13,5" for Monika, electroacoustic sound layer (2014)

recorded / produced by the composer in the SME Electroacoustic Music Studio of The Academy of Music in Kraków

13,5" dla Moniki (2014)

/PLEASE PLAY THIS RECORD LOUD/

« szkice ambiwalencji » for two amplified & significantly retuned violins (April 2013)
/dedicated to Agata Front/

1st violin: NATALIA DOLIŃSKA
2nd violin: SZYMON S. STRZELEC

recorded during the very first performance, June 11th, 2013
"Florianka" Concert Hall of Music Academy in Kraków

video: https://www.youtube.com/watch?v=0yL2oajbxEk

sketches of ambivalence (2013)

/PLEASE PLAY THIS RECORD LOUD | HEADPHONES RECOMMENDED/
« verbigerations »  (may, 2013)

produced in Studio of Electroacoustic Music of Academy of Music in Kraków, May/June 2013

***
był marzec ale gdzieniegdzie jeszcze leżał śnieg widoczność nie przekraczała dziesięciu minut to wszystko brzmi jak jakiś wielki dramat a znamy się dopiero tydzień ale ja rozumiem jeżeli jesteś już zmęczony wrażliwość skutecznie zabija empatię czerwień spływała w dół schodów kaskadą rześkich strumieni a teraz wstajesz zaciskasz zęby i ładujesz dupę na scenę i nic się nie zmieni i nic się nie zmieni i sens w gruncie rzeczy nie ma tak wielkiego znaczenia

verbigerations (2013)

« ...qui d'une main distraite et légère caresse... »  pour violoncelle et 27 musiciens (november, 2013)
/to Karolina Humaj/

JULIA KOTARBA cello
BŁAŻEJ WINCENTY KOZŁOWSKI conductor 
LUTOSŁAWSKI ORCHESTRA MODERNA

flutes: Joanna Tabaczek, Agnieszka Nowak
oboe: Witold Wróbel
clarinets: Darek Rogowski (bass clarinet solos), Tomasz Sowa, Karol Sikora 
bassoon: Karolina Mętrak
trumpet: Szymon Gaudyn
horn: Paula Lis
trombone: Justyna Chmielek
percussion: Jakub Frączek, Szymon Mazurek, Stefan Raczkowski, Adam Wygoda
celesta: Michał Roemer 
piano: Martyna Zakrzewska
harp: Honorata Górnisiewicz
violins: Agnieszka Bugla, Agata Habera, Natalia Kotarba
violas: Lech Kula, Celina Baran, Gabriela Biel
cellos: Julia Kotarba (solo concertante), Adrianna Maria Kafel, Piotr Łyszczorz
double basses: Łukasz Mazanek, Łukasz Madej


recording of the very first performance in the concert hall of Music Academy in Kraków on December 13th, 2013 during a special, inaugural concert of LUTOSŁAWSKI ORCHESTRA MODERNA founded and led by BŁAŻEJ WINCENTY KOZŁOWSKI


***
ce soir, la lune rêve avec plus de paresse;
ainsi qu'une beauté, sur de nombreux coussins,
qui d'une main distraite et légère caresse
avant de s'endormir le contour de ses seins,

sur le dos satiné des molles avalanches,
mourante, elle se livre aux longues pâmoisons,
et promène ses yeux sur les visions blanches
qui montent dans l'azur comme des floraisons.

quand parfois sur ce globe, en sa langueur oisive,
elle laisse filer une larme furtive,
un poète pieux, ennemi du sommeil,

dans le creux de sa main prend cette larme pâle,
aux reflets irisés comme un fragment d'opale,
et la met dans son cœur loin des yeux du soleil.

charles baudelaire, « tristesses de la lune »

...qui d'une main distraite et légère caresse... (2013)

« the birdinventing »  for 8 instruments (march–april, 2014)
...réveillez-vous, cœurs endormis...

PATRICK JÜDT - conductor
VERTIGO ENSEMBLE BERN

alto flute: ANJA CLIFT
bass clarinet: TERESA DOBLINGER
alto & tenor saxophones: SYLVAIN COQUOZ
prepared piano: DANIEL BRYLEWSKI
prepared violin: JONATHAN TANNER
viola: SOPHIE WAHLMÜLLER
cello: FERNANDO COSTA

live recording of the very first performance during NEXT GENERATION programme of Donaueschinger Musiktage 2014 
Konzertsaal der Hochschule für Musik Trossingen, October 16th, 2014

wymyślanie ptaków (2014)

« the hâsbeiya fountain »  for ensemble of 15 or 16 musicians in spatial disposition (october 2012 – january 2013)

BŁAŻEJ WINCENTY KOZŁOWSKI – conductor
LUTOSŁAWSKI ORCHESTRA MODERNA

flutes (grande): Renata Guzik, Agnieszka Nowak,
alto flute: Joanna Tabaczek-Socha,
bassoon / contrabassoon: Mateusz Janiak,
tenor / baritone saxophone: Krzysztof Guńka,
percussion: Jakub Frączek,
glass harps: Stefan Raczkowski, Adam Stępniowski, Adam Wygoda, Martyna Zakrzewska
violins: Katarzyna Jawor, Krzysztof Katana,
cellos: Julia Kotarba, Adam Woźniak,
double bass: Łukasz Mazanek

sound projection: Wojciech Błażejczyk

recorded live on September 26th, 2014 during 57th “Warsaw Autumn” International Festival of Contemporary Music at Witold Lutosławski Polish Radio Concert Studio in Warsaw by Wojciech Przybylski and Zbigniew Kusiak, Polish Radio.

