Видео

Thank you!

Thank you for your kind and candid feedback. Music is an abstract art form, and it is essential for each individual to interpret it in their own unique manner. I am pleased that you enjoyed the piece and that it resonated with you profoundly. As a contemporary 'living' composer, I assure you that I have no intentions of ceasing my work anytime soon (and become 'dust'). Warm greetings! 🙏😊

​@@MarekPasiecznyThank you so much , Maestro, for the reply 🎉 I feel deeply honored ❤🎉🎉

Thanks so much! Yes, the score is available to pre-order. Please write directly to Sylvia via pasieczny.com/scores/

Richard, Thank you so much for listening multiple times! I really appreciate it. I see that you're not the only one who enjoys listening to this piece without the video. Of course, I brought cameras into the studio to record the session with Thomas. It's a kind of user manual, both for guitarists and (perhaps especially) for percussionists. You have very accurately identified my intentions in the second part. That moment around 7:25 in each version of "SUSURRUS" is extremely difficult to play due to the immense emotions and high dynamics. A natural musical acceleration emerged, which I hadn't planned at all when writing the score. Emotions took over, and since the first version of "SUSURRUS" for guitar and lute, or two guitars, this moment has a considerable acceleration charged with emotions. Once again, thank you very much, Richard!

Andrew, Beautiful comment. As a composer, you perfectly understood my intentions regarding this composition. Let me start by saying that I absolutely agree with you that video, in most cases, hinders the perception and reception of music. In this case, especially. Due to the idiom of focus and meditation, this piece is best listened to with closed eyes, in silence and isolation. The composition itself began its existence from the middle section, from the psalm. From the very beginning, I thought about a choral, polyphonic piece. The inspirations came from Gregorian chants (Western), and in this version with an element of the Far East (Far Eastern percussion instruments). You recognized this perfectly! In this version, the guitar part covers most of the material that, in other versions, is written for two instruments. The percussion creates space and enriches the colour. In the third part, the polyrhythm between the voices sounds exceptionally good on the marimba. An interesting fact is that I wrote "Thai Gongs" specifically for "SUSURRUS VI". We performed this piece live in Austin, TX, in the first part of the concert. In the second part, we premiered the triple concerto "THE ELEMENTS" ---> ruclips.net/video/AfDkezAfcNk/видео.htmlsi Thanks to "SUSURRUS VI", I had the opportunity to use "Thai Gongs" in "THE ELEMENTS" as well. Otherwise, this instrument would never have found its way into "THE ELEMENTS". In some time, I will upload another video from this session - "EX NIHILO" in its pure form for marimba and guitar. In this version, the elements related to rhythm, minimalism, and polyrhythm finally gained significance. Andrew, thank you very much for your beautiful comment!!!! Do you have plans to write something for percussion instruments and guitar? What unusual duet (in terms of instruments) do you think would sound good with a classical guitar?

@@MarekPasieczny no plans! I never know what might occur to me next. I have a couple of things for classical guitar and fretless electric bass, with the bass as the melody instrument, and one nice little duet for classical guitar and Fender Rhodes....but neither of these seem like innovative combinations.

@@andrewwilliams6139 The Fender Rhodes really has an amazing sound! I'd love to listen to such a duet!!!! It never crossed my mind... In the past, I played and composed music for guitar and organ (large, church, pipe organs). It's an unusual combination - sometimes it works, sometimes it doesn't.... Surprisingly, guitar and harpsichord sound very good and interesting together. I think the potential for writing for guitar with other instruments lies in period instruments. Not just the lute, but also the viola da gamba, theorbo, recorders... That could sound great. Have you ever composed for historical period instruments?

Stelios, I highly respect your opinion, especially since you compose yourself! I'm very pleased that you liked this piece. Naturally, while writing it, I faced a great dilemma on how to most naturally blend the sounds and colours of the guitar with the sounds and colours of the percussion. I wanted these two seemingly distant worlds to harmoniously interweave. What I had in mind was one thing, but what a given percussionist can extract from the instrument is another. Thomas is brilliant. I love how he sinks into the deep ppp in part I (vibraphone), how he manipulates the colours on the tam-tam in part II, and finally how excellently he plays the marimba and crotales in part III. This part may seem easy, but it is only seemingly easy. Once again, thank you very much.

