Szalonek, Witold (1927-2001)
Trio (16:00) 1952 Publisher: AA (c1980)
Allegro
Andante
Vivo, brilliante
Instrumentation: flute, clarinet, bassoon
This work showcases traditional tonality with a good amount of dissonance, even distribution of material between the voices, and features the soloistic qualities of each instrument. Motoric sixteenth note movement binds the first part of the piece, through the melody as well as the accompaniment. The second movement is more pure sounding with the melody being equally in the clarinet and flute. There are a few tricky places with fast running notes between the voices that need to align perfectly for it to sound brilliant. The third movement corresponds to the first movement’s character, but it is more erratic in the constant changing of the material, speed, and mood. This is a great ending to a very charming composition.
Technical and range demands are somewhat difficult; thus college students will enjoy working, and performing this composition. Close attention must be paid to ensemble rhythmic precision in all the movements.
Grade: IV-V
Recordings: none
Sheet music source: out of print
Witold Szalonek
Born in Czechowice on March 2, 1927 and died in Berlin on October 12, 2001.
He was a composer. He studied at the PWSM in Katowice majoring in piano and composition, and graduated with honors in 1956. From 1967 he taught composition at the PWSM in Katowice and until 1975 he was the head of the composition and theory department. From 1970 he lectured on sonorism at different universities and music schools in Poland and abroad. In 1973 he became a full professor at the Hochschule for Music and dartsellende Kunst in Berlin. His compositions were performed at many festivals of contemporary music in Poland (Warsaw Autumn Festival and abroad (International Society for Contemporary Music in Rome, Copenhagen, Hamburg and Stockholm). In 1990 he received the Wilhelm University in Munster honorary doctorate.
Szalonek’s compositional output can be characterized by early compositions that exemplify the romanticized folklore stylization, traditional polyphony, influences of Batok’s structuralism and serial techniques. His later compositions exemplify Webern aesthetics and sonoristis elements, which were taken farther towards aleatoricism and structuralism. These in turn lead him to universalism and his “theory of everything”. The last 20 years of his output can be characterized by coming back to his previous techniques, inspirations and drawing on stylistic characteristics of Bach, Debussy and Chopin. Szalonek composed 83 works and presented his ideas through presentations, lectures and publications.