The work refers to the historical concerto grosso genre. Solo voices are sung by Kwartludium ensemble members and the computer. Apart from running an algorithm at the beginning of the piece, the computer part requires no human intervention. The NFM Leopoldinum Orchestra will perform the accompanying part. 

The work’s title refers to the recent strive in art and philosophy to overcome the existing discourse and update it to the reality of the 21st century’s third decade. The need for new definitions often advocates the cutting of any ties with history (though not negating it) to build a future upon totally new structures. New societies will need new rules. In that case, will historical music still have a raison d’être? Will historical instruments continue to be used apart outside performances reconstructing a distant past? How to find a place for new instruments in an overinstitutionalised world? In the time of perfectionism and flawless AV recordings, virtual reality, and technological simulacra, do we still need live beings on stage? 

Jacek Sotomski