Detroit Symphony Orchestra, Andrew Litton, conductor, David Krakauer, soloist. The Orchestra Hall in Detroit, December 10th - 13th, 2009

David Krakauer

18 minutes

2 Flutes, 2 Oboes, 2 Bassoons, 4 Horns, 2 Trumpets, Percussion (3 players), Drum set, Electric bass, Celesta, Piano, Clarinet solo, 8 Violins I, 8 Violins II, 6 Violas, 4 Cellos, 3 Contrabasses

Before I even started my musical education, I had fallen in love with Klezmer music. In fact, it was my strong desire to play Klezmer music that led me to become a musician in the first place. Inspired by the recordings of David Krakauer, I chose clarinet as my major, and began to play and compose Klezmer tunes and classical music while studying at the Academy of Music in Gdansk, Poland.

For a long time, my dream was to meet the person who turned me into a musician. After studying clarinet and composition for six years, I made up my mind to go to New York and try, at least, to meet David Krakauer personally. To my surprise, my big dream came true, and I not only met David, but ended up writing a concerto for him.

The concerto, in three movements, alternates two main influences that are deeply rooted in David Krakauer's discography: funk, and electronics (electronic effects are simulated by acoustic means). While the initial theme of the first movement introduces a wild musical idea, accompanied by an ostinato in the orchestra and funky rhythms, the second one brings a quite traditional-sounding Klezmer tune. The tune is presented in a way that simulates the well-known electronic "delay" effect, which is achieved through constant repeats of either single notes or short figures. Then second movement begins with a cadenza that gradually turns into a lyrical melody on which the entire movement is based. A second cadenza leads towards a wild climax, which is taken over by the finale (attacca). The final movement combines two contrasting themes, in which Klezmer style is represented by particular playing techniques rather than actual musical material. While the first theme, written in 7/8, is similar to a folk melody, the second one is a tango caricature. Both themes develop towards a frenzied burst of energy that ends the piece.

23 minutes

1. Scherzo

2. Aria

3. Cadenza

4. Toccata

5. Postlude

2 Solo Violins, String Orchestra (min. 4,4,3,2,1), 2 Percussionists, Harpsichord

coming soon.

10 minutes

2 Flutes/Piccolo, 2 Oboes, 2 Clarinets, 2 Bassoons, 3 Trumpets, 4 Trambones, 6 Horns, 1 Tuba, Percussion (4 players), Piano solo, 12 Violins I, 12 Violins II, 8 Violas, 6 Cellos, 4 Contrabasses

Concertino for piano and orchestra is a polystylistic piece mostly influenced by piano repertoire written in Romantic period. Unfortunately, the score has been irrecoverably lost, hence the mp3 recording of computer simulation is all that remained.

"Forum Ensemble" Chamber Orchestra, Milosz Bembinow, conductor. December 2004.

II Prize ("Forum Muzyczne 2004" Competition)
Audience's Prize ("Forum Muzyczne 2004" Competition)

7 minutes

1 Flute, 1 Oboe, 1 Clarinet, 1 Bassoon, 4 Violins I, 4 Violins II, 3 Violas, 2 Cellos, 1 Contrabasses

"Job in Despair" has been written specially for the competition "Forum Muzyczne 2004". Since this piece is one of the first compositions of mine, getting two awards was quite an achievement for me. The piece is written on the basis of Biblical story, in which Job's devotion to God is being tested by devil. The piece depicts the struggle with all the evil that Job had to face, as well as deep feelings and loyalty to God. The ending of the piece symbolizes peace and God's love that follows after suffering.

Morse Recital Hall, New York, February 2009, SungChan Chang (cello), Anna Shelest (piano)

7 minutes

cello, prepared piano

Although cello has always been one of my favorite instruments, I had never written anything for it until SungChan, a friend of mine, asked me to compose a piece for his solo recital. I decided to write a piece on the basis of Baroque style, as I find it to fit perfectly cello as a solo instrument. However, I intended by no means to write a piece which sounds as if it was written in Baroque period. My goal was to come up with different ideas on how to use elements of Baroque style, so that it sounds like a contemporary piece.

The first movement is buit as per Baroque aria form: ABA. It begins with a simple theme, being accompanied by harmonics produced on piano strings. Then second theme follows presenting a lyrical material. While it remains purely tonal, the melody itself is written in different key (f sharp minor) than the supporting accompaniment (F major). When the first theme comes back, tension is gradually develops towards the second movement. Toccata is written on the basis of one rhytmic figure, which is repeated over and over again throughout the entire movement. The elements of Baroque style manifest themselves in a wild and exaggerated way, thus creating a sensation of a crazy caricature or pastige. The piece ends with an insane culmination.

