Advertisement
Poola nüüdismuusika ansambli Spółdzielnia Muzyczna Contemporary Ensemble projekt Mänguväljak / Playground sai alguse 2024. aasta AFEKT festivalil toimunud loeng-töötoast ning liikus sealt edasi Rootsi, Tšehhi ja Hispaaniasse. Konkursi “Mänguväljak – kutse koostööks” võidutööd kõlavad 18. märtsil Mustpeade maja Valges saalis.Kava:
Adrianna Kubica-Cypek – Sacred Noise
Eneko Lacalle Berasategi – Uudisteos
Eloain Lovis Hübner – Uudisteos
Paweł Malinowski – Uudisteos
Spółdzielnia Muzyczna Contemporary Ensemble:
Paulina Woś – viiul
Barbara Mglej – viiul
Jakub Gucik – tšello
Małgorzata Mikulska – flöödid
Tomasz Sowa – klarnetid
Krzysztof Guńka – saksofonid
Aleksander Wnuk – löökpillid
Aleksandra Płaczek – klaver
Piletid on müügil Piletilevis ning tund enne ürituse algust kohapeal (ainult sularahas).
ENG
The Playground project by the Polish contemporary music ensemble Spółdzielnia Muzyczna Contemporary Ensemble started with a lecture and a workshop held at the 2024 AFEKT festival and then moved on to Sweden, the Czech Republic and Spain. The winning works of the competition "Playground – A Call for Collaboration" will be performed on March 18 at House of the Blackheads.
Program:
Adrianna Kubica-Cypek – Sacred Noise
Eneko Lacalle Berasategi – New Piece
Eloain Lovis Hübner – New Piece
Paweł Malinowski – New Piece
Spółdzielnia Muzyczna Contemporary Ensemble:
Paulina Woś – violin
Barbara Mglej – violin
Jakub Gucik – cello
Małgorzata Mikulska – flutes
Tomasz Sowa – clarinets
Krzysztof Guńka – saxophones
Aleksander Wnuk – percussion
Aleksandra Płaczek – piano
In this year's edition of PLAYGROUND: call for collaborations, we want to emphasize the importance of collaboration in the creative process. We expect it may lead us beyond notation, beyond sound, and even beyond conventional methods of communication.
In the new piece, Eneko Lacalle Berasategi continues his exploration of language and music. He decides to create a new language, adapting it to the capabilities and needs of the ensemble members, intertwining verbal and sonic qualities. „Chords and multiphonics could become vowels surrounded by accentuated consonants, and all of these musical phonemes could be then distributed into words and sentences of different temporalities, while the musicians speak in a language that is formed from this exact sonic world”.
A key component determining Eloain Lovis Hübner's work is their intense experimentation with instruments, preparations, sound objects, and analog audio technology. This has led to ever more specific, unconventional sound results, which reach the limits of notation. „My wish for my participation in PLAYGROUND is therefore to find ways in close collaboration with all ensemble members—through guided improvisations, agreements, semi-graphic notation, live video or audio scores, etc.—to (re)transfer the distinctive, microscopically subtle sound qualities that fascinate me so much into the context of a liveperformable (and performatively interesting), polyphonic, formally elaborated ensemble composition”.
The term Sacred Noise – also the title of a piece by Adrianna Kubica-Cypek – „originally refers to natural phenomena, but its meaning extends to what is known as social noise (sound events within the industrial soundscape). It comes from the publication The Soundscape by R. M. Schafer. It denotes sound that may be considered undesirable, but does not face condemnation from society. Such "events" present in my soundscape will serve as the sound material for the composition through transcription (more or less freely) of recordings I made of the Copenhagen soundscape.”
Connections with another city – Kraków – are reflected in [title unknown] by Paweł Malinowski. „My work on this piece started with recording a small song. While playing the electric piano and singing, I was thinking about the fragile, almost magical objects, often unnoticeable to others yet ever retaining a personal, emotional significance. Close to my apartment in Kraków there is a large office complex erected back in the ’60s, similar to almost every building from that time. One of its walls is covered with 1,600,000 colourful ceramic tiles which combine to form an abstract mosaic. At some point I found that the artist, Celina Styrylska-Taranczewska, had been forgotten almost completely. In the ’90s the site was to be demolished—the story of people saving it from destruction became a story about creating small communities.”
Tickets are available on Piletilevi and one hour before the event at the venue (cash only).
Advertisement
Event Venue & Nearby Stays
Mustpeade Maja Valge Saal, Pikk 26, Kesklinn, Tallinn, 10133 Harju Maakond, Eesti,Tallinn, Estonia
Tickets
