Name: SPÓŁDZIELNIA MUZYCZNA: PLAYGROUND_PRAGUE
Start: 2025-04-13T19:00:00+02:00
Location: Atrium Žižkov

$SP\u00d3\u0141DZIELNIA MUZYCZNA: PLAYGROUND_PRAGUE$

This year, PLAYGROUND is expanding its activities beyond the premiere concert in Kraków. Concerts will take place in Estonia, Sweden, the Czech Republic, and Spain in the first half of 2025.
The concert in Prague is held in collaboration with the Atrium Zizkov.
Program:
- Paweł Malinowski – [title unknown]
- Adrianna Kubica-Cypek – Sacred Noise
- Eneko Lacalle Berasategi – New Piece
- Eloain Lovis Hübner – New Piece
Spółdzielnia Muzyczna Contemporary Ensemble:
- Barbara Mglej – violin
- Paulina Woś – viola
- Jakub Gucik – cello
- Małgorzata Mikulska – flutes
- Tomasz Sowa – clarinets
- Krzysztof Guńka – saxophones
- Aleksander Wnuk – percussion
- Aleksandra Płaczek – piano
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Program note:
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 langua ge, 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 i nto 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 perfo rmatively 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 ser ve 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 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 Krretaining a personal, emotional significance. Close to my apartment in Kraków there is a large office aków there is a large office complex erected back in the complex erected back in the ’60’60s, similar to almost every building from that time. One of its walls is s, 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 covered with 1,600,000 colourful ceramic tiles which combine to form an abstract mosaic. At some point I found that the artipoint I found that the artist, Celina Styrylskast, Celina Styrylska--Taranczewska, had been forgotten almost completely. Taranczewska, had been forgotten almost completely. In the In the ’90’90s the site was to be demolisheds the site was to be demolished——the story of people saving it from destruction became a the story of people saving it from destruction became a story about creating small communities.story about creating small communities.”
Emilia Stefańska
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