Context: Popular!

Context: Popular!

MATTHEW SHLOMOWITZ and his music performed in Cracow!

 

TIME: November 23, 18:00

PLACE: Concert Hall of the Music Academy in Cracow

At the 25. AUDIO ART FESTIVAL [link]

 

Here I present a concert concept named CONTEXT: POPULAR!

It’s made up by four members of Spółdzielnia Muzyczna Contemporary Ensemble – Martyna Zakrzewska, Bartosz Sałdan, Michał Lazar and myself. Here is a short program note:

The spine of this program is a phenomenon of employing and adapting styles, contents, and instruments, widely recognized as belonging to popular genres, into classical contemporary music. Interesting is the role and identity of the performers in search for reasonable balance of distinctive qualities.

Tags: popculture, mass media, garage bands, rock, metal, pop

 

Program:

Matthew Shlomowitz Logic Rock, for electric guitar and drum-kit (2013) – Polish premiere (Lazar / Wnuk)

Artur Zagajewski Mechanofaktura, for violin, bass clarinet, percussion, piano/synthesizer (2015) (Mglej / Borowicz / Sałdan / Zakrzewska)

Matthew Shlomowitz Popular Context Vol. 6, for vibraphone, drum-kit and sampler keyboard (2013) – Polish premiere (Wnuk / Sałdan / Zakrzewska)

 

All performers:

Martyna Zakrzewska, piano, sampler keyboard, synthesizer, performance

Aleksander Wnuk, drum-kit, vibraphone, performance

Bartosz Sałdan, percussion, drum-kit

Michał Lazar, electric guitar

Barbara Mglej, violin

Barbara Borowicz, bass clarinet

 

Sound reaalization: Przemek Kunda, Łukasz Zięba (Warsaw)

 

Matthew Shlomowitz’s LECTURE

I also invite you to the meeting with composer himself, which will be a part of Audio Art music workshops.

TIME: November 22, at 15:00

PLACE: Studio A6, Music Academy in Cracow

Organized by the Composition Department.

 

See you!!!

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Spółdzielnia Muzyczna Improv

Zapraszam na nową(?) formę aktywności Spółdzielnia Muzyczna Contemporary Ensemble.
Spółdzielnia będzie improwizować!
Będziemy to robić w artystycznie kameralnej i przytulnej Galerii i!
A to jest kolejna okazja do spotkania i rozmowy o tym i owym.
Oferujemy też coś dobrego, pozamuzycznego.
Przyjdźcie!

Piątek 9.06.2017, g. 19:00

Galeria i!, Józefińska 21, Kraków

Skład:
Paulina Owczarek (KIO), saksofony
Jakub Gucik, wiolonczela
Aleksander Wnuk, perkusja
Michał Lazar, gitara
Wiktor Krzak, fagot

FB link

Salvatore Sciarrino – Il legno e la parola

I would like to invite you to my new Soundcloud profile.

At the same time I wish to share my recording of Salvatore Sciarrino marimba solo piece Il legno e la parola.

It was recorded in 2014 at the Studio Hall of the Royal Danish Academy of Music in Copenhagen, Denmark.

I would like to thank Franziska Wackerhagen who was a sound engineer and production manager, not only for this particular recording, but for a couple of common studio sessions in years 2012-2014.

ENJOY!

59. Warsaw Autumn – Spółdzielnia Muzyczna – Salvatore Sciarrino ‘Luci mie traditrici’

It is my immense pleasure to announce the performance of Salvatore Sciarrino‘s opera Luci mie traditrici by Musicians’ Community Contemporary Ensemble.

The two shows will take place during the 59th Warsaw Autumn International Festival of Contemporary Music, on the following dates:

September 22, 19:30 [link]

September 23, 19:30 [link]

Salvatore Sciarrino, libretto
Pia Partum, director
Anna Radziejewska, soprano (La Malaspina, Voice from behind the curtain)
Jan Jakub Monowid, contralto (Ospite / Guest)
Hubert Zapiór, tenor (Servant)
Artur Janda, baritone / bass (Il Malaspina)
SPÓŁDZIELNIA MUZYCZNA CONTEMPORARY ENSEMBLE
Lilianna Krych, conductor
Magdalena Maciejewska, scenography
Marek Zamojski, video
Agnieszka Dmochowska–Sławiec, stage movement

(first performance in Poland)


Z wielka przyjemnością zapraszam na przedstawienie opery Salvatore Sciarrino Luci mie traditrici w wykonaniu Spółdzielnia Muzyczna Contemporary Ensemble.

