• 6th Festival of Premieres, Katowice

Last November, the 21st to be exact, I visited the new and magnificent home in Katowice of NOSPR, the Polish Radio National Symphony Orchestra.  The occasion was a performance of Shostakovich’s Fifth Symphony under the baton of the 91-year-old Stanisław Skrowaczewski.

1510969_530640500404789_5062398667736756849_nIt was a searing account, made all the more special because that very morning I had come across a programme from 1949 when Skrowaczewski had conducted the same work with the other Katowice orchestra, the Silesian Philharmonic.  65 years on, and still going strong.

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I hope that in 2080 someone will come across the programme of NOSPR’s 6th Festiwal Prawykonań (Festival of Premieres, 17-19 April 2015) and make a similar connection with a performer or composer being featured in this edition.  The big change is that all the concerts will take place in the orchestra’s new home, barely ten minutes’ walk from Henryk Mikołaj Gorecki’s home.  The siedziba, as it’s called in Polish, not only includes the main symphony hall but the equally fine acoustics of the chamber hall.

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Back in 2013, I listed the repertoire of the 5th Festival.  This year, such is the diversity and extent of Polish composition that 75% of the names are different.  This biennial event is a great initiative, arguably the most important showcase for new Polish concert music.  It demonstrates the cultural significance of publicly-funded bodies like radio orchestras (Radio France take note).  I do not know the schedule of live or deferred broadcasts planned by Polish Radio Dwójka (PR2).

6-festiwal-prawykonanThe ensembles featured include Camerata Silesia, conducted by Anna Szostak, Orchestra Muzyki Nowej (New Music Orchestra), conducted by Szymon Bywalec, NOSPR conducted by Alexander Humala, Szymon Bywalec and José Maria Florêncio, Kwartludium, Kwartet Śląski (Silesian Quartet) and the AUKSO Chamber Orchestra, conducted by Marek Moś.

Here’s this year’s repertoire, in alphabetical order by composer:

** World premiere   * Polish premiere
• Rafał Augustyn: String Quartet no.3 ‘Monadologia’**
• Zbigniew Bagiński: String Quartet no.5**
• Zbigniew BargielskiHierofania 2 for orchestra**
• Marcin BłażewiczVisions for soprano, violin and piano**
• Marcin Bortnowskiku dźwiękom nocy for string quartet and accordion**
• Stanisław BromboszczAir for instrumental ensemble and electronic media**
• Roman Czura: Piano Concerto ‘Kraftfelder’**
• Jacek DomagałaElegia for voice and ensemble**
• Zofia DowgiałłoKompozycja z ruchomym tłem for orchestra**
• Cezary DuchnowskiSymfonia zbiorów for instrumental groups and electronics**
• Grzegorz DuchnowskiW malinowym chruśniaku for soprano and piano**
• Jan DuszyńskiSfex for accordion and cello**
• Mikołaj GóreckiElegia for cello and string orchestra**
• Marek GruckaRetaeh for piano, strings and percussion**
• Maciej Jabłoński: Symphony no.6 ‘Oneirophrenia’ for orchestra, electronics and multimedia**
• Zaid Jabri (Syrian composer living in Kraków): Beati Pacifici for soprano and piano*
• Justyna Kowalska-Łasoń która wszystko tworzy, wszystko ochrania for mixed choir of soloists, chamber orchestra and live electronics**
• Hanna Kulenty: Trumpet Concerto no.3**
• Sławomir Kupczak: white over red for mixed choir**
• Andrzej Kwiecińskierschallen for double bass and orchestra**
• Krzysztof MeyerMuzyka świata i półcienia for orchestra*
• Piotr Mossgo where never before for choir and instrumental ensemble*
PRASQUAL (aka Tomasz Prasqual): Muqarnyas for accordion and two orchestras in six spatial groups**
• Zbigniew SłowikThe Motor Poem (Quo vadis homine) for orchestra**
• Joanna Szymała: Clarinet Quintet**
• Sławomir Wojciechowski…play them back for ansambl and electronics**
• Emil Bernard WojtackiZefiro torna for soprano and orchestra**
• Artur ZagajewskiMechanofaktura**

• ‘Warsaw Autumn’ Chronicle 2014

Screen Shot 2015-02-26 at 15.46.52The days are long gone when the ‘Warsaw Autumn’ Sound Chronicle contained only Polish repertoire.  The seven CDs of recordings from last year’s 57th festival have just been delivered by my postie and I can’t wait to delve into them, not least because of their mix of Polish and non-Polish pieces.  The boxed set is not available commercially but is made available to libraries, broadcasters and researchers on request to the Polish Music Information Centre.

