EN FACE IMPRESSIONS

Aleksander Wnuk, EN FACE
EN FACE practice, photo by Sarah Nemtsov

Here goes Ricordi with first impression of the World Premiere of Sarah Nemtsov’s EN FACE, concerto for percussion solo, narrator and orchestra.

LINK TO RICORDI.COM

The premiere took place in Staatstheater Cottbus on April 5. and 7. 2019.

Aleksander Wnuk, percussion
Jakob Diehl, narrator
Felix Bender, conductor
Philharmonisches Orchester Cottbus

The score published by Ricordi.

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EN FACE / NEMTSOV / WNUK / DIEHL / BENDER / COTTBUS

fot. Błażej Bauer

EN FACE by Sarah Nemtsov

Concerto for solo percussion, narrator and large orchestra
on text Loneliness by Bruno Schulz

The World Premiere is taking place at Staatstheater Cottbus, Germany.
April 5 / 20:00 / Grosses Haus
April 7 / 19:00 / Grosses Haus

Aleksander Wnuk, percussion solo
Jakob Diehl, narrator
Philharmonisches Orchester Cottbus
Felix Bender, conductor

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The solo percussionist has his own space, his own “room” on stage. His instruments are placed and hung around him on four, possibly interconnected high stands. His  instruments are less classic percussion instruments, but more objects.

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The solo percussionist plays only with his hands! 2 microphones are attached to his wrists. Hitting the instruments and movements therefore always “zoom in” into a sound, or into an instrument/object. The sounds are taken under a microscope. There are mainly these following ways of using the hand: flat hand (with fingers), palm, fist, knuckles (knocking sound), only fingers and fingernails, also occasionally elbows. In some places, an object is also stimulated with other objects (with cans, stones or even a cow bell on gong, etc.). The hands often make extra movements after the attack to capture resonances, to amplify, and to rhythmize them – for example, circles above the gong or nearer (zoomed in and out) or back and forth between two cymbals. As for gong, cymbals and thunder sheet the result should sound “synthetic” (almost like pure electronic music). The movements are sometimes faster, sometimes slower. Some of them are rhythmically exact notated, sometimes kind of – sometimes not at all (but thought of, because of course there are also movements by instrument change etc.!). If small movements and noises happen just coincidentally (hand on clothes or skin, for instance), these are no flaws, but also considered and embraced.

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The soloist moves in his room, where he is both protected and defenseless. Basically, this solo part is about a special form of choreography (and coordination). At the same time, inwardness. The soloist has no mallets (the usual “weapon” of a drummer), his hands become ears, he perceives everything very intensely and is vulnerable in his intimacy on stage. The virtuosity is thus of a different kind, it is more of an inner space and a virtuosity of sensibility.

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The actor sits at a table. Maybe like a kind of false, imaginary reflection of the solo percussionist. Possibly the “I” of the short story. A miniature stage setting.  Freedom: the actor produces sounds and noises reacting to the percussion solo part or even anticipating it. So there can be rustling, crackling, a jingling of keys, or a chain in his hand. Perhaps the teacup is led to the mouth with trembling hands (clinking), just as the solo percussionist holds his cups trembling. The actor may even, at the very end, absurdly pull a small bird call, whistle out of his bag, perhaps he makes other sounds or gestures. Maybe he hits the table, maybe he gets up suddenly (in rage) or scratches the table or something else (no limits to imagination here). It is also possible to perform the part less theatrically: as a narrator. The narrator does not need a set design, he can just be on stage, standing or sitting on a chair, maybe close to the solo percussionist ‐ perhaps even inside his “room”.