the hâsbeiya fountain (2012)

« still life with a hair ribbon »  for prepared cello, prepared violin and piano (January–February, 2015)

piece commissioned by Ensemble Nostri Temporis for International Masterclasses for New Music COURSE 2015 in Kiyv

/special thanks go to Karolina Humaj for her invaluable counsel regarding cello preparations and notation/

MAXIM KOLOMIIETS - conductor
ENSEMBLE NOSTRI TEMPORIS

prepared violin: ANDRII PAVLOV
prepared cello: ZOLTAN ALMASHI
piano: ALEXEY SHMURAK


live recording of the very first performance at Goethe-Institut in Kiyv during COURSE 2015: International Masterclasses for New Music, March 14th 2015


***
w podcienia
zdrętwból
palce zakradam

ślady nieobecności

dotykam
dotykam

nic się nie dzieje

martwa natura ze wstążką we włosach
(2013)

martwa natura ze wstążką we włosach (2015)

/ 𝗣𝗟𝗘𝗔𝗦𝗘 𝗣𝗟𝗔𝗬 𝗧𝗛𝗜𝗦 𝗥𝗘𝗖𝗢𝗥𝗗 𝗟𝗢𝗨𝗗 | 𝗛𝗘𝗔𝗗𝗣𝗛𝗢𝗡𝗘𝗦 𝗥𝗘𝗖𝗢𝗠𝗠𝗘𝗡𝗗𝗘𝗗 /

« l'atelier de sensorité » for amplified, prepared cello and 24 musicians (May-June, 2015)

𝗣𝗜𝗘𝗖𝗘 𝗥𝗔𝗧𝗘𝗗 𝗦𝗘𝗖𝗢𝗡𝗗 𝗕𝗘𝗦𝗧 & 𝗥𝗘𝗖𝗢𝗠𝗠𝗘𝗡𝗗𝗘𝗗 𝗕𝗬 𝗧𝗛𝗘 𝗜𝗡𝗧𝗘𝗥𝗡𝗔𝗧𝗜𝗢𝗡𝗔𝗟 𝗥𝗢𝗦𝗧𝗥𝗨𝗠 𝗢𝗙 𝗖𝗢𝗠𝗣𝗢𝗦𝗘𝗥𝗦 𝗥𝗢𝗦𝗧𝗥𝗨𝗠+ 𝟮𝟬𝟭𝟳, 𝗣𝗔𝗟𝗘𝗥𝗠𝗢

commissioned by WARSAW AUTUMN INTERNATIONAL FESTIVAL OF CONTEMPORARY MUSIC

ALEKSANDRA LELEK – amplified, prepared cello
RÜDIGER BOHN – conductor

EUROPEAN WORKSHOP FOR CONTEMPORARY MUSIC

flute (grande): Małgorzata Mikulska
alto flute: Sarah Heemann
bass flute: Damian Barnett
bass clarinets: Emanuel Dantscher, Mateusz Kras
baritone saxophone: Krzysztof Guńka
bassoon / contrabassoon: Wiktor Krzak
trumpets: Mateusz Rusowicz, Antonio Villanueva
horns: Sarah Akif, Clemens Gottschling
trombones: Yoshiki Matsuura, Damián Stepaniuk
percussion: Stefan Raczkowski, Karolina Zielińska
prepared piano: Weronika Krówka
violins: Barbara Mglej, Paulina Woś
violas: Gabriela Biel, Maria da Rocha
cellos: Ania Kulak, Majella Münz
double basses: Paulina Derewiecka, Constantin Herzog

sound projection: Ewa Guziołek-Tubelewicz

Recorded live on September 24th, 2015 during 58th “Warsaw Autumn” International Festival of Contemporary Music at the Witold Lutosławski Polish Radio Concert Studio by Zbigniew Kusiak and Andrzej Lupa, Polish Radio.

l'atelier de sensorité (2015)

« ə kɒn.tɔːr əv θɔːt / æn ɑː.tɪsts sketʃ.bʊk » [a contour of thought / an artist's sketchbook] for amplified bass flute, amplified bass / contrabass clarinet and a visual artist drawing live (excerpt; total duration: ca 7')(April 2016)

piece taken from a cycle « nieuleczalni w tkaninie ciała » (incurable ones in the textile of flesh)

bass flute: EVELIN DEGEN
bass clarinet: JOACHIM STRIEPENS
(E-MEX Ensemble members)

recorded in July 2016
during SYNTHETIS: International Summer Course for Composers in Radziejowice, Poland

ə kɒn.tɔːr əv θɔːt / æn ɑː.tɪsts sketʃ.bʊk (2016)(EXCERPT)

