Conference Abstracts & Presenter Bios: Extensive Catalogue
Dr. Piotr Dahlig
Abstract: The Mazurka: Chopin works and traditional Polish repertoire. My paper will address traditional and folk sources of music culture in Poland that influenced the work of Fryderyk Chopin, particularly his stylized dance miniatures called “mazurkas”. In the 1820s in Warsaw, young people and university students would regularly practice mazurka dances, providing a direct inspiration for Chopin’s early works. Subsequently, the mazurka became a permanent fixture of the composer’s art, an intimate musical “diary” inspired by the regional (Masovian, Cuiavian) and national heritage of Polish culture. The use of music as an incentive and accompaniment to common dance was typical of older performance practice. In 1830s and 1840s, it evolved in Chopin’s work into a deep expression of an émigré’s nostalgia and a symbolic sound image of the lost world.
There are seven sources of Chopin’s reinterpretation of the mazurka:
– childhood initiation: the singing and playing of his mother; the songs of the household servants;
– school times, his schoolmates and the repertoire then popular in Warsaw;
– works by “national” Polish composers of the time (Karol Kurpiński, Józef Elsne, etc.);
– the popular aristocratic and bourgeois tradition: songs of countryside manors as a link between town and popular classes, salon dances (mazur);
– folk tradition knowns as wieśniacza (rustic) and gminna (“vulgar”), in three varieties: short ditties, “long songs” (ballades and dumas), and ritual songs;
– semiprofessional and professional instrumental music in taverns and inns;
– music of non-Polish, especially Italian, provenance, against which Polish music defined its specificity.
In Chopin’s time, the mazurka was danced by social classes. Mazurka melodies could be vocal, vocal-instrumental, or purely instrumental. The folk forms were simpler, based largely on improvisation, combining singing, instrumental play, dancing, shouting, demonstrating a whole range of social musical practice. Urban and stage forms usually had a wider range of tones; their instrumental melodies frequently included dotted rhythms. As a composer, Chopin rejected simple dance arrangements in favour of a rich harmonization and a wide range of compositional techniques, including tempo rubato, melodical variants, ornaments, and cross rhythms typical of oral music. Moreover, Chopin often adapted traditional music played on primary instruments, fiddles and bowed drone basses, to the fashionable new musical medium of the 19th century, the piano. His musical vision of the mazurka combines dances gestures, subtle emotions, vocal and instrumental character, expressing the national spirit for future centuries. The paper will be illustrated by audio and visual examples.
Bio: Dr. Piotr Dahlig is an ethnomusicologist, professor at the Institute of Musicology, University of Warsaw, and a cooperator of the Institute of Art, Polish Academy of Sciences. He has published five books: Muzyka ludowa we współczesnym społeczeństwie (Folk music in contemporary socjety, Warsaw 1987); Ludowa praktyka muzyczna w komentarzach i opiniach wykonawców Polsce (Folk musical practice in the comments and opinions of performers in Poland, Warsaw 1993); Tradycje muzyczne a ich przemiany. Między kulturą ludową, popularną i elitarną Polski międzywojennej (Musical traditions and their transformations. Between the folk, popular and elite cultures of interwar Poland, Warsaw 1998); Muzyka Adwentu. Tradycja gry na ligawkach (Music of Advent. The tradition of playing on ligawka wooden horns, Warszawa 2003); Cymbaliści w kulturze polskiej (Dulcimer players in Polish culture, Warsaw 2003). Based primarily on intensive field research in Poland he has run since 1975, he has published 137 articles, focusing on traditional folk music and instruments in Poland, minorities’ music, migrations, the history of musical culture and musicological research, and Chopin studies. He has edited Instrumenty muzyczne w polskiej kulturze ludowej (Musical Instruments in Polish Folk Culture, with Ludwik Bielawski and Alojzy Kopoczek, Warsaw–Łódź 1990); Pathways of Ethnomusicology (the collected writings of Anna Czekanowska, Warsaw 2000); Polski folklor muzyczny (vol. 2, Warsaw 2006); Traditional Musical Cultures in Central-Eastern Europe. Ecclesiastical and Folk Transmission (Warsaw 2009).
Abstract: Notes on nineteenth-century Chopin listening. On 1 April 1842, Blaze de Bury published a review of Chopin’s concert at the Salle Pleyel in Paris, in which he wrote: “The day a microscope for the ears is invented, Mr Chopin will be deified.” In Paris in the first half of the nineteenth century, social and urbanistic changes were mirrored by the development of two fundamental sound strategies: the first was represented e.g. by Berlioz, Musard, and Liszt, who in large concert halls conquered the mass public, focused on competing with the increasingly aggressive soundscape of modern cities; the second was embodied notably by Chopin, and consisted of an intimate contact between the artist and his listeners gathered in a small salon. While the former strategy was driven by spectacular effects, favoured by awe-struck audiences, the latter reflected an “audience specifically composed of nervous regimes.” The salon became a “microscope for the ears,” and Chopin’s improvisations could be read as a stream of consciousness. Listening to them in the dusk, perceiving the sound with the entire body, and interpreting as a message coming from “ideal worlds,” expresses the evolution and at the same time, the preservation of some ways of listening to music, the shift of music’s position in the hierarchy of arts, and the emerging modern social distinction, consisting of disciplining the listener’s body and construing its class- and community-determined “sound identity.”