Among the 2014 highlights are a blistering account of Serocki’s Pianophonie, intriguing sounds from Blecharz (although the work’s visual impact is missing), and a group of young composers from Kraków.  There are a few Polish absences from the festival programme, such as Hanna Kulenty’s Van… for piano four hands (2014)** and Andrzej Kwieciński’s Concerto. Re maggiore for harpsichord and orchestra (new version, 2013)**.  Here is the list of contents (Polish repertoire in bold).

CD1
Kazimierz Serocki: Pianophonie for piano, orchestra and electronic sound transformation (1978)  28’38”  with new computerised sound synthesis
• Jonathan Harvey: Body Mandala  14’33”
Marcin Stańczyk: Sighs for chamber orchestra (2008/2010-12)*  15’05”
• Simon Steen-Andersen: Ouvertures  17’06”

CD2
Jakub Sarwas:  Crépuscule du soir mystique for soprano and ensemble (2000-14)**  12’49”
Wojtek Blecharz: [one][year][later] for countertenor, flute, erhu, pipa, guzheng, yang qin and percussion (2014)**  23’30”
• Zygmunt Krauze: Rivière souterraine 2 for orchestra and electronics (2013)  19’09”
• Tansy Davies: Spiral House  22’49”

CD3
• Artur Zagajewski: brut for cello and ensemble (2014)  14’23”
• Philippe Leroux: Le cri de la pierre  8’44”
• Benjamin de la Fuente: Frôle  14’51”
• Ernesto Molinari & Theo Nabicht: 29,4 : 174,61  7’54”
• Leopold Hurt: Gatter  15’51”
• Raphaël Cendo: Action Painting  14’09”

CD4
• Wenchen Qin: Listen to the Valleys  11’31”
• Wenjing Guo: Late Spring  5’37”
• Guohui Ye: 964•Heterophony  9’49”
• Tato Taborda: Estratos  18’44”
• Canela Palacios: La permanencia  10’46”
• Cergio Prudencio: Cantos ofertorios  21’03”

CD5
• Mr Pebblestone in the World of Sounds**  22’05”  part of ‘Little Warsaw Autumn’: 12 minatures on earth, water, fire and air by twelve composers from the Kraków Academy of Music: Natalia Wojnakowska, Szymon Stanisław Strzelec, Renāte Stivriņa, Błażej Wincenty Kozłowski, Nadim Husni, Piotr Peszat, Piotr Roemer, Monika Szpyrka, Franciszek Araszkiewicz, Paulina Łuciuk, Martyna Kosecka and Kamil Kruk
• Cezary Duchnowski: Parallels for piano, MIDI keyboard, percussion and cello (2014)**  9’11”
• Wojciech Zimowit Zych: Roundflow/Throughflow/Outflow for eight spatially amplified cellos (2014)**  9’16”
• Szymon Stanisław Strzelec: The Hâsbeiya Fountain for spatially arranged ensemble (2012-13)  11’19”
Piotr Roemer: Re-Sublimations for strings and percussion (2012)  11’04”
Piotr Peszat: Interiør in Strandgarde for orchestra (2014)*  9’06”
Kamil Kruk: Parhelion for orchestra (2014)  3’52”

CD6
• Yuval Avital: REKA  72’23”

CD7
• Ewa Fabiańska-Jelińska: Allegro ma non troppo for vocal ensemble (2014)  3’51”
• Artur Żuchowski: Onion for a cappella choir (2014)  2’24”
• Kalina Świątnicka: Il rumore del silenzio for tape (2014)  7’20”
• Michał Dobrzyński: Elegy no.2. A Dialogue? for violin and live electronics (2007)  4’34”
• Tymoteusz Witczak: Signal/Noise for unspecified ensemble (graphic score, 2014)  4’05”
• Nikolet Burzyńska: Solarisss for tape (2014)  4’30”
• Marcin Piotr Łopacki: Folio no.2 for any solo string instrument (graphic score, 2006)  3’56”
• Andrzej Karałow: Shipyard Chant for bass clarinet and tape (2014)  3’53”
• Jarosław Drozd: X=Y for unspecified ensemble (graphic score, 2014)  6’30”

• ‘onpolishmusic’ is back!

Thanks to all who continue to visit onpolishmusic!  If you’ve been wondering why the site has been silent since December 2013 it’s because I have been otherwise preoccupied with planning and then pursuing a four-month walk through France.  Now I am back, and new Polish posts and pages are in the offing.  As ever, if you have any suggestions for improving the site and its contents, I’ll be delighted to receive them.  Happy reading!

COMPETITION
Which author links the three composers Tomasz Sikorski, Lidia Zielińska and Agata Zubel?

682.01.ma,13362_zubel_coverI have a copy of Zubel’s new CD for the first person who can identify him/her and can name one work by each of these three composers that has a connection with this well-known writer.

Answers please via the CONTACT page.  I’ll post the solution below once the first correct answer comes in.  The prize was claimed within an hour of posting (see Comments, below)!

