63rd Warsaw Autumn


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, Aleksander Nowak, Simon Steen-Andersen, 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, one choir, ten ensembles, soloists… Warsaw Autumn Festival Radio and ten events venues…

The Warsaw Philharmonic Orchestra and Choir, National Polish Radio Symphony Orchestra in Katowice, AUKSO – Tychy City Chamber Orchestra, New Music Orchestra, European Workshop for Contemporary Music Orchestra, Asko|Schönberg – K[h]AOS, Chopin University Big Band, JACK Quartet, 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: Aleksander Nowak’s mysterium of sound and words Drach. Dramma per musica; Beat Furrer’s poem Schnee-Szenen; 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 keywords in François-Bernard Mâche’s L’Estuaire du temps for orchestra and sampler; verbal and musical phrasing in Peter Ablinger’s Voices and Piano; the speech of musical cadences in Sky Macklay’s quartet Many, Many Cadences; sonorism of signs in Witold Szalonek’s Les Sons and 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 Jerzy Bielski’s Zamenhof Project: Breaking the Codes and the Feminine Forms concert with works by Monika Szpyrka, Żaneta Rydzewska, Martyna Kosecka, Anna Sowa, and Nina Fukuoka; the great patchwork of language, music and image in Simon Steen-Andersen’s TRIO, featured in this Warsaw Autumn’s final concert.

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.

Jerzy Kornowicz
Director of the Festival

Programme updated 17 April 2020, subject to changes.