Abstract

This paper presents orchestra works with solo and concert instruments of Edward Boguslawski that were created between 1968–1980. The general term “concert forms” used in relation to Boguslawski’s works, intended for one or more solo instruments, most accurately shows their variety. The basic question one should pay attention to is the relationship between the solo instrument and the orchestra. In Boguslawski’s music this relationship usually departs from the classical pattern of solistic leading role towards the close fusion of the solo part and the or- chestra according to various assumptions which lie within the variety of the definition of “concert- ing”. The sign of equality put between the composer’s attention to technical-sonoristic value of the solo instrument and the precision in constructing orchestra sound planes, fully shows his mastery of instrumentation techniques. And although concert instrument, because of its specific role, be- comes a leading instrument in the course of the musical narration, many times the creator blends the sound of the orchestra in polygenic tissue making it the most important.

Three works of Boguslawski are analyzed in the paper: Concerto per oboe oboe d’amore anche, corno inglese, musette e orchestra (1968), Concerto per oboe musette anche, an orchestra soprano (1975/1976), and Musica concertante per saxofono alto e orchestra (1979/1980). These works, despite the differences in the architectural framework are all connected by musical sub- stance and interior development based on the assumption sonorism, aleatory and dodecaphonic organizing, maintaining the dominant role of the traditional idea of concerting.