Lasoń Aleksander, *10 November 1951 Siemianowice Śląskie, Polish composer. In 1970–74, he studied at the State Higher School of Music in Katowice (popular music and jazz), and in 1973–79, he continued his studies with J. Świder (composition). Since 1975, he has been teaching at the Branch of the University of Silesia in Cieszyn (he became a professor in 1995) and at the State Higher School of Music in Katowice, and since 1991 at the Academy of Music in Katowice. In 1979, he participated in an international composition course in Burgas, and in 1984 and 1988 in the New Music Courses in Darmstadt. In 1990–93, he was the chairman of the Katowice branch of the Polish Composers’ Union. Initially, he worked as an improvisational pianist, then devoted himself to composition, sometimes conducting his own works. He made his international debut in 1977 with a performance of his Symphony No. 1 at the “Styrian Autumn” contemporary music festival. He has received many national and international awards, including: in 1976, second prize at the G. Fitelberg International Competition for Conductors for his Symphony No. 1; in 1980 he took first place at the UNESCO International Rostrum of Composers in Paris for his Symphony No. 1, and in 1988 he received an honourable mention for his String Quartet No. 2, and in 1980 he received the Beethoven Prize in Bonn for his Symphony No. 2 “Concertante.” In 1987–89, he received the W. Lutosławski Scholarship award and wrote the symphonic work Katedra [Cathedral].
The fundamental characteristic of Lasoń’s early music is its shimmering sound. In addition to vibrating harmonies in tremolo articulation, the composer uses toccata, repetitive and figurative-scale formulas, achieving the effect of undulating streams of sound or colourful fireworks of chords. The compositional principle is a balance between orchestral groups and instruments, with a predilection for the piano, which performs a concertante, colouristic or harmonic (basso continuo) function.
Gradually, linear thinking gains the upper hand: melody with a continuous, arched, cantilena-figurative character, free in rhythm, richly ornamented; it creates polyphonic interweaving or a continuous musical narrative, taken up by successive instruments. The framework organisation of the temporal course brings Lasoń’s music closer to W. Lutosławski’s rhythmic aleatoricism.
The foundation of the sound material is modal diatonicism: specially constructed scales with an ambiguous tonal character, sometimes limited to 3 or 5 notes. The full 12-tone material is used in strictly defined sections. The harmonic structure derives from linear thinking and is based on triads with added intervals, as well as whole-tone, quartal/quintal, and pentatonic chords. Central tones and sonorities, functioning as a harmonic axis, play a significant role in the composition. The sound is usually intense, dense, and saturated, leading to a general climax with a full scale range. Avoiding “unconventional” effects, the composer achieves, within a standard performing ensemble, an exceptional richness of colour as well as qualities of originality and novelty.
In his formal proposals, Lasoń evolves from traditional cyclical patterns (symphony, string quartet, sonata) through quasi-rondo form (Symphony No. 2 “Concertante”) to free forms running in a single narrative sequence (Góry, Katedra). In concertante forms, the isolation of the solo instrument does not lead to dramatic conflict and competition with the orchestra; more often, it merges with the orchestral sound and enters into subtle dialogue with various instruments.
The stylistic and aesthetic character of Lasoń’s music stems from his reaction to extreme avant-gardism. From youthful vitality, in which one senses the spirit of early Bartók and Stravinsky, it evolves towards expressive depth, solemnity and sublimity. Naturalistic effects, motivated by the pursuit of musical picturesqueness (Concerto for improvising piano and 3 magnetic tapes), or programmatic inspirations do not signify a break with his aesthetic attitude, which prefers pure, absolute music.
