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Jacek Domagała

Jacek Domagała


Jacek Domagała, composer, pianist and organist, born 19 August 1947 in Szczecinek. He studied composition with Witold Szalonek, piano under the direktion of Olga Dąbrowska and organ with Heinz Wunderlich. After receiving the Oscar and Vchera Ritter- Stiftung scholarship in Hamburg, he participaded in master classes conduted of György Ligeti. He is the winner of the Boris Blacher prize in Berlin and George Mufat prize in Salzburg. His works include choral, vocal- instrumental, orchestral, solo and chamber music. Currently Jacek Domagała lives and works in Berlin.


In the early years of his activity as a composer, Jacek Domagała was strongly inflenced by his interest in J.S. Bach and in jazz music, which inspired such early works as his CANTIQUE I for organ /1976 , ON IMPULS for string quartet /1980 and CHORALE for symphonic orchestra /1982 - a piece with organ- like texture with connection to gregorian chant wich was the first example of dodecaphonic technique in the composer's output.The second stage of Jacek Domagała's artistic development owes much to the Second Viennese School (Schönberg, Berg, Webern),which had a powerul impact on the composer's musical language and the technique that himself calls " neoserialism" ( STRING QUARTET No.2/ 1995, STRING QUARTET No. 3 /2006, THREE INVENTIONS for piano/ 1996). The musical substance is based on the ideas of structuralism (SEGMENTS for symphonic orchestra /1998) and displays homogeneity in its mostly short, precise and varying melodies perfectly incorporated into the dense harmony. Their foundations are mainly twelve tones using as well, apart from small interval steps, its huge interval space of differing metres, rich rhythms and maximal varied dynamics, aiming simultaneously at the greatest possible musical depth.The composer applies precise notation and distances himself from aleatoricism except for former works as his PRIERE for organ/1977, CADENZA for cello and three strings/1979, CHORALE I for symphonic orchestra/1980 . Contact with the Viennese modernist tradition had not only led to an evolution of Domagała's musical languae, but also-and most importantly-influenced his way of building musical narration and the type of expression, rooted in the post- Romantic sound concepts.