Name: Lem: Lapidarna Ekspresja Moderny (Lem: Consistent Moderna Expression)
Start: 2021-10-02T00:00:00.000Z
End: 2021-10-02T00:00:00.000Z
Location: ICE Kraków Congress Centre

Organization

Sacrum International Festival

Singer

Soprano

Marta Czarkowska

Kinga Jaskowska

Mezzo-soprano

Ewelina Rzezińska

Tenor

Aleksander Rewiński

Baritone

Krzysztof Chalimoniuk

Bass

Piotr Pieron

Lem: Lapidarna Ekspresja Moderny (Lem: Consistent Moderna Expression)

Krakow

Poland

ICE Kraków Congress Centre

Lem: Lapidarna Ekspresja Moderny (Lem: Consistent Moderna Expression): Concert Various

Public

Concert

Approved

„Widziałem przyszłość” – 2021 Rokiem Lema! Festiwal Sacrum Profanum włącza się w obchody setnej rocznicy urodzin Stanisława Lema. Muzyka nieraz była przedmiotem opisu w prozie Lema – zawsze inna, eksperymentalna, nowoczesna. W roku poświęconym tej niezwykłej postaci obok wydarzeń literackich, naukowych czy filozoficznych nie może też zabraknąć propozycji muzycznych! Na Sacrum Profanum przygotowaliśmy aż dwa programy z premierowymi kompozycjami. Interpretacji literackich utworów Lema podjęli się arcyciekawi polscy kompozytorzy i kompozytorki dwóch pokoleń.

Lem częstokrotnie bawił się własnym nazwiskiem, traktując je jako akronim powracający w kolejnych iteracjach. Przyłączamy się do tej zabawy i zapraszamy na LEM: Lapidarną Ekspresję Moderny. Cztery kompozycje napisane z myślą o zespole wokalnym proMODERN pokazują bardzo różnorodne style i podejścia do muzyki nowej twórczyń i twórców dwóch generacji – z jednej strony Niny Fukuoki i Andrzeja Karałowa, a z drugiej Zofii Dowgiałło i Cezarego Duchnowskiego. Kompozytorki nie nawiązały wprost do Lema, raczej stworzyły własne koncepcje i wizje bardzo przystające do jego rozważań i prozy. Fukuoka poszukuje koncepcji wolności i mierzy się z własnymi pandemicznymi refleksjami nad otoczeniem. Dowgiałło zainspirowała się sytuacją tworzenia, prezentowania i odbioru muzyki za pośrednictwem komputera. Wiąże się z nim także refleksja nad kondycją człowieka w świecie zdominowanym przez maszyny liczące. Karałow zainspirował się powieścią Solaris – wątkiem, w którym Andre Berton poszukując zaginionego towarzysza, widzi między innymi fantasmagoryczne miasto. Kompozycja jest rodzajem impresji, wizji z surrealistycznego snu, symbolizującej utratę dawnego życia. Berton najprawdopodobniej widzi odłamki wchłoniętej przez ocean psychiki człowieka, który zaginął na planecie Solaris. Wizji towarzyszy światło dwóch słońc Solaris – czerwone i niebieskie – których fluktuacje i załamania są czynnikiem wpływającym na kształtowanie materiału muzycznego. Duchnowski natomiast wybrał Doskonałą próżnię – nawiązał do pięciu wybranych recenzji nieistniejących książek i apokryfów Lema pochodzących z tego wydanego w 1971 roku zbioru.

polski

"I saw the future" - 2021 the Year of Lem! The Sacrum Profanum Festival joins the celebrations of the hundredth anniversary of Stanisław Lem's birth. Music has often been described in Lem's prose - always different, experimental, and modern. In the year devoted to this extraordinary figure, apart from literary, scientific and philosophical events, there must also be some musical proposals! At Sacrum Profanum, we have prepared two programs with premiere compositions. The literary interpretations of Lem's works have been undertaken by extremely interesting Polish composers and composers of two generations.