Bio: Maciej Janicki (born 1981) graduated in musicology and art history from the University of Warsaw. He has worked with the National Fryderyk Chopin Institute since 2007, becoming museum assistant (2008–12) and curator of the Fryderyk Chopin Museum in Warsaw (2012–).
He took part in the organisational work on the Chopin Museum’s permanent exhibition, opened in 2010. Author of the exhibitions (Re)sounding Signs: Polish Chopin Posters 1949–2007 (Peninsula Arts, Plymouth University, 2010), POSTER 2010.POSTSCRIPT (Chopin Museum, Warsaw, 2011–12), …an exceptional physiognomy… New portraits of Fryderyk Chopin in the collection of the Chopin Museum (Chopin Museum, Warsaw, 2013), Chopinoscope. Portraits from the collection of the Chopin Museum, 1849 to the present (Chopin Museum, Warsaw, 2013–14), cocurator of the exhibitions Chopin at his most indecisive. New manuscripts in the Chopin Museum collection (Chopin Museum, Warsaw, 2012), Si- line staff. Audio-visual interventions (Chopin Museum, Warsaw 2012–13, with Audio Sphere atelier at the State Poznań Fine Arts), Interpolations. Visual-audio interventions in Żelazowa Wola (Chopin Museum, Żelazowa Wola, 2012–13, with the AudioSphere atelier at the State Poznań Fine Arts), Krystian Burda. The Road to Żelazowa Wola – a Space-time Study (Chopin Museum, Żelazowa Wola, 2013–14). A specialist in Chopin iconography, he also works as an organiser and cocurator of museum events (e.g. Museum Nights at the Chopin Museum – Marcin Masecki’s Chopin after hours, 2012;, Aleksandra Wasilkowska’s Garden, 2013), conferences (The Road to Żelazowa Wola – a Space-time Study, 2013), author of exhibitions scenarios, and editor. In his academic work, he explores soundscapes past and present, and is currently working on the soundscape as a context of Chopin’s life and work. His interests focus on the music and visual arts of the nineteenth, twentieth, and twenty-first centuries.
Reuben de Lautour
Abstract: REALITY AND PARACUSIS: LISTENING PRACTICES IN ACOUSMATIC MUSICS
While there are many common terms for figments of the visual imagination - vision, mirage, apparition, phantasm, illusion - the medical term "paracusis," probably unknown to most composers and sound artists, is perhaps the only English word that specifically describes auditory hallucination. Coincidentally, discourses of sound representation over the past century show a preoccupation with perception over imagination; for example in the concept of "fidelity" in sound reproduction, or in theories of electronic music since Pierre Schaeffer, which have prioritised auditory perception and proposed modes of listening firmly anchored in semantics, source identification, specialised listening, or pure abstraction. In this talk I trace this preoccupation with auditory perception and specialised listening back to a convergence of developments in psychoacoustics, music pedagogy, and concert culture in the mid nineteenth century; and propose a shift of emphasis in sound theory away from sound-as-perceived towards sound-as-imagined.
Bio: Reuben de Lautour is a composer, sound artist, and faculty member at Istanbul Technical University's Center for Advanced Studies in Music, where he founded the Program in Sonic Arts in 2012. He composes music for solo or ensemble instruments and electronics, and writes about music, technology and listening practices. His music has been performed and recorded by artists such as Evelyn Glennie, the Nash Ensemble, the New Jersey Symphony and UMS 'n JIP. Before coming to Istanbul he studied composition at Princeton University with Paul Lansky and Steven Mackey, and piano and composition at the University of Auckland with Bryan Sayer, John Rimmer and John Elmsly.
Dr. Michał Libera
Abstract: Wojciech Bruszewski: sound, technology, cognition. The lecture will present the works of Wojciech Bruszewski, one of the most intriguing and unconventional Polish artists of the last decades, and a member of the famous Workshop of Film Form. According to his own statements, Bruszewski will be approached as both a theorist and philosopher of art, and particularly as an epistemologist, bringing together technology, art, and the humanities. His use of various media and experimental techniques revolves around the theme of human cognition. Sound, as I will show, had a pivotal function in his investigations. From today’s perspective, Bruszewski appears as one of the most original thinkers in sound.
My lecture will be focus on his four-armed “gramophone”: a technological object, an artifact, and a philosophical statement, presented in the context of his contemporaries’ works as well as today’s sound art and theories. It will provide a map to how ideas of sound were explored and applied throughout his career.
Bio: Dr. Michał Libera (born 1979) is a sociologist, freelance music curator, producer, and critic. His main interest is music and sound as social action. He is the head of conceptual pop sublabel Populista dedicated to “music misinterpretation”; co-producer of CD series dedicated to the Polish Radio Experimental Studio archive and reinterpretations; curator of music series such as The Song is You, Playback Play, Machines for Listening, and Avant Avant, Garde held in Poland, Germany and Britain. He has cooperated with the leading art galleries and museums (Zachęta National Gallery Of Art, National Museum in Warsaw) and theatres (komuna// warszawa, TR Warszawa). He has also worked as the editor of the music section of Słowo / Obraz Terytoria Publishing House, and has frequently appeared on Polish Radio Channel 2 and other online radios. His essays published over the last decade have recently been collected in Perfectly Ordinary Reality. Geography, Sociology or Metaphysics of Music (Krytyka Polityczna Edition). He is currently involved in writing and performing experimental librettos for operas and lecture performances. He was the curator of the Polish Pavilion at the 13th Venice Architecture Biennale (the project was awarded a special mention).
