Scena Akademii PRO

Sce­na Akademii PRO — a space ded­i­cat­ed to young pro­fes­sion­als fas­ci­nat­ed by the newest music.

We are about to meet the par­tic­i­pants of the third edi­tion of the Akademia PRO programme.

Akademia PRO Hash­tag Ensem­ble is a year-long men­tor­ing pro­gramme aimed at stu­dents and grad­u­ates of music acad­e­mies who wish to deep­en their inter­est in the newest music and devel­op their own artis­tic identity.

Select­ed through a com­pe­ti­tion, the par­tic­i­pants take part in an inten­sive series of work­shops and mas­ter­class­es led by musi­cians of Hash­tag Ensem­ble and invit­ed guests. The con­cert pro­gramme is made up of pieces cho­sen by the par­tic­i­pants them­selves — the out­come of their indi­vid­ual explo­rations and col­lab­o­ra­tions formed dur­ing shared artis­tic work with­in the Academy.

Spe­cial­ly for Akademia PRO par­tic­i­pants, the fol­low­ing com­posers ded­i­cat­ed works:

Olga Pasek, Jan Błaże­jczak, and Patryc­ja Kołodziejska.

Pro­gram:

Olga Pasek time dila­tion loops *

Alek­san­dra Kaca fjar­lægur for vio­lin and viola

Patryc­ja Kołodziejs­ka the house has been a bur­ial site *

Woj­ciech Blecharz stimm(i)[u]ng for reversed cello

Paweł Janas Hyp­no­sis for accordion

Jan Błaże­jczak green, I want you green *

*pre­miere

Per­form­ers:

Ste­fa­nia Gra­biec vio­lin­Doro­ta Mal­mor vio­laAn­toni Majew­s­ki cel­loTomasz Piasec­ki accor­dion­Na­dia Mikoła­jczyk per­cus­sionKarol Knapińs­ki con­duc­torMichał Adamin trumpet *

Julian Paproc­ki clar­inet ***free audi­tor of Akademia PRO

** guest

Pro­duc­tion:

pro­gramme con­cept and text: 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.

Media patron­age over Akademia PRO — Meakul­tura Foundation.

About the performers:

Ste­fa­nia Gra­biec — Vio­lin­ist, under­grad­u­ate stu­dent at the Karol Szy­manows­ki Acad­e­my of Music in Katow­ice, in the class of Prof. Dr hab. Szy­mon Krzes­zowiec and Asst. Dr Sulami­ta Ślubows­ka, and cur­rent­ly a stu­dent at the Fry­deryk Chopin Uni­ver­si­ty of Music in War­saw, in the class of Prof. Dr hab. Jakub Hau­fa. Lau­re­ate of nation­al and inter­na­tion­al com­pe­ti­tions, espe­cial­ly in the field of con­tem­po­rary music (includ­ing 1st Prize at the 17th Nation­al Con­tem­po­rary Music Com­pe­ti­tion in Płock). Schol­ar­ship recip­i­ent of the Nation­al Recov­ery Plan in 2024. She per­formed as soloist with the Pueblo Sym­pho­ny Orches­tra in Col­orado (USA) and has col­lab­o­rat­ed with the New Music Orches­tra, the Nation­al Phil­har­mon­ic, and the Vir­tu­osi of Hous­ton Young Artists Cham­ber Orches­tra. She has tak­en part in pres­ti­gious fes­ti­vals and projects includ­ing Musi­ca Elec­tron­i­ca Nova 2025, Les Folles Journées de la Musique, and Min­i­mal Music at NOSPR. She has per­formed in many renowned con­cert halls of insti­tu­tions such as the Pol­ish Radio Nation­al Sym­pho­ny Orches­tra, the Nation­al Phil­har­mon­ic, the Sile­sian Phil­har­mon­ic, the Nation­al Forum of Music, the cham­ber hall of the Grand The­atre — Nation­al Opera, Hoag Hall and Memo­r­i­al Hall in Pueblo (Col­orado, USA), The Wortham Cen­ter, and Brown The­ater in Hous­ton (Texas, USA). She has honed her skills under dis­tin­guished teach­ers includ­ing Eszter Haffn­er, Dmit­ry Sitkovet­sky, Boris Gar­l­it­sky, Bar­tosz Bryła, Woj­ciech Koprows­ki, Jakub Jakow­icz, Alexan­der Sitkovet­sky, Anna Kwiatkows­ka, Adam Kośmie­ja, and Mateusz Ryczek. She is a par­tic­i­pant in solo, cham­ber, and orches­tral cours­es includ­ing Waka­cyjne Kursy Muzy­ki Nowej dla Wykon­aw­ców in Byd­goszcz, Schloss Akademie Inter­na­tion­al Mas­ter­class in Paris and Vien­na, Zakopi­ańs­ka Akademia Sztu­ki, and Mannheim School — Euro­pean Youth Orches­tra Academy.