/PLEASE PLAY THIS RECORD LOUD | HEADPHONES RECOMMENDED/

« an interstice in the textile of flesh »  (April 2017)
/dedicated to Anna Sztwiertnia on her 24th birthday/ 
https://annasztwiertnia.wordpress.com 

the piece is an interlude taken from a cycle « nieuleczalni w tkaninie ciała » (incurables in the textile of flesh)

violin, cello & electronics: SZYMON S. STRZELEC
recorded / produced in the SME Electroacoustic Music Studio of the Music Academy in Kraków, Poland

prześwit w tkaninie ciała (2017)

« ˈswiːt ˌspɒt » (an excerpt; total duration: ca 9')
for oboe & english horn, prepared bass clarinet, french horn and double bass
(May–June 2017)

piece taken from a cycle « nieuleczalni w tkaninie ciała » (incurables in the textile of flesh)

COMMISSIONED BY "WARSAW AUTUMN" INTERNATIONAL FESTIVAL OF CONTEMPORARY MUSIC and "ZAiKS" POLISH AUTHORS' SOCIETY

ENSEMBLE NOSTRI TEMPORIS

oboe, english horn: MAXIM KOLOMIIETS
prepared bass clarinet: ARTEM SHESTOVSKYI
french horn: SERGIY LOGINOV
double bass: NAZAR STETS

live recording of the very first performance at SPATiF Club of the Association of Polish Theatre & Film Artists, September 19th, 2017, Warszawa

60. IFCM WARSAW AUTUMN

***
ˈswiːt ˌspɒt is one of the episodes forming a « new materialist » cycle of works (with titles written using International Phonetic Alphabet) focused on corpor(e)al perception in a strictly sensual meaning. The piece deals with synaesthetic sound–touch correspondence, it explores the relations between the player, the object (instrument) through the physical essence of sound material. In this case, the study on form–as–a–process, form–as–a–situation, form–as–an–object and form–as–a–stimulus (proposed in « L'Atelier de sensorité » in 2015) objectifies in a much more intimate way. The piece is intended to be performed in a common area such as a pub or club. The listener is encouraged to scavenge the seemingly manimalistic, highly detailed timbral nuances entangled with the ambience of the room. It is a multimodal, synaesthetic exercise in mapping local sound plasticities, an observation of vibrations in bodies/objects in their very physical form.

ˈswiːt ˌspɒt (2017)(EXCERPT)

/ 𝗣𝗟𝗘𝗔𝗦𝗘 𝗣𝗟𝗔𝗬 𝗧𝗛𝗜𝗦 𝗥𝗘𝗖𝗢𝗥𝗗 𝗟𝗢𝗨𝗗 /

« Y » for soprano, bass saxophone, percussion, piano & electronics (October–November 2017)
/dedicated to Álvaro Negro/ www.alvaronegro.com

piece commissioned by ensemble VERTIXE SONORA for MÚSICA E ARTE · CORRESPONDENCIAS SONORAS 2017 programme with Álvaro Negro's exhibition «Y» in Santiago de Compostela, Spain

MARIBETH DIGGLE soprano 
VERTIXE SONORA ensemble

PABLO COELLO bass saxophone
DIEGO VENTOSO FERNÁNDEZ percussion
DAVID DURÁN piano

electronics: SZYMON S. STRZELEC
sound projection: ÁNGEL FARALDO

dress rehearsal & very first performance recording at Centro Galego de Arte Contemporánea in Santiago de Compostela, Spain as an event accompanying Álvaro Negro's exhibition "Y"; December 19th, 2017

***
A circle can be drawn, a line can only be in a state of being drawn. "Y" is a composer’s response to the work of Álvaro Negro and his exhibition, under the same title, presented at Centro Galego de Arte Contemporánea. A key to perceiving and understanding the space are its axes. «Y» is an abstract icon with a shape manifesting a bifurcated axis; it is also a word in spanish standing for conjunction [and]. This leads us into the space between spaces both metaphorically and literally. A place between locations, a territory between meanings. The composition was completed according to composer’s "no meaning but in resonance" rule; the piece is a bifurcated axis being drawn, a temporary local space being opened around the listener. It has two inseparable sections; the first one almost still and unpitched, allowing a more conscious perception of the place where the performance takes place. The second one is derived from walls of noise and short impulses gaining colour, evolving in two different directions simultaneously. Manipulating specific sound parameters and playing with miscellaneous reverberations set up a new axis, thus revealing a different space potentially hidden within the first one. This constitutes the relation between performance and its surroundings, the manifestation of «Y» embodied in a form of transition – or, as one can say in this case – ascension.

