TADEUSZ KOBIERZYCKI, FILIP MAJ

VITALISM AND EXISTENTIALISM IN MARIAN BORKOWSKI’S MUSIC

Contents of Article: Introduction, Philosophical Inspirations, Poetry and Ethics, Actualism and Atonalism, Vitalism and Existentialism, Sociologism and Sacralism, Ruralism and Urbanism, Acousticism and Apperceptionism, Partialism and Totalism, Somatism and Emotionalism, Conclusion, Notes, Bibliography.

“Culture: the cry of men in face of their destiny.”

Albert Camus

INTRODUCTION

    Marian Borkowski is a Polish composer who is now 75 years of age and has 50 years of artistic work and 45 years of teaching behind him (1). For many years he worked and taught at the Fryderyk Chopin Academy of Music in Warsaw as a professor of composition. But just a few months ago “The Academy of Music” disappeared, and was replaced with “The University of Music”.

    Together with the change of structure, a piece of history moves into the shadows, people who formed it, are also transferred. We are fortunate that Professor Marian Borkowski is here with us and that we are with him at the University of Music, with its structural memory beginning to shape anew.

   Let us be of good cheer, though certainly, this change means a different order, something disappears and something appears again. Just like contemporary music, which is dramatic and agogic, ambivalent. Thus, we will see.

   Marian Borkowski was born at a time when ideological proclamations of change for the better and tragic illusions appeared in Europe. In the East, communism was strengthening the empire of Lenin and Stalin, in the West, German ideologists of National Socialism and Fascism were attempting to take over power and begin cultural and ethnic cleansing.

   Marian Borkowski was 5 years old when World War II broke out in 1939. The war and occupation created an atmosphere in which he grew up. When M. Borkowski was 10 years old, the war had formally ended. And the path began to determine his own identity, a path through ruins, towards a new architecture of the world and life, and a new architecture of art and music, an individual journey towards music, composition and pedagogy.

   Everything that was affected during the war and occupation in Poland by Western and Eastern totalitarianism was subject to destruction or suspension. One could only contemplate the ruins or build a new world, starting from oneself or to escape into the world of the arts and its anthropological laws which never die.

PHILOSOPHICAL INSPIRATIONS

    Poland does not have a strong tradition in writing about contemporary music in a philosophical style. It is difficult to exceed the level of the works of Theodor W. Adorno or Roman Ingarden, but it is difficult to terminate at their studies. Therefore, we refer to the philosophy of the composer's closest circle. In Poland an important role in philosophically oriented musicology was played by Zofia Lissa, a representative of the Lviv-Warsaw school, later a Marxist. Concerning Marxism and socialist realism, it is difficult to say something in relation to Borkowski’s music. The vast majority and perhaps not even one of his works meets the criteria for this model. The creativity of this composer falls on the axis of socialist realism - sacralism. The mystical trend in Poland is always stronger than the realistic tendency. We have a similar case with the music that we are presenting here.

   An example of the philosophical understanding of music at The Fryderyk Chopin Academy of Music (at present The Fryderyk Chopin University of Music) is the stance of Jagna Dankowska. In her work “In Search of New Classics” (2003), she refers the analytical theses of Theodor W. Adorno and Igor Stravinsky in relation to Krzysztof Penderecki (German inspirations) and Witold Lutoslawski (French inspirations). She confronts these ideas with the metaphysical assumptions of Stanislaw Ignacy Witkiewicz.

   Another example of a philosophical understanding of music at The Fryderyk Chopin Academy of Music is the work of Krystyna Danecka-Szopowa. Her book “From Music to Ethics” (2000) reflects the spirit of musical phenomenology and musical psychology and pedagogy that was realized in the 1960’s at this academy. One can notice that it is strongly influenced by German musicology.

   We leave this line of analysis by including into it the archetypal theory of the Swiss depth psychologist Carl Gustav Jung, as well as French and Polish literary existentialism (Albert Camus, Konstanty Ildefons Gałczyński). These were, apart from the sociological contexts, important points of reference for Marian Borkowski’s music at the time of his debut in the 1960’s. In this perspective, his music is characterised by an actualistic, finalistic and agonistic approach etc.

POETRY AND ETHICS

    The computer Toshiba automatically divided the phrase “Muzyka Mariana Borkowskiego (The Music of Marian Borkowski)” into three sequences: “Music – Borkowski – ego”. Let us follow this trail. According to Carl Gustav Jung’s classification, man stabilizes his “ego” at the age of about thirty. At that time Borkowski wrote “Lyrical Preludes” for soprano and piano (1962) (2).

