Between time and space

Between Time and Space — a state of lis­ten­ing in which we stop mea­sur­ing time and space los­es its bound­aries. What remains is the pure expe­ri­ence of sound.

On the first Sat­ur­day of March, Hash­tag Lab invites you to an excep­tion­al con­cert — con­tem­po­rary works for oboe and elec­tron­ics will cre­ate a rarely encoun­tered son­ic space in which sound becomes a vehi­cle for the spir­i­tu­al and the ephemer­al. One of the key points of the pro­gramme is the piece lélek by Piotr Grel­la-Możeyko, inspired by a con­cept present in the beliefs of Finno-Ugric peo­ples, denot­ing the imma­te­r­i­al aspect of life con­nect­ed to breath, steam, and the ener­gy of exis­tence. The word lélek (from Hun­gar­i­an) refers to the spir­i­tu­al sphere, the inner life of a per­son, and also the soul of the deceased. In its sound lay­er the piece draws on mate­r­i­al from the old­est sur­viv­ing work of Euripi­des — Frag­ment 1 of the stasi­mon of Orestes — inter­weav­ing the ancient word with elec­tron­ics and the breath-like fab­ric of sound. The pre­miere will be per­formed by Hash­tag Ensem­ble togeth­er with an invit­ed soloist.

The pro­gramme opens with a work by Arlan N. Schultz — farewell, world of flowers….farewell, I’m going to weep — a metaphor­i­cal reflec­tion on pass­ing and tran­sience. Sidereus Nun­cius (The Star­ry Mes­sen­ger), inspired by Sap­pho’s quo­ta­tion about the sil­ver glow of the full moon, evokes the cos­mic, oth­er­world­ly dimen­sion of expe­ri­ence. Vidyeś­vara refers to the Hin­du vision of beings striv­ing towards high­er states of exis­tence. The work #2020 Scream by Alek­san­dra Bil­ińs­ka evokes a sus­pend­ed time, a moment in which its flow comes to a halt. This work was cre­at­ed dur­ing the pan­dem­ic — a peri­od full of uncer­tain­ty and enforced con­fine­ment. The finale clos­es with a reflec­tion on pres­ence and mem­o­ry — as if an echo of souls at the thresh­old of audibility.

Pro­gram:

Arlan N. Schultz — …Sara­ba hana no sekai…saraba nac­ki-sō… (farewell, world of flowers….farewell, I’m going to weep) for oboe and elec­tron­ic­sAl­ber­to Capri­oli Sidereus Nun­cius for oboe and elec­tron­ics *Jorge Tor­res Saenz Vidyeś­vara for oboe and elec­tron­ic­sAlek­san­dra Bil­ińs­ka #2020 Scream for Alek­san­draP. for oboe and elec­tron­ics Piotr Grel­la-Możeyko lélek for oboe, string quin­tet, and electronics **

*world pre­miere

** Co-fund­ed by the Min­is­ter of Cul­ture and Nation­al Her­itage from the Cul­ture Pro­mo­tion Fund — a state-pur­pose fund — under the “Com­po­si­tion­al Com­mis­sions” pro­gramme, imple­ment­ed by the Nation­al Insti­tute of Music and Dance.

Per­form­ers:

Alek­san­dra Panasik oboe Mar­ta Piórkows­ka vio­lin­Ste­fa­nia Gra­biec vio­lin *Alek­san­dra Demows­ka-Made­js­ka vio­laAn­toni Majew­s­ki cel­lo *Mateusz Los­ka dou­ble bass

*Akademia PRO

Pro­duc­tion:

pro­gramme con­cept and text: Alek­san­dra Panasik and Alek­san­dra Demows­ka-Made­jskapro­duc­tion: Alek­san­dra Demows­ka-Made­jskav­i­su­al iden­ti­ty: Alek­san­dra Ołdak­sound engi­neer­ing: Kos­ma Standera

The Hash­tag Lab Con­tem­po­rary Music Space is co-fund­ed by the City of War­saw. The media patron of the Hash­tag Lab Con­tem­po­rary Music Space is POLMIC​.PL, Gaze­ta Wybor­cza, and Dwój­ka Pol­skie Radio.

