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1

Between the Lines: Reading Into Marek Stachowski’s Self-Reflections

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Draus A.
Musicology Today
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2015
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vol. 12
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issue 1
45-50
EN
Marek Stachowski: composer, teacher, and vice-chancellor, one of cultural Kraków’s most outstanding figures, died prematurely in 2004. The tenth anniversary of his death is an occasion to review the works he left behind as well as his extensive reflections on his own output and on the state of art in general. Reading into the numerous opinions regarding his own activity as a composer, we have found significant statements that confirm three distinctive qualities of Marek Stachowski’s artistic personality. First and foremost, his deep conviction of being predestined for the profession and an awareness of his aesthetic roots; secondly, the ability to analyse his own creative achievements; and finally, the rationalisation of the creative act while maintaining a distance towards his own work. Marek Stachowski’s oeuvre comprises 56 catalogued compositions, both small- and large-scale, vocal and instrumental, reflecting the various paths of Polish music in the second half of the 20th century: from sonoristic avant-garde to the “New Classicism.” Throughout these transformations, however, we can perceive some stable individual qualities of his musical language, namely: clarity of structure, sophistication of sound and the leading role of expression.
2
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Iwona Lindstedt, „«Piszę tylko muzykę». Kazimierz Serocki”, Kraków: Polskie Wydawnictwo Muzyczne, 2020, ss. 651. ISBN 978-83-224-5142-7

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Draus A.
Muzyka
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2022
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vol. 67
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issue 3
168-173
EN
Book Reveiw of: Iwona Lindstedt, „Piszę tylko muzykę”. Kazimierz Serocki, Kraków 2020. Iwona Lindstedt's book about Serocki is one of the most valuable PWM Edition's offers, addressed to a wide audience. It is demanding and extensive reading, as it eludes the category of pocket editions that are popular today, which dangerously touch upon the accusation of “everything and nothing at the same time”. It also does not seduce the reader with the social engineering narrative of debunking myths or sensational threads - which are perhaps readily attractive, but sometimes far from the so-called the most objectified truth possible. On the other hand, it is a reliable, well-documented image of the composer and his work, from genesis to resonance, with all the seriousness due to him, but with the lightness of the language of the novel, which draws people into the history of characters absolutely unique to Polish culture.
PL
Recenzja książki: Iwona Lindstedt, „Piszę tylko muzykę”. Kazimierz Serocki, Kraków 2020. Książka Iwony Lindstedt o Serockim to jedna z najbardziej wartościowych propozycji PWM-u, adresowana do szerokiego odbiorcy. Jest lekturą wymagającą i obszerną, gdyż wymyka się kategorii popularnych dziś wydań kieszonkowych, ocierających się niebezpiecznie o zarzut „wszystkiego i niczego jednocześnie“. Nie uwodzi również czytelnika socjotechniczną narracją odbrązawiania mitów czy sensacyjnych wątków - które są może i poczytnie atrakcyjne, lecz nieraz dalekie od tzw. prawdy możliwie najsilniej zobiektywizowanej. Stanowi za to rzetelny, porządnie udokumentowany obraz kompozytora i jego dzieła, od genezy do rezonansu, z całą mocą należnej mu powagi, ale z lekkością języka powieści, która wciąga w historię postaci absolutnie dla polskiej kultury wyjątkowej.
3
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Karlheinz Stockhausen’s stage cycle Licht. Musical theatre of the world

100%
Draus A.
Interdisciplinary Studies in Musicology
|
2009
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issue 8
217-226
PL
 The main idea of the paper is a presentation of the stage cycle Licht, absorbing the composer for over one-third of his active creative life. The question arises as to the generic affiliation of Stockhausen’s opus magnum: close to operatic works by Luciano Berio and Mauricio Kagel or to pop productions of works by Philip Glass? Analysing the subject matter and content of Licht, as well as its message and the means of expression employed, it is difficult not to discern the unification, within a single work, of what might appear to be contrasting musical genres and kinds of theatre (mystery play, expressionist drama, happening). It is worth remembering that the composer himself does not employ any specific generic term except for Opernzyklus. He often, however, refers to the forms and genres of theatre, cultivated in many different parts of the world, which have inspired him (e.g. in Malaysia, Japan, Bali, the USA), and he admits to the evolution of his views on faith. Can the substance of Licht be reduced to a common denominator? Can the heptalogy be called ‘sacred’ theatre? Or - on the contrary - an extremely profane, ‘pagan’ avant-garde spectacle?
4
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Luzifers-Ab schied from Samstag aus Licht. Stockhausen and the Italian affair

100%
Draus A.
Interdisciplinary Studies in Musicology
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2013
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issue 12
149-162
PL
The homeland of Leonardo and Palestrina, Dante and Eco, Verdi and Fellini became crucial for the reception of music of one of the most controversial, and at the same time innovative composers of the second half of the 20th century, a German artist, Karlheinz Stockhausen. The genius- and visionary-bearing nation opened itself to the new musical art, and appointed the author of Hymnen to be the coryphaeus of that art. This fascination transformed into a desire to better present the composer’s personality to a wider audience. Many of the most recent Stockhausen’s compositions were created as a response to numerous Italian orders, including ArtArche’s from Milan or Massimo Simonini’s from the Angelica Foundation, many of them were performed for the first time in the most magnificent works of Italian architecture, for example the Milan cathedral. The stage premieres of Donnerstag, Samstag and Montag aus Licht took place in Milan’s La Scala, with the creative participation of such celebrities as a theatre and opera director, Luca Ronconi and an architect, Gae Aulenti, famous most of all for her contemporary designs of Parisian museum buildings, and in the project of Licht - for scenography. In 2007 Stockhausen’s music filled 25. Rassegna di Nuova Musica in Macerata Teatro Lauro Rossi; during two days the most famous electronic compositions were presented: Mittwochs-Gruss, Cosmic Pulses, Gesang der Jünglinge, Telemusik and Kontakte. Lucifer’s Farewell is the last - and the most “Italian” - scene devoted to this character of the opera - Samstag aus Licht. It was finished in August 1982 upon the order of Associazione Sagra Musicale Umbra in Perugia, celebrating the 800th birth anniversary of St. Francis of Assisi. The opening night took place on 18th September that same year in Chiesa di San Rufino in Assisi. In the composition Stockhausen interprets the text of Lodi delle virtu (A Salutation of the Virtues) of the little poor man in the original wording of the Italian language. The article is an interpretation both text and music of Luzifers Abschied within a wide range of problem context of the whole stage cycle Licht (‘Light’) by Karlheinz Stockhausen.
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