Doro­ta Mal­mor — Vio­list, grad­u­ate of mas­ter’s stud­ies at the Karol Szy­manows­ki Acad­e­my of Music in Katow­ice in the class of Dr hab. Elż­bi­eta Mrożek-Los­ka. Still search­ing for her place in the musi­cal land­scape, she is a lover of both new tech­niques and his­tor­i­cal per­for­mance prac­tice. She finds the great­est joy in cham­ber music in all con­fig­u­ra­tions. Pri­vate­ly she is a book­worm, kitchen exper­i­menter, and fan of rasp­ber­ry tea.

Antoni Majew­s­ki — Cel­list who in his artis­tic prac­tice focus­es on the per­for­ma­tive act as a direct, expe­ri­en­tial dia­logue with the audi­ence. He trained at the Fry­deryk Chopin Uni­ver­si­ty of Music in War­saw, the Hochschule für Musik Carl Maria von Weber in Dres­den, and the Franz Liszt Acad­e­my of Music in Budapest. He is cur­rent­ly a doc­tor­al stu­dent at the Acad­e­my of Art in Szczecin. He is a com­pe­ti­tion lau­re­ate and schol­ar­ship recip­i­ent from, among oth­ers, the Min­istry of Cul­ture and Nation­al Her­itage, the Nation­al Recov­ery Plan, and lau­re­ate of the Award of the Pres­i­dent of Byd­goszcz. He has per­formed at venues includ­ing Zachę­ta — Nation­al Gallery of Art, the Krzysztof Pen­derec­ki Euro­pean Music Cen­tre in Lusław­ice, and TRAFO Trafos­tac­ja Sztu­ki in Szczecin, as well as at numer­ous fes­ti­vals, and he works as a cre­ator and cura­tor with­in the W788 Foun­da­tion and the Koherenc­je Foundation.

Nadia Mikoła­jczyk — Artist for whom per­cus­sion instru­ments, and the marim­ba in par­tic­u­lar, con­sti­tute the pri­ma­ry space for express­ing emo­tions and inspir­ing oth­ers. She views music as a liv­ing dia­logue with the lis­ten­er, ground­ed in authen­tic­i­ty and a con­stant search for means of expres­sion. Music is for her a form of expres­sion, espe­cial­ly through instru­men­tal the­atre, where sound forms an insep­a­ra­ble uni­ty with move­ment and ges­ture. It is in this uni­ty that she finds the free­dom to cre­ate art that is ful­ly coher­ent with her inner world.

