Aleksander Nowak
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Click a title for more information about the piece.

• ”Dark Haired Girl in a Black Sports Car” for chamber orchestra (2009)
  score

  Program Note

  One day, I stopped at red light next to a dark haired girl in a black sports car. She was looking ahead and slightly swaying her had to the music from radio. I think she was also crooning something, but I could hardly hear because of the city noise. After a minute, never looking in my direction, she drove away.
  Work was commissioned by 52. International Festival of Contemporary Music ‘Warsaw Autumn’.

  Performances

  • September 19, 2009; The London Sinfonietta, David Atherton; 52. Warsaw Autumn, The Witold Lutosławski Concerto Studio of The Polish Radio
• String Quartet No. 1 for two violins, viola and cello (2009)

  perf.: Silesian Quartet; live recording

  Program Note

  String Quartet No. 1 is an attempt to add “a few words” in the matter of a string quartet, which by some is considered the most demanding musical form that exists. The devil sometimes is so black as he is painted. The piece was commissioned by the Silesian Quartet and written in the winter of 2008/2009, especially for the 3.Premieres Festival NOSPR in Katowice.

  Performances

  • March 28, 2009; The Silesian Quartet; 3.Premieres Festival NOSPR in Katowice; Concert Hall of the Academy of Music in Katowice
• ”Quantemporette” for clarinet, trombone, cello and piano (2008)

  perf.: London Sinfonietta – Prescott Duncan (cl), Simon Wills (trbn), Oliver Coates (vc), John Constable (pf); live recording

  score

  Program Note

  The title Quantemporette combines three words: quantum, temporal and quartette. These meanings are of some influence on the final shape of the piece, some more obviously (quartette), some less, however the composer would prefer not to explain too much, firstly being afraid that taken away by words, he might create a reality, which would be hard to find in the music itself, and secondly being convinced that even though some non-musical elements can have some role in the process of creation, they are rather irrelevant at the moment of perception.
  The musical matter in this piece is, as usually, a result of many factor coexisting, such as: accident, mood, decisions that are partly conscious and partly not etc.; above all this, the main goal is to find, or create a level of understanding between the composer and the listener, by using what is already known, and what is not yet known. Obviously, also a very particular set of instruments is quite important.
  The piece was created in the summer of 2008, as a commission of the Polish Music Festival in Krakow, and is dedicated to composer’s brother, Bartek.

  Performances

  • Dcember 20, 2009; Tomasz Żymła (cl), Mateusz Konopka (trbn), Stanisław Lasoń (vc), Piotr Sałajczyk (pf); Promotional concert of the CD "Fiddler's Green"; Concert Hall of the Polish Radio in Katowice
  • November 19, 2009; Tomasz Żymła (cl), Mateusz Konopka (trbn), Stanisław Lasoń (vc), Piotr Sałajczyk (pf); 111. Silesian Rostrum of Composers Concert Hall of The Karol Szymanowski Academy of Music in Katowice
  • November 16, 2008; The London Sinfonietta; 4.Polish Music Festival in Krakow; Florianka Hall
• ”Things Passed” for solo guitar (2007)

  perf.: Ricardo Gallen; live recording

  score

  Program Note

  Things passed in time and space quickly loose their color and shape. It is not easy to biuld something from what is left.
  Things Passed was created in 2007 as a commission from the Silesian Guitar Autumn Festival in Tychy, as one of the options for an obligatory piece, for the participants of The Edmund Jurkowski Guitar Competition in 2008. Only one person, Dawid Bonk, was brave enough to decide to meet this challenge.

  Performances

  • October 6, 2009; Ricardo Gallen; Solo Recital; Concert Hall of The Karol Szymanowski Academy of Music in Katowice
  • October 8, 2008; Dawid Bonk; Jan Edmund Jurkowski International Guitar Competition in Tychy; Concert Hall of the State School of Music in Tychy
• ”Three Short Songs” for tenor and piano (2007)

  perf.: Dan Weeks (tenor), Naomi Oliphant (pf); live recording

  Program Note

  All the poems by the twentieth-century Polish poets used in the piece seem to be joined by one common motif – they are an attempt of grasping short, trivial moments and giving them meaning. The music is supposed to additionally uphold these attempts. The piece was written in Louisville, in years 2006-2007. It is dedicated to Naomi Oliphant and Dan Weeks, whose remarkable passion for Eastern European consonants was an impulse for writing it.

