GOŚKA ISPHORDING’S RECITAL
Gośka Isphording’s recital is a collection of the latest works by Polish and foreign composers, written especially for the artist. During the concert at the CODES Festival in Lublin, we will hear compositions for solo harpsichord in an exciting dialogue with the electronic layer.
The carefully selected programme will include pieces already known to the audience, but also those that will be heard for the first time, such as the world premiere of Paweł Hendrich’s latest work, Dualabilis II, or a piece by Jakub Krzewiński.
The presented compositions bring a diverse panorama of perspectives on the harpsichord, proposed by each of the composers, who place the harpsichord in the context of search for performative and technical means, including analogue and multimedia experiments, and even as a medium in the political discourse.
It is a bold manifestation and futuristic vision of the harpsichord in the 21st century.
GOŚKA ISPHORDING
She graduated from the Academy of Music in Cracow and the Royal Conservatory in The Hague. She also perfected her skills during master studies in performance and contemporary harpsichord music techniques with Annelie de Man at the Amsterdam Conservatory and with Elżbieta Chojnacka at the Mozarteum in Salzburg. Cooperation with such great authorities equipped Isphording with a whole spectrum of performance tools, opening her up to experiments with the sound of the instrument. The artist specialises in contemporary music performance. Apart from the harpsichord, she also uses voice, electronics, video and synthesizer. She gives solo concerts, and performs with chamber ensembles and orchestras. She also takes an active part in theatre and multimedia projects. She has premiered many pieces of contemporary harpsichord music. Virtuoso style of performance, sensitivity to sound and ingenuity in the creation of works, in regard to both baroque and contemporary versions of the harpsichord, were appreciated by the greatest composers (e.g. Yannis Kyriakides, Roderik de Man, Agata Zubel, Aleksandra Gryka, Wojciech Ziemowit Zych, Theo Loevendie, Joe Cutler, Pierre Jodlowski, Hanna Kulenty, Dominik Karski, Cezary Duchnowski and Andrzej Kwieciński) who wrote and dedicated their works to her. Concerts composed by Kulenty (“GG Concerto”, 2009) and Kwieciński (“Concerto. Re Maggiore”, 2013) are particularly noteworthy – both works are in perfect harmony with the artist’s performance capabilities and expression. Gośka Isphording took part in the most significant competitions and festivals of contemporary music in Poland and abroad, e.g. the International Festival of Contemporary Music “Warsaw Autumn”. (Warsaw), Huddersfield Contemporary Music Festival (Huddersfield), The GAIDA Festival (Vilnius), Cutting Edge Festival (London), Festival Internacional de Música Clásica Contemporánea de Lima (Peru), Holland Festival (Amsterdam). From 2011 to 2015, she was Artistic Director of the Harpsichord and Composition Festival and Competition Prix Annelie de Man in Amsterdam, where she is currently a consultant. She has recorded a solo album with Polish contemporary music “Per Clavicembalo Moderno” (DUX 2008). She has also taken part in monographic records and in many phonographic projects. Isphording is the founder and member of The Roentgen Connection and Ensemble 306. Since 2014, she has also been a member of The Riot Ensemble (London). She teaches contemporary harpsichord techniques at the Amsterdam Conservatory, and as a guest lecturer in Zaragoza, Vienna, Brussels, Groningen, Poznań and Warsaw.
