Bargielski: Vernissage Various Artists - Zbigniew Bargielski

• Zbigniew Bargielski (b. 1937): Klavertett:
• 1 Bargielski: Klavertett 13:55
• Epitaphium:
• 2 Bargielski: Epitaphium 10:18
• Fonoplasticon:
• 3 Bargielski: Fonoplasticon 14:05
• Schizofonia:
• 4 Bargielski: Schizofonia 19:29
• Total Runtime 57:47

Info zu Bargielski: Vernissage

The album VERNISSAGE presents four works by Zbigniew Bargielski, one of the most original contemporary Polish composers, whose music is distinguished by a vivid sonic imagination, a fondness for contrasts, and the construction of form from clearly defined, often sectional segments. The recording includes compositions representing different facets of his output: Schizofonia (2012), Epitaphium (1982), Klavertett (2020–2021), and Fonoplasticon (2016).

In Schizofonia, the composer develops two parallel musical strands: a lyrical, modal theme with an almost chant-like character and an agitated, shimmering texture. As the piece unfolds, the two gradually intertwine, blurring the boundaries of perception. Epitaphium, written in response to the events of Martial Law in Poland, is a deeply moving musical meditation in the form of a lament, based on the expressive figure of a semitone motif. Klavertett presents Bargielski’s idea of the so-called “New Form” — a work constructed from recurring segments and episodes of varying character, creating a narrative with an almost theatrical course. Fonoplasticon, in turn, reveals a lighter side of the composer’s language: a colourful musical mosaic full of humour and stylistic references, inspired by the idea of “classical light music.”

Gośka Isphording, harpsichord
DAFÔ String Quartet
Justyna Duda-Krane, violin
Danuta Augustyn, violin
Cracow Wind Quintet
Beata Bilińska, piano
Silesian Quartet
Piotr Sałajczyk, piano

Zur Info: wir bieten dieses Album in der nativen Abtastrate von 48kHz, 24-Bit an. Die uns zur Verfügung gestellte 96kHz-Version wurde hochgerechnet und bietet keinen hörbaren Mehrwert!

Zbigniew Bargielski
studied law at the Maria Curie-Skłodowska University in Lublin (1954-57). In 1958 he began studying composition at the State College of Music in Warsaw under Tadeusz Szeligowski. After his teacher’s death he continued his studies under Bolesław Szabelski at the State College of Music in Katowice, where he gearned a degree in composition in 1964. He continueded his studies under Nadia Boulanger in Paris (1966-67) on a French government scholarship, and also at the Hochschule für Music in Graz (1972). Since 1976 he has been living in Austria, where he is engaged in teaching.

Bargielski’s compositions have been played at numerous festivals of contemporary music, such as the Warsaw Autumn, Muzicki Biennale Zagreb, Festival de Paris and Steirischer Herbst in Graz. He has received prizes at composers’ competitions, among them the First Prize at the Young Polish Composers’ Competition for his Parades for orchestra (Warsaw, 1965) and the Second Prize at the Arthur Malawski Composers’ Competition (Cracow, 1976), as well as Special Mention at the UNESCO International Composers’ Rostrum (Paris, 1981) for the Alpine String Quartet.

In his compositions Bargielski applies his own method of the organization of sound material. It is based on balancing the proportions of quantity, dynamics and instrumentation that occur between center sounds (specially isolated) or constant harmonic centers (sets of sounds) and the remaining sounds of the twelve-tone scale (neutral or “neutralizing” sounds). The composer refers to the system based on this method as “the theory of center structures.” For the first time he put this theory into practice in his Rose Garden (1971); subsequently he used it in most of his works (such as Concerto for Percussion, Violin Concerto and String Quartets Nos.1 and 2, among others).

Booklet für Bargielski: Vernissage