Postkolor | koncert towarzyszący 68. MFMW \“Warszawska Jesień\”

The Postkolor con­cert is con­ceived as a cre­ative show­case for the young gen­er­a­tion of composers. 

Thanks to the ini­tia­tive of the Young Cir­cle of the Pol­ish Com­posers’ Union, audi­ences will hear six select­ed works sub­mit­ted by young com­posers, per­formed by Sepia Ensem­ble, a group spe­cial­is­ing in con­tem­po­rary music performance.

The con­cert pro­gramme pairs pre­miere com­po­si­tions with the piece U Rad­ka (1993) by Paweł Myki­etyn, offer­ing a frame­work for dia­logue between gen­er­a­tions and dif­fer­ent approach­es to con­tem­po­rary sound expres­sion. The tit­u­lar Postkolor refers to the idiom of “post-tim­bre”, invit­ing a rein­ter­pre­ta­tion of son­ic tra­di­tion and an explo­ration of new means of expres­sion. The event will serve as a space for inter­gen­er­a­tional exchange of expe­ri­ence and reflec­tion on the direc­tions of devel­op­ment in con­tem­po­rary music.

Programme:

Fil­ip Goł­danows­ki TORSO II: Volles Werk*
Krys­t­ian Klej Wid­mo*
Moni­ka Koza­kiewicz Ôstat­nie strōmy*
Fil­ip Popielarz frac­tal traces*
Moni­ka Sroczyńs­ka Seri­ous Piece*
Andrei Yakushau Hana wa hana*
Paweł Myki­etyn U Rad­ka
*world pre­miere

Performers:

Sepia Ensem­ble
Szy­mon Józwiak clar­inet
Woj­ciech Jelińs­ki trom­bone
Anna Szma­toła cel­lo
Tomasz Soś­ni­ak piano

Production:

pro­gramme con­cept and text: Paweł Siek
pro­gramme over­sight: Daria Kon­draciuk, Grze­gorz Uran
pro­duc­tion: Olga Pasek
visu­al iden­ti­ty: Alek­san­dra Ołdak

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

More about the works:

Ôstat­nie strōmy is a piece for clar­inet, trom­bone, cel­lo and piano, inspired above all by the work of Zyg­munt Krauze and Paweł Myki­etyn. It is a musi­cal illus­tra­tion of the print “Umier­a­ją­cy las” (“Dying For­est”, 1957–58) by the Sile­sian artist Ste­fan Suber­lak. The Sile­sian title of the piece can be trans­lat­ed as “The Last Trees” and is a direct ref­er­ence to the print and to Suber­lak’s ori­gins. The entire work is based on min­i­mal­ist mate­r­i­al com­posed of a series of six pitch­es, the first four of which allude to the open­ing of the Sile­sian folk song “Od buczku do buczku”. In this brief com­po­si­tion, three motifs can be dis­tin­guished: the motif of the trees, form­ing a bass osti­na­to over which a pas­sacaglia grows; the motif of labour — mechan­i­cal, vig­or­ous, aggres­sive, poly­met­ric, with irreg­u­lar accents and numer­ous met­ric dis­so­nances; and the motif of pain — sonoris­tic, built from pul­sat­ing sound clusters.

frac­tal traces is built around the idea of an encounter between two dis­tinct musi­cal cur­rents: spec­tral­ism and min­i­mal­ism. The son­ic lan­guage draws inspi­ra­tion — on one hand — from the work of Gérard Grisey and Georg Friedrich Haas, and on the oth­er — from John Adams and Steve Reich. The music devel­ops organ­i­cal­ly, mov­ing from dense, sta­t­ic struc­tures to more defined, motoric and repet­i­tive tem­po­ral forms. The title refers to the idea of traces and struc­tures that reveal them­selves at dif­fer­ent lev­els — both in tim­bre and in time — build­ing musi­cal form from frag­ments that seem dis­persed but togeth­er cre­ate a coher­ent whole.

Seri­ous piece aims to con­vey — true to its title, but in a grotesque man­ner — a mood of grav­i­ty, as well as its oppo­site, all through osten­si­bly stereo­typ­i­cal musi­cal means held togeth­er by dynam­ic, motoric rhyth­mics.

Hana wa hana — which trans­lates from Japan­ese as “A flower is a flower” — is a piece inspired by the Japan­ese phi­los­o­phy of ephemer­al­i­ty and restrained beau­ty. Its epi­graph might read: “The true flower knows when to fall”.

