ÐÏà¡±á>þÿ <>þÿÿÿ;ÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿì¥Á @ ð¿*-bjbjqäqä "0ŽŽLÄÿÿÿÿÿÿˆ´´´(Ü üüüØØØ8,<ì\\"~~~~~~suuuuuu$øRJP™-ü—~~——™üü~~Æ—fü~ü~s—süü~Pð¡Ãœ<„ÈØý 7<Ü0š Ršüüüüšü,~®, |¨ d ‹~~~™™DT„ï TPawel Lukaszewski – My Inspriations I would like to present you a bunch of my own observations and reflections dealing with my intentions and inspirations. I put it through a micro-analysis that concerns philosophy rather than compositional techniques. I am of the opinion that the sphere of compositional technique is an indispensable factor of each creational act, yet it is but a tool, not a goal in itself. Therefore I wouldn’t like to focus the matters of elements of musical work, which are an obvious outcome of a very notational aspect of a piece. Instead, problems of the profoundness of musical expression are what I have taken interest about for a long time. Every composer executes penetration of the sphere of the sacred in a different way. So it is easy to mix terms like religiosity–liturgicality–spirituality. Musicologists divide the process of composers’ penetration into the sacred in four levels: religious subject, religious atmosphere, sacred time and sound, sacred formal construction. Therefore questions appear: what attributes of music liken it and bring closer to the sacred, and what is the sacred in music? What conditions should a composer accomplish when working on sacred music? “Constitution about the Holy liturgy of the Second Vatican Council “Sacrosanctum concilium” says in the chapter 7, art. 127: “(...) Let all the Artists, who want to serve for the God’s glory in the Holy Church, following their inspirations always remember, that it deals with a kind of sacred imitation of God the Creator and with works assigned to edification, religiosity and worshippers’ briefing (...)”. In article 112 of the same Constitution The Second Vatican Council says: “The Church accepts all forms of a real art and admits it to the God’s Service, if it possesses required qualities”. These required qualities were defined very perspicuously by the Pope Pius X, on Nov. 22, 1903 in motu proprio: “Inter pastoralis offici solicitudines”. These are: sacredness, perfection of form and expression, universality The pope Pius XII in the encyclical “Musicae sacrae disciplina” writes: “(...) The artist’s liberty is not a blind instinct, led only by a hankering after novelty, but, submitted to the highest purpose, does not deteriorate and subdue to restriction but rather grows perfect and noble. If the goal of sacred music would be to summon the glory of God and to realize an ultimate aim of man, it should not be written by composer who does not believe or stays distant from God in his internal life. Works that are not created with religious convictions do not shine with belief, do not exist as a real art (...)”. How to write, therefore, so that music would be: noble, simple, emotional, prayer-like, soulful, zeal, mystic – sacral, in short? 