• Duration: 9'
• Instrumentation: 2[Picc.2] 2 1 1 — 1 1 1 0 — 2Vln Vla Vlc DB
• Year: 1970
• Order: materiał na życzenie
• Type: parts, score

The notes from between 3 and 13 November 1970 are missing from the Journal kept by Stefan Kisielewski. The author explains this fact by the need to focus on a new composition which he called Dialogues for fourteen instruments. The composition is not in my energetic, brisk style, its rather slow, reflexive or distanced and lyrical, there is a lot of polyphony and one tempo andantino, duration 9 minutes. Since the 1960s Stefan Kisielewski had been leading a critical dialogue (in writing) with the new cultural phenomena, in his own music rarely stepping out of his style, that is neoclassical perpetuum mobile. This is how it is in the Dialogues. What is more, it is no longer the cubist tonality, like in many other compositions, which was building the aura of the composition, but rather the quasi-serial ordering of melodic lines in that composition which is in fact a small fugato. Although the author drew a lot on Schönbergs dodecaphonic technique and Weberns constructivism, he was inspired by the melody of sound-color technique; nothing is literal, the expositions of both themes are incomplete, the transitions intentionally inconsequent, already in the exposition the following motifs of the theme introduced by the clarinet at the beginning are reduced. The secondary theme, initiated by the first violin, can be treated as a specific variation of the primary theme, with its characteristic ascending demisemiquaver passage. The whole composition is based on a constant transformation of the main motifs of both themes, which is not devoid of a sense of musical humour, for example when the composer uses the high register of the clarinet, as at the beginning, or in the later part where the trombones theme (being a synthesis of the main motifs of the primary and second theme) accompanies the furious, double-stoppped violin ostinato. Nevertheless, it is a composition different from those which we would expect from the master of musical humour. It might be an attempt to face the new world of the post-dodecaphonic sound. Was it successful?