Dr. Iwona Lindstedt
Abstract: The “Polish school”. Reflections from fifty years’ perspective. The so-called Polish compositional school is a concept that was never clearly defined, yet it is still frequently used by both Polish and foreign authors. Originally adopted by music critics towards the end of the 1950s, it initially referred to the independent thinking of Polish avant-garde composers and the phenomenon of sonorism. From the mid-1970s, it functioned mainly as a historical category but, at the same time, continued to refer to current events as an expression of a particular vision of Polish contemporary music. In this paper I shall establish a twenty-first-century perspective of this crucial concept, reexamining its adequacy and possible range of meanings.
Bio: Dr. Iwona Lindstedt has lectured at the Institute of Musicology (University of Warsaw) since 1998. Her research focuses on the history of twentieth-century music (with particular emphasis on Polish music), musical aesthetics, and music theory. She has published papers notably on Polish serialism and sonorism, the work of Józef Koffler, Bogusław Schaeffer, Krzysztof Penderecki, Witold Lutosławski, as well as articles on methods of musical work analysis. She is a member of the Polish Composers’ Union’s Managing Board (2011–). She has cooperated with the Polish Music Information Center (www.serocki.polmic.pl; www.baird.polmic.pl) and the National Audiovisual Institute (www.threecomposers.pl).
Abstract: The Orient and Orientalism. Polish musical traditions, its historical forms, modern reconstructions and inspirations. The influence of Oriental cultures (including Turkish) on the historical forms of Polish traditional (especially folk) music are arguably obvious. Yet they remain difficult to track, having often been adapted through the mediation of Oriental (Tatar) and Southern (“Turkified” Balkan nations) cultures. This is an area of little hard data, scarce documentation, and much alleged, implied, and intuitive knowledge.
The modern forms of neofolklorism present a different case, both those inspired more loosely by crude original music and those (surprisingly) originating from a closer contact with the masters of traditional music. After a period of fascination with Celtic musical cultures and, later, the music of the Ukrainians, Russians, and Belarusians, recent years have brought a clear wave of fascination with the Balkans and the musical Orient.
Bio: Remigiusz Mazur-Hanaj (born 1966 in Piła) is a musician (violin, hurdy gurdy, drum), ethnographer, culture animator, screenwriter. He has been the member of ensembles such as Księżyc, Wędrowiec, Pies Szczeka, and appeared in a duo with Agata Harz. He is the cofounder of the Warsaw Dom Tańca association and the Tabor Domu Tańca cycle, editor of Wędrowiec periodical, contributor to Radio Józef and Polish Radio, creator of the In Crudo recording series. He has sat in the jury of the Folk Bands and Singers Festival in Kazimierz (since 2002). He wrote the scenarios for documentaries such as Pejzaże wsi polskiej (directed by Jarosław Ostaszkiewicz), Centrum czyli pogranicze (Dariusz Gajewski for TVP2). In 2011, Remigiusz Mazur-Hanaj was awarded the Golden Cross of Merit from the President of the Republic of Poland for “his outstanding merit in building civic society, his professional and social work.
Abstract: Fryderyk Chopin—a portrait made of letters. Who was Fryderyk Chopin, beside being a pianist and a romantic composer? Was he smart or dull, cheerful or melancholic, serious or playful? How much did he love his family? How friendly was he with his companions, and how accurate with the publishers? Did he respect the elders? Did he mind fashion? What kind of a blouse did he prefer? How did he learn to write down a tarantella correctly? Answers to these and many other questions can be find in composer’s wonderful letterrs—fascinating in both content and form.
Bio: A graduate of the piano class of Nikolai Rimski Korsakow Conservatoire in Leningrad (St. Petersburg, 1974), he then studied psychology of music and music education at the School of Music, University of Illinois at Urbana-Champaign, and received a PhD in music theory at the Fryderyk Chopin Music Academy in Warsaw in 1983. In 1974–1992, he conducted research in music psychology at the Institute for Research in Music Education, Fryderyk Chopin Music Academy. In 1992–2003 he taught music at primary and secondary music schools, as well as joined the editorial staff of Studio music monthly magazine (1993–99). He was senior editor at Dux Recording Producers (1999–2001) and deputy editor of Ruch Muzyczny (2001–). He also works as an editor for Polish Radio Channel 2.
Abstract: Since the late 1950s, Polish visual arts and experimental sound production shared a number of interests. One of the reasons for such collaboration could be found in lesser-known aspects of the activity of the Experimental Studio of Polish Radio. This institution started working on film scores as well as spatial music virtually from scratch. My paper will draw from these early meetings of artists such as Oskar and Zofia Hansen, Krzysztof Wodiczko, and Józef Robakowski, to show diverse ways of involvement and ideological positions then reflected in the works as well as the influence they had on contemporary practices. However, the actions of that last modernist generation were obscured for years, as most of the interesting interdisciplinary collaborations moved in the 1980s to artist-run spaces. The growing interest in the archives of Polish audiovisual art coincided with a new generation of artists that boldly entered a similar field, such as Katarzyna Krakowiak, Konrad Smoleński, or Anna Zaradny. The talk will also focus on contemporary practices that examined through tools developed in the 1960s and 1970s, disclosed unexpected aspects.
