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Jarosław Adamus (1960)
Logos et Sentiment
AP0247 , DDD - TT: 58'42"
Copyright (R)2011, (C)2011
World Premiere Recording

  1. Au commencement était la parole op. 6
  2. Clair - obscur op. 3
  3. Musique provisoire op. 14 no 1
  4. Sixieme vanité pour violon in scordatura op. 1 no 6
  5. Omne trinum perfectum op. 2
  6. Eau. Pain. Amitié. Philosophie op. 13
  7. Esquisses d'une musique définitive op. 14 no 2
  8. Joyful Song op. 5 no 2

Adamus Jarosław, violin
Barbieri Delphine, voice
Holeksa Hanna, piano
.Ensemble Cello Fan,
Audibert Frédéric, cello
Audibert Florent, cello
Grisenti Marie-Thérese, cello
Rocca Serra Paul-Antoine de, cello
Lefever Guillermo, cello
Ponsot Manon, cello
Rose Emilie, cello
Kurzenne Manon, cello
Courreges Eric, cello
Sevilla-Fraysse Julie, cello
Trinari Thierry, cello
.Ensemble Chromatica,
Barbieri Delphine, voice
Adamus Jarosław, violin
Bussa Marc, violin
Naquet Philippe, violin
Rajca Agnieszka, viola
Marchand Catherine, cello
.Zespół im. G. P. Telemanna,
Adamus Jarosław, violin
Sadowski Piotr, viola
Mikula Maria, cello
Sadowska Aleksandra, piano

booklet: Jarosław Adamus (Polish, English, French)

Available in digital distribution/Disponible en distribution numérique/Dostępny w dystrybucji cyfrowej ---------------------- I wrote my works in both Marseille and Katowice, in a kind of "common place" opening up for the process of creation, or in other words on the crossroads where the beauty of Provence meets the severity of Silesia. I like discussing music in the context of philosophy. "The logos and the feeling", or else "the establishing principle and the man" immersed in his everyday routine that I also call "factual reciprocity". To carry inside oneself an idea, a concept is not the same as to bring something out in a sensory perceptible form or to pass it on to another person in all its multitude of possible points of reference. I would like to provide the music with a few words of explanation, because I believe they will make the dichotomy I have just mentioned much easier for the listeners (and the readers!) to comprehend. The truth is that music as a language embracing the "word-concept" (logos) and the "word-communicative language" (feeling) speaks to me louder than any other technical, historical, or social reflection.My personal experiences no doubt influenced my outlook; I can recall the stages I have gone through: musical education, studies of philosophy and theology, the period of monastic life and teaching, concert life and writing music, and finally the efforts in the field of philosophical reflection (Jarosław Adamus).