|
|
Born in 1951 in Ruda Âlaska (Silesia, Poland), he
studied composition with Henryk Miko1aj Górecki and piano with Czes1aw
StaYczyk at the Katowice State Higher School of Music (now the Karol
Szymanowski Academy of Music) in 19701976. In addition to his
commitments as a soloist and chamber musician, he teaches at the
Szymanowski Academy of Music; since 1996 he has been a professor and the
Director of its Composition, Conducting and Theory Department. In 2002 he
was elected the Academy1s Rector.
He performs mainly 20th-century music repertoire as a pianist. His
co-operation with the Silesian Quartet in 1980s resulted in many
recordings. His performance of Vingt régards sur l1Enfant Jésus by
Messiaen was recorded and released on cd by Wifon. He has given
performances at the OWarsaw Autumn1, OSaint Denis1 (Paris), OOctobre en
Normandie1 (Rouen) and Encontros Gulbenkian de Musica Contemporanea (Lisbon)
festivals, as well as at the Concertgebouw, Amsterdam.
He is the recipient of many prizes awarded for composition: an honourable
mention for Sonata for Flute at the OYouth Forum1 in Kraków in 1974,
Second Prize for Le chant at the Young Composers1 Competition of the
Polish Composers1 Union in 1976, Third Prize for Concerto grosso at the
Chamber Music Competition in Vienna in 1977, First Prize for Corale,
interludio e aria at the OYoung Musicians for the Young City1 Festival in
Stalowa Wola (Poland) in 1979, First Prize for String Quartet at the
International Composers1 Rostrum in Paris (1984). His honours also include
the Stanis1aw WyspiaYski Artistic Award, First Degree, for Islands (1985),
OSilesian Polyhymnia1 Award for his chamber works (1985), membership in
Katowice OLeaders Lodge1 for his operatic achievements (1997), Polish
Composers1 Union Prize (1997) and the President of the City of Katowice
Award (1999).
In 1988, to a commission from Gérard Monnaie, Director of the OLa
Monnaie1 Opera in Brussels, Eugeniusz Knapik embarked on an opera cycle,
The Minds of Helena Toubleyn (text by Jan Fabre). The first opera, Das
Glas im Kopf wird vom Glas was premiered in 1990 at De Vlaamse Opera in
Antwerp, the second Silent Screams, Difficult Dreams was presented
during ODocumenta ix1 in Kassel. The premiere of three scenes from the
third part of the trilogy, La liberta chiama la liberta, was held during
the OWarsaw Autumn1 in 1996.
Knapik1s collaboration with Jan Fabre resulted also in four ballets: The
Sound of One Hand Clapping (Frankfurt Opera, 1991), Da un1 altra faccia de
tempo (premiere in Brussels, 1993, productions in Amsterdam, Frankfurt,
Berlin, Paris, Barcelona, Salzburg, Ottawa, Antwerp and Tokyo), Quando la
terra si rimette in movimento (Het Nationale Ballet, Amsterdam, 1995) and
Three Solos (ODe Singel1 in Antwerp, 1996).
Selected works: Sonata for Violin and Piano (1971),
Sonata for Solo Flute (1972), Concerto grosso (197277), La flute de jade
for soprano and orchestra (1973), Psalms for soloists, choir and orchestra
(197375), Le Chant for soprano and orchestra (1976), Comme au bord de la
mer for instrumental ensemble and tape (1977), Corale, interludio e aria
for flute, harpsichord and string ensemble (1978), String Quartet (1980),
Hymn for clarinet, trombone, cello and piano (1980), Partita for violin
and piano (1980), Versus I for solo organ (1982), Islands for chamber
string orchestra (1983), Strophes for baritone, horn and organ (1985), the
opera trilogy The Minds of Helena Toubleyn to a text by Jan Fabre: section
i Das Glas im Kopf wird vom Glas (198789), section ii Silent
Screams, Difficult Dreams (1990), section iii La liberta chiama la
liberta (199396), Up into the Silence for soprano, baritone, string
quartet and orchestra (19962000), Tha1 Munnot Waste No Time (1998) for
three (or two) pianos and clarinet, Trio for Violin, Clarinet and Piano
(2003).
Trio for Violin, Clarinet and Piano
I composed the piece in the spring of 2003 as a commission from Walter
Verdehr and his trio. Naturally, its instrumental line-up, unique as it is
in terms of sound quality, has influenced my imagination and, consequently,
the kind of musical narration. I was left with
a profound wish to write a piece which would be a sum of the timbral
qualities of the three instruments and of the trio1s generic essence.
The piece is in one movement. Duration ca 201.
Eugeniusz Knapik
|