Bio: Daniel Muzyczuk is the curator of the Muzeum Sztuki in Łódź and former curator (2008–11) at the CoCA in Toruń. His numerous projects include Long Gone Susan Philipsz (CoCA, Toruń, 2009), Gone to Croatan (with Robert Rumas, CoCA, Toruń, and HMKV, Dortmund, 2008–11), Mariusz Waras and Krzysztof Topolski’s Factory (CoCA, Toruń, 2009), Views 2011 (Zachęta National Gallery of Art, Warsaw, 2011), and Sounding the Body Electric (with David Crowley, Muzeum Sztuki, Łódź, 2012). He is the winner (with Agnieszka Pindera) of the Igor Zabel Competition in 2011. He was the cocurator (with Agnieszka Pindera)of the Polish Pavilion at the 55th Venice Biennale. He is a member of the AICA.
Abstract: In 2009 in Neue Zeitschrift für Musik, Swiss critic Max Nyffeler presented the latest trends in Polish contemporary music. He notably emphasised the predominance of women composers. Among five leading figures that he presented to the German reader, there was only one male. Is Polish music female? And has it always been? For example, the “Polish school of composition” of the 1960s did not have a single musical individuality of the fair sex. Today, the Polish contemporary music panorama is cocreated by a good dozen women composers, and more are joining in with each subsequent generation. My paper will focus on the music of three of them: Barbara Buczek (1940–93), Hanna Kulenty (born 1961), and Jagoda Szmytka (born 1982). Their interests are far removed from the aesthetics of the “Polish school of composition,” disclosing a different aspect of Polish modern music.
Bio: Monika Pasiecznik, born in 1981 in Wroclaw (Poland), is a music critic and curator. She graduated in music theory at the Music Academy in Wrocław and in Polish literature at the University of Wrocław. She has published texts and interviews in such music magazines as Glissando, Neue Zeitschrift für Musik, MusikTexte, dissonanze, and World New Music Magazine. Since 2006 she has been columnist for social and cultural monthly Odra. She has also authored a book about Karlheinz Stockhausen, Rytuał superformuły (Krytyka Polityczna Edition 2011) and coauthored Po zmierzchu about new music theatre and opera (Krytyka Polityczna Edition 2013). She lives in Warsaw. For an archive of her writings as well as interviews with composers (some also in English and German), see her blog Pasiecznik.wordpress.com.
Abstract: The Composer in the Black Room. The Polish Radio Experimental Studio, one of the pioneering experimental institutions in the world, established in 1957 and slowly fading away in the 2000s, is nowadays of much interest to not only to academics but more broadly, to contemporary lovers of avant-garde. Despite a gradual eclipse of its native setting at the Polish Radio, the Experimental Studio’s activities are revived in many concerts, editions, research projects, and celebrations of retired composers. In 1962 in the compact premises of the Studio, the “Black Room” was constructed, a visionary design by Oskar Hansen of a compositional workshop, with custom-designed racks, tools, acoustic treatments, and colour scheme. Two leading figures of the Studio: engineers and sound producers, founder Krzysztof Szlifirski and Barbara Okoń-Makowska will discuss, via a video recording, the practical, aesthetic and conceptual aspects of the Black Room as well as other issues of the Experimental Studio.
Bio: Born in 1934 in Warsaw. He holds a degree in electroacoustics from the Warsaw Institute of Technology. From 1957 to 1958 he studied film theory at the State Institute of Art in Warszawa. He has lectured at the Fryderyk Chopin Academy of Music (now the Fryderyk Chopin University of Music) since 1962, initially as a part-timer, and from 1971 as a full-time faculty member. He obtained second-degree artistic qualifications in 1990 and was appointed professor in 1992. He has taught courses in history, aesthetic, electronic music, sound effects recording, and musical acoustics. He also taught various courses at the Warsaw University (1977–78) and the Silesian University (1978–81). In 1998 he was visiting professor at Southwest Texas State University. He was Head of the Department of Sound Engineering at the Fryderyk Chopin Academy of Music in 1981–85, 1990–96 and 1999–2002, Vice-Dean for the term of 1996–99, and was reelected Dean in 2002. He formally retired in 2004. His artistic activity is linked to the Polish Radio Experimental Studio of which he is the cofounder, and served as Vice-Director from 1958 to 1998 and Director in 1999–2004. Krzysztof Szlifirski has composed film, theatre, and television music as well radio plays (with Józef Patkowski). As a sound engineer, he produced and recorded electronic and electroacoustic music of leading Polish and international composers such as Krzysztof Penderecki, Wlodzimierz Kotonski, Andrzej Dobrowolski, and François-Bernard Mâche. He participated in many international conferences on electronic music and was member of the European Broadcasting Union expert group for the subjective evaluation of music recordings. He took part in the Summer Courses of New Music in Darmstadt (1963). He published numerous articles on electronic music and sound quality assessment of musical recordings, and is the author of an English–Polish dictionary of sound engineering terminology.