• New CD Appreciation (Krauze/Bôłt)

Krauze-1The Polish independent CD label, Bôłt Records, is one of the most inventive both inside and outside Poland.  Not only has it reissued recordings of key experimental works from the 1960s and 1970s but it has also given recording opportunities to current composers and performers to revisit such pieces.  One of the composers on whom Bôłt has focused is Zygmunt Krauze, five years younger than Penderecki and Górecki and just as distinctive a figure.  This CD, for which I wrote a short appreciation of Krauze’s music, presents archive recordings of four works from 1975-80, a significant period in Polish musical and cultural life.

Here’s the link to my appreciation for this new Krauze CDor you can scroll the CD NOTES tab above.

• New Book: Polish Music since 1945

A new collection of essays on post-war Polish music has just been published by Musica Iagellonica in Kraków.  It is edited by Eva Mantzourani, who convened a conference four years ago, at the Canterbury Christ Church University in Kent, UK, under the title ‘Polish Music since 1945’.  Scholars young and old came from far and wide, and this volume of 31 essays is the result of those very stimulating days in May 2009.  It may be purchased at the Musica Iagellonica online shop for 85zł (c. £17/$27, plus postage).  The list of contents is given below.

Polish Music since 1945
PART I: Polish Composers in Context

• Charles Bodman Rae: ‘The Polish musical psyche: From the Second Republic into the Third’
• Adrian Thomas: ‘Locating Polish music’
• Marek Podhajski: ‘Polish music, Polish composers 1918–2007’
• Ruth Seehaber: ‘The construction of a “Polish School”: Self-perception and foreign perception of Polish contemporary music between 1956 and 1976’
• Bogumiła Mika: ‘Between “a game with a listener” and a symbolic referral to tradition: Musical quotation in Polish art music since 1945’
• David Tompkins: ‘The Stalinist state as patron: Composers and commissioning in early Cold War Poland’
• Maja Trochimczyk: ‘1968 – Operation Danube, ISCM, and Polish music’
• Alicja Jarzębska: ‘Polish music and the problem of the cultural Cold War’
• Niall O’Loughlin: ‘Panufnik and Polishness’
• Violetta Kostka: ‘Tadeusz Kassern: Music from his American period’
• Barbara Literska: ‘The “commissioned” works of Tadeusz Baird’
• Katarzyna Naliwajek-Mazurek: ‘Paweł Szymański and the multiple narrative in music’
• Marta Szoka: ‘The music of Paweł Mykietyn: In between pastiche, deconstruction and the great narration’
• Caroline Rae: ‘Dutilleux and Lutosławski: Franco-Polish connections’

PART II: Analytical perspectives

• Beata Bolesławska-Lewandowska: ‘Lutosławski’s Second Symphony (1967) and Górecki’s Second Symphony (1972): Two concepts of the bipartite late avant-garde symphony’
• Teresa Malecka: ‘Górecki’s creative journeys between nature and culture: Around the Copernican Symphony
• Stanisław Będkowski: ‘Wojciech Kilar’s last symphonies: Modification of a paradigm’
• Zbigniew Skowron: ‘Lutosławski at the crossroads. Three Postludes: A reappraisal of their style and compositional technique’
• Suyun Tang: ‘Lutosławski’s tonal architecture as defined by a Schenkerian tonal model’
• Aleksandra Bartos: ‘Witold Lutosławski’s Portrait of Woman 2000: New aspects of his compositional technique’
• Amanda Bayley and Neil Heyde: ‘Interpreting indeterminacy: Filming Lutosławski’s String Quartet’
• Cindy Bylander: ‘Back to the future: The interaction of form and motive in Penderecki’s middle symphonies’
• Regina Chłopicka: ‘The St Luke Passion and the Eighth Symphony Lieder der Vergänglichkeit: The key works in Penderecki’s oeuvre’
• Tim Rutherford-Johnson: ‘Theological aspects to Penderecki’s St Luke Passion
• Agnieszka Draus: ‘Infernal and celestial circles in Paradise Lost: Milton and Penderecki’
• Tomasz Kienik: ‘The musical language of Kazimierz Serocki: Analytical aspects of his musical output’
• Iwona Lindstedt: ‘Sonoristics and serial thinking: On the distinctive features of works from the “Polish School”’.
• Anna Masłowiec: ‘The sonoristic score: Inside and outside’

PART III: Polish jazz, film music and the marketplace

• Zbigniew Granat: ‘Underground roads to new music: Walls, tunnels, and the emergence of jazz avant-garde in 1960s Poland’
• Nicholas Reyland: ‘Experiencing agapē: Preisner and Kieślowski’s Three Colours: Blue
• Renata Pasternak-Mazur: ‘Sacropolo or Sacrum in the marketplace’

• Polish commissions for 2013-14

In an age when transparency in government agencies is increasingly demanded, I wonder how many British or other national arts organisations can rival the almost brutal way in which commission applications by Polish composers become available as publicly as this.  In its latest newsletter, issued today, the Institute of Music and Dance in Warsaw announced a summary of the latest round of music commissions, with a link to the full list published by the Ministry of Culture and National Heritage.  All the details are there, whether or not a composer or organisation has been successful.  Top of the list came a proposal from Baltic Opera for a new opera Olimpia by Zygmunt Krauze.

