Polish Radio Experimental Studio presents 2 version of Boguslaw Schaeffer's polyversional composition "Assemblage", where the performer must play potential aggregates encompassing possible versions the composer intended; with Bogdan Mazurek, Thoman Lehn, Wolfram, &c.
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Catalog ID: BR ES06
Squidco Product Code: 19005
Format: 2 CDs
Packaging: Digipack - 3 panel w/ booklet
Produced at Studio Eksperymentalne in Warsaw, Poland.
Mariusz Pedzialek-oboe, Cor Anglais
r Thomas Lehn-synthesizer
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1. Assemblage (second simultaneous version) 18:14
2.-5. Symfonia elektroniczna 17:29
3. Heraklitiana 20:52
4. Projekt 14:32
1. Projekt 16:24
2. M.P. slucha Heraklitiany 21:00
3.-6. Symfonia elektroniczna 17:05
7. Assemblage (first simultaneous version) 4:14
8. o.t. dec. 2011 10:11
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"Polish Radio Experimental Studio is the first official series of CD releases dedicated to the music produced in the legendary Studio. Established in 1957 by Józef Patkowski, it was among the first institutions of that kind in the world with only Paris, Cologne and Milano preceding the Warsaw one. Despite that, unlike their foreign colleagues who quickly became the most important figures of the XX century music, Polish composers working in the Studio are known only to a limited number of insiders.
Yet, as Reinhold Friedl, leader of zeitkratzer points out, 'the pieces give the impression of an artistic approach which has never been as strict or ideologically restricted as German electronic music or French concrete music. It seems to me that none of the musicians connected with this studio have had the tendency to limit him/herself to 'electroacoustic music', rather they all have a natural and holistic approach to composing' [see: BR ES03]. This is why the releases give us opportunity to revisit our historical ideas of XX century music with a fresh and inspiring insight.
Polyversional compositions were defined by Bogusław Schaeffer already in the 1960s. They were pieces written down not as 'definite aggregates' being an obligation towards an interpreter to perform the sounds composer had in his mind but rather potential aggregates encompassing variety of possible versions. After nearly half-century, a couple of notes should be added to the definition, even if they are nothing more than questions on its margins. They are not rooted in any theoretical insight but only in working on that particular album.
The question is: if the score is missing, can polyversionality mean improvising the soloist part upon listening to a fixed tape? (see: Heraklitiana - the composition for tape and soloist. There is possibly a score for this piece somewhere but a few month long search, with assistance of its author, gave no desired result.) If close listening to an 'original' version (based on a score) leaves a lot of doubt about the faithfulness to the score, do other more loose versions have to be mere variations? (see: o.t. dec. 2011 by Thomas Lehn.) And finally: does changing a title free us from an obligation of a faithful performance or is it only a misuse and attempt to pretend that a particular performance which is nothing more but one of possible realizations of Schaeffer's compositions is a creation of a different composer?"-Bolt
• Show Bio for Boguslaw Schaeffer
"Composer, musicologist, graphic artist and professor. He has more than 550 musical works to his credit, across 23 different musical genres, and his 44 plays have been translated into 17 languages. His works have been performed to great acclaim at home and abroad. Born on the 6th of June 1929 in Lwow (now Lviv, Ukraine).
Many may consider Schaeffer a controversial figure in contemporary music for his experimental approach to both music and musical notation. He pioneered a unique creative path, exploring new areas of music while spreading his reach into drama, graphic design and other disciplines. It comes as no surprise that the visual aspects of musical notation are among his chief concerns, inspired by varied artistic practices including collage, surrealism and performance-art techniques.
Schaeffer's unconventional, interdisciplinary style centers on a view of music as a construct with many layers of structure, threads, languages and expression, with varying paces and plot devices. His musical mind inspires his ways of constructing theatre pieces - and vice-versa. His innovations in contemporary music include musical scores without notes, scores that use other forms of notation such as diagrams, typescript, decomposition, emotivographs, assemblages and collages, giving way to such concepts as automatic music, idiomatic music, algorithmic music, open symbol music, super-parametric music, theatrical ideas, music based on philosophical ideas, music with text functioning as acoustic material, music of varied instrumentation, action music and conceptual music.
As he explained in the programme of the 1999 Warsaw Autumn International Festival of Contemporary Music,
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