Abstract: Hidden layers, double codes. The new generation of Polish composers. The new generation of Polish composers, born in the 1970s and 1980s, appears to be finally breaking away from postmodern aesthetics. These composers feel no nostalgia for the romantic era or the tonal system, and do not seek as asylum in playing with styles and pop. On the contrary, a definite return to modernist ideas, avant-garde, and experimental music can observed, also including a revival of the tradition of so-called sonorism and the Polish school of composition of the 1960s (Penderecki, Serocki, Szalonek). This new modernism means, firstly, a constant expansion of music material: spectral models (Kwieciński, Jaskot), microtonal scales (Mykietyn, Jabłoński), extended instrumental techniques (Karski, Gryka), live electronics and spatialisation (Zych, Duchnowski). However, many recent theorists such as Burger and Lehmann suggest that the evolution of musical material in new music has come to an end, and that the specificity of contemporary music lies in its concepts and complex relationships with other arts, philosophy, science, and society. Consequently, I once introduced the idea of “double coding”: composition that follows arbitrary extramusical models. These models can include the sound/sign alphabet and autobiographical elements (Blecharz), loudspeakers construction or player’s gestures (Szmytka), metabolic processes and biochemic phenomena (Hendrich), primal language and neuroaesthetics (Nepelski), perceptive illusions and soundscape samples (Stańczyk), and many others. The activity of these composes, therefore, should not be perceived in purely musical terms (absolute music) but always be placed in the right context, where composers’ conceptual explications belong organically to their works.
Bio: Jan Topolski is a music critic, cofounder and editor-in-chief of Glissando, a new music magazine (since 2004, see Glissando.pl), editor of New American Music (2010), and author of a monograph of Gérard Grisey (2013). He i salso the film programmer for the T-Mobile New Horizons International Film Festival (Nowehoryzonty.pl).
Abstract: Composer Onur Türkmen will explain the poetics of his compositional concept that he calls “hat” and its placement within the context of New Music. The philosophical aspects of this concept will be correlated with the relation of Turkish music with the Western new music world through an historical overview concerning the fundamental issues dealt with by the last four generations of Turkish composers; respectively “establishment”, “comprehension and transmission”, “integration” and “synthesis”.
Bio: Onur Türkmen completed his master and doctoral studies at Istanbul Technical University’s Center for Advanced Musical Research (MIAM). The title of his doctoral dissertation is: “Contemporary Techniques applied to Turkish Music Instruments”. He is currently teaching at Bilkent University Music and Performing Arts Department. His pieces has been performed at organizations like MUSMA, ISCM, Schleswig Holstein Festival, Maerz Musik Festival, Kreuztanbul, Istanbul Music Festival, Mediterraneus Project, Klasik Keyifler Festivali and China-Turkey Communication Concerts. In 2012 he was notified as the composer of the year by Cumhuriyet Ankara and nominated as composer of the year for the 4th Andante Magazines Donizetti Classical Music Awards. His pieces has been published by Coffee Time Records, Pan Yayıncılık, Kalan Müzik and Çağsav Müzik. www.onurturkmen.info
Abstract: A clash of cultures—a clash of ideas. Polish travellers give account of music in Turkey. The history of civilisation is one of mutual contacts between cultures, and the exchange of ideas. Boundless human curiosity and a love for experimentation has facilitated the increasing interpenetration of cultures. It was this process that undoubtedly laid at the foundation of European civilisation, which developed largely due to its exceptional receptivity and openness to new ideas, later creatively transformed. Polish travelers to the Near East often wrote about music, which strongly influenced their general impressions from those countries. Music triggered their positive or negative emotions to a greater extent than any other element of culture, becoming one of the major determinants of their attitudes to cultural otherness. Owing to the oral character of knowledge transmission in Oriental musical traditions, Western musicology has meticulously collected and drawn important conclusions from travellers’ accounts, which in many cases document the state of those traditions before the era of literary culture, print, and sound recording. Journeys to the East became fashionable in the second half of the 18th century, and the nearest destination was Turkey. One of the famous Polish travellers propagating the ideas of Orientalism in the European Enlightenment was Jan Potocki (1761–1815), whose Voyage en Turquie (1789) and the later Voyage dans l’empire de Maroc (1792) remain an extremely valuable source about the musical cultures of the Orient. Jan Potocki’s Orientalist tradition was continued by Edward Raczyński (1786–1845) who in his diaries collected knowledge about Turkish culture, including music.
Bio: Sławomira Żerańska-Kominek received her PhD in musicology from the University of Warsaw (1976) where she since has taught ethnomusicology at the Institute of Musicology, becoming an independent researched in 1986 and professor in 1996. She now serves as the director of Institute of Musicology (University of Warsaw) and head of the Systematic Musicology Department. She has conducted extensive field work (1989–99) in Central Asia (Uzbekistan, Turkmenistan) and in Poland (1985, 2000). Her interests focus on the theory of analysis of traditional music, mythology and history of ideas in relation to music. Her publications include books and articles on the Arab theory of music, music culture of the Lithuanian minority in Poland, the myth of Orpheus, Central Asian music (Uzbek, Turkmen), and theoretical issues in ethnomusicology. Her major publications include: Crazy Harman. The concept of music and musician in the Turkmen Epic Tale, Harman Däli (Warsaw 1998), The Orpheus myth. Inspirations and Reinterpretations in European Artistic Tradition (Gdańsk 2003), Music in the Garden – Garden in Music (Gdańsk 2010), I was filled with joy in May… The Garden of Love as a Symbol of the Revival of Life (in Horst Seidl, ed., Logos in der Musik, 2012, pp. 567–85), Musical Children of Venus and other Essays in Anthropology of Music, (Warsaw 2014).