***
Okrąg można narysować, linia może jedynie pozostawać w stanie bycia rysowaną. "Y" to odpowiedź kompozytora na dzieło Álvaro Negro i jego wystawę pod tym samym tytułem, prezentowaną w Centro Galego de Arte Contemporánea. Kluczem do postrzegania i rozumienia przestrzeni są jej osie. «Y» to abstrakcyjna ikona o kształcie, w którem manifestuje się rozwidlona oś. jest to również słowo w języku hiszpańskim natomiast, "y" to słowo oznaczające koniunkcję ("i"). Prowadzi nas to w przestrzeń między przestrzeniami zarówno metaforycznie, jak i dosłownie. Miejsce między lokalizacjami, terytorium pomiędzy znaczeniami. Kompozycja została ukończona zgodnie z głównym pryncypium kompozytora, zasadą "nie ma znaczenia poza rezonansem"; utwór jest zatem rozwidloną osią stającą się w trakcie jej rysowania, tymczasową przestrzenią lokalną dla miejsca i czasu, otwieraną wokół słuchacza. Kompozycja składa się z dwóch nierozłącznych sekcji. Pierwsza niemal nieruchoma i prawie pozbawiona dźwięków o określonej wysokości umożliwia świadome zaznajomienie się z przestrzenią miejsca, w którym odbywa się wykonanie. Rozwijany jednocześnie w dwóch różnych kierunkach, materiał drugiej części wyprowadzony zostaje ze ścian szumu segmentu pierwszego oraz oparty o nowy element – fakturę krótkich impulsów, stopniowo nasycanych konkretnymi wysokościami. Manipulacja konkretnymi parametrami dźwięku i gra różnymi głębokościami pogłosu wyznacza nową oś. W ten sposób ukazana zostaje odmienna przestrzeń, która ukryta wewnątrz tej pierwszej. Proces ten konstytuuje wymiar relacji pomiędzy realizacją utworu a jej otoczeniem, jest przejawem symbolicznego «Y» zawartego w formie przejścia, które w tym przypadku można określić jako "wstąpienie".

Y (2017)

/ 𝗣𝗟𝗘𝗔𝗦𝗘 𝗣𝗟𝗔𝗬 𝗧𝗛𝗜𝗦 𝗥𝗘𝗖𝗢𝗥𝗗 𝗟𝗢𝗨𝗗 | 𝗛𝗘𝗔𝗗𝗣𝗛𝗢𝗡𝗘𝗦 𝗥𝗘𝗖𝗢𝗠𝗠𝗘𝗡𝗗𝗘𝗗 /

« of organic geometry & cancer ontology » for six amplified voices and electronics (March–April 2018) (revised version, excerpt from part III; total duration: ca 17')

a fragment of the REVISED VERSION OF THE PIECE ORIGINALLY COMMISSIONED BY CODES: 10th FESTIVAL OF TRADITIONAL & AVANTGARDE MUSIC in Lublin – for ProMODERN vocal sextet

recorded, mixed & produced by the composer

of organic geometry & cancer ontology (2018) (EXCERPT)

/ 𝗣𝗟𝗘𝗔𝗦𝗘 𝗣𝗟𝗔𝗬 𝗧𝗛𝗜𝗦 𝗥𝗘𝗖𝗢𝗥𝗗 𝗟𝗢𝗨𝗗 | 𝗛𝗘𝗔𝗗𝗣𝗛𝗢𝗡𝗘𝗦 𝗥𝗘𝗖𝗢𝗠𝗠𝗘𝗡𝗗𝗘𝗗 /

« Martwa natura ze wstążką we włosach » for piano trio (ver. 2016)

SORT HUL ENSEMBLE conducted by NADIM HUSNI
prepared violin: JAKUB WOSIK
prepared cello: KAROLINA HULBÓJ
piano: MIYAKO ARISHIMA

studio performance recorded and mixed by Gosia Szymańska & Igor Szymański at Katowice Culture Centre somewhen during the first, severely frigid days of 2016

revised version of a piece originally commissioned by Ensemble Nostri Temporis for International Masterclasses for New Music COURSE // composed in Kiyv, March 2015


***
w podcienia
zdrętwból
palce zakradam

ślady nieobecności

dotykam
dotykam

nic się nie dzieje

martwa natura ze wstążką we włosach

(2013)

still life with a ribbon in the hair (2015, rev. 2016)

/ 𝗣𝗟𝗘𝗔𝗦𝗘 𝗣𝗟𝗔𝗬 𝗧𝗛𝗜𝗦 𝗥𝗘𝗖𝗢𝗥𝗗 𝗥𝗘𝗔𝗟𝗟𝗬 𝗟𝗢𝗨𝗗, EVEN TO THE POINT OF OVERWHELMING INCONVENIENCE – ABRUPT VOLUME CHANGES ARE ESSENTIAL FOR THE STRUCTURE & DYNAMISM OF THE FORM AS A WHOLE | 𝗛𝗘𝗔𝗗𝗣𝗛𝗢𝗡𝗘𝗦 𝗦𝗧𝗥𝗢𝗡𝗚𝗟𝗬 𝗥𝗘𝗖𝗢𝗠𝗠𝗘𝗡𝗗𝗘𝗗 | 𝗕𝗜𝗡𝗔𝗨𝗥𝗔𝗟 𝗔𝗨𝗗𝗜𝗢 /

« a study in evanescence » for processed prepared tuba, 4 trombones, percussion, sampler & computer (May–July, 2018)

all instruments, objects, etc. modelled-recorded, sampled, mixed & rendered by the composer

***
this piece is a study of decay, release and fading out of a sound within a constantly changing, virtual space. evolving reverberation fighting against zero resonance. probing the fathomless. a gradual immersion. a collapse into absence. 

virtual, hybrid tuba modelled after the timbral (spectral) characteristics of three different types of the instrument prepared with baritone sax mouthpiece; cross-synthesized and filtered using carefully chosen envelopes of several contrabass clarinet multiphonics

a study in evanescence (2018)