“Should I tell you that my room is walled up?…In what way might I leave it? Here is how: Goodwill knows no obstacle; nothing can stand before deep desire. I have only to imagine a door, a door old and good, like in the kitchen of my childhood, with an iron latch and bolt. There is no room so walled up that it will not open with such a trusty door, if you have but the strength to insinuate it.”
― Bruno Schulz

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LINKS:
Staatstheater Cottbus
Chat with Sarah Nemtsov (3:30 about En Face)
Sarah Nemtsov website

CARPATHIAN NEW WAVE

Carpathian New Wave, vol.1 / ALEKSANDER WNUK
workshop + performance

Carpathian New Wave

FEBRUARY 15-16, Presov, Slovakia

PLAN:
FEBRUARY 15:
– Workshop #1 / 18-21 [LINK]
FEBRUARY 16:
– Workshop #2 / 11:30-13:30
– Workshop #3 / 17:30-18:30
– Performance / 20 [LINK]

Program for the performance:
– Georges Aperghis Graffitis for solo percussionist (1980)
– Georges Aperghis Zig-Bang New Wave Version for a group of hanging out people (2019)
– Francois Sarhan Situation 7: Imagination for two performers (2015), with Elia Moretti
– Rolf Wallin Scratch for amplified Balloon (1995)

CARPATHIAN NEW WAVE is a series of sound workshops and performances of contemporary artists from the Carpathian region. The first artist will be Aleksander Wnuk, a polish percussion player who is developing his specific research on the performativity of sound and body as a performer / musician.

The workshop and the performance are focused on the distinctive style of organizing the quasi-theatrical aspects of instrumental performance by the musical parameters. It is a sensibility and spirit of the individual performer, and his personality, that drive the dramaturgy and ambience, yet it is all within space of the composition that is pre-determined by the composer. The greatest composer of this language is Georges Aperghis.

The workshop will be divided in two parts:
1. Introduction on the idea of this language of performativity (15.02)
2. Arranging the piece (15-16.02)

The piece shall be a small choice of short texts from Aperghis’ book Zig-Bang. Texts will be translated into music and arranged into the quasi-theatrical situation. The worksop will need the amount of people interested in cooperating in this style.
However, it will be necessary to have musical instruments, so local musicians are welcome, but definitely not only (the instrument can be anything). The texts would be sent prior the workshop date to those who are interested, in order to make them familiar with the situation. The workshop will be focused on the plurality of personal approaches and imaginations of the participants.
The exact quasi-theatrical situations will be arranged on spot, yet the general idea, including solo performer, will already be pre-determined. The result will become the part of the performance on the February 16th. Or it will become the stage arrangement of the whole evening show, within which the solo pieces and some small solo moments will occur.

In order to participate to the workshop is necessary to attend to the three parts. Participation is free, reservation is necessary.
To reserve your participation, or ask any further information, please write to the address elia.moretti@yahoo.it

Produced by Matróna and Združenie Wave.
Carpathian New Wave is supported using public funding by Slovak Arts Council.

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Peszat’s chamber works

I would like to share two really good works by Piotr Peszat for the chamber ensemble composed in 2018.

Untitled Folder, here performed with Spółdzielnia Muzyczna Contemporary Ensemble (Cracow), my beloved home ensemble.

Grocery Store Music #5, here performed with Hashtag Ensemble (Warsaw), fantastic group that has invited me to work together few times this year.

Enjoy!

Music Olomouc 2018

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I hereby invite to my solo recital at MusicOlomouc, contemporary music festival in Olomouc, Czech Republic.
There, I will perform an over 70 minutes program which will consist of quite physical works, mostly performed in Czech Republic for the first time. And with special focus on Piotr Peszat’s Jenny’ Soul. Or Dirk’s?, which was created back in 2016 in our common, work-in-progress, composition process.
One of the premieres will be a World Premiere of a crazy noise work by Cory Bracken (NY, USA), composed for my, and comissioned by the festival. A work for an insane set of stuff consisting of a door spring mounted on a snare drum, various sliders and thimbers, combs, bows, varied vibrators, milk frotters, chains and contact mics.
Moreover, it will be my own first festival performance of the solo percussion piece by Michel van der Aa which, next to Cory’s work, is a new addition to my repertoir.
I hope that those of you who will attend the festival, will enjoy my personal interpretations of Aperghis, Billone and Sarhan as well.
Hope to meet you there!

