Spirals, for string quartet, takes its inspiration from two forms: the Fibonacci number sequence (from which a perfect spiral is created), and from the concept of frequency modulation used in computer music. The overall structure of the piece is based on Fibonacci numbers, where the first two numbers are 0 and 1, and each subsequent number is derived from the sum of the two numbers preceding it (ie. 0,1,1,2,3,5,8,13 etc.). The form of Spirals uses the numbers 13, 8 and 5 to form the 3-part structure and duration of the composition, which is played as one movement. However, these units do not serve to measure the music out in an exact rhythmic fashion, but rather mark the unfolding of the music in time sequences. Each unit represents roughly 23 seconds of music. The music is notated in a free style of writing without barlines, so the 26 total time units are referential and needn't be strictly adhered to. Each of the three units are also broken down into smaller, related units based on the same sequence; 13 (8+5), 8 (5+3), and 5 (3+2).

The pitch material of the piece comes from frequency modulation, an often used concept in computer music where various, sometimes inharmonic frequencies are created by multiplying a principal frequency (carrier signal) with a modulating frequency. All of the carrier and modulating frequencies derived from the open strings of the violin, viola, and cello, which are combined with natural harmonics and glissandi from the open strings. Different sets of frequency modulation comprise each of the three large sections of the composition, with a brief return of the opening harmonic and melodic material to conclude the piece.

Spirals was commissioned by the Polish Composers' Union.

Spirals for string quartet

Everything is Dangerous, for electric guitar and electronics, is a composition in 2 contrasting movements, played without pause. The first movement is slow and contemplative, with metal objects attached to the strings to create a naturally unique sound of the instrument. The electronics in this part are a series of different digital delays where each sound is repeated, overlapping at different points at asynchronous speeds.

The second movement is a recitative-like dialogue/monologue between the guitar and recorded loops of previously played fragments. Here, the recorded material is transformed in its pitch and the speed in which it is played in order to create an unstable foundation, such as the ground moving beneath one's feet. The movement is is divided into 3 smaller parts, each of which reaches a climax. The first and third parts build into frenzied waves of distorted textures using a guitar slide, while the middle part is again calm (reminiscent of the first movement).

The electronics part of the piece was realized in Max/MSP. The composition was written for guitarist Wojciech Błażejczyk for the occasion of the 2014 Musica Polonica Nova festival.

Everything Is Dangerous

Construction No. 1 was written in 2012 for the Polish ensemble Małe Instrumenty (Small Instruments). The score is graphically notated, which gives great freedom to the performers with regard to instrumentation and performance execution. This was done intentionally in order to take advantage of the plethora of unique instruments employed by Małe Instrumenty, and to allow the performers to become active participants in the creative and compositional process.

Construction No. 1

The title (Re)Constructing a Misfit comes from a chapter of the PhD dissertation "Preschools Play with Power" by Katarzyna Gawlicz, which details a problematic preschooler established and labeled by teachers as a misfit. In the dissertation, a series of examples involving the child in question constructed him into the mold of an improper preschooler. Although my composition is in no way programatic, I found the idea of (re)construction in her chapter fascinating, and decided to base the work on the concept of constructing a musical theme or idea, and then using means of repetition and variation to develop those ideas. 

(Re)Constructing a Misfit is composed as three independent parts, played together as one movement. The musical material in each section is presented as a series of repeated ideas, not unlike groups of waves coming onto a beach. Each time the musical idea returns it has been altered or reconstructed, so that a feeling of both familiarity and evolution is established. The musicians are also given great freedom as to what they are playing. For example, although specific notes are often specified, the rhythm or dynamic are rarely given to the performers. The score essentially serves as a stimulus for improvisation: although it shows the performers that specific events need to happen at the same time, it also allows the performers to take liberties with the score once the piece is learned. As a result, the composition can vary greatly depending on the personality and individual style of the players. 


Paul Preusser

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