Schaeffer, Bogusław (Julien)

Schaeffer, Bogusław (Julien), outstanding Polish composer, pianist, pedagogue, writer on music, stage manager, and playwright; b. Lwów, June 6, 1929. He studied violin in Opole, and then went to Kraków, where he took courses in composition with Malawski at the State Higher School of Music and in musicology with Jachimecki at the Jagiellonian Univ. (1949–53). He later received instruction in advanced techniques from Nono (1959). In 1963 he became prof. of composition at the State Higher School of Music in Kraków Cons., and he also served as prof. of composition at the Salzburg Mozarteum (from 1986). In 1967 he founded the periodical Forum Musicum, devoted to new music; in addition to his writings on music, he was active as a playwright from 1955; he was the most widely performed playwright in Poland from 1987 to 1995, winning an award at the Wroclaw Festival of Contemporary plays in 1987 and in 5 subsequent years. All of his plays were publ, in 3 vols, and were translated into 16 languages. As a composer, he received many awards, and numerous concerts of his works were presented in Poland and abroad. In 1995 he was made an honorary member of the Polish Soc. of Contemporary Music. In 1999 the Jagiellonian Univ. held an international conference in his honor, which was devoted to his compositions, plays, and graphics. He is married to Mieczyslawa Janina Hanuszewska-Schaeffer . Their son, Piotr (Mikołaj) Schaeffer (b. Kraków, Oct. 1, 1958), is a music journalist. Schaeffer’s earliest compositions (19 Mazurkas for Piano, 1949) were inspired by the melo-rhythms of Polish folk songs, but he made a decisive turn in 1953 with his Music for Strings: Nocturne, which became the first serial work by a Polish composer; he devised a graphic and polychromatic optical notation indicating intensity of sound, proportional lengths of duration, and position of notes in melodic and contrapuntal lines, with the components arranged in binary code; he also wrote music in the “third stream” style, combining jazz with classical procedures. In 1960 he invented topophonical music in a tone-color passacaglia form in his Topofonica for 40 Instruments. In 1966 he created so-called idiomatic music by using various stylistic categories, including early jazz, neo-Classicism, entertainment music, and indeterminate music (e.g. Howl). In 1967 he introduced his own rhythmic system, built on metric-tempo proportions. In 1970 he began using synthesizers and computers. Many of his chamber scores, such as Quartet 2+2, utilize indeterminacy. He experimented by introducing ideas of philosophers such as Heraclitus, Spinoza, Bergson, and Heidegger in his music called Heraklitiana, Spinoziana et al. In his music for and with actors, he uses mixed media procedures. With his Missa elettronica (1975), he charted a bold course in sacred music. Schaeffer is regarded as one of the foremost composers of microtonal scores. Three Short Pieces for Orch. (1951) and Music for String Quartet (1954) are notable examples of his early microtonal works in which he uses a 24-tone row with 23 different microtonal intervals. In 1979 he introduced a new kind of instrumentation in which the disposition of instruments totally changes many times, thus utilizing various changing orchs.; in his Organ Concerto the disposition of instruments changes 53 times. Each of his orch. works and concertos follows this new disposition, sometimes very specifically, as in his Musica ipsa (1962). In his orch. works, he utilizes precisely calculated textures. Many of his works are inspired by paintings and literature. There are great influences of his theatrical praxis on his music. He uses electronic and computer media in a free and poetic manner.