  Performances

  • January 10, 2008; Dan Weeks, Naomi Oliphant; Adam Didur Chamber Hall , Silesian Opera in Bytom
  • January 9, 2008; Dan Weeks, Naomi Oliphant; Concert Hall of The Karol Szymanowski Academy of Music in Katowice
  • January 7, 2008; Dan Weeks, Naomi Oliphant; Concert Hall at JAMU (Janacek academy of music and dramatic arts), Brno, Czech Republic
  • January 5, 2008; Dan Weeks, Naomi Oliphant; Concert Hall at the Culture House in Żywiec
  • January 4, 2008; Dan Weeks, Naomi Oliphant; Concert Hall at the State Music School in Gliwice
• ”Songs of Caress” for mezzo-soprano, violin, cello and piano (2007)

  perf.: Urszula Kryger (mezzo-soprano), Krzysztof Lasoń (vn), Stanisław Lasoń (vc), Piotr Sałajczyk (pf); studio recording

  CD

  Program Note

  All the lyrics in this piece are poems by 19th and 20th century Polish and American women poets. They share a subtle quality of seeing the world, things and people with what can be called ‘caress’. Caress in a broad sense: as gentleness, affection and tenderness but also as compassion, care, longing, deep engagement or even passion. The piece shows gradual transition from caress that is direct – loving and explicit, to a different kind of caress – somewhat cool, sad, and a bit disturbing; caress towards someone who is elsewhere.
  The piece was written in the Fall of 2007, in Louisville, as part of the scholarship program of the Silesian Marshall Scholarships for the Arts, in 2nd edition 2007.

  Performances

  • March 28, 2008; Ewa Majcherczyk, Krzysztof Lasń, Stanisław Lasoń, Jacek Maksymiuk; Ewa Majcherczyk’s Diploma Recital; Chamber Hall 2 at The Karol Szymanowski Academy of Music in Katowice
  • January 10, 2008; Ewa Majcherczyk, Krzysztof Lasoń, Stanisław Lasoń, Jacek Maksymiuk; Recital of Dan Weeks and Naomi Oliphant; Adam Didur Chamber Hall, Silesian Opera in Bytom

  Recordings

  • January 11, 2009; Urszula Kryger, Krzysztof Lasoń, Stanisław Lasoń, Piotr Sałajczyk; sound engineering: Julita Emanuiłow, Beata Jankowska-Burzyńska; Concert Hall of The Karol Szymanowski Academy of Music in Katowice
• ”Frisk” for symphony orchestra (2007)

  perf.: University of Louisville Symphony Orchestra, Wansoo Cho (dir); live recording

  Program Note

  frisk |frisk|

  verb

  1 [ trans. ] (of a police officer or other official) pass the hands over (someone) in a search for hidden weapons, drugs, or other items.

  2 [ intrans. ] (of an animal or person) skip or leap playfully; frolic: this did not deter the foal from frisking about. • [ trans. ] (of an animal) move or wave (its tail or legs) playfully: a horse was frisking his back legs like a colt.

  “Frisk” was written in April 2007 in Louisville, especially for the University of Louisville Symphony Orchestra.

  Performances

  • October 2, 2007; The University of Louisville Symphony Orchestra, Wansoo Cho (dir); New Music Festival in Louisville
• ”Last Days of Wanda B.” for string orchestra (2006)

  perf.: AUKSO Chamber Orchestra, Marek Moś (dir); studio recording

  CD

  Program Note

  The piece is most of all a sonic impression, but also a record of emotions accompanying a farewell, as well as a set of fragmentary memories mixed with quotes from the favourite melodies of Wanda B., to whom it is dedicated.

  Performances

  • May 30, 2009; AUKSO, Marek Moś; Concert Cycle of the New Theatre in Warsaw; Witold Lutosławski Concert Studio of the Polish Radio in Warsaw
  • September 21, 2008; Leopoldinum Orchestra, Ernst Kovacic; International Contemporary Music Festival Warsaw Autumn; Chamber Hall of the National Philharmony in Warsaw
  • July 16, 2007; AUKSO, Marek Moś; VII Summer Music Festival in Rycerka Górna; The Mother of God of Kazimierz Sanctuary in Rajcza

  Recordings

  • January 13, 2009; AUKSO, Marek Moś; sound engineering: Julita Emanuiłow, Beata Jankowska-Burzyńska; Concert Hall of The Karol Szymanowski Academy of Music in Katowice
• ”Fiddler’s Green and White Savannas Never More” for male voices and chamber orchestra (2006)

  perf.: New Music Orchestra, Camerata Silesia, Szymon Bywalec (dir); studio recording

  CD

  Program Note

  The premise of this work was that the composition should be a reflection of the experiences of a sea voyage through cold and inhospitable regions of Northern Atlantic. It was to be a musical record of what went on, a musical diary on the go. Very quickly this premise turned out to be stupidly naïve. Logistic difficulties aside, the experience tended to be surprisingly down-to-earth, so to say. There was the option of adding ideology and mythology into the mix, but it hardly appealed to the composer. Another option was to embrace an aesthetics that borders on the vulgar and the profane. It held equally little appeal. Thus the composer turned to using a metaphor, to speaking figuratively, to avoiding the literal. To put it shortly, hardly anything here is what it seems to be, just like life at the sea is not what it may appear to be. And the less clarity there is as to what exactly is what, the better – this way, you get closer to what the wind and the water are, as well as to what they are not.