1. Word The “Word” is the most important thing in my compositions. The sound serves to the “Word”. The Word, contemplated slowly and devoutly in order to understand its sense, contents and meaning. Emotions of internal religious experiences – like adoration, imploration, devotion, bashful request, trust, prayer and joy – can still be expressed in various ways. 2. Time Repetitiveness of musical thoughts and words slows down the tempo of occurances, lengthen time, which is thus stopped, suspended, contemplated. It is a dream of many people to capture, subjugate and spread time like a canvas, that moments, occurances, feelings and expressions are broadened and expanded. It will be fantastic to compose works with unreal time, everlasting and imperishable time, a time with no beginning and no end, a spherical time, a time changed into space, a sacred time, a time of mystic elation, of contemplation, of internal experiencing, a sacred time, a time of prayer, a time of revealed and absolute Truth. Such time is necessary to the mankind in the new millennium, at the curve of time. My renewed, neo-tonal sacred music is strictly connected also with a process of reduction of both sound and rhythmical material. 3. The Sacred The purpose of sacred music is to render glory to God and to sanctify a man. An attitude oriented to serve, in terms of living with the belief, confirm a conviction of vocation for being composer, and not for a craft. Therefore Sacred music is not but a good construction and beautiful timbres, it is the art pervaded with an element and marked with the stamp of sanctity. Not just “art for art’s sake”. Composing music, especially sacred music, one has to write truthfully and has to be honest. A composer of sacred music is only a mediator, a go-between and an instrument to communicate this truth. I hope that this is me also. Pawel Lukaszewski Bohdan Pociej: Is mysticism possible in music. in: “Religious music in Poland”. vol. 10 Warszawa 1988, p. 78 The Second Vatican Council: Constitutions. Edicts. Declarations. PoznaD 1968, p. 89 J. Pikulik: Documents of the Apostolic See on music of 20th Century. in: Religious music in Poland vol. 10, Warszawa 1988, p. 18 J. Pikulik: Documents of the Apostolic See on music of 20th Century. in: Religious music in Poland v$&km<Róô E H L Q ä æ 4SéÖéÖéÁ¬Á—Á|ÁfÁPfPfPf:f+hAbYh¢F6CJOJQJ^JaJmH sH +hAbYhç.6CJOJQJ^JaJmH sH +hAbYhAbY6CJOJQJ^JaJmH sH 5jhAbYhAbY0JCJOJQJU^JaJmH sH (hAbYhç.CJOJQJ^JaJmH sH (hAbYh%^CJOJQJ^JaJmH sH (hAbYhAbYCJOJQJ^JaJmH sH %hAbY5CJOJQJ^JaJmH sH +hAbYhAbY5CJOJQJ^JaJmH sH %&¡ À]ýbåæïTV_¯°¿89KL¼&0,¢,--ööññññññññññññññññïíèèèèèèí$a$$a$$„Ä`„Äa$L-)-þþþSYZ¨}‰Œ±úû$=N02Y_`çðm~W^âî@AyDF™›Ïï=>HJ±´ëÐëºëºëºëÐëºëº¤ºëÐëŽëyëŽëŽëyëyëyëyëyëyëyëŽ(hAbYh¢FCJOJQJ^JaJmH sH +hAbYhAbY5CJOJQJ^JaJmH sH +hAbYh¢F6CJOJQJ^JaJmH sH +hAbYhAbY6CJOJQJ^JaJmH sH 5jhAbYhAbY0JCJOJQJU^JaJmH sH (hAbYhAbYCJOJQJ^JaJmH sH *´¸¼¾ÀÓÕýiq›¤¥©éÑ¹£ŽyŽdŽIŽ£Ž£Ž3+hAbYhAbY6CJOJQJ^JaJmH sH 5jhAbYhAbY0JCJOJQJU^JaJmH sH (hAbYhu2™CJOJQJ^JaJmH sH (hAbYh¢FCJOJQJ^JaJmH sH (hAbYhAbYCJOJQJ^JaJmH sH +hAbYhAbY5CJOJQJ^JaJmH sH .hAbYh¢F56CJOJQJ^JaJmH sH .hAbYhAbY56CJOJQJ^JaJmH sH +hAbYh¢F5CJOJQJ^JaJmH sH ©±Ççèéï#STvxÄÆ.9KLM\~ƒœ¼½Ú&(Bœ ¢´¼ô02L¦éÔ¿Ô¿Ô¿Ô¿Ô¤Ô¿Ô¿Ô¿Ô“Ô‰xx‰x‰xmxx‰xhAbY6H*mH sH hAbY6mH sH hAbYmH sH jhAbY0JU hAbYhAbYCJOJQJ^JaJ5jhAbYhAbY0JCJOJQJU^JaJmH sH (hAbYhu2™CJOJQJ^JaJmH sH (hAbYhAbYCJOJQJ^JaJmH sH +hAbYhu2™6CJOJQJ^JaJmH sH *¦ª¬¾Æþ,,,+,X,Z,[,d,h,„,¢,£,®,É,Ù,ú,--------"-#-$-%-&-)-*-õíäíäíâíØíäõíäíäíØíäíäíÔÊÄÊÄÔÊÄÊ¹ÊÄÔ¤(hAbYhAbYCJOJQJ^JaJmH sH hAbY0JmHnHu hAbY0JjhAbY0JUhAbYjhAbY0JUUhAbY6mH sH hAbYmH sH hAbY6H*mH sH %ol. 10, Warszawa 1988, p. 22 J. Pikulik: Documents of the Apostolic See on music of 20th Century. in: “Religious music in Poland” vol. 10, Warszawa 1988, p. 23 Pius XII: Musicae Sacrae Disciplina, in: A. Filaber: Legislation of Liturgical Music. 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