Name: Fantasie "Lulajże Jezuniu" by Alicja Molitorys
Duration: 48 s
Description: Grzegorz Molitorys, my husband, composed this little flute solo at Christmas 2020. The piece is based on famous Polish carol "Lulajże Jezuniu".

Score: https://musescore.com/user/34393349/scores/6523846

Thank you both for sharing your very beautiful composition and performance👏👏 I love to compose for flute, too and have some tracks here and on YouTube. 😉

https://nospr.org.pl/pl/kalendarz/orkiestra-muzyki-nowej-na-wsi
Luciano Berio: Folk Songs
Dyrygent: Szymon Bywalec
Wykonawcy: Orkiestra Muzyki Nowej
Agata Zubel – sopran
01 Folk songs. I Black is the colour....
02 Folk songs. II I wonder as I wander...
03 Folk songs. III Loosin Yelav...
04 Folk songs. IV Rossignolet du Bois
05 Folk songs. V A la Femminisca
06 Folk songs. VI La donna ideale
07 Folk songs. VII Ballo
08 Folk songs. VIII Motettu de Tristura
19 Folk songs. IX Malurous qu'o uno fenno
10 Folk songs. X Lo Fiolaire
11 Folk songs. XI Azerbaijan Love Song

02 Folk Songs. II I Wonder As I Wander...

Sonata was composed in 2006 and is dedicated to me. Premiered at the Warsaw Autumn Festival in the same year.

Paweł Mykietyn - SONATA for cello solo

Flute - Margaret Lancaster, Live Electronics - Krzysztof Wolek

The word Arguro is derived from an Indo-European word and can be translated as silver or generally a shining metal. It can be also related to the Sanskrit word Arjuna meaning light. The title refers to the material that modern flutes are most commonly made from. Silver itself has the highest electrical conductivity of any element, therefore the word seems to perfectly reflect the nature of the work. Arguro was commissioned by the Society of Composers, Inc, and the American Society of Composers, Authors and Publishers. 
Krzysztof Wolek

Arguro (2009) For Flute And Live Electronics

Hgrrrsht for 2 amplified flutes and throats, commissioned by Ministry of Culture and National Heritage in Poland, premiered by Flute o'clock: Ewa Liebchen & Rafal Jedrzejewski, 30 October 2015, Krolikarnia, Warsaw.

Recorded by Elision Ensemble: Paula Rae & Eliza Shephard at 100 for 100 Decades of Freedom, Meat Market, Melbourne, Australia, 2018

Hgrrrsht for 2 amplified flutes and throats [2015]

​Double exposure is a photographic and cinematographic technique. It refers to the superimposition of two exposures to create a single image, resulting in something similar to the effect of audio convolution that captures aspects from both sources. An image that is exposed to light twice contains the subsequent image layered over the original. It is a visual effect frequently used to create ghostly images, or to add materials that were not originally present. Written for ensemble mise-en and its director Moon Young Ha, Double Exposure was premiered in Seoul, South Korea, on December 2017.

Double Exposure

"Kioloik" for flute (2012)

Alicja Molitorys – flute

The title of the piece is a neologism that symbolizes only palindromes of the rhythmic layer, cyclicality of pitch organization and articulation by its characteristic arrangement of letters. The structural inspiration of the work is a complex, symmetrical sequence of numbers, different for each parameter. This work is also a study of extended instrumental techniques, e.g. lip pizzicato, tongue frame, aeolian sounds, key clicks, glissando or microtones.

Commissioned by ZAiKS the Polish Society of Authors and Composers.

Kioloik (2012)

Premiere performance: Sophia Tegart, flute; Michael Seregow, piano, 2019 Festival of Contemporary Art Music, Washington State University, Pullman, WA - March 2, 2019.