About the soloist:

Alek­san­dra Panasik — Oboist spe­cial­is­ing in the per­for­mance and inter­pre­ta­tion of con­tem­po­rary clas­si­cal music. She grad­u­at­ed from the Stanisław Moniuszko Acad­e­my of Music in Gdańsk, where she trained under Prof. Józef Raatz. In 2021 she received her doc­tor­ate in the art of music. She also trained at the Hochschule für Musik und Darstel­lende Kun­st in Stuttgart and the Hochschule für Kün­ste in Bre­men, in the class of Prof. Chris­t­ian Hom­mel — oboist of the renowned Ensem­ble Mod­ern. In 2019 she was a par­tic­i­pant in the pres­ti­gious Inter­na­tion­al Ensem­ble Mod­ern Acad­e­my programme.

She took part in the Inter­na­tion­al Sum­mer Cours­es for New Music in Darm­stadt, where she was award­ed a schol­ar­ship to par­tic­i­pate in the Course, as well as in numer­ous work­shops and mas­ter­class­es led by dis­tin­guished teach­ers and vir­tu­osos, includ­ing Peter Veale, Wash­ing­ton Barel­la, Jérôme Guichard, Diethelm Jonas, Fabi­en Thouand, David Wal­ter, Hen­ry Ward, and Gre­gor Witt.

Her artis­tic activ­i­ty is char­ac­terised by a deep com­mit­ment to the inter­pre­ta­tion of new music, with par­tic­u­lar atten­tion to works explor­ing the rela­tion­ships between acoustic sound and elec­tron­ic media. She has col­lab­o­rat­ed with many acclaimed com­posers from around the world, includ­ing Katarzy­na Arn­hold, Sungji Hong, Ana Lara, Maria Lord-Knive­ton, Iris Szeghy, Piotr Grel­la-Może­jko, Dar­iusz Mazurows­ki, Philip Czaplows­ki, Alek­san­dra Bil­ińs­ka, Mateusz Ryczek, Katarzy­na Taborows­ka, Michał Janocha, Ste­fano Pieri­ni, Gwyn Pritchard, Jacek Veese, Georgina Der­bez, Jorge Tor­res Saenz, Alber­to Capri­oli, Charles Stolte, and Christo­pher Dell.

In 2023 her solo album OBO­Elec­tron­ics was released, con­tain­ing pre­miere record­ings of works for oboe and elec­tron­ics, writ­ten spe­cial­ly for her in 2021–2023. In 2024 the artist under­took a con­cert tour of North Amer­i­ca pro­mot­ing the album, dur­ing which she also deliv­ered lec­tures and mas­ter­class­es at uni­ver­si­ties in Cana­da, includ­ing the Uni­ver­si­ty of Alber­ta, the Uni­ver­si­ty of Leth­bridge, and King’s Col­lege. These ses­sions were addressed to both instru­men­tal and com­po­si­tion students.

She par­tic­i­pat­ed in numer­ous record­ing projects in the field of con­tem­po­rary and impro­vised music, includ­ing the record­ing of the album 2 Comp (Schott Music, 2025), cre­at­ed togeth­er with Antho­ny Brax­ton and his Cre­ative Orches­tra dur­ing work­shops in Darm­stadt. She also per­formed as an ensem­ble mem­ber in the project The Arbei­t­ende Konz­ert Revi­sions XI and XII by Christo­pher Dell, which includ­ed con­certs and record­ings at The Loft in Cologne. The ensem­ble also includ­ed, among oth­ers, Elis­a­beth Coudoux, Anna Neu­bert, Mar­lies Debacker, Eve­line Degen, and Ste­fan Karl Schmid. She is a mem­ber of the inter­na­tion­al ensem­ble Emil Mis­zk — Mod­u­laire, with whom she record­ed an album in the autumn of 2025.