KUBA KRZEWIŃSKI
In his works he focuses on the sense of touch as the origin of sound, as the axis of the performer-instrument relationship and as a medium of social communication. Through the use of performative means, multimedia and tactile references, Krzewinski offers the audience new ways of approaching music and the body. He graduated with distinction from the H. Wieniawski School of Music in Łódź in violin. He studied composition in Academy of Music in Lodz, in The Koninklijk Conservatorium in The Hague and at the Hoschule für Musik Dresden. His composition professors were Zygmunt Krauze, Krzysztof Knittel, Yannis Kyriakides, Mayke Nas, Manos Tsangaris and Mark Andre. Important recent collaborators include: Ensemble MusikFabrik (Germany), Garage Ensemble (Germany), Nemø Ensemble (Belgium), Hashtag Ensemble (Poland), Kompopolex Ensemble (Poland), Anna Kwiatkowska/Mikołaj Pałosz Duo. His pieces and installations have been shown on many festivals and concerts in Poland, Belgium, Netherlands, Portugal, Germany and China. He received various scholarships and prizes, i.a.: Förderpreis für junge Komponisten from the Saxony Composers Union in 2019. In 2018 he was nominated as one of the 10 most promising young polish composers by Culture.pl. In 2019 a DVD with his recent chamber pieces was published in Bôłt Records in Poland. He collaborates with audiovisual artist Aleksandra Chciuk. Together they created a concert/ installation “Black of Granule” for 2 performers, a piano and 1 listener during Musica Privata in Łódź in 2016 and at the Instalakcje Festival in Warsaw in 2018. Also together with Aleksandra Chciuk they created “Weave-Machine” audioperformance commissioned for the opening of the Textile Triennial at the Polish Central Museum of Textiles in Łódź. He created a series of “Ameublement de musique” objects, which have so far been presented in the form of installations or concerts in Poland, Belgium, the Netherlands and Germany, including a piece commissioned by Ensemble Musikfabrik. He is one of curators of Musica Privata Festival in Łódź.
PIERRE JODLOWSKI
Composer, performer and multimedia artist. His music, often marked by a high density, is at the crossroads of acoustic and electric sound and is characterized by dramatic and political anchor. His work as a composer led him to perform in France and abroad in most places dedicated to contemporary music as well as others artistic fields, dance, theater, visual arts, electronic music. His work unfolds today in many areas : films, interactive installations, staging. He is defining his music as an “active process” on the physical level [musical gestures, energy and space] and on the psychological level [relation to memory and visual dimension of sound]. In parallel to his compositions, he also performs on various scenes (experimental, jazz, electronic), solo or with other artists. He has been collaborating with various ensembles such as: Intercontemporain, Ictus, KNM, the Ensemble Orchestral Contemporain, MusikFabrik, the new Ensemble Moderne, Ars Nova, Proxima Centauri, Court-circuit, Ensemble Les Éléments, the Berg Orchestra, Soundinitiative, LUX:NM and various soloist from the international contemporary music scene. He also conducts collaborations with musicians such as preferred Jean Geoffroy – percussion, Cedric Jullion – flute, Wilhelm Latchoumia – piano, Philippe Spiesser – percussion, for works and research on new instruments. His work led him to develop collaborations with visual artists, in particular, David Coste for specific projects with video. He also works as a stage designer on several projects at the intersection of theater, installation, concert or oratorio. His works are performed in key places devoted to contemporary sound arts in France, Europe, Canada, China, Corea, Japan and Taiwan and the United States. His works are partly published by Editions Jobert and are the subject of several CD and video recordings on the labels éOle Records, Radio France, Kaïros, Percussions de Strasbourg. He is living in France and Poland.
HUGO MORALES MURGUIA
Working the boundaries between traditional instruments, found objects, performance technique and technology, the development of alternative forms of sound generation for music composition is essential in my work. I am interested in approaching traditional instruments as cultural artifacts and inventing instrumental implementations of rudimentary objects; where the role of the musician is taken as a flexible multi-instrumentalist, and overall, a musical performer. After concluding his studies at the Center of Research and Musical Studies in Mexico City, he moves to The Netherlands to continue his postgraduate studies with the support of “The Netherlands Organization for International Cooperation in Higher Education”, “Fondo Nacional para la Cultura y las Artes”, “Prins Bernhard Cultuurfonds” and “Fonds Podiumkunsten”. He holds a master’s degree in Music Composition from the Royal Conservatory in The Hague, a master’s degree in Sonology from the Institute of Sonology in The Hague, and a PhD degree from the Centre of Contemporary Music Practic at Brunel University in London. His music has been awarded by associations and competitions like: Mexican Music Council, International Jurgenson Competition, International Gaudeamus Music Week, SPNM Shortlisted composer, International Forum of New Music, Composition Stipend Fonds Podiumkunsten, “Grand Prize” Tokyo Experimental Festival, Iberm˙sicas, Fellow at Akademie Schloss Solitude, Willem Pijper Prijs. He has been performed and commissioned by ensembles such as: The Arditti Quartet, L’Ensemble Intercontemporain, ASKO|Schoenberg, Ensemble Klang, CHROMA Ensemble, NeopercusiÛn, Liminar Ensemble, Exaudi Vocal Ensemble, Champd’action, IKTUS Percussion Quartet, Talea Ensemble, Slagwerk Den Haag, Trio G•man, Studio for New Music Ensemble, Vortex Ensemble, London Contemporary Orchestra, Ensemble MAE, Sur Plus Ensemble, Ascolta Ensemble and Continuum among others. He currently lives in The Hague as a freelance composer and educator.
