Hyperion Records

Lukaszewski, Pawel (b1968)  

Paweł Łukaszewski

born: 19 September 1968
country: Poland

Of the younger generation of Polish composers specializing in sacred choral music, Pawel Lukaszewski (b.1968) unquestionably stands out, not only for his ability to encapsulate the expressive essence of a text with unrivalled immediacy and economy of technical means but also for his facility for idiomatic vocal writing. Lukaszewski arguably has Church music in his blood, having been born in the southern Polish city of Czestochowa, since the fourteenth century a major centre of pilgrimage on account of the celebrated Black Madonna icon of the Virgin Mary housed in the Paulist monastery of Jasna Góra (Shining Mountain), and today home of the annual Gaude Mater International Festival of Sacred Music.

On the face of it, Lukaszewski’s musical language has obvious affinities with the compositional idioms of his older compatriots Henryk Górecki (b1933) and Wojciech Kilar (b1932), and also with those of the Estonian Arvo Pärt (b1935) and the Englishman John Tavener (b1944). At the heart of his musical language is what Lukaszewski prefers to term ‘renewed tonality’. While this involves the deployment of major and minor triads, which act as core points of reference, and the use of fragmentary vestiges of common-practice harmony, it is primarily founded on the non-functional progression between distantly connected triads and chords with added sixths, sevenths and/or ninths, in addition to more exotic sonorities constructed, for example, from pairs of interlocking perfect fifths. This ‘extended’ tonal sound world is enriched by highly selective use of vocal effects such as glissandi, parlando (speaking) and susurrando (whispering), all of which occur invariably in direct response to clear textual stimuli. Ultimately, the resonances between Lukaszewski’s works and those of his precursors prove to be only superficial: his harmonic palette is more subtle and immensely more varied than those of Górecki, Pärt and Tavener, and he is apt to eschew tried-and-tested formulae, creating an essentially unique mode of harmonic operation for each piece. Equally individual are his meticulous attention to proportional concerns (particularly the placing of climaxes) and metrical patterns, and his derivation of musical structures from the formal and narrative parameters of his texts.

from notes by Paul Wingfield

Albums
'Łukaszewski: Choral Music' (CDA67639)
Łukaszewski: Choral Music
Buy by post £10.50 CDA67639 
'Łukaszewski: Via Crucis' (CDA67724)
Łukaszewski: Via Crucis
Buy by post £5.25 CDA67724  Please, someone, buy me …  
'Dreamland' (HYP41)
Dreamland
Buy by post £4.50 HYP41  Super-budget price sampler  
Alphabetical listing of all musical works
Alleluia. Beatus vir, Sanctus Martinus  First line to Beatus vir, Sanctus Martinus, No 1 of Beatus vir (Łukaszewski)
Alleluia. Magnus sanctus Paulus, vas electionis  First line to Beatus vir, Sanctus Paulus, No 5 of Beatus vir (Łukaszewski)
Ave Maria (Łukaszewski)
Beatus vir (Łukaszewski)
Beatus vir, Sanctus Antonius  No 6 of Beatus vir (Łukaszewski)
Beatus vir, Sanctus Martinus  No 1 of Beatus vir (Łukaszewski)
Beatus vir, Sanctus Paulus  No 5 of Beatus vir (Łukaszewski)
Benedic, anima mea, Domino  First line to Psalmus 102 (Łukaszewski)
Crucem tuam adoramus, Domine  No 2 of Two Lenten Motets (Łukaszewski)
Memento mei, Domine  No 1 of Two Lenten Motets (Łukaszewski)
Nunc dimittis (Łukaszewski)
O Adonai  No 2 of O Antiphons (Łukaszewski)
O Antiphons (Łukaszewski)
O Clavis David  No 4 of O Antiphons (Łukaszewski)
O Doctor optime  First line to Beatus vir, Sanctus Antonius, No 6 of Beatus vir (Łukaszewski)
O Emmanuel  No 7 of O Antiphons (Łukaszewski)
O Oriens  No 5 of O Antiphons (Łukaszewski)
O Radix Jesse  No 3 of O Antiphons (Łukaszewski)
O Rex gentium  No 6 of O Antiphons (Łukaszewski)
O Sapientia  No 1 of O Antiphons (Łukaszewski)
Psalmus 102 (Łukaszewski)
Two Lenten Motets (Łukaszewski)
Via Crucis (Łukaszewski)
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