We present productions of new Polish label Bô速.
Its goal is to promote the achievements of the most eminent composers of contemporary classical, experimental and improvised music working in Eastern Europe Bô速 emphasizes originality, skills and imagination which avoid shallows of pseudo-avantgarde trash.

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Barbara Kinga Majewska, Emilia Sitarz play Franz Schubert Winterreise
BÔΡ BR POP14 January 2016

1. Gute Nacht 0:32
2. Die Wetterfahne 1:24
3. Gefrorne Tr鄚en 3:35
4. Erstarrung 3:23
5. Der Lindenbaum 2:26
6. Die Post 2:22
7. Auf dem Flusse 0:04
8. Rckblick 0:28
9. Irrlicht 1:36
10. Der greise Kopf 2:41
11. Wasserflut 8:18
12. Die Kr鄣e 3:18
13. Letzte Hoffnung 3:06
14. Im Dorfe 2:32
15. Der strmische Morgen 0:21
16. T酳schung 1:15
17. Mut 1:16
18. Rast 3:32
19. Frhglinstraum 0:14
20. Einsamkeit 1:03
21. Der Wegweiser 3:30
22. Das Wirsthaus 0:28
23. Die Nebensonnen 2:24
24. Der Leiermann 11:14

CD ecopack 61:02

Barbara Kinga Majewska - voice
Emilia Sitarz - piano

Richard Youngs plays Parallel Winter
BÔΡ BR POP15 January 2016

1. Parallel Winter 33:09

CD ecopack 33:11

Richard Youngs - guitar, zither, voice

Joanna Halszka Soko這wska plays Franz Schubert Winterreise
BÔΡ BR POP16 January 2016

1. Winterreise 75:02

CD ecopack 75:04

Joanna Halszka Soko這wska - voice

Recording: Michal Libera, 29.10.2015 at Komuna// Warszawa
Mix and mastering: Ralf Meinz
Premiered during Playback Play festival at Dwa Osiem club, Warszawa 12.12.2014

Motto of Populista Winter Triangle came about on 13th of December, 2014. It was a cold and windy day, a classic of pre-winter Warsaw, cold, wet, transparent yet at the same time grey, or perhaps mostly grey. It was also a day of the first Warsaw show of Richard Youngs in Komuna// Warszawa. Not fully by accident, there was a piano in the room, which made Richard propose performing Parallel Winter. Few hours later he was introducing the piece to the audience saying that its duration is something in between fifteen and forty five minutes. It is because, he continued, that the piece has as many lines as we have winter days and hence is something one needs to go through, not unlike going through winter.

Is there a better introduction to Winterreise?

Legendary music cycle of Franz Schubert accompanies the poems of Wilhelm Mller and is today more than a classic, it is a must in virtually all and any music canon, a model of romantic songbook about misery, love and solitude and last but not least a 19th Century equivalent of a pop album mirroring emotional lives of generations to follow after its completion in 1828. Musicians' encounters with Schubert are rarely coincidences, especially in case of Winterreise. Regardless of approach, methodology in developing the interpretation, performance's concepts and techniques, facing the cycle is always a challange. It is due to the scale of the piece, varied and settled performance traditions, canonic value and more than often inconspicious refinment of the music which all together require musician to engage deeply and responsibly. It always means something when somebody takes on Schubert.

Interpratations of Barbara Kinga Majewska and Emilia Sitarz are crazy, funny, touching, sad, passionate, icy, irreverent, charming, sharp, ironic, tender, sweet, sensual, repulsive, ostensibly true and movingly artificial. Most of all however, they are a consistent, unhesitating and precise story of high integrity, not easy to forsee though, even for Winterreise's experts. The story is a far reaching interpretation of Schubert and Mller, bold and consequent, not stopping half way, not sucking up to the history of great performances of the piece. Quite the contrary, it is an undogmatic exegesis, open and idiosyncratic, the one that only the two artists in team with the producer, Micha? Libera could create, an interpretation displaying new tensions and new interrelations existing in Schubert's cycle. At the same time, it is a work of great admiration and respect, more than often characterized by prudish perfections and surprising faithfulness to the romantic original.

