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Aleksander Lasoń
*1951
Lasoń's musical music (from composer's brochure)
Aleksander Lasoń belongs to the generation of composers who made their debut during the first half of the seventies, a fact which to some extent obliged the young composer to express his attitude towards the sonoristic avantgarde of the late fifties - a phenomenon which left so strong an impress on the history of Polish music after the Second World War that it became a specific reference point for everything new. The path that the composer (and his contemporaries) chose constituted, in respect of aesthetics and style, a counter-proposal to the fundamental attitudes of his predecessors, still known as the avantgarde, in spite of already evident deviations from adopted dogmas.
Lasoń's creative personality - decisive and already clearly defined in his first compositions - was characterized by impetus, spontaneity and a wealth of musical material, in which the dominant role played by harmony was at the same time a form-creating element. The characteristic type of expression achieved by means of irregular rhythmics, glimmering, melismatic melody and harmonic tensions resulting from bold combinations of euphonious harmonies has been gradually undergoing greater and greater expressive concentration. This appeared in a special way in the Concerto Festivo - a work, whose depth of expression brings to mind the music by Beethoven. The last of the symphonies - the Symphony No.3 " 1999" for chorus and orchestra, is an example of a monumental contemporary work with a universal timeless dimension. The composer took verses from the Revelation and the texts of the Kyrie and the Gloria, emphasizing his links with European Christian culture and at the same time referring to the large forms of the earlier epochs. He expertly combines in his own, original way, the traditional musical language with the most recent achievements of modern times.
The freedom with which the composer employs large performing forces is the reason we think of him first of all as of a symphonic writer, whereas the chamber works, like the"chamber music" cycle , or the string quartets with their transparent of formal design and expressive dynamism of chamber dimensions, or finally the solo violin sonatas constitute a no less essential and interesting creative field. In each of these genres, in spite of the variety of means of expression subordinated to his creative imagination, Lasoń's music retainsits homogeneous character, and is characterized more by a surplus than insufficiency of creative ingenuity - a superfluity, which the composer controls perfectly. This peculiar "embarras de riches" includes musical meanders - wanderings, which are by no means exhausting, but even striking and frequently pleasing to the ear.
Elżbieta Widłak
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Administratorem dobrowolnie podanych danych osobowych jest Polskie Wydawnictwo Muzyczne z siedzibą w Krakowie (31-111) przy Al. Krasińskiego 11A. Twoje dane osobowe będą przetwarzane w celu wysyłki Newslettera zawierającego informacje marketingowe administratora danych. Posiada Pani/Pan prawo dostępu do treści oraz poprawiania swoich danych osobowych. Informujemy, iż poza podmiotami uprawnionymi na podstawie przepisów prawa, zebrane dane osobowe nie będą udostępniane.
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