Instrumental:
Sonata for violin and piano, 1970
Impresje [Impressions] for piano and orchestra, 1974
Sonata No. 1 for solo violin, 1975, published in Krakow 1980, 2nd edition 1987, Darmstadt 1987
Symphony No. 1 for wind instruments, percussion and 2 pianos, 1975, Munich 1979, Krakow 1983
Chamber Music No. 2 for piano, 2 horns, trumpet, trombone, and tuba, 1976, Darmstadt 1986
Music in Four Movements for double bass and piano, 1977, Krakow 1980, 2nd edition 1994, Darmstadt 1986
Chamber Music No. 3 for 2 oboes, 2 horns, 2 trumpets, tuba, percussion and piano, 1978, Krakow 1979, Darmstadt 1985; 2nd version 1991
Chamber Music No. 1 “Stalowa Wola” for piano and string quartet; 2nd version 1978, Krakow 1983, Darmstadt 1985
Symphony No. 2 “Concertante” for piano and orchestra, 1979, Krakow 1987, Darmstadt 1987
Góry [Mountains] for orchestra, 1980, Krakow 1987, Darmstadt 1987
String quartet No. 1, 1980, Krakow 1984, Darmstadt 1984
Spring Quintet for wind instruments, 1981, Krakow 1985, Darmstadt 1986
Hymn and aria for string orchestra, 1983, Krakow 1994
Sonata No. 2 for solo violin, 1984, Darmstadt 1985, Krakow 1987
Chamber Music No. 5 “The Four Seasons” for clarinet, trombone, piano, 5 violins, 3 violas and 2 cellos, 1984, Darmstadt 1986
Concerto “Pablo Casals in memoriam” for cello and orchestra, 1985, Darmstadt 1987
Concertino for violin and piano, 1986, Darmstadt 1986, Krakow 1993
String Quartet No. 2, 1987, Darmstadt 1988, Krakow 1994
Katedra [Cathedra] for orchestra, 1989, Darmstadt 1990
String Quartet No. 3, 1993, Krakow 1995
Symphony No. 3 “1999” for chorus and orchestra, 1996-1997, dedicated to the composer’s mother, Elżbieta
Concerto festivo for violin and orchestra, 1995
Relief dla Andrzeja [Relief for Andrzej] for string quartet, 1995
Concerto “Harmonium” for amplified accordion and orchestra, 1995-2000, dedicated to M. Andrysek, published by PWM, Krakow 2000
Credo for orchestra, 1997 (commissioned by the Poznań State Philharmonic on the occasion of its 50th anniversary), premiered in Poznań, 20 September 1997, performed by Orkiestra Symfoniczna Filharmonii Poznańskiej, conducted by M.J. Błaszczyk; published by PWM, Krakow 2000
2 plus 2 for Witold for violin, cello and two pianos, 1997, dedicated to W. Szalonek, premiered in Katowice, 2 March 1997, performed by K. Lasoń (violin), S. Lasoń (cello), A. Lasoń (pianos), Al. Lasoń (pianos); published by PWM, Krakow 2000
String quartet No. 4 “Tarnogórski” [Of Tarnowskie Góry], 2000, premiered in Palace in Rybna, 3 December 2000, performed by Silesian String Quartet (Kwartet Śląski), published by PWM, Krakow 2022
A Little Book for clarinet and strings, 2000–2001, published by PWM, Krakow 2001
String quartet No. 6, 2005, premiered in Katowice 9 June 2005, performed by Silesian String Quartet (Kwartet Śląski); published by PWM, Krakow 2009
AUKSO for string orchestra, 2006 (ordered by Polish Composers’ Union (Związek Kompozytorów Polskich) and the National Philharmonic in Warsaw), premiered in the National Philharmonic in Warsaw, 6 March 2007, performed by AUKSO orchestra; published by PWM, Krakow 2007
String quartet No. 7, 2007 (and an order from PRO NOVUM in Katowice on the occasion of its 20th anniversary of its founding), premiered in Katowice, 15 November 2007, performed by Silesian String Quartet (Kwartet Śląski); published by PWM, Krakow 2007
Called Back. Sacrificial Chanting and Playing to ANNA for 4 singing voices and string orchestra, 2008, premiered on 23 November 2008, performed by The Hilliard Ensemble, Orkiestra Kameralna Miasta Tychy AUKSO, conducted by M. Moś; published by PWM, Krakow 2008
Laetatus sum – Gorczycki in memoriam for chamber orchestra, 2013, premiered in Bytom, 12 October 2013, performed by the New Music Orchestra (Orkiestra Muzyki Nowej), conducted by Sz. Bywalec; published by PWM, Krakow 2016
TAO. Symphony “Concertante” No. 5 for orchestra, 2015–2016, premiered in Katowice, 10 November 2016, performed by NOSPR, conducted by Ch. Lyndon-Lee
Eufonium for accordion and string quartet, 2022 (ordered by Fundacja Armonia dell’arte), premiered in Stalowa Wola, 27 November 2022, performed by Meccore String Quartet, conducted by M. Frąckiewicz; published by PWM, Krakow 2023
Vocal-instrumental:
7 pieśni [7 songs] for soprano and piano, text by T. Snopkowska, 1973
3 pieśni [3 songs] for alto, oboe, violin, cello and piano, text by K. Iłłakowiczówna, 1983, Krakow 1988, Darmstadt 1989
Musica Sacra – Sanctus for four voices, organ and string orchestra, 1998 (commissioned by the town of Skoczów on the occasion of the 3rd Panorama of Christian Art “Musica Sacra”), premiered in Podgórze near Skoczów 24 May 1998, performed by Radiowa Orkiestra Symfoniczna w Krakowie, conducted by A. Lasoń; published by PWM, Krakow 2002
Benedictus for unaccompanied mixed choir, 2005, premiered in Krakow 13 November 2005, performed by Chór Polskiego Radia, conducted by W. Siedlik; published by PWM, Krakow 2005
Music with magnetic tape:
Muzyka u Szekspira [Music at Shakespeare’s] for baritone and a magnetic tape, 1975
Concerto for improvising piano and 3 magnetic tapes, 1976
Theatre music
Film music
