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Nurt awangardowy w twórczości Andrzeja Nikodemowicza na przykładzie „Sonorita quasi una sonata per violono, violoncello e pianoforte”
Dudek, Marek (Wydawnictwo Towarzystwa Naukowego Katolickiego Uniwersytetu Lubelskiego, 2016)
Andrzej Nikodemowicz whose literary output concentrates mainly around religious works also displayed an interest in avant-garde musical achievements. This can hardly be called a permanent tendency since his fascinations with the „new music” are of a short-lived nature, constituting exclusively an element of satisfying the composer’s curiosity about the dodecaphonic technique and sonoristics. A representative example of these endeavours is the Composizione sonoristica cycle consisting of four pieces for violin, piano and cello and ‒ combining these instruments ‒ Sonorita quasi sonata… The latter, being the topic of the paper ‒ is dominated by sound effects devised by the composer which are accompanied by motifs based on a 12-note scale, numerous clusters and variation processes drawing on neo-classical features. Thanks to this, Nikodemowicz, while making a stylistic synthesis of various epochs, preserves the continuity of his own aesthetics.
Tradycje polskiej Pasji na przykładzie „Via crucis” na głosy solowe, chór i orkiestrę kameralną Andrzeja Nikodemowicza
Dudek, Marek (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2015)
Passion, a musical form that describes the mystery of the passion and death of Christ is among contemporary composers a kind of link between the past and the present. On one hand, the great tradition of Gregorian chant, motet style and polyphony, and on the other, the aesthetic variety of modernity, allowing almost unlimited possibility of self-creation. When creating a Via Crucis for solo voices, choir and chamber orchestra, Andrzej Nikodemowicz wanted to combine these elements in the most authentic way. Being considered in musical circles to be the leading representative of the religious trend, he decided to write a Polish passion, not knowing that the piece of music would become his personal tribute to his deceased wife. As a result, the music score cards, in addition to composing technique, revealed the true man, the artist tom by a variety of emotions and feelings. Taking into account Nikodemowicz’s innate self-reserve, it is an unusual possibility to get to know at least a part of his personality through the prism of his work.