The version of Joanna Halszka Soko?owska is diametrically different, although the distance from Schubert seems comparable in both cases. The album is in a way a field recording of a night session in the theatre. In less than two hours, her singing was captured with no rehearsals, in one go, and was followed by no overdubs or other studio treatments. It seems to be closer to Richard Young's Parallel Winter than the other take on Schubert. Perhaps because they both share a thoroughly camouflaged conceptual content uniting all the details and formal decisions with the content interpretation. It is switfly covered with the sound of pop or folk music or whatever kind of music it is which is more about playing than performing. Hence its theory comes more from an instinct and accurate decision than detailed exegesis, which by the way seems quite close to Schubert's fascination with folk songs. But there the similiarities with the original end.

Derek Bailey / John Tilbury Playing with a Dead Person
BÔΡ BR LP03 January 2016

A1. Birthday Party I 5:44
A2. Birthday Party II 3:55
B. Birthday Party III 12:55

LP 33rpm 22:34

John Tilbury - piano
Derek Bailey - guitar

"Derek and I always wanted to do a duo recording together and we never quite managed that. Within the later years that we were trying to set something and his health was failing, we would get close to it and he would phone up and say "I'm just not up to it, I can't do it", and of course he died and I always regretted it - that we never did that. [...] So when you contacted me about the duos, I thought there is nothing more original than playing with a dead person [...] which is curious because Derek is very much alive, especially when we hear his voice and I feel he's sort of sitting here, in the studio, and he's waiting for me and I'm waiting for him and we're not quite sure what's gonna happen"

John Tilbury on BBC talking about the session.

John Tilbury / Zygmunt Krauze Grand Tour
BÔΡ BR 1033 January 2016

1. Cornelius Cardew - Solo with Acompaniment 10:35
2. Terry Riley - Keyboard Studies #2
3. Tomasz Sikorski - Echoes II
4. Christian Wolff - Tilbury 3
5. Zygmunt Krauze - One Piano Eight Hands

John Tilbury - piano (1, 2, 4), upright piano (5)
Zygmunt Krauze - piano (1, 2, 3, 4), upright piano (5)
Szablocs Esztenyi - piano (2, 3, 4), upright piano (5)
Hubert Zemler - percussion (1, 3), upright piano (5)

CD digipack 12pp bilingual booklet (pol/eng) 63:14

Tilbury left communist Poland in 1964 and his visits grew rare. He got involved with Cornelius Cardew's Scrath Orchestra and the AMM; later he went on to become known for his performances of Morton Feldman's compositions. Meanwhile Zygmunt Krauze, aside from his work in the Musical Workshop, grew to be his generation's leading conceptual composer, mainly thanks to his reception of W豉dys豉w Strzemi雟ki's unism. The worlds of Krauze and Tilbury were separate, but adjacent.

The Musical Workshop (pl: Warsztat Muzyczny) first four members were pianists: John Tilbury, Zygmunt Krauze, Zbigniew Rudzi雟ki and Tomasz Sikorski. The band was an experimental space for all of them: they tried out new techniques both as composers and as instrumentalists. Thanks to Tilbury they had access to all the newest scores. Their concerts went on to shape Poles' reception of the entire Western avant-garde. They were the ones to premiere the works of John Cage, Morton Feldman, Christian Wolff, Cornelius Cardew, Terry Riley and La Monte Young in Poland.

John Tilbury returned to Warsaw in 2015 on a residency. This allowed him and Krauze to meet again. The meeting was not about reuniting the band. Neither was it about making a sentimental journey through time, which had brought about a political thaw in Poland and liberated its cultural life. What the meeting was about is historical policy - returning a special moment in time to the nation's shared memory. That's why it wasn't just Krauze and Tilbury at the meeting - they were joined by the composer and musical interpreter Szabolcs Esztenyi (a friend of Sikorski's) and Hubert Zemler, a young percussionist from Warsaw. They played compositions which are meant to a critical reflection on Musical Workshop's legacy.

