The work was originally designed for a small improvising orchestra and two improvising soloists (violin and electronic instruments). While I was working on it, a third solo part emerged— the percussion part—so it is now a work for three soloists.

It was also clear from the outset that the orchestra’s improvisation would be conducted using the Conduction method, devised  many years ago by the outstanding jazz musician Lawrence  “Butch” Morris. With his permission, I have been using this  method for almost twenty years, gradually developing it in my  own way. Compared to the original intention, there have been  some changes here too, as sections written in bars have appeared  in the score, requiring traditional conducting. This occurs during the improvisation by the violins and electronics, but as it  happens, it is precisely in these passages that the score allows  the percussionist to play in parallel, so it is they who will lead  these sections of the score. There will also be sections where we  will conduct simultaneously—traditionally notated sounds of  the string instruments will enter into a dialogue with the improvising group of wind instruments and with the soloist’s vocal  commentary.

Finally, monitors displaying timers will be placed on stage; however, these will not show the duration of the entire piece, but  rather that of the electronic track accompanying the soloists and  the orchestra: this helps them to synchronise, and in certain sections of the piece marks the common starting points of sections  or the points where the orchestra pauses.

The piece forMIA is dedicated to the wonderful violinist, outstanding improviser and composer Mia Zabelka. Our partners in  improvisation will be the excellent percussionist Hubert Zemler  and the unrivalled musicians from the NOSPR in Katowice.

Krzysztof Knittel