Other Bios of Participating Artists, Critics and Curators:
Born in 1972 and still lives in Warsaw. Music curator, in particular of the “Turning Sounds” and “Mouth-o-Fonic” projects, critic and creator. Deals with contemporary crossover, ethnic, classical, jazz, and pop music. Co-founder of “Dom Tańca” Association for Central Poland’s traditional music and dance (in 1995). Author of analyses, radio broadcasts (in Polish Radio 2 and former Rozgłośnia Harcerska), onetime editor at “Ruch Muzyczny” bi-weekly, Poland’s main periodical for classical music. Increasingly focuses on extended vocal techniques performances (including the “Gęba” vocal ensemble) and composition. Takes part in the Requiemachine show of Marta Górnicka's Chór Kobiet – The Chorus of Women. baskak.pl
Idil Biret was born in Ankara. She started to play the piano at the age of three and later studied at the Paris Conservatoire under the guidance of Nadia Boulanger, graduating at the age of fifteen with three first prizes. She was a pupil of Alfred Cortot and a lifelong disciple of Wilhelm Kempff. She embarked on her career as a soloist at the age of sixteen appearing with major orchestras in the principal music centres of the world like Boston Symphony, Leningrad Philharmonic, Leipzig Gewandhaus, London Symphony, Warsaw Philharmonic in collaboration with conductors of greatest distinction such as Erich Leinsdorf, Pierre Monteux, Hermann Scherchen, Gennadi Rozhdestvensky, Rafael Frühbeck de Burgos, Kazimierz Kord, Antoni Wit. To many major festival appearances may be added membership of juries for international competitions including the Van Cliburn, Queen Elisabeth of the Belgians and Busoni competitions. She has received the Lili Boulanger memorial Award in Boston, the Harriet Cohen / Dinu Lipatti Gold Medal in London, the Polish Cavalry Cross, the Adelaide Ristori Prize in Italy, the French Chevalier de l’Ordre National du Mérite and the State Artist distinction in Turkey. Her more than one hundred records since the 1960s include the first recordings of Liszt’s transcriptions of the nine symphonies of Beethoven for EMI, Berlioz’s Symphonie Fantastique for Atlantic/Finnadar and for Naxos the complete piano works of Brahms, Chopin, Rachmaninov, the three Sonatas of Boulez, the Etudes of Ligeti and the Firebird piano transcription by Stravinsky, with a Marco Polo disc of the piano compositions and transcriptions of her mentor Wilhelm Kempff. These records have sold nearly three million copies. Her Boulez recording the Golden Diapason of the year award in France in 1995 and the complete Chopin recordings have received a Grand Prix du Disque Frédéric Chopin award in Poland the same year. In 2007 the President Lech Kaczsnky decorated Biret with the highest order of Poland, Cross of the Order of Merit (Krzyzem Kawalerskim Ordera Zaslugi) for her contribution to Polish culture through her recordings and performances of Chopin’s music. The Idil Biret Archive (IBA) label is now issuing her old and new recordings which are being distributed worldwide by Naxos on CD and digitally. More than 50 CDs have so far been released which include Beethoven’s 32 Sonatas, 5 Concertos, 9 Symphony transcriptions by Liszt (in a box set of 19 CDs), the many LPs she made for Decca, Vega, EMI and Atlantic records in France, Germany and USA as well as recently recorded concertos of Grieg, Liszt, Ravel, Saint-Säens, Schumann and Tchaikovsky. Her new recording of all the 5 piano concertos of Hindemith with the Yale Symphony Orchestra was released worldwide by Naxos in October 2013 to commemorate the 50th anniversary of his passing away. All the 100 plus recordings Idil Biret made since 1959 will be released in a single set containing nine boxes (Idil Biret 100 Edition) towards the end of 2014.
Paweł Hendrich was born in 1979 in Wrocław (Poland). After studying engineering and economics at the Wrocław University of Economics, he studied composition with Grażyna Pstrokońska-Nawratil at the Karol Lipiński Academy of Music in Wrocław. In 2005/06 he attended York Höller’s composition class at the Hochschule für Musik in Cologne. Since 2008 he has been on the faculty of the Karol Lipiński Academy of Music in Wrocław as assistant lecturer. In 2012 he obtained the degree of Doctor of Musical Arts.
He has won several awards and scholarships. In 2007 he was included in a 4-year programme of 13 composers’ promotion run by the European Krzysztof Penderecki Music Centre. In 2010 he became a member of the Academy of Young Scholars and Artists. He took part in courses and workshops in Warsaw, Wrocław, Frankfurt am Main, Beijing, Görlitz/Zgorzelec run by Peter Eötvös, Luca Francesconi, Anders Hillborg, Marco Stroppa, Horatiu Radulescu, Ivan Fedele, and others.
