Dan volgt Piotr Grella-Mozejko’s ‘Moon down’ voor fluit en piano […]  Volgens Neue Zeitschrift für Musik schrijft hij “compromisloos eerlijke muziek.” Anderen hebben het dan weer over zijn onorthodoxe esthetiek vol contrasten, rijk aan contrapunt en dwingende veranderingen in de textuur. […] Zijn werk was magistraal: magnifieke, moderne, maar zeer toegankelijke muziek. Hij is bovendien van de zeldzame componisten, diezich, naast het eigen werk, héél sterk inzetten voor het werk van hun levende collega’s.

Grella-Możejko’s Missa instrumentalis, originally written for the youth orchestras of both Edmonton and Saskatoon, is a series of impressions based on the traditional sections of the mass. With some deliberately unsettled time signatures (in the Gloria and the Agnus Dei), and a wide range of feelings – quiet grandeur (Kyrie), confident assertion (Sanctus), measured reverence (Credo), this work was full of details.

In Three Consecutive Dreams, all set to Grella-Możejko’s music, Webb choreographed three works that differ stylistically, but each captured the odd and inexplicable reality of dream… The music of Piotr Grella-Możejko is dense and intriguing, and powerfully evocative.

He [Piotr Grella-Możejko] combines the contrasting elements of extreme intellectualism with improvisatory tendencies and doing so summarises the 20th-century idioms he grew up with… the first february the last january (1983)… consists of two independent parts, a melodic score and a harmonic score, which can be played by any combination of one to four melodic instruments, and one to two harmonic instruments. Each player selects an independent tempo, and once they have finished the score (they also must flip the actual score over and read it upside-down once they have read through it the normal way) they are to remain silent until all other players have completed their parts. The unconventional demands of the composition require an in-depth understanding of the individual parts as they unfold around you… The subtleties inherent in the score (all dynamics are extremely soft throughout) were carried out [by the Clarion Ensemble] in utmost detail. The listener could easily sit back and either focus on a specific instrument or listen to the resultant collage of sounds.

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