More about the artists:

Fil­ip Goł­danows­ki
Com­pos­er and pianist. He nev­er attend­ed music schools. Until the age of eleven he took pri­vate lessons from Anna Maria Huszcza, Mar­ty­na Kułakows­ka, Żane­ta Rydzews­ka, Joan­na Urbańs­ka and Fil­ip Zaborows­ki. His cur­rent teach­ers include Mateusz Ryczek and Kon­rad Jelińs­ki. He stud­ies com­po­si­tion tech­niques inde­pen­dent­ly and devel­ops them fur­ther through con­tacts abroad. He has par­tic­i­pat­ed sev­er­al times in com­po­si­tion cours­es in Poland and oth­er coun­tries, and three times as a pianist in the Sum­mer Cours­es in New Music for Per­form­ers in Byd­goszcz. He has been award­ed prizes mul­ti­ple times in Euro­pean com­po­si­tion com­pe­ti­tions. His works — includ­ing many piano com­po­si­tions pre­sent­ed per­son­al­ly dur­ing com­pos­er recitals — have been per­formed to date in Poland and Ger­many. His com­po­si­tion­al out­put encom­pass­es works in var­i­ous vocal-instru­men­tal gen­res, from solo pieces to diverse cham­ber for­ma­tions and orches­tras of var­i­ous sizes, includ­ing ora­to­rios, mul­ti­me­dia, the­atri­cal, oper­at­ic and con­cep­tu­al works, graph­ic scores, as well as cycles and a wide range of pieces for solo piano.

Krys­t­ian Klej
Grad­u­ate of the mas­ter’s pro­gramme in organ in the class of Prof. Dr hab. Sła­womir Kamińs­ki and assis­tant Dr Jakub Pankowiak, and of the mas­ter’s pro­gramme in com­po­si­tion in the class of Prof. Artur Kroschel. He com­plet­ed these stud­ies at the I.J. Paderews­ki Acad­e­my of Music in Poz­nań. He was a final­ist of the Inter­na­tion­al Com­po­si­tion Com­pe­ti­tion Forme Uniche Del­la Con­ti­nu­ità Nel­lo Spazio 2021 in the cham­ber music cat­e­go­ry for the piece The gate for nar­ra­tor, alto sax­o­phone and piano (world pre­miere in Stuttgart). He received a dis­tinc­tion at the Bro­nisław Rutkows­ki Organ Com­pe­ti­tion in Kraków (2021). He has par­tic­i­pat­ed in numer­ous cours­es in organ inter­pre­ta­tion and impro­vi­sa­tion in Poland and abroad led by, among oth­ers, Mar­tin Schmed­ing, Matthias Maier­hofer, Jaroslav Tůma, Jan Dolezal, Maude Grat­ton, Bar­tosz Jakubczak, and Wolf­gang Seifert. He rep­re­sent­ed the Arch­dio­cese of Gniezno at the 25th anniver­sary of the Arch­dio­cese of Magde­burg, per­form­ing with the local phil­har­mon­ic. Krys­t­ian Klej is also the artis­tic direc­tor of the Sum­mer Organ Pre­sen­ta­tions named after Lon­gin Kosińs­ki, held for the past eight years at Gniezno Cathe­dral. Since 2021 he has been lead­ing the organ class at the Karol Kurpińs­ki State Music School of the First Degree in Wschowa. He is also a staff mem­ber of the Roman Maciejew­s­ki State Music School of the First and Sec­ond Degree in Leszno.

