reflects on the nostalgia of childhood, a period marked by freedom, physicality, and an intense engagement with the world,  but also by the discipline, control, and submission inherent in  growing up and in formal musical education. The work draws  on the composer’s personal memories of childhood in Poland  at the turn of the millennium. Symbols of childhood freedom,  first experiences of independence, and movement intertwine  with signs of control, threat, and biological vulnerability, creating a tension between safety and risk, carefree play and discipline. The musical material incorporates quotations from selected  works by Johann Sebastian Bach, which serve as a symbolic  thread running through the experience of musical education.  Bach’s music accompanies young musicians almost continuously from the very first years of piano study. Recurring musical  figures and gestures of technical precision become a metaphor  for the long years of discipline and sustained effort embedded in  a childhood structured around practice.

Set against this experience are the child’s impulses toward improvisation, play, movement, and spontaneity. The electronics function as a resonant space of memory, transforming and refracting the piano material to create an intermediate realm between  memory and the present, between childhood experience and  the search for an individual artistic voice.

An essential element of the work is the presence of two performers: the composer Agata Zemla and the choreographer and dancer Katarzyna Sikora. Their stage actions create a tension  between the trained gesture and the spontaneity of the body,  between the role of the performer shaped by the structures of formal education and the experience of artistic autonomy. The work  ultimately becomes an attempt to reclaim freedom—not the freedom of childhood, but the consciously cultivated freedom of  a composer and performer who is able to transform imposed  structures into a personal artistic language.