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Dariusz Przybylski. A courageous passéiste 

ALEKSANDER LASKOWSKI
Institute of Art, Polish Academy of Sciences
Adam Mickiewicz Institute

Dariusz Przybylski

Dariusz Przybylski is a composer and organist. Born in 1984, he is prolific and versatile, his output is considerable in the number of compositions and staggering in the variety of form.

Przybylski counts among his composition teachers Marcin Błażewicz, York Höller, Krzysztof Meyer and Wolfgand Rihm. Perhaps one could call his output Rihmian in the sense that it spans different genres and musical forms and draws on a seemingly unlimited number of sources of stylistic or aesthetic inspiration.

KEY WORDS:

passéism, contemporary music, new music, opera, sacred music, contemporary art

Dariusz Przybylski

Przybylski also seems to share with Wolfgang Rihm a similar approach to the role and function of ‘New Music’. Wolfgang Rihm has been called an Olympian of contemporary music (cf. Büning, 2013). He chiselled the musical thinking to the extent that he is no longer considered a Nischenphänomen – a composer belonging to the niche of New Music. And his output spans many genres – from orchestral pieces through operas, chamber and solo music, both vocal and instrumental, as well as film music. His music belongs in the subscription concert halls and major festivals more than in contemporary music festivals. This cannot yet be said about Dariusz Przybylski. However, his work seems to be heading in the same direction. For a relatively young composer today to be so form-oriented, even sound-oriented as Przybylski, is a brave aesthetic stance in the times when the received notion that music must be sound is called into question, as in Barrett’s recent book (2016).

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