#Warsow menu music crack#

Audience attendance reached 120 per cent Warsaw Autumn made the headlines, and there were several hundred international guests, both from the East (for Soviet citizens, it was the only opportunity to experience new currents in music) and the West. That created a sense of general freedom of expression, and the Fesrtival was seen as a form of political protest. Here, the most varied forms of artistic invention were possible.

The Festival was an obvious crack on the Iron Curtain, an island of creative freedom in a sea of compulsory Socialist realism. Paradoxically, the communist era was a golden age for Warsaw Autumn.

With a new model and procedures of culture financing developed since, the subsequent editions of the Festival may now be planned in a much more predictable way. In the 1990s, Poland’s new economic and social situation threatened the financial stability of Warsaw Autumn. Even though the government quickly abandoned the democratisation course, the Festival continued without interruption (with two exceptions) during the entire Communist era: its finances were secured by the state (up to this day, it is primarily finances from public funds). Warsaw Autumn was created in 1956, during the thaw that followed years of Stalinist dictatorship. In fact, today’s music cannot be simplified to one issue-even if fundamental. Warsaw Autumn will speak much more about the relations between music and language, but will also include many compositions where that relation is absent.

Our inaugural concert will feature the first Polish performance of Mauricio Kagel’s Vox humana? The final concert will include Miroslav Srnka’s Speed of Truth. This year’s Warsaw Autumn will be framed by two great choral–instrumental forms with text, serving as deeply significant keys. 2 references to reportage in Pstrokońska-Nawratil’s The Nightingale and the Stone the speech of sign language in Mark Applebaum’s Aphasia language and music in relation to reality in the Feminine Forms concert, featuring works by Monika Szpyrka, Żaneta Rydzewska Martyna Kosecka, Anna Sowa, and Nina Fukuoka. In the programme of this year’s Warsaw Autumn, we shall show the relationship between music and language notably through the words of François Sarhan’s new opera the advertisement texts of Georges Aperghis’s Pubs-Reklamen the verbal–musical performance of Agata Zubel and Cezary Duchnowski’s ElletroVoce duo the matrix of language in the music of François-Bernard Mâche, whose research on languages and music are very thorough and specific the fusion of textual samples and transgeneric music in Juliana Hodkinson’s the common phrases of recorded text and piano sounds in Peter Ablinger’s Voices and Piano the sonorism of signs in Mark Andre’s cycle riss 1–3 sound gestures in Kuba Krzewiński’s Contre no. The main Festival thread Warsaw Autumn Hits the Club Little Warsaw Autumn Warsaw Autumn Contexts and fringe events.

The Warsaw Philharmonic Orchestra and Choir, National Polish Radio Symphony Orchestra in Katowice, New Music Orchestra, NFM Leopoldinum String Trio, NFM Leopldinum Orchestra, European Workshop for Contemporary Music Orchestra, Chopin University Big Band, Ensemble Vortex, Ensemble Nikel, Ensemble Garage, Kwadrofonik, ElettroVoce, Electric Primitivo, and many others. Concerts, performances, sound theatre, various opera formulas, intermedia, improvisations, internet and radio forms (on the 95th anniversary of the Polish Radio), meetings, composer workshops / Nearly 50 festival events / Young generation of Polish composers / Featured composers: Mark Andre, François Sarhan, Grażyna Pstrokońska-Nawratil, François-Bernard Mâche, Peter Ablinger, Juliana Hodkinson, Joanna Woźny / 50 composers, including 23 making their Warsaw Autumn debut, with 23 world premieres, including Warsaw Autumn commission / Five orchestras, two choir, nine ensembles, soloists / Warsaw Autumn Festival Radio and thirteen events venues.

#Warsow menu music crack#