Sunday 14. 10. 2018, 19.00 
Divadlo na cucky

program [LINK]

PIOTR PESZAT (1990)
Jenny´s Soul. Or Dirks´? (2016) 

PIERLUIGI BILLONE (1960)
Mani. Gonxha (2012)

CORY BRACKEN (1986)
I’m at ocean level moisture with these life hacks (2018), PREMIERE 

FRANCOIS SARHAN (1972)
Homework (2008)

MICHEL VAN DER AA (1970)
Solo for percussion (1997) 

GEORGES APERGHIS (1945)
Graffitis (1980) 

musicolomouc

WARSAW AUTUMN 2018 performances

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Festival link

The glorious festival for new music, with absolutely great traditions and history, is coming soon – The Warsaw Autumn. I have a pleasure to participate in it yet again. This time performing at three concerts: as a member of Spółdzielnia Muzyczna Contemporary Ensemble from Cracow, as a guest of the Hashtag Ensemble from Warsaw, and with my duo partner from W/L DUO, guitarist Michał Lazar.
During those concert we will World premiere two works (by Piotr Tabakiernik and by Monika Szpyrka) and give the first Polish performance of the work by Trond Reinholdtsen.
I can’t wait to meet all the artists and people involved in Contemporary Music scene, and to see other interesting concerts of the festival.
I hope to see you there!


SEPTEMBER 22 – Hashtag Ensemble / Tabakiernik [event link]

12:00 / Sculpture Park in Królikarnia / Warsaw

HASHTAG ENSEMBLE
Lilianna Krych – conductor
Paulina Gawrońska, Aneta Todorczuk-Perchuć, Michał Głowacki, Łukasz Kraśnicki, Robert Kibalski, Bartosz Mazur – actors
Jakub Niedźwiedź – sound projection
Students of the 1st year of the Academy of Fine Arts in Warsaw – Departament of Stage Design under the direction of Dr Agnieszka Korytkowska stage design

Piotr Tabakiernik GŁOSY (VOICES / VOTES) ** (performance / park game, Warsaw Autumn and Society of Authors ZAiKS commission)

** first performance


SEPTEMBER 24 – Spółdzielnia Muzyczna / Reinholdtsen [event link]

22:30 / New Theater / Warsaw

Jaśmina Polak – actress
Piotr Polak – actor
SPÓŁDZIELNIA MUZYCZNA CONTEMPORARY ENSEMBLE
Trond Reinholdtsen – conductor, direction
Participants in the film:
Trond Reinholdtsen, Snorre Hvamen, Tobias Schülke, Ingrid Aarvik Berge, Øystein Hvamen Rasmussen, Sofia Jernberg

Trond Reinholdtsen Ø – EPISODE 6 *

* first Polish performance


SEPTEMBER 26 – electro|impro night [event link] – concert of Polish Composers’ Union – Youth Circle

22:30 / Fryderyk Chopin University of Music / Warsaw

W/L DUO:
Aleksander Wnuk – percussion
Michał Lazar – guitar

Monika Szpyrka Instrument fall Ready-To-Wear v. 2 **

** first performance




22 WRZEŚNIA – Hashtag Ensemble / Tabakiernik [link]

12:00 / Park Rzeźby w Królikarni / Warszawa

HASHTAG ENSEMBLE
Lilianna Krych – dyrygent
Paulina Gawrońska, Aneta Todorczuk-Perchuć, Michał Głowacki, Łukasz Kraśnicki, Robert Kibalski, Bartosz Mazur – aktorzy
Jakub Niedźwiedź – reżyseria dźwięku
Studenci I roku Wydziału Scenografii Akademii Sztuk Pięknych w Warszawie pod kierunkiem dr Agnieszki Korytkowskiej projekty scenografii

program:
Piotr Tabakiernik GŁOSY ** (performans muzyczny w formie gry terenowej, zamówienie Warszawskiej Jesieni i Stowarzyszenia Autorów ZAiKS)

