63rd Warsaw AutumnMUSIC AND LANGUAGE
Music is a language, but language carries its own music. In our festival’s programme, these two elements will intertwine in various ways, touching upon issues such as:
the role of words in music; words embedded in music and music embedded in words; the language of music, the music of language; common elements between music and language; the specificity of structures; the grammar of music, the architecture of text; similar functions; music and information; communication through music; means of transmission; the “speech” of music from the social perspective; art of the time of the plague: home music.
Concerts, performances, sound theatre, various opera formulas, intermedia, improvisations, internet and radio forms (on the 95th anniversary of the Polish Radio), meetings, composer workshops / Over 50 festival events / Young generation of Polish composers / Featured composers: Mark Andre, François Sarhan, Grażyna Pstrokońska-Nawratil, François-Bernard Mâche, Peter Ablinger, Joanna Woźny / 50 composers, including 22 making their Warsaw Autumn debut, with 18 world premieres, including Warsaw Autumn commission / Five orchestras, two choir, ten ensembles, soloists / Warsaw Autumn Festival Radio and eight events venues.
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.
The main Festival thread; Warsaw Autumn Hits the Club; Little Warsaw Autumn; Warsaw Autumn Contexts and fringe events.
The programme of this year’s Warsaw Autumn includes notably: François Sarhan’s new opera; ad trials in Georges Aperghis Pub-Reklamen; a verbal–musical performance of the ElettroVoce duo of Agata Zubel and Cezary Duchnowski; a matrix of language in François-Bernard Mâche’s music; verbal and musical phrasing in Peter Ablinger’s Voices and Piano; sonorism of signs in Mark Andre’s cycle riss 1–3; sound gestures in Kuba Krzewiński’s Contre No. 2; the speech of sign language in Mark Applebaum’s Aphasia; language, music and reality in the Feminine Forms concert with works by Monika Szpyrka, Żaneta Rydzewska, Martyna Kosecka, Anna Sowa, and Nina Fukuoka.
And much more about the relationship between music and language, as well as many works without that relationship. Because music written today cannot be simplified to one, even fundamental issue.
Director of the Festival
Programme updated 7 June 2020, subject to changes.