The works of Paweł Hendrich have been performed at such festivals as Warsaw Autumn, Musica Polonica Nova and Musica Electronica Nova in Wrocław, Festival of World Premieres in Katowice, Audio Art in Cracow and Warsaw, Musica Viva in Munich, Rudens Kamermūzikas Festivāls in Riga, Suså Festival in Næstved (Denmark), and at concerts in Poland, Germany, Austria, Sweden, Spain, Hungary, Malta, Latvia and Slovakia by orchestras and ensembles such as Wrocław Philharmonic Symphony Orchestra (cond. Szymon Bywalec), Orkiestra Muzyki Nowej (cond. Szymon Bywalec), Polish National Radio Symphony Orchestra (cond. Szymon Bywalec), The Pomeranian Philharmonic (cond. Fabián Panisello), Ensemble Modern (cond. Peter Eötvös, Anu Tali, Clemens Heil), musikFabrik (cond. Diego Masson), PluralEnsemble (cond. Fabián Panisello), KammarensembleN (cond. Staffan Larson), The Silesian Chamber Orchestra (cond. Osvaldo Ferreira), Beethoven Academy Orchestra (cond. Michał Dworzyński), Wrocław Chamber Orchestra Leopoldinum (cond. Ernst Kovacic), Tech-no Orchestra (cond. Robert Kurdybacha), Arcis-Ensemble (cond. Urlich Nicolai), Polish Orchestra Jeunesses Musicales (cond. Miłosz Bembinow), Kwartludium, Warsaw Group Cellonet, an_ARCHE New Music Ensemble, Melos Ethos Ensemble (cond. Zsolt Nagy), and by such soloists as Elżbieta Woleńska or Mikołaj Pałosz.
He has received commissions from German Radio, Ensemble Modern, Warsaw Autumn Festival, the city of Wrocław, Polish Institute in Madrid, ZAiKS Polish Authors’ Association, as well as the Ministry of Culture and National Heritage as part of the project “60 commissions for the 60th anniversary of the Polish Composers’ Union”.
For several years now, he has been programming and composing in the Max/MSP environment and performing live electroacoustic music. With Cezary Duchnowski and Sławomir Kupczak, he founded the electroacoustic group Phonos ek Mechanes. The Trio participated in festivals and concerts in Poland and abroad. Paweł Hendrich also works with leading jazz violinist Adam Bałdych.
In 2010 DUX released Paweł Hendrich’s monographic record Chamber Works. In 2012 Bôłt Records released Phonos ek Mechanes’ first CD called C+–.
In 2013 Paweł Hendrich participated in a workshop in Beijing organized by the Forbidden City Chamber Orchestra. The aim of this meeting was to learn traditional Chinese instruments and to compose a new piece for this ensemble. The work will be performed by FCCO in 2014 during Warsaw Autumn Festival in September and World Music Days in Wrocław in October.
Accant for accordion solo and computer (2014)
Ertytre for one or eight cellos (2013–14)
Drovorb for clarinet, horn, piano, violin, viola and cello (2013)
Kioloik for one or two flutes (2012)
Sedimetron for chamber ensemble (2012)
Cryptoscript for computer (2012)
Metasolidus II for large symphony orchestra (2011–12)
Emergon β for computer (2011)
Emergon α for chamber orchestra (2011)
Diaphanoid for chamber ensemble (2010)
Liolit for chamber orchestra (2009–10)
Hyloflex β for computer (2009)
Hyloflex α for string orchestra (2007–09)
Cyclostratus for violin, bass clarinet, percussion, piano and beatbox (2008)
Metasolidus I for symphony orchestra (2005–07)
Multivalentis for clarinet, trombone, cello and piano (2006)
Phonarium II, sound installation (2006)
Phonarium I, sound installation (2005)
Diversicorium for chamber ensemble (2005)
Anepigraph for small orchestra (2005)
Heterochronia for large symphony orchestra (2002–04)
Niech zstąpi Duch Twój (Let Your Spirit Descend!) for speaker, tenor, baritone, bass and two female choirs (2002)
Gnothi seauton for chamber orchestra (2001) www.hendrich.pl
Janusz Prusinowski Trio
Janusz Prusinowski Trio is a group of musicians who follow in traditions of village masters they have learned from: Jan Lewandowski, Kazimierz Meto, Józef Zaraś, Piotr and Jan Gaca, Tadeusz Kubiak and many others – but they are also an avant-garde band with their own characteristic sound and language of improvisation. They combine music with dance and the archaic with the modern.
The Trio’s unique style is the result of their attempt to find new ways of interpreting the most important elements of village music from central Poland. It brings together mazurkas – sung, played, danced to, improvised live – and modern man. What new quality can be given to archaic and seemingly simple melodies and rhythms without resorting to trendy sample mixing? It turns out that traditional music of Polish villages can be a reference point for a variety of genres: reminiscent of Chopin in its melodic pattern and the use of rubato, sharing a love of improvisation with blues and jazz, evocative of contemporary music in its tone, and possessing the expressiveness of rock music. Between 2008 and 2012 the band performed in most of European countries, Asia, Canada, the USA (including Carnegie Hall and Chicago Symphony Center) – and of course Poland. Besides playing concerts with traditional Polish music the band prepared a special programme of performances “The village roots of Frédéric Chopin’s music” with pianist Janusz Olejniczak. In 2012 Trio begun a unique project "Kujawy” with three masters of Polish music: Tadeusz Kubiak, Tomasz Stańko, Janusz Olejniczak, and a group of singers led by Ewa Grochowska.The group also performed with Michał Urbaniak, Artur Dutkiewicz and Alim Qasimov. Apart of concerts, Trio’s music can be heard at the parties of village and urban Dance Clubs or theatrical performances at the Polish National Theatre and the Polish Radio Theatre. They also run musical and dance workshops. In 2008 the band released “Mazurkas”, an album which received rave reviews. This was followed in 2010 by their second album “Heart”. In October 2012 Janusz Prusinowski Trio performed at the prestigious world music fair – WOMEX 2012 in Thessaloniki. In 2013 they spent a full month in USA with close to 30 concerts, and having seduced American audience with mazurek, they reached for Germany, France, Benelux, Great Britain, Croatia and a couple of other countries, everywhere leaving dedicated lovers of wild Polish melodies behind. They’ve also returned to Womex (Cardiff 2013) with the „Wild Music of the Heart of Poland” project, created to present Polish traditional music to the international audience. In 2014 Trio is involved in various events of Oskar Kolberg’s Year. Currently promoting also their new album, named - and putting the listener - "Knee-deep in Heaven".