Karol Knapińs­ki — Orig­i­nal­ly from Wrocław, where he com­plet­ed his music stud­ies (piano, con­duct­ing, choral con­duct­ing) and uni­ver­si­ty stud­ies (Pol­ish philol­o­gy). He stud­ied part of his pro­gramme at the Eston­ian Acad­e­my of Music and The­atre in Tallinn, and in the course of aca­d­e­m­ic exchanges also col­lab­o­rat­ed with the Music Con­ser­va­to­ry in Tbil­isi and the Poly­tech­nic Uni­ver­si­ty of Turin. As a con­duc­tor he has had the oppor­tu­ni­ty to per­form with the most impor­tant choral ensem­bles in Poland (the NFM Choir, Pol­ish Radio Choir — Lusław­ice, Vocal Ensem­ble of the Pol­ish Roy­al Opera). He had the oppor­tu­ni­ty to learn new music at the Waka­cyjne Kursy Muzy­ki Nowej in Byd­goszcz (includ­ing with Szy­mon Bywalec, Mar­ty­na Zakrzews­ka, and Adam Kośmie­ja) and from Hash­tag Ensem­ble. In 2024 he co-found­ed the vocal ensem­ble pół.chór, which per­forms both music of the ear­li­est eras and world pre­mieres of new com­po­si­tions by the youngest cre­ators (Ali­na Dzię­cioł, Jan Paweł Prze­gendza, Piotr Dogońs­ki). He is a lau­re­ate of schol­ar­ships from the Pres­i­dent of Wrocław and the Min­is­ter of Cul­ture and Nation­al Her­itage. He writes aca­d­e­m­ic and crit­i­cal articles.

Tomasz Piasec­ki — Accor­dion­ist, an artist com­mit­ted to per­form­ing music of every kind. He con­tin­u­al­ly explores the son­ic and phys­i­cal world in order to dis­cov­er new mean­ings. He is co-cre­ator of many projects that extend beyond the bound­aries of tra­di­tion­al per­cep­tion of art. His goal is to spread and derive joy from the fruits of his work. In his free time he sails on lakes and oceans.

Michał Adamin — Trum­peter, reg­u­lar­ly asso­ci­at­ed with the Pol­ish Sin­fo­nia Iuven­tus Orches­tra im. Jerzy Semkow. He stud­ied at the Karol Szy­manows­ki Acad­e­my of Music in Katow­ice, the Esco­la Supe­ri­or de Musi­ca de Catalun­ya in Barcelona, and the Fry­deryk Chopin Uni­ver­si­ty of Music in War­saw. In the 2025/2026 sea­son he is a free audi­tor of Akademia PRO Hash­tag Ensem­ble. He has col­lab­o­rat­ed with, among oth­ers, Szy­mon Bywalec, Andrzej Bauer, Igna­cy Zalews­ki, and Rudi­ger Bohn.

About the works:

Jan Błaże­jczak — green, I want you green — the work is based on the premise that tim­bre is the over­ar­ch­ing organ­is­ing prin­ci­ple of the musi­cal course, and that form aris­es direct­ly from its trans­for­ma­tions over time. The son­ic mate­r­i­al is shaped through instru­ment prepa­ra­tions and live sound pro­cess­ing. Elec­tron­ics sub­tly extend and mod­el the sound of the acoustic instru­ments. Giv­en the del­i­cate char­ac­ter of the sounds pro­duced, all instru­ments are equipped with micro­phones, enabling the cap­ture of the finest artic­u­la­to­ry nuances and the full rev­e­la­tion of tonal richness.

Olga Pasek — time dila­tion loops. The ensem­ble con­sists of: clar­inet, accor­dion, vio­lin, vio­la, cel­lo, and per­cus­sion, enriched by an elec­tron­ic lay­er in the form of tape (quadra­phon­ic sys­tem) and live elec­tron­ics — pro­cess­ing applied to all instru­ments. The com­po­si­tion is inspired by the phe­nom­e­non of time dila­tion, described in the the­o­ry of rel­a­tiv­i­ty as a dif­fer­ence in the mea­sure­ment of the pas­sage of time made simul­ta­ne­ous­ly in two dif­fer­ent frames of ref­er­ence. In the con­text of the piece, the main source of inspi­ra­tion is the cos­mos — a space in which time slows near mas­sive objects and for objects mov­ing at great speed. The faster a giv­en object moves, the more slow­ly time pass­es for it rel­a­tive to an observ­er at rest or mov­ing more slow­ly. The main musi­cal premise of the work is the manip­u­la­tion of tem­po, rhythm, and the afore­men­tioned “flow of time.” The lead­ing idea is the cre­ation of tex­tures and lines for indi­vid­ual instru­ments which, based on dif­fer­ent tem­pos, give the impres­sion of a blurred pulse, “float­ing” struc­tures, and sud­den slow­ings and accel­er­a­tions. This idea is the result of my pre­vi­ous inter­est in the tool of “time stretch­ing,” which in elec­tron­ic music allowed me to stretch and com­press the same sound sam­ple and then lay­er the results on top of one anoth­er. In time dila­tion loops this tech­nique is trans­posed onto the ter­rain of instru­men­tal per­for­mance, open­ing up new pos­si­bil­i­ties for work­ing with acoustic sound. Short melod­ic motifs serve as the musi­cal mate­r­i­al; these are then extreme­ly stretched and com­pressed in their dura­tion, and also lay­ered on top of one anoth­er. This allows for inter­est­ing tex­tur­al and son­ic solu­tions, lead­ing to the blur­ring of tra­di­tion­al­ly con­ceived pulse and the cre­ation of the impres­sion of the simul­ta­ne­ous flow of time at dif­fer­ent tempos.