Works

DRAMATIC : TIS-MW–2, metamusical audiovisual spectacle for Actor, Mime, Ballerina, and 5 Musicians (1962–63; Kraków, April 25, 1964); TIS GK, stage work (1963); Audiences I-V for Actors (1964); Howl, monodrama for Narrator, 2 Actors, Ensemble of Instrumentalists, and Ensemble of Performers, after Alan Ginsberg (1966; Warsaw, March 1, 1971); Kwartet (Quartet) for 4 Actors (1966; Lódź, March 8, 1976); Hommage à Czyzewski for Ensemble of Stage and Musical Performers (1972); Vaniniana for 2 Actors, Soprano, Piano, Cello, and Electronic Sources (1978; Lecce, Oct. 24, 1985); Teatrino fantastico for Actor, Violin, and Piano, with Multimedia and Tape (Brussels, Nov. 17, 1983); Liebesbliecke, opera (1990). Plays (with Original Music): Anton Webern (1955); Eskimos’ Paradise (1964; the same as his Audience III); Scenario for 3 Actors (1970); Mroki (Darknesses; 1979); Zorza (Dawn; 1981); Grzechy starosci (Sins of Old Age; 1985); Kaczo for 2 Actors and an Actress (1987); Ranek (Daybreak; 1988). orch.: 4 piano concertos (Quattro movimenti, 1957, Wroclaw, Jan. 18, 1968; 1967; 1988–90; 1999); Tertium datur for Harpsichord and Chamber Orch. (1958; Warsaw, Sept. 18, 1960); Concerto breve for Cello and Orch. (1959); Equivalenze sonore, concerto for Percussion Chamber Orch. (1959; Warsaw, March 1, 1971); Mala symfonia (Scultura) (Little Symphony [Scultura]) (1960; Warsaw, Sept. 29, 1965); Konstrukcje laczne (Joint Constructions) for Strings (1960); Concerto perseietre for Changing Solo Instrument (Clarinet, Saxophone, Violin, Cello, Percussion, and Piano) and 3 Orchs. (1960; Katowice, Sept. 7, 1962); Topofonica for 40 Instruments (1960; Kielce, Feb. 22, 1985); Kody (Codes) for Chamber Orch. (Warsaw, Sept. 19, 1961); Musica for Harpsichord and Orch. (Venice, April 25, 1961); Violin Concerto (1961–63); Course “j” for Jazz Ensemble and Chamber Sym. Orch. (Warsaw, Oct. 28, 1962); Musica ipsa (Warsaw, Sept. 20, 1962); S’aito for Saxophone and Chamber Orch. (Zagreb, May 13, 1963); Collage and Form for 8 Jazz Musicians and Orch. (1963; Urbana, 111., March 19, 1967); Collage for Chamber Orch. (1964; Warsaw, April 18, 1985); Symfonia: Muzyka orkiestrowa (Symphony: Orchestral Music; 1967); Koncert jassou/y (Jazz Concerto) for Jazz Ensemble and Orch. (1969; Boston, Oct. 30, 1976); Teksty (Texts; 1971); Experimenta for Pianist on 2 Pianos and Orch. (1971; Poznan, April 26, 1972); Konfrontacje (Confrontations) for Solo Instrument and Orch. (1972); Sym. in 9 Movements for 6 Solo Instruments and Orch. (1973; Wroclaw, Sept. 18, 1978); Tentative music for 159 Instruments (1973; also for 1, 5, 9, 15, 19, and 59 Instruments); Uwertura Warsawska (Warsaw Overture; Warsaw, Sept. 10, 1975); Romuald Traugutt (1976; Warsaw, Sept. 20, 1977); Gravesono for Winds and Percussion (1977); Kesukaan I (1978; Rzeszów, April 8, 1983) and Il (1991) for 13 Strings; Jangwa for Double Bass and Orch. (1979; La Jolla, Dec. 14, 1990); Maah for Orch. and Tape (1979; Kraków, Feb. 14, 1989); Entertainment Music for Winds and Percussion (1981); Five Introductions and an Epilogue for Small Chamber Orch. (1981); Guitar Concerto (Rzeszów, March 9, 1984); Accordion Concerto (1984); Concerto for Organ, Violin, and Orch. (1984; Nuremberg, July 5, 1985); Concerto for Flute, Harp, and Orch. (1986); Saxophone Concerto (1986); Concerto for Violin, Gasab-Violin, 2 Oboes, English Horn, and Orch. (1986); Double Concerto for 2 Violins and Orch. (1988; Warsaw, March 21, 1995); Concerto for Jazz Percussion, Piano, and Orch. (1988; Kraków, June 23, 1993); Concerto for 2 Pianos, 8-Hands, and Orch. (1988); Sinfonia (1988; Opole, March 19, 1993); blueS No. 5 for Piano and Orch. (1992; Warsaw, March 21, 1995); Sym. No. 6 (1993); Love Song for Strings (1994); Leopolis for Violin and Orch. (1994); Orchestral and Electronic Changes for Amplified Instruments and Orch. (1994); Clarinet Concerto (Kraków, April 3, 1995); Flute Concerto (1996); Concerto for Violin, Piano, and Orch. (1997); Sym. No. 7 (1997); Viola Concerto (1997); Monophonie I for 16 Flutes (1997), II for 13 Violas (1997), III for 12 Oboes (1998), IV for 8 English Horns (1998), V for 12 Cellos (1999), VI for 12 Trumpets (1999), and VII for 17 Saxophones (1999); Enigma (1997); Musica dell’ Avvenire for Percussion Orch. (1997); Concerto da camera for 18 Instruments (1997); Bassoon Concerto (1998); Mikrosonate for Chamber Orch. (1999). CHAMBER : Muzyka (Music) for String Quartet (1954); Sonata for Solo Violin (1955; Warsaw, April 24, 1983); Permutacje (Permutations) for 10 Instruments (1956; Paris, March 30, 1965); Ekstrema (Extremes) for 10 Instruments (1957; Warsaw, Nov. 22, 1988); 9 string quartets: No. 1 (1957; Salzburg, June 26, 1990), No. 2 (1964; Palermo, Dec. 28, 1968), No. 3 (1971; Kraków, Dec. 18, 1985), No. 4 (1973), No. 5 (1986), No. 6 (1993), No. 7 (1997), No. 8 (1998), and No. 9 (1999); Concerto for String Quartet (1959; Innsbruck, June 28, 1990); Monosonata for 6 String Quartets (1959; Vienna, June 19, 1961); Montaggio for 6 Players (1960; Kraków, Jan. 24, 1963); Azione a due for Piano and 11 Instruments (1961; Stuttgart, Dec. 4, 1970); Imago musicae for Violin and 9 Instruments (1961; Hannover, May 27, 1966); 4 Pieces for String Trio (1962); Quartet for 2 Pianists and 2 Optional Performers (instrumental version, Warsaw, Feb. 18, 1965; instrumental-vocal version, Warsaw, May 3, 1966); Przesknie (Transmissions) for Cello and 2 Pianos (1965; Geneva, Dec. 13, 1966); Quartet for Oboe and String Trio (1966; Kraków, May 3, 1977); Trio for Flute, Harp, Viola, and Tape (1966; Siena, March 28, 1967); Trio for Piano, Violin, and Cello (1969; Baalbek, March 26, 1974); Heraklitiana for 12 Solo Instruments and Tape (1970); Estratto for String Trio (1971; Kraków, April 7, 1987); Mare concertino for Piano and 9 Instruments (1971; Poznan, April 27, 1972); Warianty (Variants) for Wind Quintet (1971); Sgraffito for Flute, Cello, Harpsichord, and 2 Pianos (1971; Kraków, Jan. 29, 1973); Sny o Schaefferze (Dreams of Schaeffer) for Performers (1972; Kraków, April 14, 1975); blueS No. 2 for Instrumental Ensemble (1972); Free Form No. 1 for 5 Instruments (1972; Zagreb, May 17, 1973), No. 2, (Evocazioni) for Double Bass (1972; Cologne, Oct. 17, 1974), and No. 3 for Double Bass and Piano (1987); Heideggeriana for 11 Instruments (1979; Warsaw, Nov. 22, 1988); Concerto for Saxophone Quartet (1980); Octet for Winds and Double Bass (1980); Addolorato for Violin and Tape (1981; Kraków, Feb. 22, 1988); Gasai for Gasab Violin and Piano (Brussels, Nov. 16, 1983); Schpass for 3 Oboes (1986; Kraków, Feb. 22, 1988); Kwaiwa for Violin and Computer (1986; Kraków, Feb. 22, 1988); Maty koncert (Little Concerto) for Violin and 3 Oboes (1987; Kraków, Feb. 22, 1988); Bewegnung for Oboe, Piano, and Percussion (1994); Septet for Oboe, Bass Clarinet, Cello, and Percussion (1995); Hommage à Guillaume Schaeffer for 2 Cellos and Piano (1995); Trio for Flute, Viola, and Guitar (1995); OSCENOI for Clarinet, Soprano, and Instruments (1995); Concerto for Clarinet and 5 Instruments (1996); Hommage à Barbara Buczek for 2 Saxophones (1996); Quartet for Piano, Violin, Viola, and Cello (1997); Max Ernst Variations for Saxophone, Accordion, Piano, and Computer (1998); 6 Etudes for String Quartet (1999). keyboard: Piano : Model I (1956; Kraków, Sept. 29, 1961), II (1957; Kraków, May 19, 1962), III (1961; Warsaw, Sept. 21, 1964), IV (1963; Paris, March 10, 1968), V (1965; Utrecht, Sept. 3, 1967), VI (1970), VII (1971; Ann Arbor, Nov. 26, 1974), VIII (1972; Vienna, May 7, 1975), IX (1976), X (1977), XI (1981), XII (1984), XIII (1986), XIV (1988), XV (1988), and XVI (1991); blueS No. 1 for 2 Pianos and Tape (1972; Wroclaw, April 21, 1977), No. 3 for 2 Pianos (1978), and No. 4 for 2 Pianos and Tape (1988); Open Music No. 2 (1975; Brussels, Nov. 16, 1983), No. 3 (1975; Czestochowa, March 16, 1984), and No. 4 (1983) for Piano and Tape; Acontecimiento for 3 Pianos and Computer (1988); Megasonata (1994); Sexternus for 6 Pianos (1998). Organ : 4 sonatas: No. 1, Wiosna (Spring; 1985), No. 2, Lato (Summer; 1985), No. 3, Jesien (Autumn; 1986), and No. 4, Zima (Winter; 1986). VOCAL: Aspekty ekspresyjne (Expressive Aspects) for Soprano and Flute (1963; Krakóow, June 21, 1969); Music for MI for Voice, Vibraphone, 6 Narrators, Jazz Ensemble, and Orch. (Warsaw, Oct. 25, 1963); Media for Voices and Instruments (1967); Bergsoniana for Soprano, Flute, Piano, Horn, Double Bass, and Tape (1972; Brussels, March 26, 1973); Missa elettronica for Boy’s Chorus and Tape (1975; Warsaw, Sept. 23, 1976; also for Chorus and Tape); Miserere for Soprano, Chorus, Orch., and Tape (1978); Te Deum for Solo Voices, Vocal Ensemble, and Orch. (1979); Stabat Mater for Soprano, Alto, Chorus, Strings, and Organ (1983; Kraków, Feb. 20, 1990); Missa sinfonica for Soprano, Violin, Soprano Saxophone, and Orch. (Katowice, April 25, 1986); Liturgische Sätze for Solo Voices, Chorus, and Orch. (1991); 4 Psalms for Chorus and Orch. (1999); Das Leben einer Stadt for 3 Sopranos, Orch., and Electronic Media (1999). OTHER : Symfonia: Muzyka elektroniczna (Symphony: Electronic Music) for Tape (1964; Warsaw, June 16, 1966); Concerto for Tape (1968; San Benedetto del Trento, July 6, 1969); Berlin ’80/1 (Berlin, Oct. 2, 1980) and Il (Berlin, Oct. 3, 1980) for Piano, Syn-lab, Electronic Media, and Tape.