In 2019, togeth­er with pianist Mag­dale­na Ochlik-Jankows­ka, she record­ed an album of works for oboe by Eugène Boz­za. The disc includes, among oth­ers, pre­miere record­ings of select­ed com­po­si­tions from the cycles Graphismes and Qua­torze études sur des modes kar­na­tiques pour hautbois.

Her artis­tic project was select­ed for pre­sen­ta­tion at the jubilee 50th edi­tion of the Inter­na­tion­al Com­put­er Music Con­fer­ence in Boston (2025) — as one of 700 projects select­ed from sub­mis­sions across the world. In the 2025/2026 sea­son she was also invit­ed to par­tic­i­pate in the pres­ti­gious con­cert series live@CIRMMT organ­ised by the Cen­tre for Inter­dis­ci­pli­nary Research in Music Media and Tech­nol­o­gy (CIRMMT) in Mon­tre­al (Cana­da).

About the com­posers of the premieres:

Piotr Grel­la-Możeyko

Com­pos­er, lit­er­ary schol­ar, ani­ma­tor of musi­cal life, trans­la­tor, and pub­li­cist, who also works pro­fes­sion­al­ly in graph­ic design. From 1977–83 he stud­ied com­po­si­tion pri­vate­ly under Edward Bogusławs­ki and Bogusław Scha­ef­fer. He grad­u­at­ed in social sci­ences (jour­nal­ism spe­cial­i­sa­tion) at the Uni­ver­si­ty of Sile­sia in Katow­ice. From 1991 he stud­ied com­po­si­tion, music the­o­ry, and his­to­ry at the Uni­ver­si­ty of Alber­ta in Edmon­ton, Cana­da, under Alfred Fish­er and Hen­ry Klumpen­houw­er, receiv­ing a Mas­ter of Music degree in 1993. A year lat­er he became the only com­pos­er from Cana­da select­ed to par­tic­i­pate in the fes­ti­val and con­fer­ence “June in Buf­fa­lo,” dur­ing which he attend­ed lec­tures and mas­ter­class­es giv­en by Mil­ton Bab­bitt, Don­ald Erb, David Felder, Lukas Foss, Roger Reynolds, and Charles Wuorinen.

Between 1998 and 2008 he con­duct­ed inter­dis­ci­pli­nary research at the Uni­ver­si­ty of Alber­ta encom­pass­ing music, lit­er­a­ture, and oth­er art forms. From 2000–2002 he received Canada’s most pres­ti­gious doc­tor­al schol­ar­ship, award­ed by the Social Sci­ences and Human­i­ties Research Coun­cil of Cana­da. From 2003–2004 he received a cre­ative schol­ar­ship award­ed by The Cana­da Coun­cil for the Arts. He is also a lau­re­ate of a num­ber of aca­d­e­m­ic awards, includ­ing the Beryl Barns Award, the Andrew Stew­art Memo­r­i­al Grad­u­ate Prize, and the Marie Louise Imrie Grad­u­ate Award. In 2008 he was award­ed a doc­tor­ate in Com­par­a­tive Lit­er­a­ture for the first dis­ser­ta­tion in Eng­lish on the work of Tadeusz Peiper.

His com­po­si­tions have been pre­sent­ed in thir­ty-sev­en coun­tries across both Amer­i­c­as, Europe, Aus­tralia, and Asia at a range of fes­ti­vals and con­cert series, includ­ing CMC at 35 and NuMuFest (Toron­to), Con­ver­sato­ri­um (Leg­ni­ca), Danc­ing on the Edge (Van­cou­ver), Fes­ti­w­al Muzy­ki Fas­cynu­jącej and Śląs­ka Try­buna Kom­pozy­torów (Katow­ice), Edmon­ton New Music Fes­ti­val, rESOund, Fringe, Inter­na­tion­al Organ Acad­e­my “Pipeworks,” New Music Alber­ta (Edmon­ton), I Gdańskie Spotka­nia Młodych Kom­pozy­torów, X Inter­na­tion­al Evenings of Cham­ber and Organ Music, “June in Buf­fa­lo,” Lab­o­ra­to­ri­um Muzy­ki Współczes­nej, Mul­ti-Art Fes­ti­val (Seoul), “Musi­ca Poloni­ca Nova” (Wrocław), Open Ears Fes­ti­val of Music and Sound (Kitch­en­er-Water­loo), Pacif­ic Mar­ket (Stock­ton, USA), “Poz­nańs­ka Wios­na Muzy­cz­na,” Saska­toon New Music Fes­ti­val, Dni Muzy­ki Kom­pozy­torów Krakows­kich, “Warsza­wska Jesień” (Young Cir­cle con­certs), III Inter­na­tion­al Fes­ti­val of Organ Music and Audio Art (War­saw), and Świę­tokrzyskie Dni Muzy­ki (Kielce).