Alan, thank you for your honest comment. I agree with you. Contemporary music, especially the academic kind written by people with comfortable university positions, can be off-putting. I only believe in composers who can sustain themselves by writing their own music (John Adams, Reich, Glass, Williams, Arvo Pärt...). I'm glad you enjoyed this duo, which is very different in terms of repertoire. Thank you!

My pleasure! Thanks very much!

Branislav, thank you so much. Beautiful words. You perfectly understood my intentions in music. Yes, it's true, without a great percussionist like Thomas, there wouldn't be such a good, intimate, spiritual version. Thank you very much for taking the time to listen! Best regards!

Jurku, as usual, I agree with everything. Starting from the end - you should definitely comment, as you know this piece better than anyone else. Each version is different. I have a fondness for two: this one and the version with the lute (to anyone who's reading it here is the guitar/lute version----> ruclips.net/video/eHMX95DU-9A/видео.html). Here, I achieved space, an element of meditation, and an extremely wide palette of colours. In the version with the lute - it's a world enclosed in amber: very delicate and very ambiguous (like in this version with percussion). Two historically separated instruments (guitar/lute) meet for a moment and then fade away... Here, with percussion instruments, the guitar is in the centre, and the percussion instruments (their sounds) revolve around it... Due to the large number of microphones, as you brilliantly noticed - we felt like we were in a pharmacy. Every nuance, every touch of the instrument, and even Thomas's transitions from one instrument to another can be heard. In post-editing, I had to add a slight reverb. That dryness and extreme closeness were overwhelming. This is really a huge credit to Thomas, his excellent playing, and his flexibility. Playing with a classical guitar is not the easiest when you have such a wide dynamic range as percussion instruments.... After some time, we should come back and play the original SUSURRUS together, Jurku. Dzięki!!!! :))))

I love it! What a completely different perspective. It's supposedly the same piece, the same composition, yet the reception is so different! I love that last sentence :) I'm curious what you'll write, Tomek, when I post a solo piano piece inspired by a fragment of the moon from Houston, TX! But seriously: thank you very much! It's truly amazing how instrumentation can completely change the compositional material. The execution itself is extremely important here - the fewer the sounds, the harder it is to 'hide'. Thomas is brilliant. It really was a journey to space and back from Austin, TX :) dzieki Tomek!!!! :))))

Kiedy się wydaje że nie można już zrobić większego kontrastu.. Nadchodzi nowy.. Jeszcze większy i mocniej ckliwy i się przeistacza. Nie no brak słów.. Jaki duet jaka lekkość...

Dzięki. Piękne słowa. Doceniam! Pozdrawiam serdecznie!

Bardzo dziękuję! Cieszę się że ci się podoba!

Czysta matematyka :) eksperyment w czasie pandemii covid19. Dziękuję za obejrzenie!

Zbyszku, przepiękne dzięki. Doceniam i pozdrawiam Cię serdecznie!

Thanks very much, Marko! Doing my very best. Perhaps it's not really commercial and catchy but truthful. Thanks for stopping by! Warm greetings!

Dzięki piękne!

Thanks Christiaan, for listening and your comment. I love your description: 'complex simplicity.' I guess it describes SUSURRUS perfectly. Thank you; I'm glad you liked it!

thanks very much, Art Avila! Especially coming from percussionist himself. Glad you enjoyed it! Thanks!

Dear Haim, Thank you for the kind words. Your poetic reference in the comment beautifully aligns with my intention, especially in the first, very spacious and delicate part. Thomas and his way of playing are phenomenal here. Thanks!

dziekuje Wojtek! Jak widzisz, wypelniam obietnice z wywiadu! dziekuje!

