środa, 20 czerwca 2012


Reinterpretations and homages to the Polish Radio Experimental Studio Warsaw and the Studio des WDR für Elektronische Musik Köln.

27/06 - 28/06: Institut für Musik und Medien Düsseldorf
Resindency at the Experimentallabor of the IMM

28/06: Salon des Amateurs, Düsseldorf
29/06: Museum Ostwall, Dortmund
30/06: DQE Halle, Köln Ehrenfeld

19.00 Michal Libera: lecture on the Polish Radio Experimental Studio

20:00 Krzysztof Topolski aka Arszyn (drums, selfmade instruments), Piotr Kurek (sampler, selfmade instruments), Joris Rühl (clarinet), Maciej Śledziecki (guitar), Marion Wörle aka Frau W (laptop, electronic extensions)
Etude for Single Cymbal Strike and Aela by Włodzimierz Kotoński, Music for Tape by Andrzej Dobrowolski, Nocture by Eugeniusz Rudnik, Assemblage by Bogusław Schaeffer, Klangstudie and Glockenspiel by Herbert Eimert, Fabula Rasa by Johannes Fritsch, Compositie no. 7 by Karel Goeyvarts, Continuum by Györgi Ligeti and Shozyg by Hugh Davies

Düsseldorf: DJ Tomek Woźniakowski - Richtig Polen will play rarities on vinyl

Köln: Matthias Nowakowski - lecture on the Electronic Studio WDR
Köln: Jaki Liebezeit & Marcus Schmickler - concert

After over a half-century since openings of the Experimental Studios such as the one in Cologne and Warsaw, most of its innovations seems upside down. Studio is a laptop. Electronic music is everybody's engagement. Instrumentalists follow the sounds of the synthesizers. So let's give it a try: instead of the complex equipment of the Studio, can't the pieces be performed on acoustic instruments, home made electronics or amplified objects? Is that a joke of the history? Or its natural progression?

poniedziałek, 4 czerwca 2012


Populista presents Miron Białoszewski plays Adam Mickiewicz Dziady

Voice, objects and tape by Miron Białoszewski
Recorded by Miron Białoszewski in Warsaw on 25th of December 1965
Researched, selected and edited by Maciej Byliniak
Mixed and mastered by The Norman Conquest, Maciej Byliniak and Michał Libera
Produced by Michał Libera
Cover artwork by Aleksandra Waliszewska
Layout by Piotr Bukowski
Published by Bôłt Records
Distributed by MonotypeRec.

Dziady II (complete)
1. Ciemno wszedzie, głucho wszedzie
2. Patrzcie, ach, patrzcie do góry
3. Już straszna północ przybywa
4. Hej, kruki, sowy, orlice!
5. Darmo żebrze, darmo płacze
6. Nie lubisz umierać z głodu!
7. Nie ma, nie ma dla mnie rady!
8. Podajcie mi, przyjaciele
9. Na głowie ma krasny wianek
10. Czego potrzebujesz, duszeczko
11. Teraz wszystkie dusze razem
12. Pasterko, ot tam w żałobie...
13. Gdy gardzisz mszą i pierogiem
14. To jest nad rozum człowieczy!

Dziady IV (montage by Miron Białoszewski)
15. Kto tam stuka, kto tam stuka
16. On swoje, a ja swoje, nie widzi, nie słucha
17. I czegóż ona przede mną uciekła?
18. Oto dziesiąta wybija
19. Niech ją sumienia sztylety rania!
20. Jedenasta wybija

Dziady III (fragment – Wielka Improwizacja)
21. Samotność – cóż po ludziach, czym śpiewak dla ludzi?

