for positive organ / harpsichord and baroque violin
The piece consists of two equal, formally independent instrumental parts, put together as a single work. The violin part is constructed according to Johann Mattheson’s principles of shaping the evolution of a baroque aria: exordium (introduction) – narratio (exposition) – propositio (evolution) – confutatio – (negation) – confirmatio (thematic recapitulation) – peroratio (conclusion). The theory of affects and some of the rhetorical figures of hypotyposis (descriptive) and emphasis (used to evoke emotions) have been taken into account.
The harpsichord / positive organ part refers to stilus phantasticus in the form of a toccata in reference to the work of Dieterich Buxtehude. It is a way of shaping a fragmentary form, consisting alternately of virtuosic, cantilena-declamatory, and imitative fragments.
Toaccataria may be performed both in the form of coexisting voices according to the enclosed score, but also as two separate pieces, even performed simultaneously (a Baroque violin aria and a “Buxtehudean” toccata).
Second prize in the Tadeusz Ochlewski National Composition Competition (2019)