Electroacoustic composition, in which I work with the sounds of the river Ondřejnice and the bells of the church Saint George.

Brušperk

The composition was composed at the Janáček Conservatory in Ostrava in 2017, under the leadership of my teacher MgA. Michal Janošík. The work was premiered and recorded by:
bassoon - Terezie Šrámková
french horn - Kamila Zajacová
piano - Eva Sýkorová
If you are interested in sheet music or would like to play a piece, do not hesitate to write to me at pavelnesit.skladatel@gmail.com. I wish you a pleasant listening.

Trio for bassoon, french horn and piano - I. movement

Trio for bassoon, french horn and piano - II. movement

Biwa, a composition for guitar, is one of three studies for which I sought inspiration in Japanese traditional music (and instruments). 
My compositional material is based on melodic and rhythmic idioms that are commonly interpreted on Biwa. I also want to achieve the timelessness and meditative character that is so typical of Eastern music.

The recording was created at the "Evening of Ostrava composers" from a concert organized on 2th December 2020 by the festival Hudební současnost Ostrava!!!

Performer:
guitar - Marek Chmiel (CZ)

If you are interested in sheet music or would like to play a piece, do not hesitate to write to me at pavelnesit.skladatel@gmail.com. I wish you a pleasant listening.

BIWA

The solo clarinet, which expands the theme from different perspectives and builds on their diversity, plays a crucial role in my composition. The ensemble inspired by the clarinet then further develops the idea of the composition. The gradation of the work, which is an important compositional principle, is sometimes subdued to further emphasize the culmination of the piece.

Concert for Clarinet and Ensemble

In the piece I work with eleven chords of aitake, which are the traditional harmonic material of the oral organ of the Sho. I also use the te-utseri technique leading to a gradual transformation between two adjacent chords. In addition to the harmonic material, I have tried to imitate the typical colour of the Sho.  That is why I chose an accordion, which resembles a Japanese instrument with its "trembling" sound.

I wrote the composition L'Oceán for symphony orchestra as a tribute to the composition "La Mer" by Claude Debussy. 

The work was created in the course "Historical Studies" at the Faculty of Music and Dance of the Academy of Performing Arts in Prague (HAMU) under the guidance of Dr. Jan Dušek, whom I would like to thank very much.

L'oceán

"I wrote the song to a text by the writer and poet Vojtěch Martínek, who, like me, came from the picturesque town of Brušperk. I originally wrote the piece for soprano, viola, marimba and timpani, but unfortunately the performance never happened, either because of the unconventional scoring (it was impossible to "put" the musicians together) or because of the Covid 19 pandemic. Therefore, when the opportunity arose to perform the piece with the condition that I "remake" it for other instruments, I didn't hesitate for a second. So now you can hear "Verses" in a new guise - soprano, oboe, violin and piano. It also warms my heart that the song was performed by top performers and in the new hall of the Faculty of Arts of the University of Ostrava. What more could I ask for as a Lachia's author?"

The song was performed on 5 June at the concert of the Festival „Hudební současnost.”
Soprano: Klára Hlušková
Oboe: Marlen Vavříková
Violin: Petr Maceček
Piano: Eliška Novotná

Verse

Music for a puppet tale from old Vietnam.
The performance was created by students of the Department of Alternative and Puppet Theatre of DAMU in cooperation with students of HAMU.

Music by Pavel Nesit
Musical performance by Eliška Hejhalová, Tim Kadlec, Barbora Rothová, Jakub Hřebíček, Zlata Vohryzková, Pavel Nesit

Bao! Bao! 1/2

Bao! Bao! 2/2

The author's composition is loosely inspired by electronic dance music. Ever since he was young, he has loved listening to drum and bass or dubstep and has always imagined what it would be like to write a similar composition for a large symphony orchestra. Last year, after completing a bachelor's thesis on Japanese music, he gave free rein to his artistic impulses and the idea of working with elements of electronic dance music emerged.

Pavel Nesit  – Dreams Comes True

The orchestral composition Behind the Glass is inspired by several concepts that can be traced in Japanese traditional music. These include the static and monotonous nature of the music and the gradual development, which does not, however, lead to a climax or end. Furthermore, I work with silence in the piece, which I wanted to try to emulate the quiet nature of Japanese traditional music. Last but not least, I was inspired by the concept of yo-ha-kyū. The structural principle of this phenomenon is contained in the very division of the word into three parts. Jo is the beginning, ha can mean breaking or introducing, and kyū is the part that leads to the end or denouement. However, as I stated above, my piece is without a climax and is conceived as an open-ended gradation process.

Pavel Nesit – Behind the Glass

Dopamine. A word often bandied about by today's younger generation. I was intrigued when I heard in the gym, "Yeah, it's our grandmothers, they had dopamine all over the place." Who knows if our ancestors actually had levels of this substance "elsewhere" or if this is just an exaggerated fascination with our brains and psyches. But what is it? Dopamine is a neurotransmitter that affects our motivation, sense of reward and happiness.
In the piece I tried to capture this complex cocktail of emotions and its effect on modern man. The music gradually evolves - from subtle motifs symbolizing the primal impulses of joy and desire, to dramatic twists and turns that reflect the alternation of dependence and restlessness that dopamine sometimes brings.
The piece includes a quotation from my earlier work Serotonin, which deals with feelings of depression. The music of Dopamine enters into this quote as a light reaching into the darkness, bringing feelings of excitement, motivation and perhaps even joy. But it begs the question: can dopamine really trump deeper feelings of doom? Or is it just a temporary band-aid we apply to the hidden problems of the modern workaholic, seeking ever new instant gratification? Is it a legal drug?

Pavel Nesit – Dopamin

I was born in January 1997 in an Ostrava maternity hospital, but my home is the lachia's town Brušperk, 8 km away from Janáček's birthplace. There I graduated the Elementary Art School and at the same time studied composition in Ostrava with Mrs. Olga Šmídová. In 2017, I graduated the "Janáček Conservatory and Grammar School in Ostrava", where my supervisor was Mr. Milan Báchorek for the first year, then until the graduation MgA. Michal Janošík. At that time were composed a number of my chamber, solo and vocal compositions, with which I regularly participated in all conservatory events during my studies. Now I am studying composition for 3 years at the Prague Academy of Music in the class of doc. MgA. Slavomír Hořínka, Ph.D. In my current work, I prefer to work with limited compositional material - especially tonal, and I focus on the instrumentation of selected instruments.

Pavel Nesit

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