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TAK NIE
Krystyna Moszumańska-Nazar
1924-2008
Powerfull music (from composer's brochure)
Krystyna Moszumańska-Nazar's output is characterised by a variety of forms and musical genres ranging from those deriving from tradition like overture, sinfonietta, concerto, variation, miniature or string quartet to narrative genres represented by Rhapsodies No. 1 and No. 2 , Essay, Frescoes or Exodus. Early works manifest connections with neoclassical music; they also point to the composer's interest in dodecaphony, which is, however, applied in a free way. In the composer's output three periods may be distinguished: neoclassical (until 1958), experimental-sonoristic (1959-73) and the stage of synthesis (from 1973). The association with sonorism, characteristic of the second period, marks also the later work of the composer.
Music for percussion is of great importance in Krystyna Moszumańska-Nazar's output. Beside numerous works for solo percussion, the composer also uses extensive percussion forces in her symphonic, chamber and vocal-instrumental works, in which they play an important, sometimes all-important part. In this regard the Concerto for percussion is the greatest achievement: in addition to the extremely rich set of instruments for the soloist, the composer introduces two percussions, sometimes combining with the solo part, in the orchestra.
Beside the music for percussion, symphonic works play an extremely important part in Moszumańska-Nazar's output : they are usually compositions of an epic nature and narrative in form. The composer's interest in religious subjects is evident in her vocal-instrumental works. The poem Polish Madonnas to the words of Jerzy Harasymowicz was inspired by poetry and plastic art. A separate, large group consists of chamber and solo works, which are characterised by a select number of sound structures and a great diversity of colours. This excellent sense of instrumental colours and boldness in the use of various articulatory means make it possible for the composer to use colour as a construction element in her works. Beside the sonoristic qualities, the motivic-thematic structures shaped in an evolutionary way are also introduced. The principle of narration forms an essential part in the formal shaping of Moszumańska-Nazar's works: the musical course is marked by strongly contrasted sections following one another and the occurrence of several climaxes. All the elements are subordinated to expressive purposes, hence Krystyna Moszumańska-Nazar's output is characterised by the dynamic quality of the music as well as strong, dramatic expression. Her music features an original, individual style in which the modern compositional techniques are creatively used (aleatory and sonoristic techniques) and the forces are interesting and unusual.
According to the composer, "the most important thing in the proposal offered to the listener is the achievement of such expression, which would be able to move him. This expression has always been most important for me and this is, I think, the characteristic feature of my music. Independently of what idiom one uses, it is important to preserve aesthetic purity and this aesthetic should be individual from the beginning to the end".
Joanna Miklaszewska
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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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