   Previously, as a composer and musician, Borkowski apprenticed at an ethnic music school (traditional highland music) and literature school (of the Young Poland movement) in the years 1959 and 1960. The Literary model, to which he referred to in his young days was the poetry of Konstanty Ildefons Gałczyński – “Piano Concerto”, of which he applied the following nature-musical metaphors:

   “Butterflies flourishing already – / seconds are being carved; / from the earth the music beats / manifold and excessive – / and the music as air / over the home of beautiful women / as a salty wave, an enraged swoosh / collapses, leaks and freezes. / Only that, again, / for them – / little are there / shadows of trees lying like flutes”.

   Gałczyński’s “Prelude” is a poetical outline of personal philosophy and poetics of Borkowski’s generation, a kind of creative phenomenology. In those times literary philosophy replaced the philosophy of life. There was not much more in circulation than the texts of Marx and Engels, Lenin and Stalin and their numerous interpretations. Thus the poets replaced philosophers in determining all artistic cognitive states.

   For Marian Borkowski’s generation Konstanty Ildefons Gałczyński was an official expression of the alternative worlds. By means of poetical metaphors, he described the situation of Polish culture, which was reviving thanks to it, but at the same time it was “being killed” – in the minds of the authors or by the censor’s pencil, before it could break through to the public sphere. By means of poetical words it is easier to describe the intricacies of culture.

   Gałczyński’s metaphors used by Borkowski include only three types of symbols – “beautiful women”, “shadows of trees” and “the music of flutes”. But they do not determine the real conditions of this idyllic and melancholic symbolism. Five other metaphors that the composer ignores show the real context of the life and work of those times.

   These metaphors are: “the chorus of idiots” – “We do not know that we are so pretty”; “Caesar’s triumph” – “He threw away his gown embroidered with bloody intricacies”, “The mosquitoes’ ball” – “We buzz over the water”, the fourth is a “storm in Amsterdam” – “Ah, so many golden windows! It is all the effects of lightning” and “the march of angels” – “We are rocking, leaning, kissing, moving away” – “we are opening the difficult gates”.

   The rejected group of metaphors filled the imagination of Poles repressed by the censor. This does not only refer to artists. With the mentioned group of metaphors from Gałczyński’s “Concerto”, one could back then (and one can do so today) describe the philosophy and music of Borkowski’s generation. He made use of the poetic themes of nature which become the components of man’s perception and emotional expression: “The ground hums / Trees grow out of it. / The sky breathes. / Clouds come out of the house. / Space is running away. / And only sapphire on one’s lips. / And only golden sand on one’s hair. / And sadness similar to oak”.

   The sky, clouds, space are running away from the ground, the body, the head, from the day and night. The oak tree, the tree of Greek philosophers remains; the golden sand of the sea shore remains; sapphire on one’s lips remains. Everything else disappears. What remains is music, adapted to cycles of appearance and disappearance.

   It is worth noting that for many years Marian Borkowski lived in a house on Gałczyński street in Warsaw. This coincidence, despite the change of residence, is permanent and is recorded as an important existential situation of the composer.

ACTUALISM AND ATONALISM

    The music of Marian Borkowski is short in time length. His music pieces are compressed to a few moments, to several minutes. These compositions strive like the souls of his generation to live a second time. In this music, chains of sounds play an important role, trying to express themselves beyond the existing scales, beyond the systems, because they were not able to save European culture.

    It was first in Western Europe (France) and then in Poland of the 60’s that vitalistic existentialism appeared. Its symbols were – black fashion wear, songs of Juliette Greco and Sława Przybylska, films with Brigitte Bardot, General De Gaulle, who was able to say in Polish: “Let our beloved Poland live”, and in the next moment to say with the same passion in Russian: “Pust’ żywiot wielikaja Rasija” – Gałczyński was enough for this.

   Marian Borkowski belonged to a group of composers who took their masters’ studies in composition and philosophy in Paris. Nadia Boulanger and Olivier Messiaen were his masters. His music is located on the intersection of those influences. The composer integrates the classical bases of music on the grounds of serialism, choosing the sacral orientation (and not e.g. the naturalistic one).

