Eugeniusz Rudnick: Dixi (1967)

Eugeniusz Rudnick (*1933): Dixi, per nastro magnetico (1967).
Realized in the Experimental Studio of the Polish Radio, Warsaw.

Cover image: painting by Gerhard Richter.

The material used for this etude consists of electronic sounds of the type of "sonorous mixtures" varying in density and intensiveness. They appear in blocks of different pitches which either diffuse into each other, or are used to create sharp collisions of complex sonority. The latter technique dominates the middle part of the composition. In principle, the entire sound material is of continuous quality. The sequences and pitch relations inside the diffusing blocks depend on the aleatoric events resulting from the accepted technology. I did not intend to compose melodic structures. My idea was to create the impression of the continuity of events of different tone color and intensiveness, as well as to show the refereces of these "qualities" to each other.

These are the assumptions on which the composition's form is based. The entire work is constructed by the sonorous material itself, depending on its movement and development in time. The intended simplicity and ostensible meagerness of sound material, as well as the alleged scarcity of musical events are to attract the listener's attention to the development of form, rather than to relations between particular events. This also enables the listener to predict forthcoming events, if only to reveal that no such events follow.

The composition has the form of a continuum of the structural type a-b-a, its three parts differing from each other in their emotional impact. It is a kind of triptych in which the third part is a variation of part one. The variation was achieved through a combination of microstructures from which the first part is constructed. This was done by means of known technical operations, such as: musical "crabs", transposition in reverse, transmutation, etc.

The work's dynamics are subservient to its formal structure and therefore it is symmetric in relation to the body of the composition. The body is, at the same time, a dynamic, emotional and sonorous apogee of the whole work. It is also the middle part of the composition as far as performance time is concerned.

By Eugeniusz Rudnik.

(fonte: European Electronic Project Vol.II).

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Music

Tags:

• Rudnick
• dixi
• tape
• electronic
• music
• avant
• garde

[isledemort]

I found a vinyl copy (scratched, and with no cover) of 'Electronic Music, Vol IV' (Turnabout) in an op shop in regional Victoria, Australia, around 1990. This was the standout track on the record and was a huge influence & inspiration to start recording my own electronic music. I always wondered what the Experimental Studio; Polish Radio; Warsaw must have been like back then...Amazing, no doubt!

[LuckyLuckerLuckily]

@PsychotropXXXXX dokladnie niestety... bo w polsce lepiej jest mowic o ludziach robiacych z siebie idiotow, bo lepiej sie na nich zarabia niż pokazywania czegos co jest naprawde ciekawe...

[PsychotropXXXXX]

Proszę bardzo....wypowiadają się obcokrajowcy, natomiast żadnego komentarza w polskim języku...powiem jedno....WSTYD...Eugeniusz Rudnik to jeden z najbardziej zasłużonych kompozytorów muzyki elektronicznej , nagradzany na całym świecie. Dlaczego w Polsce nie mówi się o takich ludziach?

[kamishes]

Hey Khantarya... I guess you could buy Rudnik's 4 CD box - it's full of such masterworks of electronic and 'concrete' music. He is truly Polish Master in a way Pierre Henry is. I've met him in Warsaw - he's very, well... original person :)

[khantarya]

ABSOLUTELLY ESSENCIAL AND DELIGHTFUL UPLOAD! MY TRULLY GRATITUDE

FOR SUCH BEAUTIFUL JEWEL! THANKS AND CONGRATS! PLEASE,DON´T STOP

THE WONDERFUL ACTIVITIES!MANY MORE POSTS LIKE THESE! BRAVO!