Daniel Muzyczuk

Kazimierz Serocki Pianophonie
BÔΡ BR 1032 January 2016

1. Forte e piano 12:15
2. Pianophonie 32:38

Szablocs Esztenyi - piano (1, 2)
Jerzy Witkowski - piano (1)
Polish Radio and television Symphony Orchestra in Krakow (1)
Great Polish Radio and Television Symphony Orchestra in Katowice (2)
conductor: Stanis豉w Wis這cki (1, 2)

CD digipack 16pp bilingual booklet (pol/eng) 45:23

The contemporary status of 'Forte e piano' and 'Pianophonie' is different. Forte e piano is one of Serocki's lesser known and acclaimed works, while 'Pianophonie' is considered his greatest masterpiece. However, it's worth remembering that 'Forte a piano' and 'Pianophonie' are interrelated. It's difficult to imagine the latter without the former.

Iwona Lindstedt

Serocki was born in Toru?. He studied composition with Kazimierz Sikorski and piano with Stanis?aw Szpinalski at the State Higher School of Music in ?鏚? and graduated in 1946. He continued in Paris, studying composition with Nadia Boulanger and piano with Lazare L憝y, before graduating in 1947-1948. Between 1946 and 1951 he performed many times as a concert pianist in Poland and abroad, but for the rest of his career, he was focused exclusively on composition. Serocki's output is concentrated in two main spheres: orchestral music and vocal-instrumental pieces to Polish texts selected with fine discrimination.

Serocki was one of the founders, along with Tadeusz Baird, of the Warsaw Autumn international contemporary music festival. Together with Tadeusz Baird and Jan Krenz he formed the composers' group Group 49. He was vice-president of the central administration of the Polish Composers' Union from 1954 to 1955. He received a number of Polish and foreign awards, including several State Prizes, among them one in 1952 for his music to the film Young Chopin. He also received a prize at the UNESCO competition in 1959, for the Sinfonietta and the award of the Minister of Culture and Fine Arts in 1963 for the whole of his work. He died, aged 58, in Warsaw.


Kamil Szuszkiewicz Robot Czarek
BÔΡ BR K008 grudzie 2015

1. Uwertura 2:11
2. Kuchnia 3:00
3. C鏎ki 3:05
4. Janusz 3:42
5. Winda 3:53
6. Tramwaj 3:50
7. Przystanek 3:27
8. Kuplet 3:05
9. Fina 15:54

CD ecopack 42:28

Krzysztof Penderecki, Eugeniusz Rudnik Homo Ludens
BÔΡ BR ES20 listopad 2015

1. Eugeniusz Rudnik - Birds and People 15:52
2. Krzysztof Penderecki - Basilisk Encounter 10:07
3. Krzysztof Penderecki - Glass Enemy 11:00
4. Krzysztof Penderecki - Left Home 13:46

1. Krzysztof Penderecki - Painters of Gda雟k 19:48
2. Krzysztof Penderecki - Polish Ballad 13:37
3. Eugeniusz Rudnik - Homo ludens 32:38

2CD 16-page booklet digipack 50:45 | 65:55

Tekla Mrozowicka / Marcin Cichy - Prominences
BÔΡ BR K007 October 2015

1. Whispering 10:17
2. Prominences 6:14
3. In Time 15:47
4. Bells 6:19

CD ecopack 38:37

15 Corners of the World. Sound essay
BÔΡ BR ES19 October 2015

1. Intro 3:38
2. The Physicality of the Tape 0:23
3. Tutorial 1:19
4. Stone Is Musical Material 1:48
5. I Illuminated 1:58
6. Rapetition 2:14
7. Repetition (music) 3:06
8. Human Mass 1:27
9. Inventory od Listener's Associations 0:57
10. Inventory od Listener's Associations (muzyka) 1:02
11. Train Miniature 3:59
12. The Inseminating Gesture 0:38
13. Warsaw Mists - Collage 3:58
14. Clear - Crystalline 2:23
15. 15 Corners of the World 2:33
16. Erotophony 5:48
17. Human Voice Distorted 0:53
18. Human Voice Distorted (music) 1:36
19. Electro-Meadow 1:28
20. Garbage 1:22
21. Final 3:38
22. Closing Credits 2:17

Composer: Eugeniusz Rudnik
Music selection and edition: Zuzanna Solakiewicz, Marcin Lenarczyk
Sound: Marcin Lenarczyk
Based on a soundtrack from the motion picture "15 Corners of the World"

CD 16-page booklet digipack 48:30

Lenar / Masecki / Zra貫k Fortepian Chopina
BÔΡ BR R009 June 2015

1. ζweczka I
2. ζweczka II 5:03
3. ζweczka III 5:01
4. ζweczka IV 2:05
5. ζweczka V 4:56
6. ζweczka VI 3:23
7. ζweczka VII 3:38
8. ζweczka VIII 2:49
9. ζweczka IX 3:02
10. ζweczka X 2:03
11. ζweczka XI 2:01
12. ζweczka XII 0:53
13. ζweczka XIII 1:35
14. ζweczka XIV 1:49

CD ecopack 44:44

Raphael Rogi雟ki plays John Coltrane and Langston Hughes African Mystic Music
BÔΡ BR POP13 June 2015

1. Blue Train 5:43
2. Equinox 5:12
3. Lonnie's Lament 5:13
4. Walkers with the Dawn 2:40
5. Mr. P.C. 3:03
6. Countdown 3:12
7. The Negro Speaks of Rivers 2:05
8. Grand Central 2:55
9. Seraphic Light 4:30
10. Naima 4:57

Raphael Roginski - guitars
Natalia Przybysz - voice

Composed by:
John Coltrane (1, 2, 3, 5, 6, 8, 9, 10)
Raphael Roginski (4, 7)

Poems: Langston Hughes

CD ecopack 39:56

It's no joke and no incident when Raphael Roginski gets down to John Coltrane. It's no reckless reference to a celebrity in order to see what more can be possibly done with his music. It's no game of how faithful you can get with rearranging saxophone themes for guitar. For Roginski, Coltrane appears to be a spiritual leader rather than the master of jazz idiom. His pieces have been meticulously transcribed but only to become a ground to search for the mystical roots in the music of American saxophonist. Call it draining off of Coltrane from jazz or call it husking for African rites in his music - this way or another, you will end up exposed to how close "Blue Train" or "Equinox" are to the previous ethnographic interests of Roginski in Jewish, African and American music. So it is no wonder that the music flows fluently in and out of poetry by Langston Hughes sung by Natalia Przybysz and accompanied by the guitarist.

Robert Piotrowicz, Lukáš Jiřička Samoobrona
BÔΡ BR R007 March 2015

A. Samoobrona (excerpt 1, excerpt 2) 13:53
B. Samoobrona (excerpt 3) 15:30

LP 4pp gatefold insert 29:27

Zygmaunt Krauze Hommage à Strzemi雟ki
BÔΡ BR 1029 January 2015

1. Polychromy 4:28
2. Piece for Orchestra No 1 8:46
3. String Quartet No 2 15:53
4. Tableau Vivant 10:15
5. String Quartet No 2 20:48
6. Piece for Orchestra No 2 9:18
7. Polychromy 4:19

CD digipack 20-page booklet 74:25

I will be talking about my music, but I want you to realise that I am actually talking all the time about the source of that music which is the theory and work of Strzeminski. And that is because since the very beginning my music has been closely connected with it. It has actually been its source. In 1956, as a student of the Secondary School for Music, I went to a posthumous exhibition of Strzeminskis works, and that day marked my future. First of all, I realized that I would become a composer, and I also understood how I would write my music.

Zygmunt Krauze

Rubens Quartet, Arnon Zlotnik, G這wicka Seven Sonnets
BÔΡ BR 1028 January 2015

1. My Eye Hath Played The Painter 4:21
2. Oh, Never Say That I Was False of Heart 3:27
3. My Love Is Strenghtened 6:53
4. When My Love Swears 8:26
5. Love Is Too Young 9:41
6. Sweet Love 5:59
7. All Naked 8:12

CD digipack 8 page booklet 47:03

Composed for quartet and countertenor, with Glowicka's trademark technological infusion, the 50-minute song cycle unfolds an evocative journey. Nearly 400 years after the sonnets' creation, the young composer adapted 3 of the poems into Summer's Day in 1999. She then expanded the set with 4 more selections a decade later. The experience is yours to relish now, with the full effort compiled in this album - 4 centuries in the making.

The timeless echoes of love in the works of William Shakespeare have cultured the globe for centuries. With Seven Sonnets, composer Katarina Glowicka has tapped the endless wellspring of the scribe's Sonnets of 1609. Shakespeare's penetrating insights on love are at times transcendent, endearing and others, heart wrenching. Glowicka's compositional interpretations traverse this dynamic spectrum of emotion, giving Shakespeare's words the musical justice they deserve.

S豉womir Kupczak Res Facta
BÔΡ BR 1027 January 2015

1. Anaphora V 12:04
2. Res Facta 16:50
3. Dances with Prelude 11:22
4. Analogya 2 10:09

CD ecopack 50:13

Flute o'clock: Ewa Liebchen, Rafa J璠zejewski - flutes, objects
Szabolcs Esztenyi - piano
Rafa ㄆc - accordion
S豉womir Kupczak - electronics

Gamut Inc. Ex Machina
BÔΡ BR LP02 January 2015

A. untitled 16:17
B. untitled 16:11

LP vinyl 32:28

Marion W顤le (Frau W) & Maciej 奸edziecki - compositions for computer-operated music machines
Mix and mastering: Ralf Meinz
Cover art and layout: Frau W

Co-production of Satelita Musikverlag and Bo速 Records


This release came about as a part of Avant Avantgarde, which was dedicated to the diversity of pre-twentieth-century musical experimentation and marked with concerts in Cologne, Cracow, Warsaw and Berlin. The twentieth-century avantgarde will supposedly be created and credited with many of the approaches explored. During the two-year project we created three acoustic music machines with the help of instrument builder and tireless experimenter Gerhard Kern.
The Carillon is 16-note glockenspiel, the Physharmonika a kind of automated accordion, and the BowJo is made up of three double-chorded monochords, which are triggered by electromegnets. All of the instruments play autonomously and acoustically, but are controlled by computer.
The recordings on this LP were made exclusively with these machines. We also developed the controller software so that not only can notes be played, but the complex sonic qualities of the machines also come to light. Motors in the Physharmonika can be used to perform fluent changes in register, the wind supply being regulated by chokes and two-chamber system. The BowJo is limited melodically, but complex timbres and numerous modulations are possible through changes in the positioning and pressure of various motors on the strings.
Our aim was not to create an orchestrion that replaces musicians, but rather to merge the digital with the analogue and create sounds that appear electronic by acoustic means. We have transferred the idea of open software, which can be used by musicians to build independent virtual machines, as is common in electronic music, to these self-playing machines. The differences between acoustic and electronic blur. "Ex Machina" documents the current state of the instruments within the course of their continuous development.

Mirt Solitaire
BÔΡ BR ES18 December 2014

1. Solitaire 1 13:01
2. Solitaire 2 4:24
3. Solitaire 3 3:59
4. Solitaire 4 4:22
5. Solitaire 5 7:52

CD ecopack 33:39

If you play Mozart slower, it will sound like Beethoven
(The Kidnapping of Michel Houellebecq, dir. Guillaume Nicloux)
The credit for making me aware of the above quote must go to Micha Mendyk. Actually I should just leave it at that as it perfectly illustrates my approach to music in general. I remember when I got my first grammophone (that was a very long time ago). Apart from the standard rotational speed it offered also two additional ones: 16 and 78 rpm. I was able to slow down any record I wanted to - and as a matter of fact I used this opportunity a lot. Out of curiosity. In hope that a bad record would sound interesting. In order to here more...

After some initial preparations which preceded the task of re-interpreting the works of Arne Nordheim I came to the conclusion that Solitaire had just enough material to fill the whole album. But it wasn't about simply slowing it down this time, rather I wanted to grasp the tiny details which appeared only for a short time and develop those fragments which for me have gained almost a meditative dimension.


V/A Pole Reports from Space
BÔΡ BR ES17 December 2014

1. Krzysztof Penderecki - Excursion Into Cosmos 6:45
2. Arturas Bum靖einas - Audiokaukas 17:27
3. Zden骿 Li隕a - Ikarie XB-1 13:44
4. Edward Artemiev - Solaris-Ocean 11:30
5. Marcin Cichy - Silent Star 5:25
6. Marcin Cichy - Test 4:04

1. Eugeniusz Rudnik - Pole Reports from Space 37:32
2. Sultan Hagavik - KØSMØPØLEX FORTE 25:18

2CD 24-page booklet digipack 58:55 | 62:50

The Polish Radio Experimental Studio has been, since its founding in 1957, a source of music associated with space imagery. The uniqueness of sounds, robotics, automation, interplanetary travel, spectacular crashes, and explosions of suns - all these could be accommodated in the imagination of a creative sound engineer. Points of reference consisted in the sounds made by planes, rockets and weapons, whereas space emptiness and silence were incarnated by nebulae spatial sound, filled with reverb and echo. Almost always when there was a need in a film for the voices of green aliens, Warsaw engineers were asked for help.

The Experimental Studio was initially associated with the experience of a laboratory-oriented mental conquest of the stars, acoustic "domestication" of the topic of the near and, as it then seemed, inevitable, colonization of the cosmos by a fearless man. Among a number of "cosmic" illustrations for stories, documents and reports realized in the Studio led by Joseph Patkowski, a few items glitter with exceptional glow.

Michal Libera with Martin Kchen and Ralf Meinz Tyto Alba. 13 portraits of melancolics, birds and their co-hearing
BÔΡ BR R008 December 2014

1. Michel Serres 3:58
2. WG Sebald 1:17
3. Philomela 2:29
4. Max Ernst 2:56
5. Alvin Lucier 2:14
6. Giorgio Agamben 4:07
7. Bed鷡ch Smetana 2:01
8. Andean Solitaire 2:19
9. Auguste Rodin 6:31
10. Tyto Alba 5:23
11. Georges Perec 3:45
12. Wilhelm Heinrich Dove 3:11
13. Javier Mar燰s 2:31

Michal Libera - text, text adaptation, recordings, composition
Martin Kchen - saxophone
Ralf Meinz - sound design

CD ecopack 42:53

Sound essay, h顤spiel, reading, electroacoustic music, plunderphonics, sound portraits, collection of songs or simply a sonic take on melancholia. Disposition or disease, melancholia is a rich psycho-territory full of apathy, depression, withdrawal, self-dismissal, hallucinations and alien voices. And hearing. In particular, suffering of the ears and peculiar way of listening related to it. In one of the footnotes in his essay "Stanzas", Giorgio Agamben points out that the well known melancholic posture of a man leaning his head against the hand is actually an attempt to get away from suffering of his ringing ear. This observation bringing together melancholia and sound is the main coordinate of the piece's development. It departs from melancholic listening turning women into birds depicted in the opening chapter of WG Sebald's "Rings of Saturn". The voice imperceptibly meanders between reading, commenting and distorting the tales ramifying the interpretations of the initial situation. It is accompanied by hundreds of samples from classical music to birds and saxophone playing by Martin Kchen.

Rinus van Alebeek & Micha Libera play Alvin Lucier Chambers
BÔΡ BR POP12 December 2014

1. Trading Cities 1: Santa Eufemia D'Aspromonte 2:50
2. Cities & Names 5: Gioia Tauro 4:08
3. Cities & Eyes 1: Chora tu Vua 4:55
4. Thin Cities 5: Roghudi 10:28
5. Thin Cities 2: Catanzaro 7:11
6. Trading Cities 3: Rosarno 7:06
7. Continuous Cities 1: Ziia 8:27
8. Trading Cities 2: San Ferdinandea 7:33
9. Cities & The Dead 4: Caulonia 3:58

Rinus van Alebeek - composition
Micha Libera - text adaptation
Rinus van Alebeek, Micha Libera - voices, recordings

CD ecopack 55:16

The whole idea came from reading Italo Calvino's "Invisible Cities" while travelling among unknown cities of Calabria. The similarities have been striking. The book became a guide, Kublai Khan - an emperor of the land in the south of Italy and the idea - irrepresible urge to actually perform this similiarity. The original text by Calvino was overwritten with some information - including the names of towns - distorted, filtered and overdubbed by its local reflections. Armed with it, Rinus van Alebeek and Micha Libera set out for a dozen of excursions into Calabrian towns to recite, talk, read, listen, drink coffee, perform, play, record, play back... or: blow, bow, rub, explode, scrape, walk, ignore, talk, screw, dance, whistle, which are all suggestions of Alvin Lucier to make large and small resonant environments sound. The material recorded during these attempts to make invisible cities of Calabria sound was then composed by Rinus van Alebeek to form a road audio-book.

Komuna// Warszawa plays Luc Ferrari Tautologos III
BÔΡ BR POP11 December 2014

1. Overture 4:00
2. Act I 5:51
3. Act II 6:08
4. Act III 6:35
5. Coda 6:08

Julia Kubica - violin
Wojciech Walczak - viola
Filip Rzytka - cello
Grzegorz Laszuk, Alina Ga章zka, Micha Libera - voices, organs
Ralf Meinz - sound, recording

CD ecopack 26:02

In 2011, the prose score of 'Tauologos III', served as framework for a chamber opera prepared in Komuna// Warszawa. Its core element consisted of three separate performances of a short fragment of Alfred Schnittke's String Trio. Violinist (Julia Kubica), violist (Wojciech Walczak) and cellist (Filip Rzytka) played their own parts of the given movement one after the other. Their performances were recorded live and finally overlapped and played back with no synchronization. The procedure was sprinkled and scattered by dance movements and lecture dealing with notions of division of labor in music informed by both sociological and musicological insights into the topic (references to Max Weber, Emile Durkheim, Jacques Attali and Christopher Small). Album release is an updated and re-recorded version of the performance and hopefully a self-explaining tautology as well.

Ralf Meinz, Karolina Ossowska & Miko豉j Pa這sz play Giuseppe Tartini La sonata il sol minore al terzo suono
BÔΡ BR POP10 December 2014

1. La sonata il sol minore al terzo suono, takty 1-3 8:29
2. La sonata il sol minore al terzo suono, takty 3-10 12:37
3. La sonata il sol minore al terzo suono, takty 38-41 13:49

Karolina Ossowska - violin
Miko豉j Pa這sz - cello
Ralf Meinz - sound, recording

CD ecopack 34:55

Apart from being a prolific Italian composer, Giuseppe Tartini was also a violin teacher and a theorist. Out of close analysis of intonation, he became interested in a long known phenomena of mysterious third tones which sometimes appear when only two sounds are articulated. He called them "il terzo suono" and was the first one to develop a written down theory of what we now know as combination tones. In his 'Trattato di musica secondo la vera scienza dell'armonia' published in 1754 he laid out a mathematical proof of third tone's pitch as either sum or difference of the other two articulated pitches. The idea behind the performance of Karolina Ossowska (violin), Miko豉j Pa這sz (cello) and Ralf Meinz (recording) was to search for the combination tones in Tartini's own music. In order to make it audible, we decided to follow the path of a never-mention-his-name-because-you-will-be-in-debts composer, also interested in combination tones, who famously stretched durations of each note in a serial music piece which resulted in one of the milestones of minimal music.

Populista 10-12
Three completely different albums intersecting in a territory of interpretation, overinterpretation and misinterpretation of music - beloved themes of Populista. Lucier and Ferrari albums may seem heterodoxical if not simply wrong, especially if compared with previous phonographic releases. Yet literally speaking, none of them violate the instructions of the scores and Populista is perversly proud to state that this time nothing forbidden by the composers have been done here. 'Tautologos III' and 'Chambers' are radically open forms, presuming a creative approach from the interpreters and this was taken seriously in search of the content that seems close to the music ideas of the composers. Tartini release is more of a classical Populista approach. It deliberately breaks the instructions given by the composer in the name of some other features introduced by the composer himself.