   Albert Camus, wrote: “Modern art. They uncover the object, because they do not know nature. They convert nature and it is necessary, since they have forgotten it. When this work has been completed, great years will come” (Camus, 1994, p. 175). It is not certain whether these years have already arrived, though the achievement of the Vienna school and the Darmstadt school have broken the minor and major system and have released the sound from previous ritualisms.

   Many composers who, like M. Borkowski, apprenticed under Nadia Boulanger in Paris, in order to work around the German and Russian models, fell into the mystically orientated German tonalism. Others, renouncing regular structures, have chosen an obsessive game of sounds, sonoristics and aleatoristics. In M. Borkowski’s music, we find primarily characteristics of structural and emotional acoustic serialism, a tendency that dominates in Polish music.

   Marian Borkowski’s music is located in new tonalism. The approximate approach to sound and to musical form, taken up strategies of musical-text links and an archaic vocalization of vowels differentiate Marian Borkowski’s music. Whoever has listened to “Pax in terra” (1987) will easily agree that it is an extremely energetic and mystical piece. It is a model of sound usage present in all of the composer's works and can be described by the notion – transtonalism.

ALTERNATIVISM AND EXISTENTIALISM

    Marian Borkowski chose four contexts for his music: Greek (rhythmic structure), Polish (ethnic and literary themes), “Latin” (liturgical, Judeo-Christian inspirations) and American (architecture and sociology of the city). These references are both of an artistic and existential nature (3).

   From the historical perspective, it is possible to observe that post-war Western European existentialism as well as Eastern European socialist realism is insufficient for Polish Music. Two thousand year old Christian existentialism seems to be more musical. Existentialists of the 20^th century identified life and death with the absurdity of the two wars and with the absurdity of nothingness, whose general symbol is atonalism (4). Sartre would say “it is an absurdity that we are born and an absurdity that we die” – this is not a musical approach to life.

   In Poland, existentialism is usually religious. War, suffering, illness, desperateness, unhappiness, exclusion, hurt, failure, abandonment are considered to be noble. Their opposites are regarded to be ignoble.

   For Poles, like in the Middle Ages, cemeteries or cemetery gardens are more important than gardens. However, there is anthropological existentialism, a narrow current of creativity, of which in philosophy Henry Elzenberg is a representative, in psychology there is Kazimierz Dąbrowski, and in music certainly Marian Borkowski.

   Marian Borkowski’s music is based on two assumptions: tragic and prophetic. It oscillates between two existentialisms - vitalistic and theistic (Christian), which are alternatives to tragedies highlighted by wars.

   The Pope of peace - John XXIII said: “Every day is good enough to be born and every day is good enough to die”. This is a more musical approach to life. Marian Borkowski’s music is a form of the impulsive music of life (vitalistic existentialism).

SOCIOLOGISM AND SACRALISM

    Polish music is generally depressive or tragic. Some of M. Borkowski’s works belong to this group (for example, “Mater mea”, etc.). It is somewhat strange that a composer who completed an internship with Olivier Messiaen, has not written any vitalistic music piece, a work referring to natural acoustics or sacral vitality, in which the French composer, theorist and organist was a master.

   Music in Poland after World War II is often treated as a substitute and an alternative of the religious sphere. After years, it turns out to be obsessively religious and ritually rigid. A huge number of compositions have religious titles, but they lack religious passion. Albert Camus wrote: “Artists who want to be holy, are not artists. I am not a saint. We want universal acceptance and we will not achieve it. And thus?”(Camus, 1994, p. 176). And thus there is a lack of artistic intelligence, which is also needed in religious art.

   In Poland, artists and musicians were the first to break the rules of artistic and social laws of totalitarianism in the direction of freedom (eleuterism). They did so despite being fascinated by German (Wagnerism) and Russian (socialist realism) standards. As Albert Camus wrote: “Wagner [is] the music of slaves” (Camus, 1994, p. 189). Polish composers tried to connect the opposites of the music of the slaves with the music of freedom. M. Borkowski’s music is associated with an attempt to artistically analyse the link between the idea of freedom and compulsion, love and hatred (5).

   Religious music in countries subjected to many years of annexation like Poland (and the world) is substitutive or alternative in relation to the official trends and ideas. The religious mark in Polish music is more compensatory and compulsive. It is not a field of a discovery of new artistic ideas or aesthetic solutions. It provides an easy model to express one’s own spiritual needs in a decent, but not necessarily creative manner.

