• Duration: 12'
• Instrumentation: 1011-0110-batt (2esec)-archi (1.0.0.1.1)
• Year: 1969
• Type: parts, score

It is an intriguing title, given that the author throughout his life supported the view about the asemantic character of music. When asked: Why a desert? he confessed: First of all, the composition was written for a competition in Paris. A light music competition, let us say light-classical, I needed a title and could not use Divertimento or anything similar. Secondly, there are not many instruments in this composition, but a lot of percussion, so they in a way meet in a desert And thirdly, there is a slightly oriental motif. It resembles Ellingtons Caravan, and so that is where the desert came from. But these are external factors. That slightly oriental motif, which is the culmination point of the composition, exceptionally played tutti, does not resemble the famous Caravan, as the author had in mind the aura, not a literal quote. On the other hand, Meetings perfectly meet the light-classical music criteria. After all, it is a quodlibet of motifs that cannot be connected in any way. Here is an example: after a fairly humorous bassoon recitative there suddenly follows a funeral march. It is true that it is not very serious, as all seriousness is dispelled by the glissando chuckle of the trombone an effect frequently found in Kisielewskis scores. There are also concertante fragments in the piece, a small fugato, comical dialogues between instruments, allusions to the opening of the Beethovens 5th Symphony in the following funeral march, so there is a bit of everything. And it has to be admitted that it has been done with intelligence and finesse, with mastery.