Paul Recital Hall, New York, 27 October 2008, Justyna Jara (violin), Anna Shelest (piano)

5 minutes

violin, piano

Sonata for violin and piano, in one movement, was written in 2007 as a brief parody on violin repertoire of XIX century. Being strongly inspired by works of such composers as Bizet, Tchaikovsky and Paganini, I wrote this piece exceptionally quickly, within a couple of hours. It combines insane virtuosity, which is represented by the first theme, and exaggerated sensibility embodied by the second, thus expressing in my own language what I particularly like about music of the Romantic Era.

Academy of Music, Gdansk (Poland), May 2006

6 minutes

two pianos

"The story with two endings" is one of the first compositions of mine. The piece constitutes a soundtrack for a story that has never been created. While the piece progresses, the story is being created in ones' minds in a subjective way. As the title implies, the story ends twice. For the first time it dies away. Then it comes back and ends the piece in unexpected way, just like a good story is supposed to.

1,39 min

2 Flutes/Piccolo, 2 Oboes, 2 Clarinets, 2 Bassoons, 2 Trumpets, 4 Trambones, 6 Horns, 1 Tuba, Percussion (4 players), 18 Violins I, 18 Violins II, 11 Violas, 10 Cellos, 6 Contrabasses

This demo track is inspired by one of the most popular book series - "Harry Potter". The track depics a great chase described at the very beginning of the last book, during which Harry manages to slip away.

2,16 min

2 Flutes/Piccolo, 2 Oboes, 2 Clarinets, 2 Bassoons, 2 Trumpets, 4 Trambones, 6 Horns, 1 Tuba, Percussion (4 players), 18 Violins I, 18 Violins II, 11 Violas, 10 Cellos, 6 Contrabasses, Koto, Erhu.

The primary source of inspiration for this track was Chinese folklore. Having heard numerous performances at China Town in New York, I made up my mind to write a short track to depict that specific atmosphere.

3 min

2 Flutes/Piccolo, 2 Oboes, 2 Clarinets, 2 Bassoons, 3 Trumpets, 2 Trambones, 4 Horns, 1 Tuba, Percussion (4 players), 18 Violins I, 18 Violins II, 11 Violas, 10 Cellos, 6 Contrabasses

This track presents the main theme I wrote for a German fantasy movie "The Wings of the Dragon".

1,6 min

3 Flutes/Piccolo, 2 Oboes, 2 Clarinets, 2 Bassoons, 3 Trumpets, 3 Trambones, 6 Horns, 1 Tuba, Percussion (4 players), 18 Violins I, 18 Violins II, 11 Violas, 10 Cellos, 6 Contrabasses

"The duel" is a short track written especially for the EWQL composition contest 2009.

7 min

November 30th, 2009, Paul Hall, New York

Violin I, Violin II, Viola, Cello

The string quartet "Dybbuk" was written especially for the New York based "J.A.C.K. quartet". The piece is inspired by Jewish folklore, in which a Dybbuk is a malicious possessing spirit, believed to be the dislocated soul of a dead person. Dybbuks are said to have escaped from Gehenna (a Hebrew term loosely analogous to the concept of hell) or to have been turned away from Gehenna for serious transgressions, such as suicide, for which the soul is denied entry. The word Dybbuk can be translated from Hebrew as "attachment". The Dybbuk attaches itself to the body of a living person and inhabits the flesh. According to belief, a soul that has been unable to fulfill its function during its lifetime is given another opportunity to do so in Dybbuk form. It supposedly leaves the host body once it has accomplished its goal, sometimes after being helped.

The piece depicts two aspects of Dybbuk - its wild and aggressive nature, as well as its memories from the past life full of suffering and tears. At the very beginning the Dybbuk is possessing a body, in which he remains with its memories up to the point, in which Rabbi arrives and commences the exorcism. After a wild struggle between both the Dybbuk leaves the body and finally can rest in peace. The piece ends with a high and long note, thus mirroring sensation of relief and endlessness.

4.10 min

2 Flutes, 2 Oboes, 2 Clarinets, 2 Bassoons, 3 Trumpets, 3 Trambones, 6 Horns, Percussion (3 players), Piano, Chorus (sopranos), 16 Violins I, 16 Violins II, 11 Violas, 10 Cellos, 6 Contrabasses

"Strides Fantasy" is based on a soundtrack I wrote for a film by a New York based director Martin Martinez. The film "Strides" tells a story of a girl, named Michelle, who loses her mother to cancer. The fantasy incorporate several cues I wrote for the film into one piece, which reflects a variety of emotions that Michelle is coming through after mother's death.