   Marian Borkowski attempts to avoid the aesthetic, religious and ethical pitfalls, but also uses the religious schema (Kobierzycki 1985). A new way of treating these problems can be clearly seen in “Pax in terra”.

RURALISM AND URBANISM

    Plato and Aristotle intellectually lead the inhabitants of Europe from the countryside to the city. They broke off thought from the mythology of women (village), and bound it with the mythology of the men (city). Judaism and Christianity influenced the joining of the cultures of the village and the city. The city became an object of admiration and the object of curses (e.g. of poets, Blake and Wordsworth, who criticized London, seeing in it “chains of streets”).

   The philosophy of the city arrived to Poland with industrialization and capitalism, the ideas of Marx and Engels. The first one wanted to civilize the countryside, the second admired the civilization of the city. Georg Simmel developed these metaphors by comparing the city to the mind, and the village to the body.

   In his opinion, the advantage of each metropolis is: 1) “the intensity of consciousness”, 2) “the dominance of intelligence”, 3) the reaction of “the head instead of the heart”, 4) the melting relations and activities in a “multi-divisional organism”, 5) a collective organization preventing chaos and disorganization, 6) a permanent, trans-subjective time scheme.

   The negatives of the city recognized by Simmel were the exclusion and reduction of irrational, instinctual impulses that shape everyday life. This is not a philosophy of art, but a philosophy of the mind. An American urbanist, Lewis Mumford, assessed the biological and emotional mechanisms of the city as being positive. For Simmel, the city is only an “aesthetical symbol”, for Mumford the city “is an art” (cf. Mumford 1971, p. 480 and 492).

   For Borkowski, the city is an art. His cities of the arts were Paris, Vienna, Darmstadt and Siena, while in Poland - Pabianice, Łódź, Wrocław and Warsaw. To this day, they are cities strengthened by the energy of his imagination. Urban constructivism in Marian Borkowski’s music is what “glass houses” were in the Stefan Żeromski’s literary vision of the city.

ACOUSTICISM AND APPERCEPTIONISM

    The American scholar, Henry A. Cross and his collaborators played Mozart and Schoenberg to intelligent rats from their birth (cf. Cross, Halcomb, Matter 1967). For 52 days one group listened to Mozart's works (e.g. “The Magic Flute” and other vocal and instrumental pieces, symphonic concerts and chamber music). The second group listened to Schoenberg's pieces (e.g. “Pierrot Lunaire”, “Verklarte Nacht” and other vocal and instrumental works). The third group did not listen to any music.

   After a fifteen day break, it was examined whether rats listening to music and not listening to it had any special tastes. In a cage, divided into two parts, they could listen to Mozart's or Schoenberg’s music. Even though all the pieces were new, the rats chose the music which they heard in the first stage of the experiment. Rats which did not listen to music during the first stage, in the second stage, chose Mozart’s compositions. In the case of animals, repeated stimuli is sufficient for them to develop specific musical tastes. With people it did not go so easily.

   In another study, Hellen Mull played Schoenberg’s “String Quartet” Op. 31 to students  many times (Mull, 1957). After some time she asked them what is their attitude to this music piece. At the beginning, only four out of sixteen people said they liked to listen to this music. However, after repeating it over and over again, eight remained. Although as many as eleven people changed their assessment to a more or less positive one, not one of them became a true lover of Schoenberg. The same might occur in reference to other contemporary compositions, including the music of M. Borkowski, who shares the same problems associated with music perception – based on disharmony – with Schoenberg.

   Many years must pass for it to become a “favourite” like Mozart's music. The time has not yet arrived for evening out the reception and perception of music. However, contemporary music has made a fundamental breakthrough in the attitude towards the world, supporting the shift from ontological monism to pluralism.

PARTIALISM AND TOTALISM

    Contemporary music is focused on work with destroyed objects. Artists use elements, parts, pieces, details to form music conglomerates. Working with what is destroyed is a kind of exercise in mastering the "destruction". What has been damaged is sacred and ritualized with a special artistic cult.

   Theodor W. Adorno noted that there is a danger of falling into a fascination of the ruined, partial object which seems to be more complete, more authentic than the whole, because it has been experienced physically: “Wounds from injury and rupture are the stamp of modern authenticity” (Adorno 1987, p. 199).

