SCORE: pasieczny.com/scores/ WAV | FLAC | MP3: goo.gl/BGBhlG
According to Stephen King - a good book cannot in its entirety "consciously" come into being, but it also cannot be written completely "by hand". The writer should concentrate on the single "seed" and let "it" lead the way in which to sprout. King often begins to write a book not knowing how he will finish it. He also compares "writing" to "work in excavations". The found fossil is already formed, only to be "obtained", to be "cleaned" from its superfluous settings. That is how King "obtains" his novels, bringing them to light.
Writing a new composition is no different. Witold Lutosławski compares composing to the "wiping out" of blank spaces on music staves to "uncover" an already existing piece.
After Brad: Variations came into being during the day of the 13th of August 2013. In the ensuing weeks, it went through the "cleaning up from superfluous settings" process (the already existing structure remaining untouched). The construction of the piece is based on classical form of theme and variations (opening theme followed by ten variations closing with reminiscence of the theme). The theme deliberately does not have a melody but only a defined harmonic structure, followed by variations precisely based on this harmonic skeleton. Only notes used in the main theme are used in the variations. Also the variations themselves correspond with each other (in terms of articulation, dynamic and material). Half the variations (and the main theme itself) have purposely been written without note stems in "open time" X/4 signature. This is meant to give freedom, independence, creativity and sense of improvisation to the performer. In terms of language and harmony, this piece is advanced; however, technically it is not truly demanding and very short in form.
For many years I have been under the huge influence of composer and jazz pianist virtuoso Brad Mehldau. His work entitled "Variations on a Melancholy Theme" for piano solo had a major compositional impact on me. I decided to capture (in least obvious way and without quoting any of his original music) Brad's harmonic mood on solo classical guitar.
Naturally this composition is dedicated to Brad as my tribute and gratitude.
London, The UK | October 2013