John, my videos are simply incomplete without you stopping by and writing! Thanks so much! I'm glad you like them! It's in a way my personal 'secret story.' Like Pat's project with very unusual sounds and unusual instruments... soundscapes. Have you ever been to Texas, to Austin?

I was speechless. Thank you very, very much. Like everyone else, I also want to leave something valuable, or at least unique, in guitar music. Your comment means a lot to me, Joep! BIG thanks!

@@MarekPasieczny You leave something valuable and unique, Marek, composing is one of the most creative gifts in human existence ...

@@joepworther2284 .....In today's very uncertain political and economic times, musicians have to do their thing - create with hope that their works will endure.... Artificial intelligence cannot compose well yet and won't be able to for a long time.... Thank you once again

@@MarekPasieczny Fortunately true !

Hey Stewart! Thank you so much for your kind words! Thanks for stopping by and watching. I'm glad you recognized my intentions. Suffice it to say, the first two parts are just "white keys," and only the third part "breaks out" of this purity. Playing with the drums is a great joy and adventure.... So many colours! Thanks again!!!

Thank you so much, Gerardo! Your support throughout these months/years means a lot to me. I really appreciate it! Oh, it would be a dream to finally appear in Mexico and perform live for you and other guitarists-musicians! Thanks again! Glad you like my SUSURRUS!

Dear Laszlo, thank you for this comment. It has already become a tradition that I see a comment from you, my fellow composer! Thank you very much. And I agree with you - for me (to some extent), the guitar is not enough. Only writing for other instruments allows me to use all the colours and expressions that I plan during composing. "Susurrus" is a great example of this. Thank you very much for your kind words - I really appreciate them! By the way, have you ever written anything for percussion instruments?

@@MarekPasieczny Dear Marek, it is interesting that you write: "for me (to some extent), the guitar is not enough." If only because, for me, you are the one who raised the classical guitar - as an instrument that is rather marginalized in my classical music literature - to heights that I have not yet experienced with anyone else. You also pointed out the beautiful, intimate pairings that the guitar can perform in chamber music. This pairing (with the vibraphone, marimba and other percussion instruments) was very well done. Just as Ralph Towner and Gery Burton also created great compositions at the time. I haven't composed for percussion yet. I tried the guitar and church organ combination once, but not with anything else.

​@@laszloteczar8880 Thank you for your comment, Laszlo. You also reminded me of the Towner-Burton collaboration. Indeed! I think the vibraphone as an instrument will always be associated with jazz (and Gary Burton), and if with classical music, then with impressionism. I was very apprehensive about using the vibraphone in "SUSURRUS VI", but I do not regret it. Thomas Burritt is a phenomenal musician. It's a paradox - the desire to escape from the guitar as an instrument leads to its development. I think it should be that way. If I did it deliberately with the sole aim of developing the guitar, it would be doomed to failure. You should try writing for percussion instruments. It's an incredible joy. Once again, thank you for your kind words and constructive comment.

@@MarekPasieczny Yes, certainly the search for newer and newer possibilities, the search for unconventional solutions beyond the limits results in the fact that in your works you have raised the classical guitar to heights that I have not heard from anyone else. And the performance itself is of course brilliant, both on your part and on the part of Thomas Burritt. Kudos to both of you!

Hi Jonnie, cheers!!! I tried to integrate the guitar with the drums as seamlessly as possible. Sometimes my intention was to extend the guitar sound through orchestration w/ percussion instruments.... and vice versa. It's a pity there isn't literature on guitar and percussion instruments. Thanks for listening and for your feedback!

Hey Brian! thanks for stopping by! You really beautifully described everything. Yes, you're right, in the first part, the resonance of both instruments is crucial. How the guitar fills the vibraphone's sound or plays 'between' the bells determines the entirety of the first part. During this session, we recorded SUSURRUS VI but also the massive EX NIHILO version for guitar and marimba (and only for them). Thomas is a virtuoso; it's incredibly playing with someone like him. I can't wait to show the world the video of EX NIHILO! Thank you very much for your beautiful comment! I'm glad you liked it!