Dwa przedstawienia odbędą się w ramach 59. Festiwalu Warszawska Jesień, w następujących dniach:

22 września, godz. 19:30 [link]

23 września, godz. 19:30 [link]

Salvatore Sciarrino, libretto
Pia Partum, reżyseria
Anna Radziejewska, sopran (La Malaspina, Głos zza kurtyny)
Jan Jakub Monowid, kontralt (Ospite / Gość)
Hubert Zapiór, tenor (Służący)
Artur Janda, baryton / bas (Il Malaspina)
SPÓŁDZIELNIA MUZYCZNA CONTEMPORARY ENSEMBLE
Lilianna Krych, dyrygent
Magdalena Maciejewska, scenografia
Marek Zamojski, wideo
Agnieszka Dmochowska–Sławiec, ruch sceniczny

(pierwsze wykonanie w Polsce)


fl. 1 Rafał Żółkoś
fl. 2 Małgorzata Mikulska (SM member)
b.cl. Mateusz Kras (SM member)
sax. 1 Krzysztof Guńka (SM member)
sax. 2 Łukasz Nędza
fg. 1 Wiktor Krzak
fg. 2 Agnieszka Kozioł
tr. 1 Mateusz Rusowicz (SM member)
tr. 2 Jonasz Dziuba
trbn. 1 Katarzyna Witek
trbn. 2 Kamil Zobel
perc. Aleksander Wnuk (SM member)
vn.I. 1 Barbara Mglej (SM member)
vn.I. 2 Paulina Woś (SM member)
vn.II. 1 Alicja Pilarczyk
vn.II. 2 Jakub Bańdur
vla. 1 Gabriela Biel (SM member)
vla. 2 Nadim Husni
vc. Jakub Gucik (SM member)
d.b. Mateusz Loska


WA_Logotype_V1-4a5cf4c271e22cafb1ce1199d295f477

REFRAIN

No. 11 Refrain

Stockhausen’s music is in the area of my interest for a long time. My practical approach was started by Gert Mortensen who convinced me to work on “Zyklus”. It was on my 2nd Master. Well, “Zyklus” is in my repertoir for over 3 years now and I have performed it frequently for varied audience. There were other pieces by this great genius that I was playing or wanted to play. Eventually, when it came to scetching my Debut Concert’s program, “Zyklus” was there due to many factors. It came naturally, that “Refrain”, a chamber music piece, being very close to the solo Stockhausen’s piece, is the one to be in my program as well. They are very different from each other, but both were composed during the “Kontakte” period in 1959.

I am not saying that’s the only reason. “Refrain” is beautiful, and it’s so interesting to play together. With its colours, layers, timing and relationships between three parts it is absolutely marvelous music. It is suspended somewhere beyond reality. And the score…this is something extraordinary to work with.

Perhaps, I could just mention that reading from an enormous format (something like A1, or bigger), with a trasparent strip that moves all the time despite our beseech, was a challenge like no other 🙂

For all those reasons mentioned before, it was a perfect piece to perform just before “Zyklus”…and much shorter than “Kontakte” 🙂

Here I should say, I got an opportunity to work on “Refrain” together with two great pianists. I had a chance to play contemporary music with both of them before, but this time was different. Probably because of special kind of communication that is required, and a very open mind to create all that, what Stockhasuen had put into this masterpiece.

Many, many great thanks to Kristoffer Nyholm Hyldig (piano) and Manuel Esperilla (celesta).

A couple of words from my printed program:

In many respects, “Refrain” may be considered a female complement to “Zyklus”. They are both composed in the same period, along with “Kontakte”. The title refers to recurrent disturbances that ruffle the ringing tranquility of the chordal music. These are engraved on a transparent strip, which is movable on its axis, so the music can be disturbed at number of places, varying performance. That is left to the musicians to decide. Further principles determine the sound layer of this trio composition. Nearly static chords dissolve into melodies. There is some kind of peace inside this sounding space.

A LINK:

https://www.youtube.com/watch?v=ooTDtoHY1X0