• New Website for Serocki


The uploading of a website devoted to the life and music of Kazimierz Serocki is hugely to be welcomed.  Serocki was one of the giants of post-war Polish music – he stood alongside Bacewicz, Baird, Górecki, Lutosławski and Penderecki.  Yet his music has languished both at home and abroad since his death in 1981 at the age of 59.  This new venture will surely do much to bring his name and output to a wider audience.  It exists in parallel English and Polish versions.

It’s hosted by the Polish Music Information Centre in Warsaw and has been brought to fruition as a partnership between the Polish Composers’ Union (ZKP) and POLMIC, facilitated by the software company Noyamundi.  The content has been created by Dr Beata Bolesławska-Lewandowska and Dr. hab. Iwona Lindstedt.  The texts have been written by Dr Lindstedt, whose most recent publication is Sonorystyka w twórczości kompozytorów polskich XX wieku [Sonoristics in the Work of Twentieth-Century Polish Composers] (Warsaw: University Institute of Musicology, 2011).

The site is easy to navigate.  There are six main sections: Biography, Timeline, Creative Output, Symphonic Frescoes, Gallery and Bibliography.  As yet, there is no Discography nor a list of recordings made or held by Polish Radio or Polish Television.  In this absence, you can find some information in one of my earlier posts, Serocki: A Severe Case of Neglect (3 March 2012).


Serocki’s biography has been broken down into four sections: Childhood and youth, In the new reality, Between Poland and the world and The composer’s personality. These are fluently written and are full of contextualised detail. There are plentiful quotations, especially in the final section’s recollections by his friends and colleagues.  It turns out the Serocki was much more of a recluse, unwilling to talk about his music, than his now more famous and younger compatriot, Górecki.


The Timeline is divided into decades: 1922-29, 1930s, 1940s, 1950s, 1960s, 1970s and 1980-81.  While some of its material is also to be found in the Biography, there are new details, illustrations and quotes.

Creative Output

Your instincts may draw you first to the Chronological list of works. The full details of dates of composition, premiere and publication, however, and of the location of the manuscript if unpublished, are to be found under Works by genre.  The entries under Works in detail are effectively mini programme notes, but can also be unexpectedly illuminating, such as that for Swinging Music, which draws on a lecture that Serocki gave in Basel in 1976.

The main weight of this section of the website is given over to four essays: Early works (1946-56, in three parts), Intermedium: dodecaphony and pointillism (1956-60), Mature works (1961-81, in three parts) and On Kazimierz Serocki’s film music.  Those looking for analytical insight into Serocki’s music will find an entrée here.

These essays take the reader smoothly through Serocki’s career, pointing out key aspects and complementing the details held for specific pieces in Works in detail.  They provide a good foundation for anyone minded, and able, to get hold of the scores and recordings for further study (outside Poland, unfortunately, it is no easy matter to gain access to such materials).  In the essay on the early works, it is good to see that Serocki’s contribution to the genre of the mass song is addressed (this aspect of life in the early 1950s is often glossed over).  The decision to group the mature works from 1960 into ‘Notation and sound space’, ‘Poetics of sounds’ and ‘Open form’ acknowledges the three main threads in Serocki’s creative thinking.  The essay on the film music is especially welcome.

Symphonic Frescoes

This section seems incomplete at present.  The first and second movements are represented by a recording of the work’s Polish premiere (at the 1964 Warsaw Autumn) with an accompanying scrolling score.   It is a great idea that brings one of Serocki’s most brilliant works to life.  Let’s hope not only that the rest of Symphonic Frescoes will be uploaded at a future date but also that other works will be similarly treated.  This would get round the perpetual bind that is the lack of scores and recordings outside Poland.


This has four subsections: Music, Voices, Video, Pictures.  Many of the items here appear in the earlier sections of the website.

