by Jakub Wittchen

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Friday, April 21, 2017

My New Album "Ghost" is here

So here it is, I am very very happy to announce my - somehow - first ever "contemporary classical" album. So at 41, still some space for a debut!
It also draws another direction in my music life.

The album is Called Strycharski/Andriessen "GHOST". It is part of IMIT commissions for composers. It is released by a great Bolt Records and Michal Mendyk.
The album is recorded in Krolikarnia by myself on recorders/blockflutes and my friend Sebastian Zawadzki on piano.
It contains Louis Andriessen "Melodie" and my "Harmonie"...

A little bit more about the whole process and the album is here:

The story of this album began with the idea of composing my response to Melodie
– one of the pieces dedicated to Frans Brüggen. At first, I searched for information
on the circumstances in which Louis Andriessen’s specific composition was
created. As it has quickly turned out, however, I’m not so much interested in these
circumstances any more. I have realized that this piece is a presentiment but also
a goodbye. A farewell to the spirit of community. The community which – despite
delicate disharmony (microtones) and dissonances – holds together until the end.
Andriessen’s piece stands out against 20th-century compositions for recorder: it’s
an almost unceasing unison of two instruments; the melody is almost stretched
into ambient, although it’s never fully transparent, it never loses its narrative qualities.
We will not find in it widely exploited extended techniques. Instead, there is
continuum and absolute simplicity.
This is why I wrote Melodie’s alter ego – Harmonie. I wanted to show that harmony,
which we still need, has become impossible. And that perfect harmonisation
is a great effort and a great goal which is in fact impracticable. The planned
split sounds unison of the recorder and the piano in reality rattles with microtone
shifts; the desired unity is implemented in the form which is unbearable in terms
of sound, wearying and exceptionally mechanical.
The ending of the piece, however, brings some relief. The musicians are left with
the remains of the musical language reduced to a few signals – in fact, they may
co-function in the short, rhythmically improvised episode ad libitum. This “true”
harmony – in contrary to artificial identicalness – is possible through loosening of
the rules and synchronicity. In the conditions of ambiguity and controlled, acceptable
freedom. At the same time, the composition remains a specific tour de force to
the recorder player: regulating the strength of exhalation for particular split sounds
together with their “mechanical” duration becomes more difficult with time.
P.S. Interlude: Ghost seems located between these two compositions. It’s a spontaneously
produced and recorded commentary to the entire program. The thing
about the presence of something. Here, nearby, not far.

-> Here is the link to get it on Monotype <-
-> And here as well on Bolt <-


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