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Warsaw | The New Music Scene: Amok Koma

SMN

The next concert of the "New Music Scene" series at the New Theatre in Warsaw will take place on 30 June 2019 at 7pm under the title "Amok Koma". The Chain Ensemble will perform works by Bauckholt, Kwieciński, Lutosławski, Romitelli and Stockhausen.

The concert under the palindromic name "Amok Koma" will begin with the hypnotic Kreuzspiel by Karlheinz Stockhausen (1928-2007). This unusual piece composed in 1951 for amplified instruments – oboe, bass clarinet, piano and extended percussion – was recognized by the composer as his first fully original composition. It consists of phases in which the obsessive rhythmic pulsation, on the background of which violent percussive eruptions sound, is combined with a punctual texture, with isolated inputs of individual instruments.

Amok by Carola Bauckholt (born 1959) expresses itself in the image of a particular type of propulsion mechanism (Laufwerk, 2011) treated by this composer in its proper way – mechanistic-animalistic, and at the same time slightly mocking. A somewhat similar attitude is perceptible in the a 6 [+1] by Andrzej Kwieciński (born 1984), whose composition Canzon de 'baci for solo voice and chamber orchestra won in 2014 in the category of Young Composers at the 61st International Tribune of Composers in Helsinki and was included in the group of 10 works recommended in the main category. Subito for violin and piano (1992) by Witold Lutosławski (1913-1994) combines the suddenness of the main theme's attack in the title of the work with a condensed, youthful energy present in the last work written by the composer.

The duality of states between amok and coma – a strong blow alternating with a detachment from reality – is the main concept of the whole concert, and above all the work from which this idea originates: fascinating Amok Koma for instruments and electronics (2001) by the prematurely deceased new music visionary Fausto Romitelli (1963-2004). The composer was interested in "the epiphany of a hidden violence that reveals itself only through the chaotic derivation of [musical] material, through the ritual of its destruction as a discursive element . . . and its resurrection as incandescent material, alien, out of control".

More information athttp://www.nowyteatr.org/