Per­for­mances, elec­troa­coustic-visu­al pre­sen­ta­tions (often com­bined with exhi­bi­tions of scores and graph­ic works) and radio broad­casts have also tak­en place in cen­tres includ­ing Antwerp, Athens, Basel, Berlin, Bil­bao, Boston, Gene­va, Katow­ice, Kau­nas, Kun­ming, Liuzhou, Lon­don, Los Ange­les, Lau­sanne, Ljubl­jana, Łódź, Mex­i­co City, Mon­tre­al, New York, Ottawa, Paris, Prague, Prince­ton, Seoul, St. Peters­burg, Syd­ney, Toron­to, Turin, Van­cou­ver, Vien­na, and Zürich.

Between 1989 and 2025 he received fifty com­mis­sions and schol­ar­ships for orches­tral and cham­ber works and oth­er artis­tic projects, award­ed in com­pe­ti­tion by, among oth­ers, The Alber­ta Foun­da­tion for the Arts, The Cana­da Coun­cil for the Arts, Edmon­ton Arts Coun­cil, CBC Radio, Cana­di­an Music Cen­tre, Cana­di­an Pol­ish Con­gress, Flan­dre Fes­ti­val (Fes­ti­val van Vlaan­deren), Pol­ish Radio, and the then Min­istry of Cul­ture and Art.

He is an active advo­cate for Pol­ish music, organ­is­ing con­certs and tours, writ­ing about it in Pol­ish pub­li­ca­tions (“Śląsk,” “Ruch Muzy­czny”) and numer­ous West­ern and North Amer­i­can peri­od­i­cals. As the founder of the inde­pen­dent label PGMau­dio he releas­es record­ings, con­cen­trat­ing main­ly on Pol­ish and Cana­di­an reper­toire. Over the years of his activ­i­ty he has brought about per­for­mances of more than two hun­dred Pol­ish con­tem­po­rary works.

Alber­to Caprioli

Com­pos­er born in Bologna in 1956, he holds mas­ter’s degrees in com­po­si­tion under Camil­lo Tog­ni at the Music Con­ser­va­to­ry in Par­ma, in con­duct­ing under Otmar Suit­ner at the Hochschule für Musik und Darstel­lende Kun­st in Vien­na, and in mod­ern philol­o­gy at the Uni­ver­si­ty of Bologna, where he trained under Ezio Raimondi.

The work of Bruno Mader­na and Lui­gi Nono was of fun­da­men­tal impor­tance for the devel­op­ment of his poet­ics. Note­wor­thy are his con­tacts with Tito Got­ti at the Bologna Con­ser­va­to­ry and with Bogusław Scha­ef­fer at the Mozar­teum Uni­ver­si­ty in Salzburg, which ini­ti­at­ed his com­po­si­tion­al activity.

From 1983 his cham­ber works were record­ed by Aus­tri­an Radio at the ORF-Lan­desstu­dio Salzburg, after which two works for solo instru­ment and com­put­er music were cre­at­ed at the Cen­tro di Sonolo­gia Com­putazionale at the Uni­ver­si­ty of Pad­ua (Per lo dolce silen­tio de la notte and Inter­me­dio I).

