Marcel Chyrzyński


Polish composer Marcel Chyrzyński was created in 1971. He continues to be referred to as “a polystylist with a massive feeling of humour, and a fan of tempo and jazz improvisation”. Chyrzyński’s functions have already been performed throughout European countries, as well such as South Korea, Australia, New Zealand, Japan, the united states and Canada. He completed a master’s level on the Academy of Music in Kraków in 1995, where he studied structure with Marek Stachowski, orchestration with Krzysztof Penderecki, and pc music with Marek Choloniewski, Richard Boulanger, Cindy McTee and Rodney Oaks. Since 1994 he is a lecturer on the Academy of Music in Kraków, and this year 2010 became an linked teacher in the Departament of Structure, Performing and Theory of Music. In 1998 he was honored a doctorate in structure. Since 2014 he is a director from the Institute of Structure, Performing and Music Theory. Chyrzyński provides received many honours and awards, including 1st award in the A.Krzanowski Competition for Little Composers in Bielsko-Biała, 1st prize in another All-Polish Adam Didur Composers’ Competition in Sanok (1994), a citation in the Composers’ Competition from the Polish Radio in Warsaw (1996), 3rd prize in the next All-Polish Structure Competition Musica Sacra in Warsaw (1996), 3rd prize in another All-Polish Composers’ Competition Musica Sacra in Warsaw (1997), and 1st prize on the Tadeusz Baird Structure Competition for Little Composers in Warsaw (1997). In 1995 Chyrzyński joined up with the Polish Composers’ Union, with various moments has served on that organisation’s plank. In 2005 he joined up with the Polish Culture for Electroacoustic Music. Since 2014 Chyrzyńskiing continues to be the director from the International Celebration of Kraków Composers. The set of compositions below is certainly sourced in the composer’s formal website.

Orchestral Works

Prolonged Perception of Echo for Strings, 1992 (ca 7’30’’) (8,8,8,8,4) or (6,5,4,4,4)La Musique d’adieu pour orchestre

Work for soloist and Orchestra

Concerto 2000, 1999/2000 (ca 26’) for clarinet and symphony orchestra (cl single/3,3,3,3/4,2,2,1/2batt+tmp/ar/pfte/strings)Chamber Concerto 2000, 1999/2000 (ca 26’) for clarinet and string orchestra (cl single/6,5,4,3,2) 2nd edition of Concerto 2000Meditation Zero. 1, 2010/11 (ca 15’30’’) for alto saxophone and symphony orchestra (sax single/3,3,3,3/4,3,3,1/batt (4esec)/ar/pfte/strings 16,12,9,8,6)Malchera, 2014 (ca 16’) for harp and symphony orchestra (ar single/2,2,2,2/4,2,2,1/batt (4esec)/ar/pfte/strings 16,12,9,8,6)War Video game, 2014/15 (ca 17’) Concerto for alto saxophone and huge chamber ensemble (sax single/1,1,1,1/1,1,1,0/batt (2esec)/ar/pfte/strings 1,1,1,1,1)Ukiyo-e Zero. 2, 2015 (ca 18’) Concerto for flute and symphony orchestra (fl single/2,2,2,2/4,2,2,0/batt (1esec)/cel/strings)Ukiyo-e Zero. 3, 2016 (ca 19’) Concerto for violoncello and symphony orchestra (vc single/3,3,3,3/4,3,3,1/batt (3esec)/horsepower/pfte/strings)

Chamber Music

Three Preludes, 1990 (ca 4’) for clarinet and pianoThree dialogues, 1993/94 (ca 11’-12’) for oboe and bassoonIn C, 1996 (ca 6’) for clarinet, viola (cello) and pianoFerragosto per tromba, pianoforte e batteria, 1997 (ca 17’) batt (3esec)Tribute To Kilometers, 1999 (ca 8’40’’) for trumpet and 1 percussion playerReflection Zero. 1, 2003 (ca 9') for string quartetStrade di Venezia, 2005/6 (ca 11’) for flute, clarinet and bassoonDry Items, 2007/8 (ca 9’) for woodwind quintetReflection Zero. 3, 2013 (ca 10’30’’) for just two pianosFarewell, 2013 (ca 10’30’’) for violoncello and pianoDance of Loss of life, 2013 (ca 5’) for clarinet and pianoBetelgeuse, 2014 (ca 10’30’’) for violin, violoncello and pianoHaiku Zero. 2, 2016 (ca 6’) for clarinet and pianoReflection Zero. 4, 2016 (ca 13') for flute, clarinet, violoncello, percussion and piano (percussion 1 participant: 2 suspended cymbals, 1 huge tam-tam, vibraphone)Donghwasa, 2017 (ca 9’) for violin, sanjo gayageum and piano

Solo Works

Miniatura, 1988 (ca 4’) for single clarinetFor you', 1991 (ca 3’) for single vibraphoneQuasi Kwazi, 1994 (ca 2’45’’) for single clarinetQuasi Kwazi II, 1997 (ca 4’45’’) for single clarinetQuasi Kwazi III, 1998 (ca 7’) for single clarinetForMS..., 2001 (ca 7') for single celloReflection Zero. 2, 2005 (ca 4’22’’) for single harpsichord

Vocal Works

Pamiętam... / I REALLY DO Keep in mind... 1992 (ca 9’30’’) for soprano and string quartet text message: Jan KasprowiczCztery liryki miłosne / 4 Like Lyrics, 1994 (ca 12’) for baritone and piano text message: Kazimierz Przerwa-Tetmajer, Bolesław LeśmianFuyu simply no sakura, 2011 (ca 11’25’’) for mezzo-soprano and violoncello text message: Shinkawa KazuePsalm 88, 1996 (9’50’’) for unaccompanied mixed choir (SS, AA, TT, BB)Per diem clamavi in nocte coram te, 1996/97 (ca 11') for unaccompanied blended choir (SS, AA, TT, BB)2nd version of Psalm 88...similes esse bestiis, 1997 (ca 5’) for unaccompanied blended choir (SS, AA, TT, BB) text message: EcclesiastesPsalm 23 (Dominus regit me personally), 2013 (6’) for unaccompanied mixed choir (SS, AA, TT, BB)

Elactro-acoustic and Electronic Works

Haiku, 1991 (ca 12’30’’) for tone of voice, clarinet (EWI), digesting and computerNju MoDeL, 1994 (ca 10') for clarinet, control and computerCoś tam underground, 1994 (ca 9') for trumpet, viola, twice bass, percussion and computerÜberraschung Cfaj, 1995/96 (ca 5') for clarinet, control, two synthesisers and computerEXCH-33, 2002 (ca 7’30’’) for EWI (digital wind flow instrument) and tapeMahamudra, 2006 (ca 10’09’’) for electronic soundsBeelden, 2006 (ca 15’) for amplified blockflute, harpsichord and tape