Moni­ka Koza­kiewicz
Com­pos­er born in Kraków. She grad­u­at­ed with dis­tinc­tion from the com­po­si­tion pro­gramme in the class of Prof. Alek­sander Nowak at the Karol Szy­manows­ki Acad­e­my of Music in Katow­ice. She is cur­rent­ly a doc­tor­al stu­dent at the Insti­tute of Musi­cal Arts of the Uni­ver­si­ty of Sile­sia. She is also a grad­u­ate of the Mieczysław Karłow­icz State Music School of the Sec­ond Degree in Kraków, and of the mas­ter’s pro­gramme in psy­chol­o­gy at the Ped­a­gog­i­cal Uni­ver­si­ty of Kraków. In addi­tion, she is a pianist in the vio­lin-piano duo Coren­ite, a dancer in the Stu­dent Song and Dance Ensem­ble “Katow­ice”, organ­is­er of psy­chol­o­gy-music con­fer­ences, and author of papers and pub­li­ca­tions in this field. Since 2018 she has been a mem­ber of the Young Cir­cle of the Pol­ish Com­posers’ Union. She has active­ly par­tic­i­pat­ed in com­po­si­tion work­shops with such com­posers as Graży­na Pstrokońs­ka-Nawratil, Aga­ta Zubel-Moc, Artur Zaga­jew­s­ki, Pierre Jod­lows­ki, Andrzej Kwiecińs­ki, Got­thard Oder­matt, Luca Antig­nani, Johannes Krei­dler, Mar­co Strop­pa, Mark Andre, Doina Rotaru, Zyg­munt Krauze, Francesco Fil­idei, and Bára Gís­ladót­tir. She honed her craft at the Inter­na­tion­al Com­po­si­tion Course “Syn­thetis”. Her works have been per­formed in Kraków, Wrocław, War­saw, Gdańsk, Katow­ice, at the con­cert accom­pa­ny­ing the 65th War­saw Autumn Inter­na­tion­al Fes­ti­val of Con­tem­po­rary Music, at the com­pos­er con­cert accom­pa­ny­ing the 31st Musi­ca Poloni­ca Nova Fes­ti­val, at the con­cert in the “Month of Women” series at the Zielona Góra Phil­har­mon­ic, and at con­certs accom­pa­ny­ing inter­na­tion­al con­fer­ences. She has also had per­for­mances abroad: in Biele­feld (Ger­many), at Treb­nitz Cas­tle (Ger­many), and in Min­sk (Belarus). Her works have been per­formed by, among oth­ers, the New Music Orches­tra, the Kraków Young Phil­har­mon­ic, Sonar Quar­tett, Five-Storey Ensem­ble, Ko-MAT_en­sem­ble, Con­cept Store Quar­tet, and the Sym­pho­ny Orches­tra of the Zielona Góra Phil­har­mon­ic. In 2018 her piece Bagua received a nom­i­na­tion for per­for­mance at the Poz­nań Musi­cal Spring Fes­ti­val at the 1st Nation­al Com­po­si­tion Com­pe­ti­tion “Neo­fo­nia”. In 2019 she won the Grand Prix at the Inter­na­tion­al Com­po­si­tion Com­pe­ti­tion “Folk­ing with Eras­mus+” for her piece Mag­yar rap­szó­dia. In 2020 she com­posed music for a silent film as part of the Pol­ish-Belaru­sian Film Music Fes­ti­val “Kinemo”. The film L’é­toile de mer (dir. M. Ray) with her music (piece: Seestern siegt!) was screened in 2021 in Min­sk, Belarus. In 2024, anniver­sary con­certs were held to mark the 75th anniver­sary of the old­est stu­dent folk ensem­ble in Poland — the W. Białowąs Song and Dance Ensem­ble AGH “Krakus” — fea­tur­ing her arrange­ments for sym­pho­ny orches­tra of twelve dance-and-vocal suites. In March 2025, a paint­ing exhi­bi­tion vernissage took place at which a film etude with her impro­vised piano music was pre­sent­ed. In May 2025, the pre­miere of her opera “Ajde” to her own libret­to was held. Her great­est com­po­si­tion­al inter­ests include search­ing for a cer­tain “musi­cal medi­um” between folk music and broad­ly con­ceived con­tem­po­rary music, as well as neo­baroque in music and sound­scape themes. She also wish­es to con­tin­ue devel­op­ing her craft in the area of film and the­atri­cal music com­po­si­tion, and in the cre­ation of musi­cal arrangements.

Fil­ip Popielarz
Pol­ish com­pos­er born in 1994. He took his first com­po­si­tion lessons from Sła­womir Zamuszko in 2020. In 2022 he com­plet­ed the Post­grad­u­ate Com­po­si­tion Stud­ies in the class of Dr hab. Rafał Jani­ak at the Fry­deryk Chopin Uni­ver­si­ty of Music in War­saw. He is cur­rent­ly con­tin­u­ing his mas­ter’s stud­ies at the same insti­tu­tion, in the class of Dr hab. Dar­iusz Przy­byl­s­ki. He devel­oped his com­po­si­tion­al craft dur­ing mas­ter­class­es with, among oth­ers, Woj­ciech Ziemow­it-Zych, Kamil Kruk, Marcin Stańczyk, Adam Poręb­s­ki, Żane­ta Rydzews­ka, Sła­womir Woj­ciechows­ki and Michał Dobrzyńs­ki. In 2021 he received a dis­tinc­tion at the Inter­na­tion­al Com­po­si­tion Com­pe­ti­tion OBERTON in Aus­tria for his com­po­si­tion Howl­ing with wolves for string octet. In 2023 he received the Artis­tic Schol­ar­ship of the May­or of Ełk (the com­poser’s home city), cul­mi­nat­ing in a Com­pos­er Con­cert. In 2024, the Chopin Uni­ver­si­ty Mod­ern Ensem­ble (CUME) gave the world pre­mieres of two of his works: Min­i­mal Max­i­mum – Max­i­mal Min­i­mum and A‑itheras XXIV. In the same year, with­in the fes­ti­val Trzy-Czte-Ry: Kon­tek­sty, Kon­trasty, Kon­frontac­je, Ven­tuno Quar­tet per­formed his string quar­tet Oscil­la­tions. He also had the oppor­tu­ni­ty to col­lab­o­rate with the ensem­ble Kwartludi­um, which per­formed his Some music (2024) and once again, please (2025) at the Krzysztof Pen­derec­ki Euro­pean Music Cen­tre (Lusław­ice, Poland). In 2025 he made his debut at the Poz­nań Musi­cal Spring with the piece Whis­per­ing Puls­es for sax­o­phone and mul­ti­per­cus­sion. His areas of inter­est include cham­ber, sym­phon­ic and elec­tron­ic music.

