language is ‘maximal’ in space but in time is condensed and concise like
Webern’s music. Than we would have here the commentary about the combi-
nation of lines in order to get the space as wide as possible and intensification
of lines in the same time to get the space as much condense as possible. Poci-
ej compares the creative evolution of the composer to the Hegel’s triad which
can be describe as three main compositional lines:
23 Bohdan Pociej, commentary to the disc Marian Borkowski, Symphonic and Sacred Music, Acte
Préalable AP 0038 (Warszawa, 1998).
294
tutti sounds and accented by piano and celesta timbre combination together
with bells, wood winds, violins divided into 3 parts and the violin solo.
Compositional Lines – Marian Borkowski De profundis
Now I am going to present a musical composition in the analytical perspec-
tive outlined with reference to the architectural compostitional lines. I decid-
ed to submit the test of De profundis – a composition by Marian Borkowski –
one of the most famous Polish modern composers and professors of Fryderyk
Chopin University of Music in Warsaw, born in 1933.
Let’s ask at the beginning what kind of compositional lines are estab-
lished in this composition. This is the first decision concerning organisation
of the musical work. Let’s try to discover this intention.
The title: De profundis for the mixed choir and orchestra. The text, in-
struments and voices used in a composition are very important for its signif-
icance. We can observe that the space is designed in a wide range of its mu-
sical and significant spectrum and these are the basic elementary lines of the
composition.
De profundis clamavi ad Te, Domine… incipit of Psalm 130 (129) is used
as the text of a composition (From the depth I call to you my Lord). In order
to give dynamics and expression hidden in this text the composer engages a
full set of performers: a mixed choir and orchestra – the bigger musical set in
modern history of music, which can assign the widest space of sound in all of
its dimensions (dynamics, colours, harmony, registers, combination of voices
and tints). One can say that this is a multiplication of lines and mix of diffe-
rent musical and symbolic lines in one composition. How is this wide space
organized by using the compositional lines here? To give the light on this pro-
blem I would like to refer to remarks we find in commentaries to the works
of Marian Borkowski.
Bohdan Pociej, fascinated with music of Borkowski23, says that his mu-
sical language is ‘maximal’ in space but in time is condensed and concise like
Webern’s music. Than we would have here the commentary about the combi-
nation of lines in order to get the space as wide as possible and intensification
of lines in the same time to get the space as much condense as possible. Poci-
ej compares the creative evolution of the composer to the Hegel’s triad which
can be describe as three main compositional lines:
23 Bohdan Pociej, commentary to the disc Marian Borkowski, Symphonic and Sacred Music, Acte
Préalable AP 0038 (Warszawa, 1998).
294