/ 𝗣𝗟𝗘𝗔𝗦𝗘 𝗣𝗟𝗔𝗬 𝗧𝗛𝗜𝗦 𝗥𝗘𝗖𝗢𝗥𝗗 𝗥𝗘𝗔𝗟𝗟𝗬 𝗟𝗢𝗨𝗗, EVEN TO THE POINT OF OVERWHELMING INCONVENIENCE – ABRUPT VOLUME CHANGES ARE ESSENTIAL FOR THE STRUCTURE & DYNAMISM OF THE FORM AS A WHOLE | 𝗛𝗘𝗔𝗗𝗣𝗛𝗢𝗡𝗘𝗦 𝗦𝗧𝗥𝗢𝗡𝗚𝗟𝗬 𝗥𝗘𝗖𝗢𝗠𝗠𝗘𝗡𝗗𝗘𝗗 | 𝗕𝗜𝗡𝗔𝗨𝗥𝗔𝗟 𝗔𝗨𝗗𝗜𝗢 /

« erased lines cartography » (2018/2019)
piece composed for Festival Mikrotöne Basel 2019 in October 2018–May 2019

trombone – FRANCISCO OLMEDO
e-accordion – DAWID KONRAD RYDZ
harp – ALICE BELUGOU
violin – ZOÉ POURI
cello – MATTHIEU GUTBUB

electronics – SZYMON S. STRZELEC

part I recorded by Caspar Johannes Walter & Shervin Saremi during the world premiere on May 4th, 2019 in H95: Raum für Kultur in Basel, Switzerland (Festival Mikrotöne Basel 2019)

parts II & III recorded, sampled, resynthesized, mixed & rendered by the composer in May-September 2019

© Szymon Stanisław Strzelec, 2019

***
the piece is based on morphing noises with precisely designed morphologies derived from chord transition between 24, 15, 19, 22 edo and my own non-octave scale which will be further developed in the next, forthcoming piece. for more info please, send me a message! feel free to ask questions.  :)

erased lines cartography (2018/2019)

/ 𝗣𝗟𝗘𝗔𝗦𝗘 𝗣𝗟𝗔𝗬 𝗧𝗛𝗜𝗦 𝗥𝗘𝗖𝗢𝗥𝗗 𝗥𝗘𝗔𝗟𝗟𝗬 𝗟𝗢𝗨𝗗, EVEN TO THE POINT OF INCONVENIENCE – EXTREMELY SOFT SOUNDS & ABRUPT VOLUME CHANGES ARE ESSENTIAL FOR THE DYNAMISM OF THE FORM AS A WHOLE | 𝗛𝗘𝗔𝗗𝗣𝗛𝗢𝗡𝗘𝗦 𝗦𝗧𝗥𝗢𝗡𝗚𝗟𝗬 𝗥𝗘𝗖𝗢𝗠𝗠𝗘𝗡𝗗𝗘𝗗 | 𝗕𝗜𝗡𝗔𝗨𝗥𝗔𝗟 𝗔𝗨𝗗𝗜𝗢 /

« minor differences » for virtual, physically-modelled, 10 metres long, microtonal piano(s) & electroacoustic sound layer (2019)

/dedicated to Olga Miriam Michałowska/


***
This piece is a study of displacement. It is an examination and investigation into degrees of "MINORITY" of a chord. It is a form of simultaneously permutated, entangled note chains (organised using a specified quantisation also undergoing its own alterations in time), an excerpt from an “endless” modulation occurring within a MINOR “hemisphere” of a soundspace determined by transition between 24-, 15-, 19- & 21-EDOs as well as my own, non-octave scale.

In « minor differences », almost everything was derived from the ratio of 13/11 – an interval of tridecimal minor third, measuring 289 ¢. The scale incorporated in the majority of the piece had been developed on the basis of the mentioned ratio of 13/11 as well. It has “too small” or "too wide" thirds, no pure fifths at all and octaves being almost pure, yet not exactly so (deviations vary between -21 ¢ and +10 ¢). This carefully calculated exertion provides slight beatings, mildly rough interference patterns and therefore gives an overall impression of an expanded space – as seen in dual intra-cavity of a two layer mirror. At the same time, those “compressed” thirds in the scale are responsible for an “endless collapse” impression of presented chord progression. The listener can realise that the harmonic charges are being resolved and transferred in several directions simultaneously, thus giving those once castellated, quantised patterns a touch of organically geometric refinement. In due course, mentioned quantisations also become intervalised; by this I mean different scale variants being entangled, superimposed and shifted, all in a specific order. As they start to modulate into one another, they contribute to building a meta-scale of presented musical material. Almost like an error that somehow happens to designate an additional dimension. Not far from a flaw; a small, unjustifiable irrationality that surprisingly reveals its carefully calculated and attentively designed essence. A factor that shifts piece's global “displacement paradigm” to another level. 

