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THE TALE OF THE HEART. FAVOLA IN MUSICA
ANA 029
‘The heart – a void, a gaping wound. / A wound on the left-hand side of the world.’ It is with his heart that Aleksander Nowak seems to have read Radek Rak’s Nike-awarded novel A Tale of a Serpent’s Heart or a Second Word about Jakób Szela. His opera thus abounds in emotions perfectly comprehensible to a sensitive audience – emotions that are nearly obvious, though the author shuns literalness.
VARIOUS FORMS OF FRICTION
ANA 028
The eponymous piece, written for its current performer Jakob Kullberg, derives its title from the composer’s belief that creating a work of art calls for friction on both the conceptual and purely personal level. The other two concertos on VARIOUS FORMS OF FRICTION, released in PORTRAITS series, are Motions, Stases for piano and large ensemble (with Małgorzata Walentynowicz as soloist) and Open/Close for bass clarinet and large ensemble (soloist: Michele Marelli). The soloists perform here with Ensemble OMN under Szymon Bywalec.

Kuba Stankiewicz - Inspired by Ludomir Różycki
ANA 027
One of Poland’s most compelling jazz pianists, Kuba Stankiewicz has shared the stage with, among others, Jan Ptaszyn Wróblewski, Zbigniew Namysłowski, Artie Shaw, and Art Farmer. For many years he has explored the impact of pre-WWII film music on jazz, which has resulted in splendid releases of music by Victor Young, Bronisław Kaper, Henryk Wars, as well as their teacher Roman Statkowski. Stankiewicz’s variations on themes from Różycki’s works are the next stage of his journey in search for the sources of jazz.
METAMORPHOSES: VARIATIONS ON LUTOSŁAWSKI
ANA / 026
From his debut album Outside Sources (2004), Canadian bassist-composer Michael Bates felt that even contemporary open jazz constrains him. Michael Bates’ arrangements OF Lutosławski’s works were premiered in a dazzling manner by the joint forces of Acrobat and Lutosławski Quartet during the New York edition of Jazztopad festival in June 2022. Several months later in Wrocław, the musicians met up again in order to record the music and thus preserve their fantastic adventure for the future generations.
ORESTEIA
ANA / 025
Bloody crime, family tragedy, the force of destiny… The timeless works of ancient playwrights continue to move audiences also today as well as inspiring present-day artists. Aeschylus’ "Oresteia" has thus become the basis for Agata Zubel’s dramopera to a libretto by Maja Kleczewska.
CONCERTOS
ANA 024
When asked to attempt a definition of her music, she called it lyrical expressionism. The choice of this term says much about the emotional intensity of Elżbieta Sikora’s music, which may reflect the experience of her two home countries, Poland and France, but is also a consequence of her artistic maturation in an age when two powerful trends – the avant-garde and neo-Classicism – were vying for the palm. Such a label may also result from the artist’s focus on the listener as her target, whom she invariably attempts to surprise, shock, or bewilder.
SZYMANOWSKI / X-RAY
ANA 022
The workings of inspiration are truly inscrutable. Karol Szymanowski sought it in the Antiquity, the Orient, and in Polish folklore. The artists of to-day, though cast from a different mould, are in turn inspired by the oeuvre of Szymanowski.
POKORA. DRAMMA GIOCOSO
ANA023
A creative clash of such individualities is always a high-risk venture that might only seem fit for a one-time success. Contrary to expectations, collaboration between one of Poland’s most eminent 21st-century composers and one of the best contemporary writers continues to develop, producing ever more surprising results. The two artists chose the opera as the field for their joint experimentation. They approach this genre in all seriousness but without humility… Which brings us to the title of Nowak and Twardoch’s third work, “Pokora” (‘humility’ in Polish).
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