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TAK NIE
Kazimierz Serocki
1922-1981
Sound visions of colours and rhythms
When we look back over the years at Kazimierz Serocki's work, embracing a period of a little less than thirty years, we see a picture which is rich and diverse as regards the genre, form, apparatus and compositional technique. His first compositions, both instrumental and vocal-instrumental, were inspired by folk music and remain in a neoclassical style. After 1956, the composer's interests in dodecaphony and serialism were manifested; however, he turned out to be the greatest experimentator in the field of sonoristics (ranging from the Symphonic Frescoes to Impromptus fantasque) and in the field of form (ranging from A piacere to Ad libitum). He was a real explorer of so far unknown sound regions. Introducing the listeners into the world of musical fantasy (Fantasmagoria, Fantasia elegiaca, Pianophonie), he displayed before them musical images of clear dramaturgy, perfect in respect of form, "polished" in the smallest detail. Incidentally, he used his own graphic notation, providing the scores with a detailed description. Endowed with uncommon sensitivity, fastidious taste, lively temperament and a sense of humour (he was famous for his witticisms), he was at the same time very exacting upon himself; he also made great demands on the performers of his works and expected not only precision from them but musicality. "I have the feeling that you were only playing the notes," he once said to a performer of his A piacere.
In the rich harmonies of the Romantic Concerto, in the Symphony No. 1 pulsating with vital force, in the dynamic Episodes, colourful Symphonic Frescoes or Impromptu fantasque, full of song, the seemingly different facets of the artist are revealed, those of the most consistent innovator in search of fresh colours and unconventional forms for his compositions carefully constructed in every respect.
Lyricism, vitality, nostalgia, sarcasm, dignity and mockery are intertwined in a way impossible to separate in Kazimierz Serocki's music, whose affinities (starting from the earliest works) may be derived from Chopin via Szymanowski or Bartok; this music moves, surprises, thrills, makes one reflect, entertains. This "painter of sounds", "poet of moods", who was not fortunate enough to say his last word, remains unique and, at the same time, lonely in his world of sonoristic discoveries, extended as far as possible, the already closed chapter of Polish contemporary music.
Elżbieta Widłak
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