Notes

Gdzie Można Zaobserwować Tyle Części Ze Wielkich Utworów Literackich?
This topic appears in the early Die Sonette an Orpheus, 1981, a setting of Rainer Maria Rilke’s sonnet cycle dedicated to the composer’s father. She belongs to i rare group of composers endowed with the phenomenon of “color hearing” or "synaesthesia". Congregating into a single group or adhering więc one charaktery is not an authentic way więc go about being a composer. If you activate Citrix Customer Experience Improvement Program (CEIP) functionality, should it be offered with your product, Citrix may store, transmit and use technical and related non-personally identifiable information about your use of the product, including configuration information. Her affinity for percussion timbres is apparent in her choice of such instruments as soloists in concerti (Concerto for Percussion Quartet and Orchestra, 1974; Concerto for Marimba and Orchestra; and The Drum of Orfeo) or as important elements of chamber settings (Siderals for two percussion quintets and light projection, 1974; Mobile for two percussionists 1975; Dream Lands, Magic Spaces for violin, piano and percussion, 1979; Ajikan - Unfolding Light for flute and percussion, 1989; and Letter to the Sun for frame drum, narrator and percussion quartet, 1998-2000). She also wrote pieces for percussion solo and in ensembles, e.g.


In addition to the multitude of poets mentioned already, her choice of texts includes poems by Reiner Maria Rilke, Paul Verlaine, William Shakespeare, Leopold Staff, and Frederico Garcia Lorca in Songs of Despair and Loneliness for mezzosoprano and piano (1988-1989). Five poets, five languages (German, French, Polish, English and Spanish) and five sound-worlds-the diversity of poetic material is reflected in the richness of musical settings, unified by emotional and harmonic means. While percussion is often seen as a source of rhythmic drive, in Ptaszyńska’s music the timbral variety of percussive instruments takes a priority. She has the ability to hear "in color" not only pitches and chords, but also percussive timbres; indeed, her music is often inspired by painting and colorful images from poetry. From 1965 to 1970 she served as president of the Youth Circle of the Polish Composers’ Union. This clarity of form and purpose extends to pedagogy: since 1965 she has composed 10 collections of various children’s pieces and co-authored a percussion textbook in five volumes Colorful World of Percussion, with Barbara Niewiadomska, 1993). Her works for children, joining the ranks of the classics such as Ravel’s L’enfant et les sortilèges, include two children’s operas, Mister Marimba (1993-96) that has played to sold-out houses for several years after its Warsaw premiere and the Magic Doremik (2006-07), with a title derived from „Do-Re-Mi” which indicates a slight pedagogical bend.

The Polish composer’s public, monumental works include a series of compositions on Polish themes: a didactic and inspired Conductus - A Ceremonial for Winds (1982); the multi-movement cantata Polish Letters (1988); the orchestral Fanfare for Peace, commissioned by the Cincinnati Symphony Orchestra (1993); Distant Voices for soprano and string quartet, commissioned by The Kosciuszko Foundation for its 70th anniversary; the Fanfare in Memoriam Frederic Chopin (1999) composed for the 150th anniversary of Chopin’s death; Of Time and Space (2009-10), a concerto for percussion, electronic tape and orchestra, commissioned by the F. Chopin National Institute in Warsaw for the Chopin Bicentennial Year in 2010; and The Lovers of the Valldemosa Cloister (2008-2009), a recent 90-min. opera, critically acclaimed and officially recognized as the most important creative contribution to the Chopin Year. In Distant Voices (1995) for mezzo-soprano and string quartet, the poetry of Leslie Woolf Hedley, Donald Bogen, Krzysztof Koehler, Stanisław Wyspiański and Lord Tennyson appears in English.

The musicians are asked to start the performance while standing motionless, with an attitude of concentration, and eyes fixed on one point. However, while others heard chords and scales in color, Ptaszyńska also hears percussion instruments that way. The sonorities of flute and harp, two instruments immortalized by Debussy, are a recurring element of Ptaszyńska’s oeuvre, appearing together in the scintillating Concerto for Flute, Harp and Orchestra (2008) and individually in Variations for flute (1967), Arabesque for harp (1972), Bagatelles for harp (1979), Jeu-Parti for harp and vibraphone (1970), Cadenza for flute and percussion (1971-2), Ajikan for flute and percussion (1989), and Sogno d’Euridice for two harps (2001). wypracowanie belongs to another extended thematic thread, that of Orpheus, a musician who entered Hades to save his beloved Euridice and failed. Ptaszyńska’s own relationship to percussion instruments is as personal and idiosyncratic as Glennie’s, but before exploring her unique world, let me review some basic facts of her career. The recurring theme of Orpheus makes a re-appearance in the Drum of Orpheo - Concerto for Percussion and Orchestra (1999-2002), written for and dedicated to i Scottish virtuoso percussionist, Dame Evelyn Glennie, who has been profoundly deaf since the age of 12 and has performed barefoot, “hearing” music through vibrations around her.


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