Kwartludium was formed in 2002, and consists of graduates of Music Academies of Warsaw, Bydgoszcz and Gdansk. The ensemble, formed by Dagna Sadkowska (violin), Michał Górczyński (clarinet, bass clarinet), Paweł Nowicki (percussion), Piotr Nowicki (piano), focuses on performing works of young composers active both in Poland and abroad. Kwartludium possesses in its artistic output many Polish and worldwide premiere performances. The group performed on numerous festivals such as: International Festival of Contemporary Music Warsaw Autumn, Unsound in Cracow and New York, Ensemble Europa in Cologne, The Festival of Dialogue of Four Cultures and Musica Moderna in Lodz, Musica Polonica Nova in Wroclaw, Laboratory of Contemporary Music in Warsaw, JAZ Festival of Improvised Music in Katowice, Festival of Multimedia Art Audio-Art, Ad libitum in Warsaw, Days of New Music festival and Avant Days in Gdansk to name but a few.
The ensemble performed together with the Polish Radio Orchestra conducted by Daniel Gazon (a multimedia concert broadcast live by TVP2) and took manifold part in Polish- German workshops of contemporary music under supervision of Rüdiger Bohn (Warsaw, Berlin, Trebnitz). In 2008, during the 51st ‘Warsaw Autumn’ Festival the band took part in a unique project, performing compositions written by the most promising Polish and Latin American composers for beatboxers and Kwartludium. Contemporary improvised music plays an important role in the group’s activity. In the repertoire of Kwartludium are graphic and intuitive compositions of the most significant representatives of the newest music such as: K. Stockhausen, C. Bergstroem-Nielsen, C. Cardew, R. Haubenstock-Ramati, Ch. Wolf and D. Detoni. In 2007 Kwartludium became a laureate of Scholarship Program of Minister of Culture and National Heritage “Young Poland”. Since 2009 Kwartludium, next to 21 the most remarkable groups specializing in performing contemporary music, has taken part in a prestigious European project titled “Re:new music” promoting the repertoire of works of privileged European composers.
Barbara Okoń-Makowska is a sound engineer and a specialist in experimental music. She graduated from the Chair of Sound Engineering at the PWSM in Warsaw, and obtained her PhD in sound engineering of electronic music from the Fryderyk Chopin University of Music, where she currently is assistant professor at the Chair of Musical Acoustics. As a sound engineer, she works for the Polish Radio Theatre and the record company Lipinski Royal Fidelity. In the years 1976–2003 she was sound director at the Experimental Studio of the Polish Radio and performed more than 70 electronic and computer music compositions for tape, as well as music for theatre, film, multimedia projects, radio and television. She has worked with composers such as Włodzimierz Kotoński, Bogusław Schaeffer, Krzysztof Knittel, Elżbieta Sikora, Lidia Zielińska, Krzysztof Baculewski, Edward Sielicki, Tadeusz Wielecki, Augustyn Bloch, Christian Clozier, Magdalena Długosz and many others. Additionally, she created sound sets for theatre and art exhibitions, sound designs for experimental films, as well as designed sound projections in concerts and various performances. She cooperates with the Warsaw Autumn International Festival of Contemporary Music.
The Polish Radio Experimental Studio
The Polish Radio Experimental Studio, one of the pioneering experimental institutions in the world, established in 1957 and slowly fading away in the 2000s, is nowadays of much interest to not only to academics but more broadly, to contemporary lovers of avant-garde. Despite a gradual eclipse of its native setting at the Polish Radio, the Experimental Studio’s activities are revived in many concerts, editions, research projects, and celebrations of retired composers. In 1962 in the compact premises of the Studio, the “Black Room” was constructed, a visionary design by Oskar Hansen of a compositional workshop, with custom-designed racks, tools, acoustic treatments, and colour scheme. Its square shape was enhanced with a quadraphonic sound setup. However, there only a few quadraphonic compositions were created in the Studio, joined by quadraphonic versions of stereophonic originals recomposed in foreign electronic music centres. For the Soundscapes from Poland project, we searched the Polish Radio Archive to unearth some analog tapes and present them to you, mindful that the spatial aspect of music is of special value to sound art.
Wojciech Bońkowski is a Polish musicologist specialised in performance and reception studies. After completing two M.A. degrees in Italian literature and musicology (with a work on the performances of Vladimir Horowitz), he completed his Ph.D. at the University of Warsaw in 2008 with the dissertation Editions of Chopin’s works in the nineteenth century as an aspect of reception history (English edition forthcoming 2014).
Other recent papers include the methodology of computer-assisted performance analysis, historical pianos and their influence on performance style, and Chopin gourmet focusing on Chopin’s foods and drinks at the 2010 Chopin Congress. A freelance researcher, he cooperates with the National Fryderyk Chopin Institute in Warsaw. In his other life he is active as Poland’s leading wine critics, and also writes about tea.
Organizer's Materials, Edited by Elçin M. 30/14/2014