PAWEŁ HENDRICH
Paweł Hendrich was born in 1979 in Wrocław (Poland). After studying engineering and economics at the Wrocław University of Economics he studied composition at the K. Lipiński Academy of Music in Wrocław and at the Hochschule für Musik in Cologne. The works of Paweł Hendrich have been performed at concert and festivals in Poland, Germany, Austria, Sweden, Spain, Portugal, Czech Republic, Turkey, Hungary, Malta, Slovakia, Lithuania, Latvia, Estonia, Russia, Japan, China and United States of America. The composer has received commissions from: Warsaw Autumn Festival (Ensemble Musikfabrik), Deutschlandfunk (Kwartludium), Goethe-Institut, BHF BANK Stiftung and Ensemble Modern, The Municipality of Wrocław (NOSPR), Polish Institute in Madrid (PluralEnsemble), Institute of Music and Dance, Orkiestra Muzyki Nowej, The Forbidden City Chamber Orchestra, National Forum of Music (Lutosławski Quartet, LutosAir Quintet, NFM Leopoldinum String Trio), ZAiKS Polish Society of Authors and Composers as well as from the Polish Composers’ Union (Pablostrom, Orkest de Ereprijs). For several years now, he has been programming and composing in the Max/MSP environment and performing live electroacoustic music. With Cezary Duchnowski and Sławomir Kupczak he founded the electroacoustic group Phonos ek Mechanes. The Trio participated in festivals of improvised, contemporary and electroacoustic music and concerts in Poland and abroad. In 2010 DUX released Paweł Hendrich’s monographic record Chamber Works and in 2017 second one called Metaforma. In 2012 Bôłt Records released Phonos ek Mechanes’ first CD called C+-. In addition, his works have been published on several other CDs, including Ensemble Modern label.
CEZARY DUCHNOWSKI
Composer and pianist, born on 25 February 1971 in Elbląg. He studied composition in the class of Leszek Wisłocki at the Academy of Music in Wrocław. He was among the initiators of the Computer Composition Studio established at the academy, where he currently gives lectures on production of computer music. He writes works for chamber ensembles and symphonic orchestras, as well as music for films and theatrical performances. He is the author of multi-media projects, including an interactive opera with the libretto by Piotr Jasek entitled Ogród Marty [Martha’s Garden] (2006). Duchnowski is a passionate advocate of improvised music. He collaborates with jazz musicians and other artists enthusiastic about performing live music. Together with Paweł Hendrich and Sławomir Kupczak, they founded the Phonos ek Mechanes group. In this group, he actively pursues a very specific kind of improvised electronic music – human-electronics, where computers are controlled by acoustic instruments. In 1997, together with Marcin Rupociński, he founded the Morphai group involved in artistic initiatives of an interdisciplinary nature. He received grants from the Heinrich-Strobel-Stiftung des SWR e.V. in Freiburg, Foundation of the Friends of Warsaw Autumn, AUKSO Foundation of Music and the Ernst von Siemens Musikstiftung in Munich. Duchnowski is a winner of many awards. In 2012, he received an Award of the Polish Composers’ Union for outstanding achievements in electronic music and teaching activities.
KAROL NEPELSKI
Composer. He is passionately interested in anthropology, especially in the genesis and universality of music. His oeuvre refers to the musical production of primitive cultures and their musical artifacts. Nepelski also explores the issues related to the psychological reception of sound, the earliest examples of musical expression, as well as musica humana, i.e. the phonosphere of the human body. Despite his programmatic turn towards the origins of music, Nepelski does not feel impeded by tradition and often reaches for some of the most surprising tools to achieve the desired expressive qualities.
*Co-financed by the Minister of Culture, National Heritage and Sport from funds of the Culture Promotion Fund as part of the “Music” program, obtained from subsidies established in games subject to state monopoly, in accordance with Art. 80 sec. 1 of the Gambling Act of November 19, 2009, implemented by the Institute of Music and Dance.
*The Society of Authors ZAiKS is a Partner of CODES Festival.
