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Grzegorz Miśkiewicz

Composer

Poland

Author

  • 6

    Videos

About

My approach to music depends on to whom I address it. It is a context - otherwise I write music for children and young people differently to adults. You have to bear in mind certain requirements, limitations or possibilities. In this sense it is a kind crafts. Besides, there is no music without craft. So down to earth that to think well of all the circumstances upon which the load-bearing capacity of my music. Always empathizes with the customer, I want to give people what I'd like to receive. This is the top layer, but underneath it is the only musical idea.

Grzegorz Miśkiewicz, born on 12 March 1969 in Jordanów (Poland). From 1984 to 1988 he studied in the organ class under the direction of Prof. Zbigniew Indyk at the High School of Music in Cracow. Between 1989 and 1992 he continued his studies at the Liturgical Institute by the Faculty of Theology at the Pontifical University of John Paul II in Cracow. He also graduated, degree with honors, from the Faculty of History at the same university. Since 2013 G. Miśkiewicz is PhD in humanities. Grzegorz Miśkiewicz received the following awards in composition contests: 2007 – honorable mention for „Panis angelicus” for a cappella mixed choir in the Nationwide Composers Competition for Eucharistic Motet in Warsaw; 2008 – honorable mention for Venite exultemus Domino for a cappella women's choir in the Nationwide a Capella Choral Song Composers Competition in Legnica; 2009 – honorable mention for „Laudate Dominium” psalm for a cappella women's choir in the same contest; 2009 – the second prize for „Missa brevis” for mixed choir a cappella in the IV Nationwide Composers Competition for Liturgical Choral Song in Bydgoszcz; 2010 - the first prize for „Miserere mei, Deus” for mixed choir a cappella in the V Nationwide Composers Competition for Choral Passion Song in Bydgoszcz; 2011 – the third prize for Confitemini Domino, Gaudeamus Omnes in Domino i Vidi aquam in the International Composers Competition Within The Musica Religiosa Olomunc Festival Czech Republic; 2012 – the third prize in the V Nationwide Composers Competition for Choral Passion Song in Bydgoszcz for „De profundis”. World premieres: "In te, Domine" in Carnegie Hall, New York, Dec. 16, 2015 "De profundis" - Nov. 08, 2012 Kentucky, Louisville, USA. Performed by The Cardinal Singers, conducted by Kent Hatteberg "Crux fidelis", Nov. 09. 2014, Kentucky, Louisville, USA, Performed by The Cardinal Singers, conducted by Kent Hatteberg European premieres: De profundis, Oct. 12, 2013, Holland, performed by Concertkoor Ars Musica, Meisjeskoor Ars Musica and Begeleidingsorkest Ars Musica, conducted by Patrick Van der Linden "In te, Domine", Dec. 06, 2014, Holland, performed by Meisjeskoor Ars Musica, conducted by Arjen J.A. Uitbeijerse http://www.free-scores.com/Download-PDF-Sheet-Music-greg1203.htm

http://www.grzegorzmiskiewicz.republika.pl/

Sheets

Interview

What is your approach to music?

My approach to music depends on to whom I address it. It is a context - otherwise I write music for children and young people differently to adults. You have to bear in mind certain requirements, limitations or possibilities. In this sense it is a kind crafts. Besides, there is no music without craft. So down to earth that to think well of all the circumstances upon which the load-bearing capacity of my music. Always empathizes with the customer, I want to give people what I'd like to receive. This is the top layer, but underneath it is the only musical idea. No matter for whom something is designed, it is important that it was true, flowing from the soul, and myself moving.

What kind of music do you compose? Do you have preferences for the musical genres?

I write different music - for piano, choir and the mixed - vocal and instrumental. In choral music I'm always looking for the sacred element. It does not matter what is the religion. A belief counts in something that is supernatural, the supernatural should manifest itself in the sounds. Of course, I use the Christian texts, but they have a very wide moral, ethical, cultural connotation so that they carry with them something more than religion. It is a kind of common good, in which everyone can sign.

What is special about your piano music?

In the piano music is important the entire structure - melody, harmony, rhythm, tone. It's all in the right proportions so as to maintain a happy medium. It has to be the breath of life, it has to be the smell and color of the beloved things, because I can see the music, not just hear. Hence my every song has a title, as in the music program.

You write much music for children. Do you compose for children differently?

In the editions of children's music I always ask children to illustrate my tracks. Composing for children puts me in a very nice psychological situation - everything in me unlocks, then each piece is formed within a few hours. When I put a more serious task, then it increases self-criticism and the work goes much slower.

Are you worried about the future of classical music?

Nowadays all music has its audience. Both this ambitious, as well as this, which in some circles is not worth mentioning. It is impossible to predict the future, but you have to work on the present so that the future underestimated the effects of this work. Work as best you can. If you manage to put in your works of universal value that you can sleep sleep of the just.

Now it is a common practice in the media to talk that the classical music is getting into the consumption business. We are speaking about the supply and demand rules and how to sell your “product”, your compositions. How do you see it?

Well, everything is a commodity, if we want to make a living. This does not mean that this product is of poor quality. He is only sold as bread or pears. There are people who need to earn some money. It is a pity that at least earns the creator or performer. In my case - when I want to promote my music, then I give it to the publishing house. With this business I get a very small fees, but it is more so that consumers recognize me. Then I can offer them what they do not buy in a bookshop music, but only through me.