Thanks to the virtual modelling software capabilities it was possible to design and administer several “impossible” multiphonics (for ex. those with the structure of 13 and 11 partials mainly, without the even ones present at all), as well as map them further on the steps of my minor-third-oriented, non-octave scale. 10-metre-long strings applied in the virtual piano(s) used in the piece reduce the inharmonicity significantly, thus rendering the micro-intervals much clearer to one’s ear and their minor differences much more important.

minor differences

minor differences (2019)

ᴀ ᴄᴏᴍᴘᴏsᴇʀ, ᴀ sᴏᴜɴᴅ ᴀʀᴛɪsᴛ & ᴀ ɢʀᴀᴘʜɪᴄ ᴅᴇsɪɢɴᴇʀ ʙᴏʀɴ ɪɴ 1990 ɪɴ Kʀᴀᴋᴏ́ᴡ, Pᴏʟᴀɴᴅ.

//      Hɪs ᴍᴀɪɴ ꜰᴏᴄᴜs ʟɪᴇs ᴏɴ xᴇɴʜᴀʀᴍᴏɴʏ ᴀɴᴅ ɴᴇᴜʀᴏæsᴛʜᴇᴛɪᴄs ɪᴍᴘʟɪᴇᴅ ɪɴ ɴᴇᴡ ɪɴsᴛʀᴜᴍᴇɴᴛs ᴅᴇsɪɢɴ & ᴄᴏɴsᴛʀᴜᴄᴛɪᴏɴ, ᴀs ᴡᴇʟʟ ᴀs ʙᴜɪʟᴅɪɴɢ sᴏᴜɴᴅ ɪɴsᴛᴀʟʟᴀᴛɪᴏɴs. Sᴛʀᴢᴇʟᴇᴄ ɪs ᴀ ғᴏʟʟᴏᴡᴇʀ ᴏꜰ ᴀɴᴛɪ-ᴀɴᴛʜʀᴏᴘᴏᴄᴇɴᴛʀɪᴄ, ᴘᴏsᴛʜᴜᴍᴀɴ sᴜʙᴊᴇᴄᴛɪᴠɪᴛʏ ᴛʜᴇᴏʀʏ ᴡʜɪᴄʜ sᴛᴀʏs ɪɴ ᴀᴄᴄᴏʀᴅᴀɴᴄᴇ ᴡɪᴛʜ ʜɪs « ɴᴏ-ᴍᴇᴀɴɪɴɢ-ʙᴜᴛ-ɪɴ-ʀᴇsᴏɴᴀɴᴄᴇ » ʀᴜʟᴇ.

//      Iɴ 2017, ᴅᴜʀɪɴɢ ROSTRUM+ ᴄᴏᴍᴘᴇᴛɪᴛɪᴏɴ (ʜᴇʟᴅ ɪɴ Pᴀʟᴇʀᴍᴏ, Iᴛᴀʟʏ) ʜɪs « L’Aᴛᴇʟɪᴇʀ ᴅᴇ sᴇɴsᴏʀɪᴛᴇ́ » ᴡᴀs ʀᴀᴛᴇᴅ sᴇᴄᴏɴᴅ ʙᴇsᴛ ʙʏ 29 ɴᴀᴛɪᴏɴᴀʟ ʀᴀᴅɪᴏ ɴᴇᴛᴡᴏʀᴋs ғʀᴏᴍ 4 ᴄᴏɴᴛɪɴᴇɴᴛs, ᴛʜᴜs ᴡɪɴɴɪɴɢ ᴀ ʀᴇᴄᴏᴍᴍᴇɴᴅᴀᴛɪᴏɴ ᴏғ ᴛʜᴇ Iɴᴛᴇʀɴᴀᴛɪᴏɴᴀʟ Rᴏsᴛʀᴜᴍ ᴏғ Cᴏᴍᴘᴏsᴇʀs (ᴄᴀᴛᴇɢᴏʀʏ ғᴏʀ ᴀʀᴛɪsᴛs ᴜɴᴅᴇʀ 30 ʏᴇᴀʀs ᴏʟᴅ). Tʜᴇ ᴄᴏᴍᴘᴏsɪᴛɪᴏɴ ᴀʟsᴏ ᴍᴀᴅᴇ ɪᴛ ᴛᴏ ᴛʜᴇ ᴛᴏᴘ ᴛʜʀᴇᴇ ᴏɴ ᴛʜᴇ ᴀɴɴᴜᴀʟ ᴄʜᴀʀᴛ ᴏғ ᴛʜᴇ ᴍᴏsᴛ ɪɴᴛᴇʀᴇsᴛɪɴɢ ᴄᴏɴᴛᴇᴍᴘᴏʀᴀʀʏ ᴘɪᴇᴄᴇs ᴀᴄᴄᴏʀᴅɪɴɢ ᴛᴏ Dᴀɴᴍᴀʀᴋs Rᴀᴅɪᴏ Kʟᴀssɪsᴋ. 

