Conceptualism, performativity, absurdity, persiflage, reference, borrowing, overload, joke – it may seem that this is the definition of new music created by the young generation of composers, the new discipline and post-internet. This is hardly a novelty in music – new trends and genres do not emerge in a vacuum, isolated from what is already there. Together with Ensemble Kompopolex, we want to trace this phenomenon and showcase it by juxtaposing compositions from recent years with works from the previous five decades.

The starting point is a new composition by Ole Hübner for a trio, inspired by times of pandemic isolation, accelerated coming of age in the face of challenges and the soundscape at home. It is complemented by the plunderphonic #00f6 by Kelley Sheenan, Neo Hülcker’s vocal in speak, which is playing with the past, and perverse c_ut|e #2 by Marta Śniady - representatives of one generation who offer wildly different styles and approaches to musical matter. They are going to have their context – Rock Piece by Pauline Oliveros, with starting point of listening to the surroundings, witty and collage-like Geräusche by Carola Bauckholt, Assemblages by Marek Chołoniewski – graphic pieces, which hearken back to the style of Muzyka Centrum, as well as selected excerpts from the textual Compositions 1960 by La Monte Young, which bring the entire programme together.

La Monte Young – Composition 1960 #7 (1960) 5’
Pauline Oliveros – Rock Piece (1979) 5’
Ole Hübner – trauma und zwischenraum 3 for a trio (2021) 10’ (World premiere)
La Monte Young – Composition 1960 #13 (to Richard Huelsenbeck) (1960) 4’
Marta Śniady – c_ut|e_#1 (2017/2021) 12’
Marek Chołoniewski – Assemblages for specific artists (1975) 12’
Carola Bauckholt – Geräusche (1992) 4’
Neo Hülcker – we speak for trio (2019) 15’ (Polish premiere)
La Monte Young – Composition 1960 #10 (to Bob Morris) (1960) 5’


Performers:
Ensemble Kompopolex

Featuring:
Marek Chołoniewski - electronics

The performance by the Kompopolex ensemble was financed with the support of the ZAIKS.

The commission of the work by Ole Hübner was financed with the support of ZAIKS.