Music: here you can listen to fragments of over 30 compositions from across Serocki’s career.  These soundbites last between one and six minutes, so you can get a good idea of not only each work but also each movement.  At some point it would be wonderful if complete pieces and movements were available.
Voices: at present, there are five friends and colleagues of Serocki whose spoken reminiscences of the composer (in Polish) have been gathered together from the archives.  The speakers are the composer Augustyn Bloch (seven extracts), the singer and author Hanna Wąsalanka, aka Sister Blanka (six), the Hungarian pianist and composer Szábolcs Esztényi (six), the composer Włodzimierz Kotoński (five) and the clarinettist Czesław Pałkowski, best known perhaps for being a member of the Music Workshop ensemble (four).  These reminiscences cover a wide range of topics, from Serocki’s famous sense of humour to recollections of Darmstadt.  There are no transcriptions or translations here, but transcriptions of excerpts from this archival sound material do appear earlier in the site, especially in Creative Output.
• Video: these are mostly short excerpts from performances at ‘Warsaw Autumn’ festivals of Episodes (1958-59), Niobe (1966), Poezje (1968-69), Fantasia elegiaca (1971-72, Ad Libitum (1973-77) and Pianophonie(1976-78).  There is also a complete performance of Continuum (1965-66), a voice-over introduction to an excerpt from Swinging Music (1970) played by Zygmunt Krauze’s Music Workshop, and a short animated filmWspaniały marsz (Splendid March, 1970) for which Serocki wrote the music.

If you want to hear complete performances of works by Serocki, several are currently on YouTube (some added quite recently), including the pieces for trombone from the early 1950s, Sinfonietta (1956), Episodes, Segmenti (1961), A piacere (1963), Symphonic Frescoes (1964), Continuum, Swinging Music, Fantasmagoria (1971) and Pianophonie.
A video of Fantasmagoria has recently been uploaded at http://www.youtube.com/watch?v=JUzWEotLN0Q, as has one of Fantasia elegiaca at http://www.youtube.com/watch?v=g4NuCcpakbU.

Pictures: these are grouped in six categories – Documents and correspondence (58), Photos (34), Printed scores (110), Music manuscripts (27), Texts (32) and Press clippings (32).  Although none of the texted items is translated here (some appear elsewhere on the site), the caption beneath each image is usefully in English. These are fascinating documents to explore, giving new insights into all periods of his public and personal life.


The Bibliography is almost exclusively of Polish sources, including items by the main authors on Serocki’s music, such as Tadeusz Zieliński and Tomasz Kienik, who have each published several articles.  Zieliński’s study O twórczości Kazimierza Serockiego [On Kazimierz Serocki’s Oeuvre] (Kraków: PWM, 1985) remains the only monograph on Serocki’s music.  There is also a short list of primary sources (lecture typescripts, manuscript notes) held in the Warsaw University Library (BUW).

Serocki: A Severe Case of Neglect

If by its deeds a country disposes of or ignores its heritage, it can hardly expect that heritage to be known or appreciated abroad.  And when composers die, it’s a truism that their music often slips from the concert hall or the airwaves.  Some buck the trend: Lutosławski hasn’t done too badly since he died in 1994, and it’ll be interesting to see how much is made both in Poland and, more particularly, abroad, during the centenary of his birth in 2013.  Not that I’m that fixated on anniversaries, but they are a useful tool for the celebration, or to remind us, of somebody or something which has fallen by the wayside and been forgotten.  Such is the case with Kazimierz Serocki (1922-81).

Today – 3 March 2012 – is the 90th anniversary of Serocki’s birth.  Any sign of a commemoration in Poland?  None that I can see.*  Anywhere else?  Nope.  On the other hand, Witold Szalonek, who was born on 2 March, was accorded an 85th-anniversary concert in Katowice last night, and thoroughly deserved it was too.  But nothing for Serocki, it seems.  Even the author of the one major  book on him, Tadeusz A. Zieliński, has now gone – he died a week ago.  Symptomatic of Serocki’s disappearance from view was the total absence of his music from a large-scale American public radio festival of Polish music in January (see my post of 25.01.12).  For someone who had been at the epicentre of Polish musical life for over 30 extraordinary years, this was cruel.