Bardzo dziękuję! "Hipnotyzujące" - idealne slowo: rzeczywiście świetnie oddaje moje intencje w SDUSURRUS VI. Dzieki!

thank you very much!!!

thanks so much Andrew!

Thank you so much! I really value it! Happy to hear you enjoyed it!

Thank you. Glad you like it!

Alejandro, you are such a great support! You don't even know how much it means to me. I truly appreciate it. I'm so happy you like this vast piece on so many levels! Thank you!Very soon, more music and videos are coming. This time, a duo with the very percussionist from this video, the brilliant Thomas Burritt. Stay tuned! Thank you once again!

👌🙏

I'm not sure if it's a good or bad thing (?)

Thank you. I also composed it.

Thank you. Glad you like it!

Dear Andrew, What can I say? It's definitely been worth the wait for such an honest and original comment. You already know how much I value your opinion; it means a great deal to me. I love your comparisons on various levels - colors, pitch, orchestration. I absolutely agree with your thoughts on the possibilities of a guitar orchestra versus a traditional orchestra. There's simply no comparison. I prefer to think of a guitar orchestra or large guitar ensemble as a percussion ensemble(s). For me, the most unique and interesting aspect of large guitar ensembles is the sonoristic dimension. The stereo/quadraphonic effects are fascinating. Have you ever composed for a large guitar ensemble, or perhaps are you planning to? What do you find most interesting about writing for a guitar orchestra, if anything? I have to admit, I was and still am somewhat skeptical about writing for more than four guitars... What's your opinion on that matter? Thank you so much, Marek

@@MarekPasieczny yes that's it, somewhere between percussion and some sort of heightened continuo. I've never written for any large ensembles and in fact only rarely for multiple instruments. I'm by nature a miniaturist, I think! I'd love to have the wide vision for the broader canvas ....but I just do what I can.

thanks very much! I really appreciate it. Thanks for stopping by and listen!

Beautiful words, Armando. I'm trying my best. Sometimes, facing obstacles like a 'guitar orchestra' or a 'large guitar ensemble' makes it easier to be aware of composing something new, something different, and fresh. I'm currently working on a very complex, long piece for three guitars and trying to prove (especially to myself) that it can be written in a very different, new, and exciting way. Thank you so much for your support!

Glad you liked my arrangement. Thanks very much!

My pure pleasure! Thanks for stopping by and watching!

Thank you very much for your kind words! Glad you liked it! Greetings!

Christiaan, thanks for listening! Thank you on behalf of all the students, the conductor, Mateusz and all people involved in this project! Greetings!

Hello Brian, thanks for the comment and careful listening. Yes, I agree - I would also like the orchestra to be more present. The recording quality is phenomenal. When we were editing audio back in college in Warsaw, the proportions were good. I think with very good equipment and excellent speakers, everything would fall into place. In other words, it was fine in the recording studio. Our home equipment, let alone mobile phones or laptops, is not sufficient. // I really like your analogy to shadows. It's a very good and accurate observation! Thank you very much for listening! Warm regards!

@@MarekPasieczny Thanks Marek always nice to share with you take care and till next time regards Brian

@@brianpenny6890 absolutely, Brian! I'll let you know when next recording will come out. Thanks for your kind words!

Thanks, Ben! Give your cat a pat from me :P But seriously, thank you for your honest words. I didn't consciously draw inspiration from Reich, but how can one not be close to his language when writing in a minimalist style? I highly value his "Electric Counterpoint," so it's even more pleasing that you compared me to him. For me, the inspiration in EX NIHILO definitely came from John Adams' creativity, especially in his approach to composition, openness, and stylistic versatility. However, perhaps most importantly, the form of "THE WAY UP" created years ago by Lyle Mays and Pat Metheny influenced me. It was their unique 'protest' against the few-second 'compositions' on TikTok or the increasingly trivial, predictable songs flooding the airwaves. I wanted to prove to myself, primarily, that it's possible to write a monumental composition for two guitars. This version is just slightly expanded (intro - beginning). Thanks, Ben!

thanks so much, man! appreciate it!