   Marian Borkowski – constructs and deconstructs musical objects, he assembles and dismantles, specifies and despecifies melodic patterns, he intertwines and opposes them to each other, and next surpasses them and establishes a new connection. He leads them to an extremity, he exaggerates and exposes the absurdities of monotonisation and monostructuralisation in contemporary compositions (cf. M. Borkowski, “De profundis” for mixed choir and orchestra, 1998, and “Images II” for any solo instrument, 1975) (6).

   Releasing sounds from different systems, styles and techniques, their parody, laying out new sequences according to the rules of formal simplicity and laying out reduced aphoristic contents create Kantian conglomerates. As Th. W. Adorno wrote, “the whole is untrue”.

   Contemporary music is more aware of the transience of time than music from previous periods. Today, music is a game of times. It divides time, shortens, levels and stops it. Time in contemporary music is not duration or Bergson’s “continuity of change”, it is external to it, added to the form (cf. M. Borkowski, “Norwidiana 75” for female voice and chamber ensemble, 1975) (7).

   Marian Borkowski’s music makes use of techniques of clustering, blending, concentrating, diminishing or magnifying sounds, he atomises and subjects them to reduction, he surrounds and seizes them in the brackets of fleeing of time (cf. M. Borkowski, “Limits for orchestra”, in 1971) (8). Every sound is stretched in silence or emerges in repetitions.

   Contemporary music is afraid of beginning and is afraid of ending. It is an excerpt of time which fills the passages of silence and noise. Its essence is a fragment, not the whole. It is dominated by a child perception which exaggerates and magnifies the object, It is based more on mental abstractions rather than on living nature.

SOMATISM AND EMOTIONALISM

    Maurice Merleau-Ponty stated that the body is a silent cogito, an “unexpressed, mute consciousness”, but as “the base subjectivity” it is a consciousness which determines language (Merleau-Ponty, 2001). Interest in the body permeates not only medicine, psychology or politics (in the gender theory), but also to art.

   Marian Borkowski opposes the inanimate world of machinery with a sharp, melancholic and dying human voice. He fills the emptiness of the surroundings with the sounds retrieved from space, from the inside of the atom (cf. M. Borkowski, “Pax in terra II” for female voice, percussion and organ, 1988) (9).

   Contemporary music makes a leap, first there should be a cognitive effect, then an aesthetic one. This function of music does not satisfy most people who do not treat art as a science, but as entertainment (cf. M. Borkowski, “Toccata” for piano, 1960) (10).

   The separation of intellectual and emotional pleasure takes away the magical feature from music. The idea of the deconstruction of sound was supposed to be integrated by pure form. The result is a rigid, physical type of structure of music.

   Marian Borkowski wants to, by means of sound, reach the essence of things, the most basic phenomenon, which could be called music. His music is a symbol of disappearing life, “black holes”. Such music hides more contents than it expresses (cf. M. Borkowski, “Speranza” for flute”, 1976) (11).

   Composers became more aware that their consciousness perceives too much to be able to express everything that they perceive. Therefore, they undertook the synthesis of sound configurations, in the hope of building micro-information systems based on a single sound. They concluded that the world seen by many mirrors, filters, “distortions”, can entangle them in the future.

CONCLUSION

    The tendency to negate existence has been noticed long ago. But the modern era is trying to register this aversion. The deconstruction and destruction of the world in the arts has become its obsession. What helps them is the rule of totalizing sound and its fragmentations (M. Borkowski, “Psalmus” for organ, 1975), connected with its dying out and disappearance (M. Borkowski, “Prologue” for trumpet and organ, 1990) (12).

   Contemporary music belongs to the domain of simulacrum (Gilles Deleuze). It is the domain of copies that become more real than the originals. It is, therefore, not in favour of analysing its own originality and its assessment. It prefers to be left alone, away from listeners and critics. The variation technique and the emphasis on mathematical formulas also incline toward this.

   Contemporary music drives the listener into the psychotic experience of composer. On the one hand, it allows the listener to distance himself, but it itself is intrusive. It is based on memory, communication and the creation of wounds, and not on the pleasure of sensations. There is a need to think rather than to listen. Its meta-criticalness is an expression of the change of aesthetics (cf. M. Borkowski, “Visions” for cello, 1962) (13).

   Jean Luc Godard, in his film “Our Music” (2004) presented the images of war that affected the world in the recent centuries. Borkowski is one of the heroes of this world (cf. M. Borkowski, “Spectra” for solo percussion, 1980; “Libera Me”, 2006) (14). As a composer and teacher of composers, he indicates how to deal with the most tragic experiences of life, experiences of war and peace.