* The only immediately forthcoming performance that I have been able to locate is of the orchestral Dramatic Story (1970), one of his most persuasive and inventive pieces.  It’s being played in three weeks’ time,  on 23 March 2012, in the inaugural concert of the ‘Poznań Spring’ Festival of Contemporary Music.

Serocki’s imaginative, experimental, avant-garde and often witty output from the late 1950s onwards has also been largely ignored by the record industry, even before the advent of CDs.  The pat answer for this neglect might be that he died prematurely, aged 58. Had he lived into the digital age, I am convinced that he would now be better known. A more complex response would revolve around the nature of his output, which remained wedded to the experimental ethos of the 1960s, even at the end of his life when other composers around him were moving with the times and rounding off the edges of their radicality.

Commercial CDs

• 1951: Piano Concerto, DUX 0651 (rec.1999)
• 1952: Suite of Preludes for piano, nos 2-4, OCD 316 (1973)
• 1953: Suite for four trombones, BIS CD-694 (1994)
• 1953: Trombone Concerto, BIS CD-538 (1991)
• 1954: Sonatina for trombone and piano, Crystal CD 380 (1978), BIS CD-318 (1985)
• 1956: Sinfonietta for two string orchestras PNCD 474 (1959) – the last of Serocki’s neoclassical pieces

• 1963: A piacere for piano, AP 0016 (1999) – an open-form piece
• 1966: Continuum for six percussionists, OCD 324 (1982) – a spatial anticipation of Xenakis’s Persephassa


Rather than launch into a detailed account of his music, here are some links which will give you some idea of his life and music.  You can judge for yourself.  By following them, you will be contributing to the dissemination of Serocki’s dynamic and distinctive music, so thank you!


A larger number of works both pre-1956 and afterwards has been uploaded than is available on commercial CD. (There is a choice of amateur and professional performers of the early, neoclassical-based repertoire.)  The list of uploaded music from 1956 onwards is still meagre (only one of the seven pieces below is a true video file).

• 1956: Sinfonietta http://www.youtube.com/watch?v=BIkH6Dp7m5c (see CD recording above)
• 1959: Episodes for strings and three percussion ensembles http://www.youtube.com/watch?v=UHy7sTSsI_c (unknown source, possibly LP: XL 0267) – a key work in the development of spatial music in the 1950s and 60s
• 1961: Segmenti for ensemble http://www.youtube.com/watch?v=9XhpblSJmew (unknown source, possibly LP: XL 0267)
• 1964: Symphonic Frescoes http://www.youtube.com/watch?v=u14yrb6BDGI (from LP: XL 0267) – one of his most extrovert pieces
• 1966: Continuum http://www.youtube.com/watch?v=86BE0zrQ1B4 (see CD recording above)
• 1970: Swinging Music for clarinet, trombone, cello and piano http://www.youtube.com/watch?v=4-hS4nkg-dE (this is the only video in this list: the performers are the miXte Ensemble, and it was uploaded just five weeks ago) – probably his best-known and most frequently performed piece, a send-up of the extended instrumental techniques of the time, but in a foreign idiom. I’ve performed this myself (piano), and it’s good fun.
• 1978: Pianophonie for piano, electronics and orchestra [in three uploads:] http://www.youtube.com/watch?v=t_QPPkB7lkUhttp://www.youtube.com/watch?v=RuPFPh45yx0http://www.youtube.com/watch?v=w5FF5WxoQLc, [or in a single upload:] http://www.youtube.com/watch?v=eJt5zotNk10 (from LP: SX 1850) – with electronic manipulation of the solo piano part

Online Information

• http://www.usc.edu/dept/polish_music/composer/serocki.html
• http://www.unsungcomposers.com/forum/index.php?topic=1999.0
• http://www.pytheasmusic.org/serocki.html
• http://www.culture.pl/web/english/resources-music-full-page/-/eo_event_asset_publisher/eAN5/content/kazimierz-serocki

%d bloggers like this: