|
|
born in Legnica in 1972, he studied composition with
Leszek Wi-słocki at the Music Academy in Wrocław (1990–95, diploma
with distinction). From 2000 to 2002 he was a postgraduate student of Marian
Borkowski at the Music Academy in Warsaw (diploma with distinction).
He has won several awards at national and international competitions,
including Third Prize at the ‘łódź 1998’ National Composers’
Competition (for A Capricious Sketch for strings), Second Prize at the 25th
Russollo International Composition Competition in Italy (2003, for E-motion
for two accordions and stereo track) and honourable mentions at the 24th
Irino Prize Competition in Japan (2003, for
E-motion) and at the Karol Szymanowski Competition of the zaiks Association
of Authors and Composers in Warsaw (2003, for b-a-c-h for string quartet).
He has been a member of the Polish Composers’ Union since 2003.
Chamber and electroacoustic music are the two major strands in Ryszard
Osada’s compositional activity. Most of his chamber works place the
emphasis on virtuosity, in conjunction with a new quality of instrumental
sound or voice (Impression with Vocalise for soprano, flute, cello and
piano, Illumination for solo flute, E-motion for two accordions and stereo
track). The composer employs a wide range of technical, stylistic and
performance devices. Individual pieces (solo and for chamber forces) are
characterised by a high concentration of the formal-performance-aural
possibilities. His music cannot be subordinated to one kind of stylistic
approach or manner of composing. The spectrum of possibilities for the
musical message compri-ses neo-classical tendencies (Prelude for organ),
sonorism (E-mo-tion), experiment (The Symplex Complex, b-a-c-h), elements of
serial technique (Evolutions), and even graphic score (The Symplex Complex).
The multimedia project The Symplex Complex contains elements of syncretic
art (architecture, word, sound) demonstrated in graphic score (the score has
the shape of a regular hexagon on the base of an equilateral triangle, which
is the foundation of the structure of the work. b-a-c-h is a
sonoristic-formal experiment which in addition to the sound material from
the structurally-elaborated motif b-a-c-h, contains reminiscences of
Bach’s compositions.
Selected works: Impression with Vocalise for soprano,
flute, cello and piano (1994), A Capricious Sketch for strings (1998), Kyrie
for a cappella mixed choir (2000), Illumination for solo flute (2001), The
Symplex Complex, four-channel multimedia (2001), E-motion for two accordions
and stereo track (2001), Evolutions for three percussion groups, piano and
eight brass instruments (2001–02), Prelude for organ (2002), b-a-c-h
for string quartet (2002), Lamentations for choir, orchestra, baritone and
reciter (2002), Illumination II for clarinet solo (2003), The Edge of Space
for chamber ensemble, electronic track and delay (2003), Autumnal music for
string orchestra (2004).
In E-motion the ambiguous title itself suggests the
work’s basic structural elements. And so the fundamental sequence of
musical events is generated by emotions and motion, with its specific forms.
Actively written into this sequence is an electronic track, based on the
sampled sounds of the accordion. Every sound appearing on that track, even
greatly deformed, is connected with the source of the sound, an acous-tic
instrument. The piece is built of contrasting segments, from a to j.
Ryszard Osada
|