   Borkowski describes his life with scores which represent a kind of mystical cipher. Thanks to this, he shows his audience a dramatic sense of what exists and shows what goes beyond the splitting of the boundaries of the world’s good and evil in human destiny. A special feature of this music is transtonalism, which combines the assumptions of serialism and tonalism, indicating not only the inherent value of the sound, but also the transcendental potential of contemporary music.

   As an educator, M. Borkowski teaches how to move away from the most tragic experiences of fate, expressing them using a cipher which involves the musical heart and mind in the creation of a better world.

NOTES

(1) This text was presented in a shorter version titled “Philosophical Inspirations and Implications of Marian Borkowski’s Music” at the conference: “Portrait of a Composer - M. Borkowski”, organized by the Department of Composition at the Fryderyk Chopin University of Music in Warsaw, 15 November 2008.

(2) W. Miksa writes – “In Borkowski’s previous works one can find two songs: »From the Tatra Mountains toward my cradle he flew«, for soprano and piano (1959), to the words by Kazimierz Przerwa-Tetmajer and »The Message« to the words of Konstanty Ildefons Gałczyński for baritone and piano” (1960).

(3) Cf. M. Borkowski [Since 1958] – “Mazurki”, “Wariacje”, “Taniec”, “Sonata”, “Fragmenti”, “Visions”, “Preludes”, “Aria”, “Aklamacje”, “Dram”, “Epitaphium”, “Kołysanka”, “Limits”, “Selection”, “Images”, “Comes”, “Psalm”, “Interludes”, “Norwidiana (75)”, “Speranza”, “Vox”, “Dialoghi”, “Mont”, “Spectra”, “Dynamice”, “Mater mea”, “Apasionate”, “Avante”, “Pax in terra”, “Prolog”, “Adoramus”, “Ritornel”, “Hosanna”, “Regina coeli”, “Aby miłość stała się”, “Kassandra”, “De profundis”, “Ave-Alleluja-Amen”, “Con-Son”, “Dix”, “Dies irae” [After 2005] –“Hymnus”.

(4) “Atonal music is always dramatic, though it considers itself a reaction toward romantic music. And the reason is that what is small is always solemn and dramatic. The same applies to painting” (Camus 1994, p. 258).

(5) Adrian North of Scotland's Heriot-Watt University examined more than 36 thousand people from around the world who defined their attitude towards 104 music genres. It turned out that classical music fans are rather timid, while jazz fans are more open, but both are creative and have strong self-esteem. Country music lovers appeared to be hardworking and shy, rap lovers – sociable, indie music fans showed deficiencies in defining themselves, soul fans were creative, sociable, gentle, they had a distance to themselves and had great self-confidence. The followers of rock and rap were rebellious, opera fans were rich and educated. For the first time, the relationship between personality and a wide spectrum of musical genres was demonstrated in research in such a great range.

(6) M. Borkowski, “De profundis”, artists: Catholic Theological Academy Choir, Symphony Orchestra of the F. Chopin Academy of Music in Warsaw, conductor - P. Borkowski; M. Borkowski, “Images II”, artist: R. Lasocki – violin.

(7) M. Borkowski, “Norwidiana”, artists: J. Gadulanka - soprano, National Philharmonic Chamber Ensemble, conductor – T. Karolak.

(8) M. Borkowski, “Limits”, artists: Symphony Orchestra of Polish Radio and Television, conductor – R. Dudek.

(9) M. Borkowski, “Pax in terra II”, artists: M. Armanowska – soprano, A. Chorosinski – organ, Warsaw percussion group led by S. Skoczyński, P. Borkowski – conductor.

(10) M. Borkowski, “Toccata”, artist: M. Lukaszewski – piano.

(11) M. Borkowski, “Speranza”, artists: G. Garcin – flute, J. Raynaut – piano.

(12) M. Borkowski, “Psalmus”, artist: A. Chorosinski – organ; M. Borkowski, “Prolog”, artists: K. Bednarczyk – trumpet, M. Krajewska – organ.

(13) M. Borkowski, “Visions”, artists: T. Strahl – cello.

(14) M. Borkowski, “Spectra”, artist: S. Skoczyński – drums; M. Borkowski, “Libera me”, artists: The Holst Singers (London), S. Dayton - conductor.

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