Writings

Maty Informator muzyki XX wieku (Little Lexicon of Music of the 20^th Century; Kraków, 1958; new ed., 1987); Nowa muzyka: Problemy wspótczesnej techniki kompozytorskiej (New Music: Problems of Contemporary Technique in Composing; Kraków, 1958; new ed., 1969); Klasycy dodekafonii (Classics of Dodecaphonic Music; 2 vols., Kraków, 1961, 1964); Leksykon kompozytorów XX wieku (Lexicon of 20^th-century Composers; 2 vols., Kraków, 1963, 1965); W kregu nowej muzyki (In the Sphere of New Music; Kraków, 1967); Dźwieki i znaki (Sounds and Signs: Introduction to Contemporary Composition; Warsaw, 1969); Muzyka XX wieku, Tworcy i problemy (Music of the 20^thCentury, Composers and Problems; Kraków, 1975); Wstep do kompozycji (Introduction to Composition; in Polish and Eng.; Kraków, 1976); Dzieje muzyki (History of Music; Warsaw, 1983); Dzieje kultury muzycznej (History of Music Culture; Warsaw, 1987); Kompozytorzy XX wieku (Composers of the 20^th Century; 2 vols., Kraków, 1988, 1990).

Bibliography

J. Hodor and B. Pociej, B. S. and His Music (Glasgow, 1975); L. Stawowy, B. S.: Leben, Werk, Bedeutung (Innsbruck, 1991); J. Zajac, Muzyka, teatr i filozofia B. S. (The Music, Theater and Philosophy of B. S.; Salzburg, 1992).

—Nicolas Slonimsky/Laura Kuhn/Dennis McIntire