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V/A PRES Scores

Release Date: I 2013
Total Time: 54:20 / 66:36
2CD | 28-page booklet | digipack

CD1 PRES realization

01. Andrzej Dobrowolski - Music for Magnetic Tape and Piano Solo 12:11
Eugeniusz Rudnik; piano - Zygmunt Krauze
02. Włodzimierz Kotoński - Aela 10:40
Eugeniusz Rudnik
03.-06. Bogusław Schaeffer - Symphony: Electronic Music 17:30
Bohdan Mazurek
07. Włodzimierz Kotoński - Study for One Cymbal Stroke 2:51
Eugeniusz Rudnik
08. Andrzej Dobrowolski - Music for Magnetic Tape No.1 5:50
Eugeniusz Rudnik
09. Krzysztof Penderecki - Psalmus 5:05
Eugeniusz Rudnik

CD2 Bôłt commission

01. Andrzej Dobrowolski - Music for Magnetic Tape and Piano Solo 11:38
Wolfram; piano - Philip Zoubek
02. Włodzimierz Kotoński - Aela 10:07
Marion Wörle
03.-06. Bogusław Schaeffer - Symphony: Electronic Music 17:36
Thomas Lehn
07. Włodzimierz Kotoński - Study for One Cymbal Stroke 2:53
Małe Instrumenty
08. Andrzej Dobrowolski - Music for Magnetic Tape No.1 7:23
Arszyn & Piotr Kurek
09. Krzysztof Penderecki - Psalmus 16:56
Lionel Marchetti

JW Player goes here

'PRES Scores' contains original and new realisations of five out of seven Studio's published scores. These are pieces by Andrzej Dobrowolski, Bogusław Schaeffer and Włodzimierz Kotoński 'performeed' in PRES by Eugeniusz Rudnik and Bohdan Mazurek and as Bôłt Records commissions by Lionel Marchetti, Thomas Lehn, Philip Zoubek and Wolfram, Arszyn and Piotr Kurek, Marion Wörle and Małe Instrumenty. The scores are a fascinating chapter in the Studio's history. Not only because of the insight into first attempts to write down electronic sounds, being a great material to analyze or displaying links between music and graphics. It is mainly due to the fact that even in those few published scores it is explicitly visible that their utilitarian functions were rapidly replaced with the experimental ones.

Precision of communication between a composer and a sound engineer - noticeable in early Dobrowolski's scores or Kotoński's 'Study?' - is quickly substbstituted by a tendency to experiment with this communication. As early as in 1964 Bogusław Schaeffer started working on a graphic score, full of new symbols which are well-defined by the author but which above all serve as tools of identifying the potential actions of the sound engineer. 6 years later Włodzimierz Kotoński composed a piece which de facto is deprived of graphic symbols. It is a text-score describing the most important principles of composing works which would create a family of electronic pieces called 'Aela'. Even though the text is accompanied by a 19-page graphic score, it solely presents an exemplary production. It is probably not a coincidence that in this period the most significant sound engineers in the Studio - Eugeniusz Rudnik and Bohdan Mazurek - became rightful composers whose works were added to the archives. These few scores made it clear that the fact that composers naturally 'passed' some responsibility for the final shape of the piece onto musicians was a perfect vehicle for experiments. Where would we find a better reflection of John Cage's belief that it is impossible for a composer to foresee the outcome of experimental action? Having in mind the above definition, seemingly the most conservative Studio's activity - writing scores - is the one that most clearly embodies its eexperimental nature. The PRES Scores album is dedicated to the ambivalence of conservatism and experiment. Scores on paper are what the composer leaves behind and this way requires or at least allows subsequent realizations. Experimental scores should at least allow experimental realizations. The album presents some of them.

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