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Lucia Dlugoszewski - Openings of the (eye)

Release Date: I 2020
Total Time: 68:26
CD | 16 page booklet | ekopack

Openings of the (eye) (1951-1952)
1. Discovery of the Minotaur
2. Disconsolate Chimera
3. Ritual of the Descent
4. Goat of the God

5 . Lords of Persia (1965)


Ania Karpowicz - flute [1-5]
Piotr Sałajczyk - piano [1-5]
Hubert Zemler - percussion [1-6]
Kamila Wąsik-Janiak - violin [6]
Adam Eljasińki - clarinet [6]
Lilianna Krych - conductor [6]

Bartłomiej Witek - trombone [6]
Jan Harasimowicz - trumpet [6]
Szymon Łuniewski - trumpet [6]

JW Player goes here

Lucia Długoszewski was a daughter of Polish immigrants and a would-be student of medicine who gave up everything to develop her artistic passions. A student of Edgar Varèse, seems to be one of the most interesting and the most forgotten of the New York school composers.

The most noticeable aspect of Długoszewski’s works is their sound quality. Her sensitivity to sound was already visible in her early compositions such as Moving Space Theater Piece for Everyday Sounds which, in accordance with its title, utilized the sounds of everyday objects. In her scores Długoszewski would polished even the tiniest sound details. She could alter the type of articulation or dynamics every other meter, especially in parts for percussions. The composer layered instrumental plans of various dynamics, creating unique mixtures of sounds. This sort of changeability coupled with strong contrasts could lead to a fragmentation of the composition, but the abovementioned pulsating character of the music ensured the experience of a continuum.

Another characteristic feature of sounds used by Długoszewski is their instability. The composer particularly loved glissandi, trills, ricochets, short appoggiaturas, vibratos and multiphonics on wind instruments—and everything that blurs sounds makes them more ambiguous, simultaneously making them difficult to reproduce precisely. Musicians who worked with Długoszewski mention that she often improvised during rehearsals and introduced changes into scores. She also delivered notations at the very last moment. Perhaps this unpredictability was as much a part of the composer’s creative process as it was a desired aesthetic feature of her music?

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