Lem often played around with his surname, treating it as an acronym that recurred in subsequent iterations. We join this fun and invite you to LEM: Consistent Moderna Expression. The four compositions written with the proMODERN vocal ensemble in mind show very diverse styles and approaches to the music of new artists and creators of two generations - Nina Fukuoka and Andrzej Karałow on the one hand, and Zofia Dowgiałło and Cezary Duchnowski on the other. The composers did not refer directly to Lem, but rather created their own concepts and visions very similar to his deliberations and prose. Fukuoka looks for the concept of freedom and faces its own pandemic reflections on its surroundings. Dowgiałło was inspired by the situation of creating, presenting and receiving music via a computer. It is also related to reflection on the human condition in a world dominated by calculating machines. Karałov was inspired by the novel Solaris - a plot in which Andre Berton, looking for his missing companion, sees, among other things, a phantasmagoric city. The composition is a kind of impression, a vision from a surreal dream, symbolizing the loss of the former life. Berton most likely sees the debris of the ocean absorbed into the psyche of a man who disappeared on the planet Solaris. The vision is accompanied by the light of two Solaris suns - red and blue - whose fluctuations and refractions are a factor influencing the shaping of the musical material. On the other hand, Duchnowski chose The Perfect Void - he referred to five selected reviews of Lem's non-existent books and apocrypha from this collection published in 1971. Karałov was inspired by the novel Solaris - a plot in which Andre Berton, looking for his missing companion, sees, among other things, a phantasmagoric city. The composition is a kind of impression, a vision from a surreal dream, symbolizing the loss of the former life. Berton most likely sees the debris of the ocean absorbed into the psyche of a man who disappeared on the planet Solaris. The vision is accompanied by the light of two Solaris suns - red and blue - whose fluctuations and refractions are a factor influencing the shaping of the musical material. Duchnowski, on the other hand, chose The Perfect Void - he referred to five selected reviews of Lem's non-existent books and apocrypha from this collection published in 1971. Karałov was inspired by the novel Solaris - a plot in which Andre Berton, looking for his missing companion, sees, among other things, a phantasmagoric city. The composition is a kind of impression, a vision from a surreal dream, symbolizing the loss of the former life. Berton most likely sees the debris of the ocean absorbed into the psyche of a man who disappeared on the planet Solaris. The vision is accompanied by the light of two Solaris suns - red and blue - whose fluctuations and refractions are a factor influencing the shaping of the musical material. Duchnowski, on the other hand, chose The Perfect Void - he referred to five selected reviews of Lem's non-existent books and apocrypha from this collection published in 1971. he sees, among other things, a phantasmagoric city. The composition is a kind of impression, a vision from a surreal dream, symbolizing the loss of the former life. Berton most likely sees the debris of the ocean absorbed into the psyche of a man who disappeared on the planet Solaris. The vision is accompanied by the light of two Solaris suns - red and blue - whose fluctuations and refractions are a factor influencing the shaping of the musical material. On the other hand, Duchnowski chose The Perfect Void - he referred to five selected reviews of Lem's non-existent books and apocrypha from this collection published in 1971. he sees, among other things, a phantasmagoric city. The composition is a kind of impression, a vision from a surreal dream, symbolizing the loss of the former life. Berton most likely sees the debris of the ocean absorbed into the psyche of a man who disappeared on the planet Solaris. The vision is accompanied by the light of two Solaris suns - red and blue - whose fluctuations and refractions are a factor influencing the shaping of the musical material. On the other hand, Duchnowski chose The Perfect Void - he referred to five selected reviews of Lem's non-existent books and apocrypha from this collection published in 1971. The vision is accompanied by the light of two Solaris suns - red and blue - whose fluctuations and refractions are a factor influencing the shaping of the musical material. On the other hand, Duchnowski chose The Perfect Void - he referred to five selected reviews of Lem's non-existent books and apocrypha from this collection published in 1971. The vision is accompanied by the light of two Solaris suns - red and blue - whose fluctuations and refractions are a factor influencing the shaping of the musical material. Duchnowski, on the other hand, chose The Perfect Void - he referred to five selected reviews of Lem's non-existent books and apocrypha from this collection published in 1971.

English

Performance credits (Cast & Crew )

Cast