//     Sɪɴᴄᴇ 2012, STRZ's ᴡᴏʀᴋs ʜᴀᴠᴇ ʙᴇᴇɴ ᴘᴇʀғᴏʀᴍᴇᴅ ʙʏ ᴇɴsᴇᴍʙʟᴇs ғʀᴏᴍ Bᴇʟɢɪᴜᴍ, Dᴇɴᴍᴀʀᴋ, Fʀᴀɴᴄᴇ, Gᴇʀᴍᴀɴʏ, Iᴛᴀʟʏ, ᴛʜᴇ Nᴇᴛʜᴇʀʟᴀɴᴅs, Pᴏʟᴀɴᴅ, Sᴘᴀɪɴ, Sᴡɪᴛᴢᴇʀʟᴀɴᴅ, Uᴋʀᴀɪɴᴇ ᴀɴᴅ ᴛʜᴇ USA — ᴅᴜʀɪɴɢ ᴍᴀɴʏ ʀᴇɴᴏᴡɴᴇᴅ ɪɴᴛᴇʀɴᴀᴛɪᴏɴᴀʟ ꜰᴇsᴛɪᴠᴀʟs sᴜᴄʜ ᴀs:

• Wᴀʀsᴀᴡ Aᴜᴛᴜᴍɴ (Pᴏʟᴀɴᴅ, 2014, 2015, 2017),

• CIME / ICEM ɪɴᴛᴇʀɴᴀᴛɪᴏɴᴀʟ ᴇʟᴇᴄᴛʀᴏᴀᴄᴏᴜsᴛɪᴄ ᴍᴜsɪᴄ ғᴇsᴛɪᴠᴀʟ & ᴄᴏɴғᴇʀᴇɴᴄᴇ ɪɴ Dᴇɴᴛᴏɴ (Tᴇxᴀs, USA, 2014),

• Dᴏɴᴀᴜᴇsᴄʜɪɴɢᴇʀ Mᴜsɪᴋᴛᴀɢᴇ: NEXT GENERATION ᴘʀᴏɢʀᴀᴍᴍᴇ (Dᴏɴᴀᴜᴇsᴄʜɪɴɢᴇɴ, Gᴇʀᴍᴀɴʏ, 2014), 

• JIMEC — Lᴇs Jᴏᴜʀɴᴇ́ᴇs Iɴᴛᴇʀɴᴀᴛɪᴏɴᴀʟᴇs ᴅᴇ ʟᴀ Mᴜsɪǫᴜᴇ Éʟᴇᴄᴛʀᴏᴀᴄᴏᴜsᴛɪǫᴜᴇ ᴇᴛ ᴅᴇ ʟᴀ Cʀᴇ́ᴀᴛɪᴠɪᴛᴇ́ (Aᴍɪᴇɴs, Fʀᴀɴᴄᴇ, 2015),

• Mᴜsɪᴄᴀ Pᴏʟᴏɴɪᴄᴀ Nᴏᴠᴀ (Pᴏʟᴀɴᴅ, 2016),

• TAURON Mᴜsɪᴄᴀ Eʟᴇᴄᴛʀᴏɴɪᴄᴀ Nᴏᴠᴀ (Pᴏʟᴀɴᴅ, 2016, 2019),

• Yᴏᴜɴɢ Cᴏᴍᴘᴏsᴇʀs Mᴇᴇᴛɪɴɢ (Aᴘᴇʟᴅᴏᴏʀɴ, Nᴇᴛʜᴇʀʟᴀɴᴅs, 2017),

• Mᴜ́sɪᴄᴀ ᴇ ᴀʀᴛᴇ: ᴄᴏʀʀᴇsᴘᴏɴᴅᴇɴᴄɪᴀs sᴏɴᴏʀᴀs (Sᴀɴᴛɪᴀɢᴏ ᴅᴇ Cᴏᴍᴘᴏsᴛᴇʟᴀ, Sᴘᴀɪɴ, 2017)

• Cᴏᴍᴘᴏsᴇʀ Cᴏʟʟɪᴅᴇʀ 2018 ᴡɪᴛʜ ᴇɴsᴇᴍʙʟᴇ ᴍᴜsɪᴋFᴀʙʀɪᴋ ᴘʟᴀʏɪɴɢ Hᴀʀʀʏ Pᴀʀᴛᴄʜ ɪɴsᴛʀᴜᴍᴇɴᴛs (Kᴏ̈ʟɴ, Gᴇʀᴍᴀɴʏ, 2018), 

• CODES: Fᴇsᴛɪᴠᴀʟ ᴏғ Tʀᴀᴅɪᴛɪᴏɴᴀʟ ᴀɴᴅ Aᴠᴀɴᴛ-ɢᴀʀᴅᴇ Mᴜsɪᴄ (Lᴜʙʟɪɴ, Pᴏʟᴀɴᴅ, 2018),

• BEM18 (Bʀᴜssᴇʟs Eʟᴇᴄᴛʀᴏɴɪᴄ Mᴀʀᴀᴛʜᴏɴ 2018, Bᴇʟɢɪᴜᴍ),

• Fᴇsᴛɪᴠᴀʟ Mɪᴋʀᴏᴛᴏ̈ɴᴇ (Bᴀsᴇʟ, Sᴡɪᴛᴢᴇʀʟᴀɴᴅ, 2019),

• EsᴛOᴠᴇsᴛ Fᴇsᴛɪᴠᴀʟ – Lᴇ Sᴛʀᴀᴅᴇ ᴅᴇʟ Sᴜᴏɴᴏ (Gᴇɴᴏᴠᴀ, Iᴛᴀʟʏ, 2020)

...ᴀɴᴅ ᴍᴀɴʏ ᴏᴛʜᴇʀs.