  Performances

  • December 20, 2009; New Music Orchestra, Cantus Floridus, Szymon Bywalec; Promotional concert of the CD "Fiddler's Green"; Concert Hall of the Polish Radio in Katowice
  • October 11, 2006; New Music Orchestra, Camerata Silesia, Szymon Bywalec; Velvet Courtain 2 Festival; Concert Hall of the National Philharmony in Lwow (Ukraine)

  Recordings

  • April 10, 2007; New Music Orchestra, Camerata Silesia, Szymon Bywalec; sound engineering: Lech Dudzik, Gabriela Blicharz; Concert Hall of the Silesian Philharmony
• ”The Island of Hazes and Gales” for mixed choir and symphony orchestra (2005)

  perf.: Symphony Orchestra and Mixed Choir of The Silesian Philharmonics, Mirosław Jacek Błaszczyk (dir); live recording

  Program Note

  The Island of Hazes and Gales was created in the years 2005-2006, as a diploma thesis, finalizing composition studies in Katowice. The title is associated with the common name of a faraway, hard-to-reach place on the Barrent’s Sea, which the composer once almost visited. The piece is about this “almost”, which sometimes stand between the goal and its’ realization. It also talks about something that is told to be, but it cannot be seen, so maybe it is not there after all. The piece uses text written by the composer; and a quotation from the traditional Scotish song, “Auld Lang Syne”.

  Performances

  • March 30, 2007; Symphony Orchestra and Mixed Choir of the Silesian Philharmonics, Misrosław Jacek Błaszczyk; Concert of Graduates of the Academy of Music in Katowice; Karol Stryja Concert Hall of the Silesian Philharmonics in Katowice
• Sonata ”June-December” for violin and piano (2005)

  perf.: Piotr Pławner (vn), Jacek Maksymiuk (pf); studio recording

  score | CD

  Program Note

  The main impulse to write this piece came from the desire to meet the challenge of the classical form. The second equally important impulse came from the need to transcend this form and go beyond it. The first desire is to be consistent, to create, to build on something and to sum it up. The other one is to be unpredictable, to go in an opposing direction, and to destroy. These two desires meet and battle with each other here like themes in the classic sonata form.

  Performances

  • December 20, 2009; Krzysztof Lasoń, Piotr Sałajczyk; Promotional concert of the CD "Fiddler's Green"; Concert Hall of the Polish Radio in Katowice
  • November 10, 2009; Piotr Pławner, Eugeniusz Knapik; V Polish Music Festival in Kraków; Aula Collegium Novum, Jagiellonian University
  • June 2, 2009; Krzysztof Lasoń, Piotr Sałajczyk; XIX Mikołów Music Days; Wedding Hall USC in Mikołów.
  • October 11, 2008; Piotr Pławner, Jacek Maksymiuk; XXV Przemyśl Music Autumn; Przemyśl Cosiety of Music Hall.
  • February 19, 2008; Krzysztof Lasoń, Jacek Maksymiuk; „From the Library of Chamber Masterpieces” Festival; Concert Hall of The Karol Szymanowski Academy of Music in Katowice.
  • July 27, 2008; Piotr Pławner, Jacek Maksymiuk; VIII Summer Music Festival in Rycerka Górna; Dom pod Gontami.
  • November 6, 2007; Krzysztof Lasoń, Piotr Sałajczyk; Krzysztof Lasoń & Piotr Sałajczyk Duo Recital; Margaret Comstock Concert Hall, University of Louisville.
  • May 6, 2005; Krzysztof Lasoń, Jacek Maksymiuk; 60 Anniversary of the State Music School in Gliwice; Concert Hall of the State Music School in Gliwice.
  • April 27, 2005; Krzysztof Lasoń, Jacek Maksymiuk; VI Composition Department Days of The Karol Szymanowski Academy of Music in Katowice; Bolesław Szabelski Concert Hall, AM Katowice.

  Recordings

  • February 13, 2009; Krzysztof Lasoń, Piotr Sałajczyk; sound engineering: Beata Jankowska-Burzyńska; Concert Hall of The Karol Szymanowski Academy of Music in Katowice
  • January 13, 2008; Piotr Pławner, Jacek Maksymiuk; sound engineering: Lech Dudzik, Gabriela Blicharz; Witold Lutosławski Concert Studio of Polish Radio in Warsaw
• ”Hit” for solo piano (2004)

  perf.: Tomasz Konieczny (pf); live recording

  Program Note

  Pianist is supposed to hit the keys; the sound is supposed to hit the listener. Hit for piano solo was written in 2004, for Tomasz Konieczny.

  Performances

  • April 26, 2009; Piotr Sałajczyk; Intersonanzen Festival; Nikolaisaal, Potsdam, Germany
  • October 11, 2007; Ryan T. Connell; University of Louisville Student Composers Concert; Margaret Comstock Concert Hall, UofL
  • July 12, 2005; Tomasz Konieczny; V Summer Music Festival in Rycerka Górna; Dom pod Gontami, Rycerka Górna
  • April 1, 2004; Tomasz Konieczny; V Composition Department Days, The Karol Szymanowski Academy of Music in Katowice; Bolesław Szabelski Concert Hall