Nu (2019) for alto saxophone and live electronics
performer: Mateusz Wrzosek

Nu (2019) for alto saxophone and live electronics

Performed by SWR Sinphonieorchester conducted by Pablo Rus Broseta
Piano: Christoph Grund - Percussion: Jochen Schorer
Recorded live at ECLAT Festival in Stuttgart on February 6th, 2021

Don Quixote Concerto (2021) for a pianist, his assistant and a chamber orchestra

muz. Dominik Puk 

I. Kyrie [0'0"], II. Sanctus [03'42"] (2019)
Polski Chór Kameralny Schola Cantorum Gedanensis
Jan Łukaszewski - conductor
Michael Utz - choir organ
St. Nicolaus, Breuweiler (Pulheim n. Kologne), 02.09.2021
source of recording: Deutschlandfunk [https://www.deutschlandfunk.de/wettbewerb-musica-sacra-nova-dlf-f3e4a825-100.html]

III. Agnus Dei [7'29"] (2020/21)
Sequenza 9.3
Catherine Simonpietri - conductor
Louis Juillien - orgue de choeur (Cavaillé-Coll)
Saint-Sulpice, Paris, 21.11.2021
source of recording: AROSS Association pour le rayonnement des orgues Aristide Cavaillé-Coll de l’église Saint-Sulpice (Paris) [https://youtu.be/YA4dGv2h900]

Messe Brève « Tantum Ergo Sacramentum » (2019-21) for choir and choir organ

Performed by Ensemble intercontemporain, conducted by Matthias Pintscher
Recorded live at Cité de la Musique, Paris on March 30th 2017

Vayehi erev vayehi boker(2017) for ensemble

Chamber Music IV
[live performance recording, Poznań 4 IV 2022]

Philip Haworth - oboe
Sarah Saviet - violin
Stephen Upshaw - viola
[www.riotensemble.com]

Michał Janocha - live electronics

Score:
https://www.babelscores.com/catalogs/instruments-electronics/7505-chamber-music-iv7505

Chamber Music IV (Riot Ensemble)

Live performance: https://www.youtube.com/watch?v=AIqceT2D_G8
Score video: Coming soon!

Performed by EXAUDI, conducted by James Weeks:
http://www.exaudi.org.uk/about-us/
https://jamesweeks.org/biography/

Bandcamp

'Libera Me' for six voices (2022)

Direction : Laure Deval
Musiciens : Orchestre de la francophonie
Prise de son : Dominic Jasmin

Salle Pierre-Mercure
Enregistré le 24 juillet 2023

Le soleil de Gabaon (2020/23)

Metaphysical Graffiti (2016, for amplified prepared accordion)

Commission: Ryszard Lubieniecki

Performed on 13 June 2017, Wroclaw, Poland
Recording: Piotr Bednarczyk
Photo: Kazimierz Ździebło

Metaphysical Graffiti [Ryszard Lubieniecki - accordion]

for video: https://youtu.be/NT9x41qxYGE

From among the notes of the old score found in the attic, a swarm of insects bursts. In the middle of the night, crickets, moths and mosquitoes, somebody whistles with a blade of grass and Mendelssohn's ouverture is still in the air. But if the grass turns out to be just a wooden reed, and insects - nothing but the instruments made of timber? Can [soundscape] music really imitate a nature and how closely can the nature skulk just to encounter music? Somebody said, they meet secretly somewhere in the night. Midsummer night ['s dream?].

Midspaces for clarinet, violin, cello and piano (2016)
premiere performance, 27.08.2017, Reichenau an der Rax, Austria, isa2016 Festival
Agnese Skrastiņa – cl., Bogi György – vln., Renate Apperloo – vc., Andrea Vavrušová – pf.

Midspaces(2016)

Anekumena Concerto for 89 Instruments (1974)

Saxophone : Antonin Bourgault

Le canon, outre son acception usuelle de  «forme polyphonique procédant par imitation stricte», comporte une épaisseur sémantique que l’on pourrait assimiler aux principes d’ordre ou de règle. La forme canonique, ainsi définie, s’inscrit dans une tradition musicale ayant recours à une suite de règles opératoires pouvant être systématisées. Du moyen-âge au 21ème siècle, les compositeurs de cette tradition ont eu foi, bien plus, au confinement à un ensemble de règles apte à représenter un idéal que, de manière inverse, à l’acte spontané d’un «Je central».

Messe Brève « Tantum Ergo Sacramentum » (2019-21) for choir and choir organ

Dominik Puk

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