Composers

The composers central to Music in Movement have been carefully selected to
represent various European countries and cultures and ensure that their work reflects – as fully as
possible – the range of compositional techniques, styles, and aesthetics of music composed in the
previous and current centuries. In the pilot, special attention is given to four composers:

Louis Andriessen (1939) is a Dutch composer who has achieved great influence in his

native country and internationally. His music combines political radicalism, minimalist pulsation,
conceptualism, and the achievements of European modernism. His compositions are an
amalgam of various styles and take inspiration from influential aesthetic and philosophical
ideas while not shying away from serious and difficult themes such as time, spirituality, and
the composer’s role in society.
Arvo Pärt (1935) is an Estonian composer who created a series of avant-garde works,
including Estonia’s first serial composition, Nekrolog (1960), and defined an entirely new
musical language, a style he calls “tintinnabuli”, based on diatonics and tonality. Pärt’s
unique art (music that communicated spiritual values while sounding at once archaic and
modern and departing from all conventions) was enormously successful in the West, where
audiences were drawn to its almost magical power.
Pierre Boulez (1925-2016) constantly searched for novelty, originality, and ways to
overcome structure and expand the boundaries of music. After the composer’s recent
passing, the French prime minister wrote on Twitter: “Courage, innovation, creativity, this is
what Pierre Boulez meant to the world of French music, of which he made a beacon of light
throughout the world”. Boulez influenced contemporary classical music not just as a
composer, but also as an outstanding conductor, columnist, and music event organizer.
Kazimierz Serocki (1922–1981), a consistently innovative composer who believed deeply in
the need for the constant renewal of contemporary music. After the political “thaw” of
1956, Serocki was among the first Polish artists to travel to Darmstadt, the “Mecca for new
music,” in pursuit of new experiences, which he soon transformed into an original musical
style based on the idea of “timbral composition,” employing revelatory articulations and
realizing his own concept of open form. His pieces made a significant contribution to the socalled
Polish compositional school.