Koncert na Zmianę Czasu

On the Octo­ber night when time slows and we sym­bol­i­cal­ly shift towards win­ter, we invite you to a gen­tly envelop­ing reflec­tion on its pas­sage — at a rush or at a walk: of hours, min­utes, sec­onds. To co-cre­ate a con­cert we will lis­ten to lying on rugs, cush­ions and under blan­kets, with a cup of tea or hot choco­late in hand, we have invit­ed Pol­ish composers.

The idea of reg­u­lat­ing, con­trol­ling and pre­cise­ly mea­sur­ing time was close­ly con­nect­ed with nascent cap­i­tal­ism. Sav­ing ener­gy and mon­ey, and mak­ing effec­tive use of every minute, seemed to enlight­ened peo­ple in 18th-cen­tu­ry Europe and the USA to be the best road to future pros­per­i­ty and hap­pi­ness. As a result, towards the end of the 19th cen­tu­ry (sic!) time zones appeared, and lat­er, at the begin­ning of the 20th cen­tu­ry, came the idea of mov­ing the clocks to so-called sum­mer time, allow­ing longer use of sun­light. In Poland the idea took hold rather slow­ly, first imposed by the Aus­tro-Hun­gar­i­an Empire (1916) and the Hitler regime (1940). It became per­ma­nent only at the end of the 1970s. Quite a short his­to­ry for such a deeply estab­lished custom…

Accel­er­a­tion, den­si­ty, effi­cien­cy, ratio­nal­i­ty, econ­o­my and devel­op­ment — even 30–40 years ago this sound­ed like a promise of a bet­ter tomor­row. The side effects are vis­i­ble to the naked eye. Look­ing at the chang­ing times, the cli­mate cat­a­stro­phe, anx­i­eties, men­tal ill­ness­es, we can’t help won­der­ing: is there any point in rush­ing? Where are we fly­ing to? What do we gain? Is con­stant growth real­ly necessary?

Man changes time, and along­side, times keep chang­ing. And per­haps before the end of times we will yet hear some­thing — or some­one — or our­selves — more attentively?

The pro­gramme of the Kon­cert na Zmi­anę Cza­su (of times?) con­tains no few­er than two world pre­mieres — works com­mis­sioned from Alek­sander Koś­ciów and Andrzej Karałow make use of the son­ic pos­si­bil­i­ties of a 16-voice ensem­ble in which every voice is a sep­a­rate part. Inana descend­ing is a spa­tial work, realised in ambison­ics tech­nol­o­gy, by the Pol­ish com­pos­er Ewa Trębacz, who lives and works in Seat­tle. The pro­gramme is com­plet­ed by Mikołaj Laskowski’s “instruc­tion” for atten­tive lis­ten­ing and full relaxation.

We warm­ly invite you to atten­tive listening.

It is worth bring­ing warm socks and a jumper; cush­ions, blan­kets and warm drinks will be wait­ing on site.

Pro­gramme:

Andrzej Karałow Lumi­nous Gar­dens** Mikołaj Laskows­ki Deep relax­ation Ewa Trębacz Inana Descend­ing Alek­sander Koś­ciów några dagar på flodstranden**

**world pre­miere

Per­form­ers:

Alek­san­dra Demows­ka-Made­js­ka vio­la Dominik Pło­cińs­ki cel­lo Łuc­ja Chyrzyńs­ka* flute Bartłomiej Sutt* percussion

*Akademia PRO Hash­tag Ensemble

Match Match Ensemble:

Maria Złotek sopra­no Adri­an­na Żołnier­czuk-Malec sopra­no Kon­stanc­ja Molews­ka sopra­no Alek­san­dra Dro­gosz-Szy­mańs­ka sopra­no Mar­ta Schnu­ra alto Marzena Lewandows­ka alto Ewa Kijew­s­ka alto Mał­gorza­ta Bartkows­ka alto Marcin Kucińs­ki tenor Paweł Kowalews­ki tenor Andrzej Klepac­ki tenor Jakub Prasał tenor Alek­sander Sło­jew­s­ki bass Michał Malec bass Tymo­teusz Cyrkun bass Michał Kijew­s­ki bass

Lil­ian­na Krych con­duc­tor Julia Kurzyd­lak conductor

Woj­ciech Błaże­jczyk sound engineering

Pro­duc­tion:

pro­duc­tion: Mar­ta Piórkows­ka pro­gramme con­cept: Lil­ian­na Krych, Woj­ciech Błaże­jczyk text: Lil­ian­na Krych visu­al iden­ti­ty: Alek­san­dra Ołdak Co-financed from the funds of the Min­is­ter of Cul­ture and Nation­al Her­itage from the Cul­ture Pro­mo­tion Fund with­in the “Music” pro­gramme, imple­ment­ed by the Nar­o­dowy Insty­tut Muzy­ki i Tańca.

“Co-financed from the funds of the Min­is­ter of Cul­ture and Nation­al Her­itage from the Cul­ture Pro­mo­tion Fund — a state ear­marked fund — with­in the ‘Com­po­si­tion­al Com­mis­sions’ pro­gramme, imple­ment­ed by the Nar­o­dowy Insty­tut Muzy­ki i Tańca.”

Przestrzeń Muzy­ki Współczes­nej Hash­tag Lab is co-financed by the Cap­i­tal City of War­saw. The media patron of Przestrzeń Muzy­ki Współczes­nej Hash­tag Lab is POLMIC​.PL.

Tickets

40 PLN