Tadeusz Karol Mazurek (1957-)
Fantasmargorie pour clarinette et piano

Artur Cieslak (1968-)
Bagatelle pour clarinette et accordéon /Piotr Klimek (1973-)
"Particules enchevêtrées", pour clarinette, piano droit et bande magnétique enregistrée

Piotr Pawlik (1968-)
Concertino pour clarinette, piano et électronique
"Un cantaro roto II", pour clarinette, violoncelle, piano et électronique

Janusz Stalmierski (1959-)
"Short Story", pour clarinette et harpe
"Blue Hourgrass", pour soprano, flûte, clarinette, violoncelle et harpe

Boguslaw Jakubowski, clarinette
Dorota Maciaszczyk, piano
Joanna Tylkowska-Drozdz, soprano
Magda Morus-Fijalowska, flûte
Klara Swidrow, violoncelle
Tomasz Szczesny, viooncelle
Jerzy Siemak, accordéon
Barbara Stalmierska, harpe
Sandra Kasperek, harpe
Piotr Pawlik, électronique

New Polish Chamber Music for Clarinet is a summary and continuation of my passions and interests: working with composers, who turned their attention towards my instrument of choice. I would love to give the audience a colourful and diverse collection in which the clarinet is presented in various ways – because of its capabilities as well as the form of each piece. Certain works are intended for this instrument solo with the piano’s or harp’s accompaniment, meanwhile others display the clarinet in a chamber music setting. Within many of them, the listener will find innovative solutions, with roots in sonic techniques, i.e. in A. Cieslak’s piece, where he suggests the usage of conference and discussion systems, flap tapping, or blowing air through the instrument without sound. P. Pawlik intertwines the clarinet in his piece in a different way, preparing the instruments electronically, meanwhile P. Klimek pairs it with a piano with an equally sounding tape. The usage of the rich capabilities of sound and dynamic of the clarinet is quite interesting in T. Mazurek’s Fantasmagoria. It’s flip side might be heard in J. Stalmierski’s chamber music sound, where alongside a flute, cello and harp, accompanying the singing of a soprano, he coats B. Ostrowska’s poetry in musical layers. With such a juxtaposition, the clarinet presents itself incredible attractively, being a warm, deep and subtle support of the human voice, enriching the perceiving of the lyrics by the listener, deepening the possibilities of interpretation and meaning....