Individual movements are in contrast with each other in regard to character, content and texture. They allow to show possibilities of two instruments with particular accent on clarinet technical and expressive abilities.
The composition was written to meet the demand of performing organists for a composition for organ and piano. This duo has a very rare instrumental composition where organ and not piano take a leading role. The form of the piece is in the middle between a sonata and a suite, with stylistic Read more →
This is virtuoso, three movement piece regarded by pianist as sonata. It was named sonatina by the composer because of subject and formal development. The form is cyclical with wide melodic. Read more →
The piece was composed for the flute player Mrs. Elżbieta Gajewska and Wilanow Quartet in 1974. However personal changes in the Quartet delayed the work and it was finally finished in 1988. It is a composition in the sonata form with three contrasting movements. Read more →
The piece was composed to meet stage requirements with virtuoso and spectacle elements. Formally follows traditional structure and consists of three contrasting movements. It has an interesting theme especially in a mysterious second movement and in passionate and fiery movement three. The voice of violin Read more →
The three movement piece has a modern style with a very rich harmonics and typical organ texture. A very precise setting of notes and rhythm corresponds with the classical style present in works of Brahms, Reger and Hindemith. At the same time the strong chromatisism of melody leads to connections with the late romantic style.
The composition was written at the request of composer’s son Artur Paciorkiewicz. It is built of three contrasting movements.
A three movement piece in a traditional form. The first movement is a sonata allegro dialogue between the two instruments. The second is slowly and melodious with the A-B-A structure. The third movement has a form of rondo referring to a Balkan folk music.
Initially composed for two violins as Sonatina for Two Solo Violins in 1955. This viola version is no different than the original but performed by the perfect fifth lower. The idea of performing the original sonatina on two violas was suggested by Artur Paciorkiewicz, composer’s son and it was recorded in Polish Radio in duo with Stefan Kamasa.