Technika koncertująca w sonorystycznych utworach Kazimierza Serockiego

Abstract

The composing interests of Kazimierz Serocki are very broad and diversified. In different periods of his life he referred to the folklore, neo-classicism, dodecaphony or aleatorism. his artistic output is characterized with diversity of the sound language and style. Serocki became interested in sonorism in the 60’s. In the artistic pieces of that time the accent was moved from the melodic-harmonic composition to the tone and his own discoveries in the scope of the timbre, shape and motion. The first sonoristic piece was Continuum for 6 groups of percussion. In this piece, percussion is not only the source of new sounding but the means for constructing the expression in the scope of drama and in the scope of various methods of extracting the sound. The subject of contemplation in this article are the compositions with the emphasized solo cast in the title, for example: two pianos, piano and electronic apparatus, flutes. Putting in the titles the names of the solo instruments in the single cast and the method of their treatment in the pieces is the fact that these are the typical solo performances. The author analyzes in the above pieces the influence of the cast on the sounding of the pieces, sources of the sounds, methods of extracting the sounds.