Patryc­ja Kołodziejs­ka — the house has been a bur­ial site. In the work the house has been a bur­ial site, an abstract nar­ra­tive dom­i­nates, based on the decon­struc­tion of clas­si­cal instru­men­tal and orches­tral forms and the cul­tur­al and seman­tic con­texts asso­ci­at­ed with them. The com­po­si­tion refers to the expe­ri­ence of the lim­i­nal — a state of tran­si­tion in which the pre­vi­ous frame­works of mean­ing begin to lose their sense, and new ones have not yet been formed; it is the expe­ri­ence of a cer­tain defor­ma­tion in which the sub­ject los­es sta­ble points of ref­er­ence: per­cep­tion becomes frag­men­tary and unsta­ble, caus­ing time and space to dis­perse. This should trig­ger the aban­don­ment of auto­mat­ic inter­pre­tive schemas. This work, like the great major­i­ty of my out­put, con­sti­tutes some form of mem­o­ries to which we have no access — they are, in a sense, unat­tain­able and resis­tant to pre­cise def­i­n­i­tion. The means I employ seem like dust or fine pow­der, cre­at­ing an imper­cep­ti­ble yet omnipresent aspect of real­i­ty. I try to cre­ate a sit­u­a­tion com­pa­ra­ble to a place that seem­ing­ly exists, yet in order to vis­it and expe­ri­ence it, one would have to trav­el mil­lions of kilo­me­tres, and even then it would be impos­si­ble to actu­al­ly reach it, since it exists only as a dis­tort­ed mem­o­ry. In the com­po­si­tion the house has been a bur­ial site I draw on the aes­thet­ics of glitch as an explo­ration of dig­i­tal dis­tur­bances in a form-gen­er­at­ing con­text, on the aes­thet­ics of ambi­ent and the drone genre, where ele­ments of the com­po­si­tion func­tion in a state of sus­pen­sion, devoid of clear nar­ra­tive or cli­max; I also draw on the aes­thet­ics of ear­ly record­ings from the begin­ning of the 20th cen­tu­ry, which con­tain a char­ac­ter­is­tic qual­i­ty that I also employ in the instru­men­tal parts. In the work I focus on guid­ing lis­ten­ers through a series of sta­t­ic, con­tem­pla­tive per­cep­tu­al states; although the indi­vid­ual seg­ments under­go only sub­tle and slow trans­for­ma­tions, their accu­mu­la­tion builds a clear dra­matur­gi­cal move­ment — ground­ed in the ten­sion between still­ness and change, sta­bil­i­ty and disintegration.

Alek­san­dra Kaca — Fjar­lægur is a piece about what departs or is already dis­tant. About what changes its shape, blurs, and dis­solves as time pass­es. This can be heard in the del­i­cate tex­tures of vio­lin and vio­la — har­mon­ics, har­mon­ic trills, and the final detun­ing of sound that fades, as it were, into silence.