Moni­ka Sroczyńs­ka
Pianist, com­pos­er, music the­o­rist, aca­d­e­m­ic teacher. From 2004 to 2016 she stud­ied piano at the Fry­deryk Chopin Music Schools Com­plex in Piła in the class of Jolan­ta Reszel­s­ka. From 2016 to 2021 she stud­ied at the Feliks Nowowiejs­ki Acad­e­my of Music in Byd­goszcz in the com­po­si­tion class of Prof. Zbig­niew Bargiel­s­ki, the piano class of Dr hab. Anna Stempin-Jas­nows­ka, and in music the­o­ry. Twice, in 2016 and 2018, she received a prize from the Pol­ish Com­posers’ Union in War­saw at the Inter­na­tion­al Piano Forum “Bieszczady bez granic” in Sanok. In 2018 her work “Kon­trasty” received a dis­tinc­tion at the 3rd Inter­na­tion­al Com­po­si­tion Com­pe­ti­tion named after Igna­cy Jan Paderews­ki in Byd­goszcz. In 2021 she received the Plat­inum Medal in the “Com­po­si­tion” cat­e­go­ry for the work “Dys­lokac­je” and in the “Piano” cat­e­go­ry for a per­for­mance of “6 Water Col­ors” by Leo Orn­stein at the 2021 Que­bec Music Com­pe­ti­tion. She has reg­u­lar­ly per­formed at com­pos­er con­certs and twice at the “Nowa Muzy­ka” fes­ti­val in Byd­goszcz, per­form­ing her own works and those of oth­er com­posers. Since 2021 she has been active in teach­ing and per­form­ing. In 2022 her debut album “PianoCom­pos­er” was released, con­tain­ing solo and cham­ber works. At that time she also began col­lab­o­rat­ing with the Artis­tic Exhi­bi­tion Office of Piła Coun­ty, where she reg­u­lar­ly gives recitals. In 2023 she was hon­oured with the Starost of Piła Award in the “Cul­ture” cat­e­go­ry. The fol­low­ing year her next album “Christ­mas Impres­sions and More” was released, con­tain­ing 14 piano pieces. One of them, “Bagatelle No. 1”, received Third Prize at the Inter­na­tion­al Music Fes­ti­val “Gold­en Key” in Vien­na. Moni­ka Sroczyńs­ka is also a mem­ber of the Young Cir­cle of the Pol­ish Com­posers’ Union. Her com­po­si­tion­al out­put includes piano, cham­ber, orches­tral, and elec­tron­ic works as well as graph­ic notation.

Andrei Yakushau
Con­duc­tor, com­pos­er and arranger. In 2021 he com­plet­ed a mas­ter’s degree in opera and sym­phon­ic con­duct­ing at the I.J. Paderews­ki Acad­e­my of Music in Poz­nań in the class of Prof. Dr hab. War­cisław Kuniec, and a mas­ter’s degree in com­po­si­tion at the Fry­deryk Chopin Uni­ver­si­ty of Music in War­saw under the super­vi­sion of Prof. Dr hab. Marcin Błażewicz. He served as assis­tant con­duc­tor at the Tadeusz Baird Zielona Góra Phil­har­mon­ic (2022–2023) and as artis­tic assis­tant at the Baltic Opera in Gdańsk (2025). He col­lab­o­rates most exten­sive­ly with the Stanisław Moniuszko Grand The­atre in Poz­nań. Since 2021 he has been a doc­tor­al stu­dent at the Doc­tor­al School of Com­po­si­tion, Music The­o­ry, Eurhyth­mics and Music Edu­ca­tion of the I.J. Paderews­ki Acad­e­my of Music in Poz­nań, spe­cial­is­ing in com­po­si­tion in the class of Prof. AM Dr hab. Artur Kroschel. In the aca­d­e­m­ic year 2021/2022 he com­plet­ed a place­ment under the Eras­mus+ Prac­ti­cal Place­ments pro­gramme at the Con­ser­va­to­rio Gio­van­ni Bat­tista Mar­ti­ni in Bologna (Italy) as an assis­tant in the com­po­si­tion and con­duct­ing class of Prof. Gian Pao­lo Lup­pi. Since 2018 he has been a mem­ber of the Young Cir­cle of the Pol­ish Com­posers’ Union (board mem­ber 2018–2024). Lau­re­ate of numer­ous com­pe­ti­tions and schol­ar­ship programmes.

Tickets

Free Entry