** prawykonanie


24 WRZEŚNIA – Spółdzielnia Muzyczna / Reinholdtsen [link]

22:30 / Nowy Teatr / Warszawa

Jaśmina Polak – aktorka
Piotr Polak – aktor
SPÓŁDZIELNIA MUZYCZNA CONTEMPORARY ENSEMBLE
Trond Reinholdtsen – dyrygent, reżyser
Współtwórcy filmu:
Trond Reinholdtsen, Snorre Hvamen, Tobias Schülke, Ingrid Aarvik Berge, Øystein Hvamen Rasmussen, Sofia Jernberg

program:
Trond Reinholdtsen Ø – ODCINEK 6 *

* pierwsze wykonanie w Polsce


26 WRZEŚNIA – electro|impro night [link] – koncert Koła Młodych Związku Kompozytorów Polskich

22:30 / Uniwersytet Muzyczny Fryderyka Chopina / Warszawa

W/L DUO:
Aleksander Wnuk – perkusja
Michał Lazar – gitara

Monika Szpyrka Instrument fall Ready-To-Wear v. 2 **

** prawykonanie

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Sacrum Profanum 2018 performances

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Festival link

I am very happy to be a part of Sacrum Profanum again. A wonderful international festival for modern music, that takes place in Cracow. This year I am participating in two concerts and gladly inviting you to both of them! See you!


SEPTEMBER 13 – #TrashMusic / accompanying event

17:00 / Spółdzielnia Muzyczna / Gromadzka 46, Cracow

program:
Wojciech Błażejczyk (PL) – #TrashMusic – sound installation (2018)

Hashtag Ensemble & Spółdzielnia Muzyczna


SEPTEMBER 16 – ¢OLLECTIVE [event link]

17:30 / Museum of Municipal Engineering / św. Wawrzyńca 15, Cracow

program:
Piotr Peszat (PL) – try to watch this without crying (2018)* [world premiere]
Teoniki Rożynek (PL) – Taśmociąg [Conveyor] (2018)* [world premiere]
Mikołaj Laskowski (PL) – Fire up/Zapal się (2018)* [world premiere]
Marta Śniady (PL) – The most beautiful music in the world (2018)* [world premiere]
Paweł Malinowski (PL) – They can’t see you like I can (2018)* [world premiere]

Spółdzielnia Muzyczna Contemporary Ensemble (PL)
Krzysztof Stefański (PL) – commentary

* commissioned by the Sacrum Profanum Festival





13 WRZEŚNIA – #TrashMusic
/ impreza towarzysząca

17:00 / Spółdzielnia Muzyczna / Gromadzka 46, Kraków

program:
Wojciech Błażejczyk (PL) – #TrashMusic – instalacja dźwiękowa (2018)

Hashtag Ensemble & Spółdzielnia Muzyczna


16 WRZEŚNIA – $PÓŁDZIELNIA [link]

17:30 / Muzeum Inżynierii Miejskiej / św. Wawrzyńca 15, Kraków

program:
Piotr Peszat (PL) – try to watch this without crying (2018)* [premiera światowa]
Teoniki Rożynek (PL) – Taśmociąg (2018)* [premiera światowa]
Mikołaj Laskowski (PL) – Fire up/Zapal się (2018)* [premiera światowa]
Marta Śniady (PL) – The most beautiful music in the world (2018)* [premiera światowa]
Paweł Malinowski (PL) – They can’t see you like I can (2018)* [premiera światowa]

Spółdzielnia Muzyczna Contemporary Ensemble (PL)
Krzysztof Stefański (PL) – komentarz

*zamówienie festiwalu Sacrum Profanum

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