“Singing. Speaking. Exactly. Moreover: the kind of difference between them? Supposedly clear. But where does the border line go? Is it terminology? Is it stretching the syllables (or even sounds)? Or altering the pitch? Or rhythm? Perhaps trembling of the voice? With stretching? (…) Often we had particular speakings (calculated according to its own melody but still speakings), straightforward singing and singing-speakings, on the edge, which turned out to be pretty broad as variety of almost singings was turning out, crooning speaking, sections of monotones or the opposite – rhythmic pile-ups becoming music out of its own urge. Hence there was no point in bringing foreign, outer music, music as such – apart from acoustics of objects playing their roles or rhythm of walking (e.g., drumming buskins)”*. This is how Miron Białoszewski was recollecting a performance formula created in Teatr Osobny run by him, Ludwik Hering and Ludmiła Murawska between 1955 and 1963. He used to perform one of his favorite texts there – the fourth part of “Dziady” by Adam Mickiewicz in his own montage and edit. Taking the role of a choir, his companion was Ludmiła Murawska. The same edit of the fourth part – now a solo by Białoszewski – and the same performance concept is to be found on the tape recording of “Dziady”. It is the most interesting and sonically rich material among several recordings of texts by romantic authors – Mickiewicz, Słowacki and Norwid – which Białoszewski did for his own purposes in 1964 and 1965. The material on the CD consists of extensive sections of the recording of “Dziady”. The only excluded part was the least sharp and intense scene I of the third part of the drama. Included are the ones stepping outside the regular model of reading and thus uniting text and sound / music. These fragments stand for the thesis that Mickiewicz and Białoszewski meet where the word “opera” looses its most obvious meaning. Formulated by Andrzej Stawar, one of the commentators of “Dziady” in Teatr Osobny, it was supposed to point out that in “Dziady” Mickiewicz was aiming at an opera. Located in a province of no opera tradition, he could not write it “properly” but only in a way he imagined it. Intention of such a twisted trajectory can only be fulfilled by equally unusual performance: mis-opera or opera-misunderstanding, something resembling the opera but only by accident and indirectly. And perhaps it was actually fulfilled by Białoszewski who – unlike Mickiewicz – knew opera very well but did not think about it while performing “Dziady”.

Maciej Byliniak
* M. Białoszewski, O tym Mickiewiczu jak go mówie, “Odra” 1967, nr 6.


Populista presents Jean-Louis Costes plays Marquis de Sade Justine

Voice, melodies and adaptation by Jean-Louis Costes
Recorded, mixed and mastered by Zosia Morus on 15th of October 2011
in Królikarnia
Edited and produced by Michał Libera
Premiered at The Birth of Noise out of the Spirit of XVIII Century Music
series accompanying the exhibition Ladies with a Doggy and an Ape
Cover art work by Aleksandra Waliszewska
Layout by Piotr Bukowski
Published by Bôłt Records
Distributed by MonotypeRec.

1. Sade is Sick
2. How Beautiful is Pain
3. Orphan and Poor
4. Evil is the Best Way to Good
5. Justine and the Greedy Master
6. Poverty is a Crime
7. Justine in Jail
8. Crime is Freedom
9. Justine Raped by the Traveller
10. Sodomy is Heaven
11. Justine Raped by the Pedophile
12. Loss of Semen
13. Justine Eats the Shit of a Monk
14. The Stronger is Always the Better Reason
15. Sade is Sick
16. Her Majesty


Populista presents Ergo Phizmiz plays Robert Ashley Purposeful Lady Slow Afternoon

Voices by Ergo Phizmiz and Lula
Piano by Ergo Phizmiz
Guitar by Maciej Cieślak
Violin by Julia Ziętek
Laptop by Alessandro Bosetti
Turntable by DJ Lenar
Recorded by Jan Mularz at Chłodna 25, 10th of September 2011
Edited, mixed and mastered by Michał Libera and The Norman Conquest
Produced by Michał Libera
Premiered at Playback Play 2011
Cover art work by Aleksandra Waliszewska
Layout by Piotr Bukowski
Published by Bôłt Records
Distributed by MonotypeRec.



--- played back Luc Ferrari “Cycle des Souvenirs” on the 29th of October 2010 in composer's flat in Montreuil. Waking around, he recorded it again – with his Sony Walkman. Brunhild Ferrari read liner notes of the CD release of “Cycle des Souvenirs”.

--- American composer. Disease: tourette syndrome.

--- German composer. Disease: hyperacusis.

--- performed his Mickiewicz “for himself only. On Tape” in 1965 wondering “how much mess in the history of words was caused by mishearings and nonintentional misrepresentations”.

--- played Mauricio Kagel “Ludwig van” live in Zachęta National Gallery of Art on the 19th of March 2011 as part of “Hyperacusis” music programme accompanying an exhibition “Stories of Ear”. The concert was recorded by Zosia Moruś and then assembled, edited, mixed and mastered by DJ Lenar and Michał Libera.

--- Georges Perec says: “An artist imposed on himself a principle not to make faithful copies of the models; he seemed to gain malicious pleasure by introducing subtle changes with each copy. One by one, characters and objects would disappear, be displaced or replaced with others”

--- adapted and performed de Sade's Justine for the closing of a music programme “Birth of noise out of the spirit of XVIII century music” accompanying the exhibition “Lady with a doggy and an ape” in Królikarnia.

--- Song cycle by Robert Schumann (music) and Heinrich Heine (lyrics). Reinhold Friedl says: “The songs of Schumann and Schubert can be looked at as the first pop music ever made”. People loved it.

