Sielicki, Ryszard
Sielicki Edward, *3 June 1956 Warsaw, Polish composer and teacher, son of Ryszard. In 1975–80, he studied composition at the PWSM (now the F. Chopin University of Music) in Warsaw with A. Dobrowolski and W. Kotoński. As a scholarship holder of the Dutch government, he studied in 1984 under T. de Leeuw and F. van Manen in Amsterdam, where in 1984 and 1988, he participated in the International Composition Workshops; in 1986, he took part in the International Summer Courses for New Music in Darmstadt, in 1991 he was a student of E. Carter at the Summer Courses in Villeneuve-les-Avignon. Since 1982, Sielicki has been working in Warsaw as a teacher, initially, he taught at K. Szymanowski PLM; since 1987, he has been teaching theory of music and composition at the Academy of Music (since 1999, assistant professor), since 1994, he has been conducting classes in music theory at the F. Chopin Complex of State Music Schools. Moreover, in 1992–93, he taught composition at the International Summer University in Marly-le-Roi near Paris, and in 2001 and 2003 at Keimyung University in Taegu (South Korea). He is a laureate of, among others, the Young Artistic Award of the S. Wyspiański Competition (1979), ZKP Young Competition (distinction for Shir Takhnuni, 1981), International Composition Competition in Geneva (3rd prize for Luxuria, 1987), International Electroacoustic Music Competition in Bourges (distinction for Weteringschans, 2002).
The most characteristic feature of Sielicki’s work is the reference to the musical heritage of various historical periods; the music of the past is a constant source of inspiration for him. References to tradition take various forms – from quotes and various arrangements of melodies taken from the works of J.S. Bach (e.g. in Entre espejos and Choralvorspiele), through a variational transformation of a fragment of J. Obrecht’s motet in the String Quartet, to pastiche and humorous deformation (e.g. in the Piano Concerto, E pur si muove) or only “allusions” – especially in some songs with the use of tape, where electronically processed, barely noticeable fragments of old music are embedded in modern sound matter. The links with tradition are also visible in terms of tonality and harmony; the composer often contrasts chromaticism with diatonicism, uses consonant chords (even chords with a third structure) as an element of contrast, and uses forms developed in past eras; traces of old architectural structures can be found in these works. Creative use of the achievements of his predecessors and fascination with the past are present in his work regardless of the media he uses; in this sense, he is a neoclassic. However, Sielicki does not shy away from contemporary compositional techniques (punctualism, aleatorism, sonorism) and new technologies (electronically generated sounds, musique concrète). His mature work is dominated by polystylism, with the coexistence of various, often distant traditions typical of this trend.
Literature: D. Szwarcman Edwarda Sielickiego Kwartet smyczkowy, “Ruch Muzyczny” 1985 No. 13; M. Gąsiorowska Koncert fortepianowy Edwarda Sielickiego, “Dysonanse” 2000 No. 7.
Instrumental:
Kwintet dęty, 1977
Lasciate mi vibrare for 3 percussions, 1978
Luxuria for orchestra, 1979, revised version 1986, performed at Warsaw Autumn 1993
String Quartet, 1982, performed at Warsaw Autumn 1984, 1990
Canzona da sonar for an ensemble of old instruments, 1983
Oboe Quartet, 1984
Kronos for string bass, 1984
Arpeggione for violin and guitar, 1986, published in Warsaw 1989
Cadenza for English horn, 1986
Trio sonata for accordion, guitar and vibraphone, 1986
Micrologus for accordion and an ensemble of old instruments, 1987
Pulchrum est quod commensuratum est for hurdy-gurdy and string orchestra, 1987
Diferencias for an ensemble of old instruments, 1988
Tabulatura for organ, 1988
Labyrinth I for 6 instruments, 1989
Glenn Gould in memoriam for piano, 1990
Pezzo per chitarra, 1990, published in Warsaw 1991
Serenada for 10 pianos, 1991
Labyrinth II for a recorder and string trio, 1993
Piano Concerto, 1995
Konzertstück for cello and piano, 1995
Signs of Life for soprano saxophone and organ, 1996, 2nd version with piano, 2001
Choralvorspiele for oboe, 1997, published in Kraków 1999
E pur si muove for orchestra, 1998
Koncert for 2 pianos and string orchestra, 1999
Baila for saxophone, accordion and string bass, 2000
Koncert for clarinet and string orchestra, 2000
Sonata w pięciu częściach for piano for 4 hands, 2000
Scherzonata for trumpet and piano, 2001
4 tańce for clarinet, 2002, 2nd version for string quartet, 2003
Oh, Scottie!, ragtime for 2 pianos for 8 hands, 2002
Der Ring et Melisande for piano trio, 2003
Symohony No. 2, 2004
6 Fantasias for flute, 2004
Oboe Concerto, 2004
Concerto for string quartet and small orchestra, 2004
Adieu for 2 violins, dedicated to the composer’s father, 2005
Concertino for cello and string orchestra, 2005
Flute Concerto, 2005
Sonatina for violin and piano, 2005
Vocal and vocal-instrumental:
Agnus Dei for mixed choir a cappella, 1978, performed at Warsaw Autumn 1983, published in Kraków 1988
Ecclesiastes, oratory, 1980
Salve Regina for boys’/female choir, 1981
Shir Takhnunim. Psalmy błagalne, cantata for male choir, brass instruments and percussion, Hebraic text, 1981
4 poems “In memoriam T. Baird” for soprano and chamber ensemble, text by H. Poświatowska, 1985
Assumpta est Maria for soprano, alto and mixed choir, 1985
Małe formy for children’s choir, text by the composer, 1985, published in Warsaw, no year
Dulci sono melodiae for baritone and organ, text of medieval sequence, 1987
Symphony for choir and orchestra, text from the Old Testament, 1987
Jakie to łatwe czyli nowy sposób uczenia śpiewu wielogłosowego na chór dziecięcy, text by the composer, 1991, around 200 pieces of music – musical examples for a children’s textbook by E. Marchwicka, published in Warsaw 1994
Wielki Nikt, chamber opera for children, libretto L. Terpiłowski, 1991
3 kolędy łacińskie for mixed choir a cappella, 1994, published in Warsaw 1994
Jubilate Deo for mixed choir a cappella, 1994, published in Warsaw 2000
theatre, film and TV music
Electronic:
Paralipomenon for tape, 1988, performed at Warsaw Autumn 1988
ZIG-ZAG for percussion and tape, 1988
Soundcruncher/Dźwiękojad, also version for tape and actor, text by the composer, 1994
Weteringschans for soprano saxophone and tape, 1998
Entre espejos for harp and tape, 2000
Fantazja polimorficzna for harmonium/accordion and tape, 2000, performed at Warsaw Autumn 2000
Ballad for piano and tape, 2002
Growl for acoustic instruments, electronics and computer, 2003