Leonardo Saw the Spring for Flute and Piano
   I. Leonardo Saw the Spring 
   II. Leonardo Drew the Blooms 
   III. Leonardo Loved the Still 
   IV. Leonardo Drew in Spring

Program Notes: Many of my compositions have been inspired by poetry. Many poets in turn have been inspired by visual art, creating what is called ekphrastic poetry in which vivid and often dramatic descriptions of visual works of art form the basis of the poetry. To have both, the poetic interpretation and the visual art upon which it was based, created another inspirational layer to my creative process. “Leonardo Saw the Spring” takes as its inspiration the ekphrastic poem “Drawing of Roses and Violets” which in turn was inspired by Leonardo da Vinci’s Studies of Flowers. The poem was published in 1892 as part of a collection of thirty-one poems depicting paintings exhibited in European art galleries. The collection entitled “Sight and Song” was published by Michael Field which was the joint pseudonym of collaborative poets and lovers Katherine Harris Bradley and Edith Emma Cooper. In the preface the authors state: “The aim of this little volume is, as far as may be, to translate into verse what the lines and colours of certain chosen pictures sing in themselves; to express not so much what these pictures are to the poet, but rather what poetry they objectively incarnate.” This too is my aim with “Leonardo Saw the Spring” – to find the music that is innately embedded in the lines of the poetry and drawing. 

“Leonardo Saw the Spring” was commissioned by flutist Sophia Tegart with support by a Washington State University New Faculty Seed Grant. 

Drawing of Roses and Violets
LEONARDO SAW THE SPRING 
Centuries ago, 
Saw the spring and loved it in its flowers— 
Violet, rose : 
One that grows 
Mystic, shining on the tufted bowers, 
And burns its incense to the summer hours ; 
And one that hiding low, 
Half-face, half-wing, 
With shaded wiles 
Hides and yet smiles. 

LEONARDO DREW THE BLOOMS 
On an April day : 
How his subtle pencil loved its toil, 
Loved to draw ! 
For he saw 
In the rose's amorous, open coil 
Women's placid temples that would foil 
Hearts in the luring way 
That checks and dooms 
Men with reserve 
Of limpid curve. 

LEONARDO LOVED THE STILL 
Violet as it blows, 
Plucked it from the darkness of its leaves, 
Where it shoots 
From wet roots ; 
Found in it the precious smile that weaves 
Sweetness round Madonna's mouth and heaves 
Her secret lips, then goes, 
At its fine will, 
About her face 
He loved to trace. 
LEONARDO DREW IN SPRING, 
Restless spring gone by, 
Flowers he chose should never after fade 
For the wealth
Of strange stealth 
In the rose, the violet's half-displayed, 
Mysterious smile within the petals' shade 
That season did not die, 
Like everything, 
Of ruin's blight 
And April's flight.
From “Sight and Song” (1892) by Michael Field (pseud.)

Leonardo Saw the Spring for Flute and Piano

Grzegorz Molitorys, my husband, composed this little flute solo at Christmas 2020. The piece is based on famous Polish carol "Lulajże Jezuniu".

Fantasie "Lulajże Jezuniu"

"Osamotnienie(nie)..." for ensemble (2020)
fl, hn, acc, vc, perc, el gtr, comp

Performed by: 
Orkiestra Muzyki Nowej, Szymon Bywalec - conductor, Paweł Hendrich - electronics

Recording: Łukasz Myszyński
Mix: Paweł Hendrich
Mastering: Paweł Hendrich

The piece "Osamotnienie(nie)..." („Isolation(no)...”) is an expression of respect for the people of Wrocław who were affected by Covid-19. The composer himself wrote about it - while still at the preliminary idea stage in 2020 - in this way:
"The source of the concept for the piece is the current pandemic situation and its associated constraints. As a society, for the first time in decades, we find ourselves in this kind of situation of widespread danger. Although it affects us all, each of us perceives it subjectively. The everyday fast-paced world favors extroverts, but now circumstances have changed - all of us (being forced into seclusion) have more opportunity for introverted reflection and analysis of the situation we find ourselves in. The theme of the piece will be the emotions felt during the pandemic by the inhabitants of Wrocław - the city that became one of the first outbreaks of the epidemic in Poland. On the stage we will hear sounds symbolizing rebellion against unwanted isolation, forced separation from loved ones, constant uncertainty and even fear.
During such extreme situations as a pandemic, it is best to see that Wrocław is, above all, the people who inhabit it, and not the urban buildings. And it is people that we miss the most when we have to stay in our homes for a long time. So the piece does not lack the thread of longing, which is also experienced by the composer - although we live close, in the same city, we cannot meet other people and have to rely on imperfect substitutes in the form of electronic contacts".

Work executed with funds from a grant by the City of Wrocław.

Fantasie "Lulajże Jezuniu"

Alicja Molitorys

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