About the com­posers of the premieres:

Jan Błaże­jczak — Sec­ond-year mas­ter’s stu­dent in the com­po­si­tion class of Asst. Dr Miłosz Bem­bi­now and in elec­tron­ic music com­po­si­tion in the class of Asst. Dr hab. Woj­ciech Błaże­jczyk at the Fry­deryk Chopin Uni­ver­si­ty of Music in War­saw, where he received his bach­e­lor’s degree in 2024. His work has been pre­sent­ed both in Poland and abroad, and he has had the oppor­tu­ni­ty to col­lab­o­rate with acclaimed ensem­bles such as JACK Quar­tet, Airis Quar­tet, and Kwartludi­um. He trained under acclaimed com­posers at the Young Com­posers Acad­e­my in Tici­no (Switzer­land, 2024) and at the Impuls fes­ti­val in Graz (Aus­tria, 2025).

Olga Pasek — Com­pos­er and per­former. She com­plet­ed stud­ies in com­po­si­tion and film music com­po­si­tion at the Acad­e­my of Music in Łódź in the class of Marcin Stańczyk, and also stud­ied under Michal Rataj at HAMU in Prague under the Eras­mus pro­gramme. In 2025 she com­plet­ed stud­ies in com­po­si­tion with elec­tron­ic, film, and the­atre music at the Fry­deryk Chopin Uni­ver­si­ty of Music in War­saw in the class of Igna­cy Zalews­ki. She takes part in var­i­ous work­shops, where she has worked with fig­ures includ­ing Oscar Bianchi, Johannes Krei­dler, Francesco Fil­idei, Marc Andre, Juste Jan­u­lyté, Chaya Czer­nowin, and Simon Steen-Ander­sen. She writes film and the­atre music, cre­ates instal­la­tions, and is a final­ist and lau­re­ate of var­i­ous com­po­si­tion com­pe­ti­tions. Her works have been per­formed in Poland and abroad, pri­mar­i­ly at the Musi­ca Mod­er­na ses­sion, but also at, among oth­er venues, the Musi­ca Pri­va­ta fes­ti­val, the Zielona Góra Phil­har­mon­ic, the Prague Zoo, the Ravek­javik fes­ti­val, dur­ing events organ­ised by the Marek Edel­man Dia­logue Cen­tre in Łódź, and on Pol­ish Radio. Her recent inter­ests cen­tre on impro­vised elec­tron­ic music, includ­ing no-input mix­er playing.

Patryc­ja Kołodziejs­ka — Com­pos­er, flutist, impro­vis­er, stu­dent of com­po­si­tion with elec­tron­ic music in the class of Dar­iusz Przy­byl­s­ki and Woj­ciech Błaże­jczyk at the Fry­deryk Chopin Uni­ver­si­ty of Music in War­saw, and also in the class of Brigit­ta Mun­ten­dorf at the Hochschule für Musik und Tanz in Cologne under the Eras­mus pro­gramme. She has par­tic­i­pat­ed in inter­na­tion­al cours­es and work­shops relat­ed to con­tem­po­rary music, includ­ing Impuls — Inter­na­tion­al Ensem­ble and Com­posers Acad­e­my for Con­tem­po­rary Music in Graz, Akademie für zeit­genös­sis­che Musik at the Hochschule Luzern, and the Inter­na­tion­al Young Com­posers Acad­e­my in Tici­no. Her works have been per­formed in Poland and abroad, includ­ing by Klang­fo­rum Wien, Kwartludi­um, Decoder Ensem­ble, and Ensem­ble Mod­ern. She par­tic­i­pat­ed in the Warsza­wska Jesień fes­ti­val, pre­sent­ing an audio­vi­su­al per­for­mance titled S C A T T E R I N G — an event com­bin­ing impro­vised elec­tron­ic music with video. She com­pos­es music that is acoustic, elec­troa­coustic, and elec­tron­ic. Her areas of inter­est include pro­gram­ming, per­for­ma­tive ele­ments, and philo­soph­i­cal and social con­cepts, which form the foun­da­tion of her works. Char­ac­ter­is­tic fea­tures of her musi­cal lan­guage include decon­struc­tion, Lachen­mann type beat, met­al sounds, glitch­es, and con­tex­tu­al­i­ty. In her works she uses var­i­ous media, and she also par­tic­i­pates in the cre­ation of audio­vi­su­al instal­la­tions and oth­er forms of mul­ti­me­dia art.

Tickets

15 PLN