Dobrowolski, Andrzej (1921-1990)
Duration: 15:00 Warsaw, 1956 Publisher: PWM (c1960)
I. Allegro vivo
II. Adagio
III. Vivo
Instrumentation: oboe, clarinet, bassoon
Written in neo-classical style and influenced by works of Paul Hindemith, this piece is very graceful. It is a shame that only a score with no individual parts is published, thus preventing wider performance of this piece. Dobrowolski uses pairing textures here. He pairs the instruments against the rhythmic accompaniment. All three movements are multi-metric and very chromatic. The first movement starts with the unison between the clarinet and bassoon. The second movement presents a fugue-like melodic material treatment. The third movement challenges performers with fast running lines passed between the instruments, sometimes beat by beat. In addition to angular articulation there is a need for great dynamic contrast.
Grade: V-VI
Recordings: none
Sheet music source: pwm.com.pl
Andrzej Dobrowolski
Born September 9, 1921 in Lvov; died in Graz on August 8, 1990.
He studied organ, voice, clarinet and theory. He graduated in 1951 from PWSM in Kraków with the degree in theory. He was a theory student of Stefania Łobaczewski and composition student of Artur Malawski. Between 1947-54 he taught theoretical subjects at the PLM and PWSM in Kraków, and from 1954 to 1976 he taught at the PWSM in Warsaw. In 1976 he became Professor of composition and electronic music at the Hochschule fur Music und Darstellende Kunst in Granz. In 1979 he became a Dean of the Faculty of Theory, Composition and Conducting at that institution.
He is the author of orchestral, piano, chamber, vocal and instrumental compositions, works for tape and instruments, electronic pieces and music for the film and theater. His works, especially the earliest ones, draw on folk music. His later compositions present simple texture, formal discipline with elaborate polyphonic technique. The example of this composition technique is the Reed trio and his Symphony no.1. His compositional style changed entirely in the late 50s when his compositions turned to new sound techniques, especially electronic. From this time he introduced special ideas to his music. The results of it are compositions where orchestras and choirs are divided to groups and are placed on or off-stage.