//    STRZ ɪs ᴀʟsᴏ ᴛʜᴇ ᴄᴏ-ғᴏᴜɴᴅᴇʀ ᴏғ ᴀ ᴘᴏʟɪsʜ ɴᴀᴛɪᴏɴᴡɪᴅᴇ ᴄᴏɴғᴇʀᴇɴᴄᴇ ғᴏʀ ɴᴇᴡ ᴍᴜsɪᴄ ᴀɴᴅ sᴏᴜɴᴅ ᴀʀᴛ ELEMENTI, ᴏʀɢᴀɴɪsᴇᴅ ᴀɴɴᴜᴀʟʟʏ ᴀᴛ ᴛʜᴇ Kʀᴢʏsᴢᴛᴏғ Pᴇɴᴅᴇʀᴇᴄᴋɪ Aᴄᴀᴅᴇᴍʏ ᴏғ Mᴜsɪᴄ ɪɴ Kʀᴀᴋᴏ́ᴡ.

//    Hᴇ ʜᴀᴠᴇ sᴛᴜᴅɪᴇᴅ ᴄʟᴀssɪᴄᴀʟ ᴄᴏᴍᴘᴏsɪᴛɪᴏɴ ᴜɴᴅᴇʀ Zʙɪɢɴɪᴇᴡ Bᴀʀɢɪᴇʟsᴋɪ (2011-2014) ᴡɪᴛʜ ᴇɴʜᴀɴᴄᴇᴅ ᴇʟᴇᴄᴛʀᴏᴀᴄᴏᴜsᴛɪᴄ & ᴀʟɢᴏʀɪᴛʜᴍɪᴄ ᴄᴏᴍᴘᴏsɪᴛɪᴏɴ sᴘᴇᴄɪᴀʟɪsᴀᴛɪᴏɴ ᴜɴᴅᴇʀ Mᴀɢᴅᴀʟᴇɴᴀ Dʟᴜɢᴏsᴢ (2015-2020) ᴀᴛ ᴛʜᴇ Kʀᴀᴋᴏ́ᴡ Aᴄᴀᴅᴇᴍʏ. Mᴏʀᴇᴏᴠᴇʀ, ʜᴇ ᴘᴏʟɪsʜᴇᴅ ʜɪs sᴋɪʟʟs & ᴄʀᴀғᴛ ɪɴ ᴛʜᴇ ᴄᴏᴜʀsᴇ ᴏғ ɴᴜᴍᴇʀᴏᴜs ᴍᴀsᴛᴇʀᴄʟᴀssᴇs, ᴍᴏsᴛ ɴᴏᴛᴀʙʟʏ ᴅᴜʀɪɴɢ ʟᴇssᴏɴs ᴡɪᴛʜ Cᴀsᴘᴀʀ Jᴏʜᴀɴɴᴇs Wᴀʟᴛᴇʀ, Mᴀʀᴋ Aɴᴅʀᴇ, Cʟᴇᴍᴇɴs Gᴀᴅᴇɴsᴛᴀ̈ᴛᴛᴇʀ, Jᴇɴɴɪғᴇʀ Wᴀʟsʜᴇ, Eɴɴᴏ Pᴏᴘᴘᴇ, Sᴛᴇғᴀɴ Pʀɪɴs, Jᴏʜᴀɴɴᴇs Kʀᴇɪᴅʟᴇʀ, Zʏɢᴍᴜɴᴛ Kʀᴀᴜᴢᴇ, Mᴀɴᴏs Tsᴀɴɢᴀʀɪs, Uʀᴏš Rᴏᴊᴋᴏ, Rɪᴄʜᴀʀᴅ Aʏʀᴇs, Jᴏᴇ Cᴜᴛʟᴇʀ, Mᴀʏᴋᴇ Nᴀs ᴀɴᴅ Oʟɪᴠᴇʀ Sᴄʜɴᴇʟʟᴇʀ. 

//    Iɴ ᴛʜᴇ ʏᴇᴀʀs 2012-2016 STRZ sᴇʀᴠᴇᴅ ᴀs ᴛʜᴇ ʜᴇᴀᴅ ᴏғ ᴛʜᴇ ᴄᴏᴍᴘᴏsɪᴛɪᴏɴ sᴛᴜᴅᴇɴᴛs’ ᴄɪʀᴄʟᴇ ᴀᴛ ᴛʜᴇ Kʀᴢʏsᴢᴛᴏғ Pᴇɴᴅᴇʀᴇᴄᴋɪ Aᴄᴀᴅᴇᴍʏ ᴏғ Mᴜsɪᴄ ɪɴ Kʀᴀᴋᴏ́ᴡ, ᴏʀɢᴀɴɪsɪɴɢ ɴᴜᴍᴇʀᴏᴜs ᴄᴏɴᴄᴇʀᴛs, ᴄᴏɴғᴇʀᴇɴᴄᴇs ᴀɴᴅ ᴅᴇʟɪᴠᴇʀɪɴɢ ᴏᴘᴇɴ ʟᴇᴄᴛᴜʀᴇs.

Szymon Stanisław Strzelec

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