He began his composition study early - in 1954, with Stanisław Wiechowicz. Then, at the State College of Music in Cracow he continued studying with Wiechowicz, and when he died in 1964, he made his diploma with Krzysztof Penderecki (1965). He also studied music theory (diploma in 1966). In Paris he took courses with Nadia Boulanger (1964, 1966, and 1968), and in Warsaw he became a private pupil of Witold Lutosławski. His Symphony No.
1 became his first work to get a performance, introduced in Cracow in 1964. In 1965, while still a student, he made his debut at the "Warsaw Autumn", as the youngest composer in the festival’s history (String Quartet No. 1). He was fascinated with avant-garde not only as a composer: from 1965 to 1967, as a member of "MW2 Ensemble", he performed experimental pieces, typical for the sixties, in Poland and in some West European countries.
Later he continued to be active as a pianist, performing mostly his own works, or playing chamber music. From 1966 to 1987 Meyer taught theory at the State College of Music (now Academy of Music in Kraków) in Cracow, holding the chairmanship of the Department of Music Theory from 1972 to 1975. Since 1987 he has been professor of composition at the Hochschule für Musik in Cologne. Between the years 1985-1989 he was the president of the Union of Polish Composers. For fourteen years (1974-88) he took part in the work of the Repertory Committee of the "Warsaw Autumn" International Festival of Contemporary Music. In his early compositions (String Quartets Nos.
1-4, Symphonies Nos. 1-3) Meyer experimented with unconventional sonorities, typical of the Polish avant-garde music in the 1960s. He used twelve-tone technique, albeit freely, as well as aleatoric technique and collage. All these means appear in his first opera Cyberiada, to a science-fiction libretto after Stanisław Lem. The style of Meyer's later works reflects his interest in tradition; even his use of titles such as "string quartet", "sonata", "concerto", "symphony" are indicators of the traditional trend in his aesthetic.
"There are contemporary textures and timbres, but they are usually incidental to a language in which tonal pulls and familiar signposts govern the overall flow and structure" Read more on Last.fm. User-contributed text is available under the Creative Commons By-SA License; additional terms may apply..
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