In 1988 and 1991 he received com­mis­sions from the Europäis­ches Musik­fest Stuttgart (Due not­turni d’oblio for vio­la d’amore solo and nine instru­ments; Sette fram­men­ti dal Kyrie per Dino Cam­pana for soloists, choir, and orches­tra). His piano trio A la dolce ombra won a prize in Avi­gnon, and his first mono­graph­ic CD of cham­ber music was released in Munich (Pro­vi­va, 1988).

After a com­pos­er por­trait in Salzburg (Aspek­te Fes­ti­val, 1989), sub­se­quent works were com­mis­sioned and pre­miered at the most pres­ti­gious music fes­ti­vals, includ­ing Wien Mod­ern, Warsza­wska Jesień, Zeit­fluss Salzburg, Klang­fo­rum Wien, Melos Ethos Bratisla­va, Romaeu­ropa, and the Cen­tre de Créa­tion Musi­cale Ian­nis Xenakis.

In 1992 in Peru­gia he was invit­ed to par­tic­i­pate in the per­for­mance of Music Walk under the direc­tion of John Cage. Siegfried Mauser pre­sent­ed his com­po­si­tions at the Bay­erische Akademie der Schö­nen Kün­ste in Munich. His piece Vor dem sin­gen­den Odem was per­formed by var­i­ous ensem­bles, includ­ing OENM Salzburg dur­ing Milano Musi­ca and Ex Novo Ensem­ble at Teatro La Fenice; both per­for­mances were broad­cast on Ital­ian radio RAI 3.

As a schol­ar of com­par­a­tive lit­er­a­ture, whose main area of inter­est is inter­me­di­al­i­ty between music, lit­er­a­ture, and the visu­al arts, he has been invit­ed to lead sem­i­nars and lec­tures at many Euro­pean and non-Euro­pean uni­ver­si­ties (Bologna, Kraków — Jagiel­lon­ian Uni­ver­si­ty, Edmon­ton Alber­ta, Fer­rara, Lei­den, Milan — Uni­ver­sità Cat­toli­ca, Mary­land at Col­lege Park, Nice Sophia-Antipo­lis, Pavia-Cre­mona, Rome Tor Ver­ga­ta, Turin, Verona, Venice Ca’ Fos­cari), as well as by musi­cal insti­tu­tions includ­ing the Fon­dazione Arturo Toscani­ni, the Ital­ian Cul­tur­al Insti­tute in Wash­ing­ton, the Con­ser­va­to­ry in St. Peters­burg, and the Accad­e­mia del Teatro alla Scala in Milan. In 2020 he was appoint­ed an hon­orary mem­ber of the Ital­ian Soci­ety of Com­par­a­tive Lit­er­a­ture SICL.

In Italy he has received com­po­si­tion­al com­mis­sions from Teatro La Fenice in Venice, Teatro Comu­nale di Bologna, Feste Musi­cali, Fon­dazione Arturo Toscani­ni, Fes­ti­val Pon­ti­no, and Bologna Fes­ti­val. His music has been dis­cussed by lead­ing Ital­ian crit­ics includ­ing Mario Bor­tolot­to, Mario Messi­nis, Gian Pao­lo Minar­di, Piero Mioli, Gior­dano Mon­tec­chi, Gabriele Moroni, Pao­lo Petazzi, and Alessan­dro Taverna.

His com­po­si­tions have been broad­cast by numer­ous radio sta­tions in Europe, Japan, and the Unit­ed States, and pub­lished by Pro Nova in Munich, RAI Trade in Rome, and Fon­dazione Teatro La Fenice in Venice.

His first con­certs as con­duc­tor took place in 1981 at the Deutsche Staat­sop­er in Berlin Unter den Lin­den and at the Großer Sende­saal of Aus­tri­an Radio in Vien­na, and in 1983 he made his Ital­ian debut with the Dres­d­ner Phil­har­moniker and gave his grad­u­a­tion con­cert in Vien­na with the Tonkün­stler-Orch­ester in the Gold­en Hall of the Vien­na Musikvere­in (Ada­gio from Mahler’s 10th Symphony).

