Page 297 - Vinkler, Jonatan, in Jernej Weiss. ur. 2014. Musica et Artes: ob osemdesetletnici Primoža Kureta. Koper: Založba Univerze na Primorskem.
P. 297
ms of musical architecture in polish contemporary music
the sound experience, esthetics of sharpness and energetically aggressive sounds –
all of that sonorism could be treated as thesis. Experience of sacral music for the
mixed choir a cappella, esthetics of replete sound, the sound fullness, changing the
sharpness into the softness – is the antithesis. And the great synthesis of sharpness
and saturation of sound, whisper and cry, strain of sound and euphonic fullness –
in the works […] Pax in terra II, Hosanna, De profundis.
Marcin Łukaszewski24 says about the architectonic aspects of musical
construction and the articulation of musical time which multiply expression.
He comments the huge contrasts in this work which is hang on the extreme
measures of dynamics. He also pays attention to the out of musical sphere un-
derlining the subject of the composition which refers to the problems of hu-
man existence, music of the spheres and universal sacrum.
Therefore we have in this composition the maximal space, completely
saturated with sound, organized by the surface of the orchestra and choir. The
maximal space is combined with the aión category of time which means dura-
tion. This kind of structure is treated by the composer as a basis and the star-
ting point for the next parts of a composition. We experience in this work an
interesting lack of narration despite the real sequence of events. From time to
time the change of space and time structure happens but there are no drama-
tic changes in the time and space organization. As duration here lays deeply
in dynamics and colour we can distinguish here the additional elements of ar-
chitectonical composition such as different kinds of sounds, colours, voices,
dynamics and significances related to them.
Defining the role of compositional lines in the movement we can re-
fer to the forms of movement that appear in the composition. They are as
follows:
• growing and overflowing of the sound of strings, from one note to
the all space of register which is closed by the cry of the choir on
words: De profundis, it is interesting how perfectly the composer
shows the human despair calling his God from the depth to the
height, from silence to fullness of the cry,
• movement in steps, in seconds intervals, parallel to the voices in all
the mass of the sound (part elegiaco),
• speeding-up by the diminution of rhythm in parts of percussion.
24 Marcin Łukaszewski, commentary to the disc Marian Borkowski, Symphonic and Sacred Music,
Acte Préalable AP 0038 (Warszawa, 1998).
295
the sound experience, esthetics of sharpness and energetically aggressive sounds –
all of that sonorism could be treated as thesis. Experience of sacral music for the
mixed choir a cappella, esthetics of replete sound, the sound fullness, changing the
sharpness into the softness – is the antithesis. And the great synthesis of sharpness
and saturation of sound, whisper and cry, strain of sound and euphonic fullness –
in the works […] Pax in terra II, Hosanna, De profundis.
Marcin Łukaszewski24 says about the architectonic aspects of musical
construction and the articulation of musical time which multiply expression.
He comments the huge contrasts in this work which is hang on the extreme
measures of dynamics. He also pays attention to the out of musical sphere un-
derlining the subject of the composition which refers to the problems of hu-
man existence, music of the spheres and universal sacrum.
Therefore we have in this composition the maximal space, completely
saturated with sound, organized by the surface of the orchestra and choir. The
maximal space is combined with the aión category of time which means dura-
tion. This kind of structure is treated by the composer as a basis and the star-
ting point for the next parts of a composition. We experience in this work an
interesting lack of narration despite the real sequence of events. From time to
time the change of space and time structure happens but there are no drama-
tic changes in the time and space organization. As duration here lays deeply
in dynamics and colour we can distinguish here the additional elements of ar-
chitectonical composition such as different kinds of sounds, colours, voices,
dynamics and significances related to them.
Defining the role of compositional lines in the movement we can re-
fer to the forms of movement that appear in the composition. They are as
follows:
• growing and overflowing of the sound of strings, from one note to
the all space of register which is closed by the cry of the choir on
words: De profundis, it is interesting how perfectly the composer
shows the human despair calling his God from the depth to the
height, from silence to fullness of the cry,
• movement in steps, in seconds intervals, parallel to the voices in all
the mass of the sound (part elegiaco),
• speeding-up by the diminution of rhythm in parts of percussion.
24 Marcin Łukaszewski, commentary to the disc Marian Borkowski, Symphonic and Sacred Music,
Acte Préalable AP 0038 (Warszawa, 1998).
295