--- Maciej Byliniak says: “In »Dziady« Mickiewicz was aiming at an opera. Located in a province of no opera tradition, he could not write it »properly« but only in a way he imagined it. Intention of such a twisted trajectory can only be fulfilled by equally unusual performance: mis-opera or opera-misunderstanding, something resembling the opera but only by accident”

--- designed and performed his “Purposeful Lady Slow Afternoon” by Robert Ashley with couple of friends: Alessandro Bosetti, Maciej Cieślak, DJ Lenar, Lula and Julia Ziętek as part of Playback Play 2011 in Warsaw.

--- According to a rumor, while opening Ferrari's funeral, Jacquelin Caux said: “His music was like sitting with your ass naked in the morning grass”.

--- Rinus van Alebeek says: “It is a very respectful and innovating way of using old recordings. The Bachs and Beethovens can be reproduced through their scores. A conductor's work is always an interpretation. So why not use the recorded work as a kind of score and make an interpretation of it using the recorder”.

--- Loss of hearing causing oversensitivity to high and low registers. Simply put: immersing in what we call noise. Beethoven says: “My ears sing and buzz constantly, day and night". And also: “Often I can scarcely hear someone speaking softly, the tones yes, but not the words. However, as soon as anyone shouts it becomes intolerable”.

--- His movie “Land of Silence and Darkness” is a portrait of Fini Straubinger who says: “People think deafness means silence. It is not so. We constantly hear sounds. Quiet ringing, buzzing, roaring and eventually clicking. The worst comes when the humming starts in your head”.

--- John Tilbury says: “The onus is on the performer to show the composer some of the implications and consequences of what he has written, even if from time to time it may make him (the composer of course) look ridiculous. What he writes and what you read ad two different things”

LUDWIG VAN (a score)
--- A phantasy on Beethoven's listening? The beautiful score of Mauricio Kagel is a montage of close ups of german composer's scores pasted on objects in his reconstructed office. This is his music graphically collaged into noise. But was not the graph, the score and the seeing his ways of listening to his own music as he could not hear it with his ears? If it was so, Kagel's composition must be what Beethoven actually heard through his hyperacusis. Noise of notes of noise of notes of noise of notes of …

--- Lester K. Nowak says: “Each artwork is a reflection of another. Most or virtually all of the paintings become truly meaningful only be reference to the predecessors recreated in them; completely or fragmentally; ciphered in varied hints or recreated in the new ones. From this perspective one should pay a special attention to the type of painting which is usually called collectors cabinet (Kunstkammer). It was born in the end of XVI century in Antwerpen to be reproduced by different European Schools until roughly mid-XIX century. Competing with an idea of a museum – and of course an idea of a painting as use value – its fundamental principle was to root an act of painting in its power of reflection – a painter would draw his strength from other artists' works"

--- French writer. Disease: skin.

--- Polish writer. Disease: cholera.

--- The handwriting. Michel Serres says: “To write badly is to plunge the graphic message this noise which interferes with reading which transforms the reader into an epigraphist”. Heinrich Deisl adds: “The maximum compression of information within a certain framework of time and space”.

--- Many people say. Robert Ashley: “Not stories as such, but were more likely to be an assembly or collage of characters that seemed to belong together and that being brought together gave the characters some meaning”. And on top of it: “There is always fascination with landscape. When the piecing together of imagery becomes so intense that one is aware of its rhythms, in effect the action of perceiving mind, opera, or the communication of those rhythmic forms, arises naturally”. Cornelius Cardew: “Many people working”.

--- Apparently, the only thing you never forget when you go out for a pack of cigarettes. They turn you into hyperacusis sufferer who cannot runaway from the noises of the songs. But musicologically speaking: what else is pop but a “maximum compression of information in a certain framework of time and space”? A good pop song is a space and time filled out completely - nothing more nor less required; any element taken away or added kills everything. Pop is the economy of music. Like Anti-Structures of Boulez.

--- A CD festival, an opera, kunstkammer.

--- Robert Ashley says: “Do things that have a message. Music has to be about something. If you go along with that, then we hardly need to talk about the processes. They seem to take care of themselves, for better or worse”

--- David Thomas says: “A song must have 3 things. You got 3 things you got a song”

--- German composer. Disease: neurastenia, hearing A5 pitch in his left ear constantly.

--- played Robert Schumann “Dichterliebe” in zeitkratzer studio on the 13th of June 2010. The material was recorded, mixed and mastered by Ralf Meinz.

--- In criminal law, theft is the illegal taking of another person's property without that person's freely-given consent. They say.