His con­duct­ing activ­i­ty sub­se­quent­ly focused increas­ing­ly on the reper­toire of the late 19th and 20th cen­turies and on con­tem­po­rary music, encom­pass­ing numer­ous world pre­mieres and first per­for­mances. Since 1989 he has been a per­ma­nent pro­fes­sor of orches­tra and orches­tral stud­ies at the Bologna Conservatory.

As a guest con­duc­tor he has been invit­ed by many Euro­pean orches­tras and insti­tu­tions (includ­ing Orches­tra del Teatro La Fenice in Venice, Teatro Comu­nale di Bologna, Süd­deutsch­er Rund­funk, Orches­tra Sin­fon­i­ca Arturo Toscani­ni, Öster­re­ichis­ches Ensem­ble für Neue Musik Salzburg, Kam­merensem­ble Neue Musik Berlin, Wiener Konz­erthaus, Teatro Regio di Par­ma, Nuo­va Con­so­nan­za, and Rossi­ni Opera Fes­ti­val), and since 2006 he has col­lab­o­rat­ed as com­pos­er and guest con­duc­tor with Ex Novo Ensem­ble in Venice (Milano Musi­ca, MITO Set­tem­bre Musi­ca, Gus­tav Mahler Musik­wochen, Ex Novo Musica).

In June 2012, at a cer­e­mo­ny in the pres­ence of the Pres­i­dent of the Ital­ian Repub­lic Gior­gio Napoli­tano, Alber­to Capri­oli received the Inter­na­tion­al Music Award “Leonar­do Pater­na Baldizzi” award­ed by the Accad­e­mia Nazionale dei Lin­cei in Rome.

In the autumn of 2016 his Ode alla luce for orches­tra was per­formed for the first time under the baton of Mar­co Angius dur­ing the first edi­tion of the “Bologna Mod­ern” fes­ti­val at Teatro Comu­nale di Bologna. At the same fes­ti­val, Nico­la Sani, togeth­er with Mau­r­izio Giani, Ste­fano Lom­bar­di Val­lau­ri, and Alessan­dro Tav­er­na, pre­sent­ed a new mono­graph­ic record­ing “Alber­to Capri­oli — Aria bizan­ti­na,” released by Stradi­var­ius in Milan. In Decem­ber 2016 the same record was pre­sent­ed in Venice by Clau­dio Ambrosi­ni and Mario Messi­nis at Ate­neo Veneto.

In 2017 he was invit­ed to cre­ate and lead an inter­me­di­al project based on the works of Franz Schu­bert, Lui­gi Nono, Car­lo Scarpa, and John Cage as part of Dino Gavi­no’s exhi­bi­tion dur­ing Bologna Design Week. His Ada­gio esta­ti­co for solo vio­la received its world pre­miere by Alber­to Bel­li at the Bologna Fes­ti­val 2017 edi­tion “Il nuo­vo e l’an­ti­co. Stock­hausen dieci anni dopo.”

In 2018 he was invit­ed to serve on the jury of the inter­na­tion­al com­po­si­tion com­pe­ti­tion “Pre­mio Trio di Tri­este.” Ex Novo Ensem­ble gave the world pre­miere in Venice of his Le sot­tili arie del cielo for instru­ments and voic­es of six per­form­ers, com­mis­sioned by Teatro La Fenice and broad­cast by RAI Radio3.

Mari Kimu­ra per­formed his Gilles for vio­lin and live elec­tron­ics in Siena dur­ing her solo mul­ti­me­dia con­cert at the Chi­giana Inter­na­tion­al Fes­ti­val 2019 edition.

In 2020 his com­po­si­tion Vor dem sin­gen­den Odem was per­formed by Ex Novo Ensem­ble and Clau­dio Ambrosi­ni dur­ing the 64th Inter­na­tion­al Fes­ti­val of Con­tem­po­rary Music Bien­nale in Venice.

Tickets

40 PLN