Polish commissions 2013-14, top 5

Each application was awarded a score (first column), the sponsoring organisation named, the nature of the commission given (with a + sign linking to a breakdown of the points given in column 1 into three components: organisational – 10%, merit – 60%, strategic – 30%).  Successful applications had to achieve a minimum total rating of 60%.  The value of the award is given in the final column (roughly 5zł = £1).  The minimum awarded was 10,000zł (c. £2000), the maximum 60,000zł (c. £12,000), depending on the nature of the project (60,000zł for an opera is absurdly low and, I trust, only part of Krauze’s total commission fee, especially when compared with 25,000zł for a string quintet).  In this year’s round, 81 of the 218 applications have been  successful and the total disbursement by the Ministry of Culture and National Heritage is 2,324,950zł (approximately £465,000).  The range of activity is impressively broad, as also befits a selection panel comprising two composers, a conductor and representatives from broadcasting and higher education (Zbigniew Bagiński, Joanna Grotkowska, Eugeniusz Knapik, Wojciech Michniewski and Krzysztof Szwajgier).

• 5th Festival of Premieres, Katowice

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Festiwal Prawykonań (Festival of Premieres) is a biennial celebration of new pieces by Polish composers of all generations.  This year’s event runs over the last weekend of next month, 26-28 April 2013 (the Polish website is complete but the English is still under construction).  It’s organised in Katowice by NOSPR (Narodowa Orkiestra Symfoniczna Polskiego Radia – National Symphony Orchestra of Polish Radio; or as NOSPR bizarrely prefers to translate it – Polish National Radio Symphony Orchestra).  The festival started in 2005 and a full list of previous festival concerts is available under its Archiwum tab.

There’s a mix of chamber and orchestral concerts (seven in all).  Some are free, the others have a one-price tag of 10zł (c. £2).  How’s that for a bargain?  I’m sure that most if not all of these concerts will be broadcast online by Polish Radio Dwójka (PR2), either live or delayed.  Here’s this year’s repertoire, in alphabetical order by composer:

** World premiere   * Polish premiere
• Marcin Bortnowski: Miserere for chamber choir and percussion ensemble**
• Michał Dobrzyński: Three Songs to words by Rilke**
• Ryszard Gabryś: Voyelles de Arthur Rimbaud**
• Mikołaj Górecki: Symphony no.2**
• Aleksandra Gryka: 10, 12, 13, -31 for string quartet**
• Paweł Hendrich: Ertytre for cello ensemble**?
• Rafał Janiak: Symphony no.2**
• Dobromiła Jaskot: Elferiae for string quartet**
• Krzysztof Knittel: Partita for saxophone, orchestra and electronic media**
• Benedykt Konowalski: Nowa pieśń chwały for clarinet and mixed chamber choir**
• Włodzimierz Kotoński: Arietta e i fiori for trombone and synthesized sounds**
• Justyna Kowalska-Lasoń: String Quartet no.3**
• Zygmunt Krauze: Canzona for instrumental ensemble*
• Stanisław Krupowicz: Piano Concerto**
• Hanna Kulenty: String Quartet no.5*
• Andrzej Kwieciński: Canzon de’ baci for tenor and orchestra**
• Mikołaj Majkusiak: Pulsaciones for accordion, classical guitar and string orchestra**
• Maciej Małecki: Concertino for cello and orchestra**
• Krzysztof Meyer: Piano Quartet op.112 (new version)**
• Piotr Moss: Cavafy Verses for baritone and orchestra**
• Aleksander Nowak: Z górnego piętra for violin and percussion**
• Tomasz Opałka: L.A. Concerto for violin and orchestra**
• Ryszard Osada: Double Reflection for cello octet**
• Bronisław Kazimierz Przybylski: Lofoten, Concerto-Symphony for viola and orchestra**
• Dariusz Przybylski: Cello Concerto**
• Marta Ptaszyńska: Of Time & Space, concerto for percussion, electronics and orchestra**
• Adrian Robak: Vocal Concerto ‘Camerata’**
• Marcin Rupociński: Non possumus for choir, chamber ensemble and electronics**
• Wojciech Widłak: Festivalente for orchestra**
• Sławomir Wojciechowski: Fingertrips for eight prepared cellos**
• Agata Zubel: Pomiędzy odpływem myśli a przypływem snu for voice and string orchestra**

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