Tomasz Sikorski / Julius Eastman Unchained
BÔΡ BR 1026 November 2014

1. Evil Nigger (Eastman) 21:26
2. Listening Music (Sikorski) 9:32
3. Diaphony (Sikorski) 7:05
4. Gay Guerrilla (Eastman) 29:15

Performed by: Lutos豉wski Piano Duo (Emilia Sitarz & Bartek W御ik), Joanna Duda / Mischa Koz這wski

CD ecopack 67:18

When dealing with art, we deal with mystery - something that needs to be pursued but remains impossible to satisfyingly explain or define. The mystery is obviously present in the works of this unusual pair of composers: Julius Eastman and Tomasz Sikorski.

When we couple these artists that appear to have little in common, we eventually reach a degree of affinity, compatibility, or harmony on two levels. The first is an aesthetic affinity. It can be said that both composers simply based their musical language on repetition. Yet it is not simply a matter of minimal music, because Sikorski was no typical minimalist, although he limited his compositional means to an absolute minimum, a residue. Eastman, on the other hand, could be called a maximalist, which is a strange type of minimalism.

Hubert Zemler Gostak & Doshes
BÔΡ BR 1025 October 2014

01. Franciszek 11:27
02. Propolis 4:25
03. Variations on a theme by Suaves Figures – "Figure 7" 3:37
04. Dji 2:59
05. Variations on a theme by Suaves Figures – "Figure 2" 3:51
06. Gostak & Doshes 12:47

CD ecopack 39:06

It's Hubert Zemler's second solo album. In opposition to the fully improvised concert album Moped, this one is filled with pieces which are pre-composed to a much greater extent.

The album also contains two compositions inspired by electronic music, particularly by works of the ensemble Suaves Figures (Piotr Kurek and Sylvia Monnier). In these pieces, Hubert Zemler transcribed the electronically generated sounds to acoustic instruments, supported by an excellent percussionist Mi這sz P瘯a豉 (Kwadrofonik, Mitch & Mitch, Hob Beats Percussion Group) playing the vibraphone.

The material was registered during night recording sessions in the basement of the Camaldolese church in the Bielany district of Warsaw - the place of amazing acoustics - with Sebastian Witkowski as a sound engineer.

Joanna Halszka Soko這wska Msza
BÔΡ BR R006 October 2014

01. I Am What I Am 9:42
02. A Rose is a Rose 4:10
03. What's In The Name I 9:26
04. Elohim 5:06
05. What's In The Name 4:54
06. What's In The Name II 1:10

CD ecopack 34:30

The album is a studio version of a chamber opera prepared by Joanna Halszka Soko這wska at Opera// REMIX at Komuna// Warszawa. The starting point was John Barton Wolgamot's poem "In Sara Mencken, Christ and Beethoven there were men and women". The starting point was Robert Ashley's composition under the same title. The starting point was bringing thousands of people together. Everyone equal, nobody playing secondary role; all organized into sections, every section being a variant of another. The difference is in names, like in the airport, or art world, or Facebook, or disco, or Bible. What brings these people together? What is the new entity they form? What is there between Sara Powell Hardt and Claud Henri de Saint-Simon? Luigi Pirandello and Jane Austen? We take Wolgamot as a soothsayer of Facebook, disco and mass - environments of the descension of God. There is Gertruda Stein waiting for him, trusting that everything can be found in names. There is Ludwig van Beethoven completing his "most successful piece". There is Rainer Maria Rilke translating his "Notes on the Melody of Things". There is a choir laying on the floor and bringing God down. And they are all informed by numerological methods, scientific statistics and cabalistic interpretation of the Tree of Life. And they are all framed by a disco ball.

Kåre Kolberg Attitudes
BÔΡ BR ES14 October 2014

01. Anne - Imitasjon miljø 0:47
02. Anne - Puls 0:55
03. Anne - Vemodig 1:29
04. Agathe 9:20
05. Omgivelser 14:19
06. Nova 22:25
07. Anonymous 8:56

01. Emperor's New Tie 9:57
02. Sombre 9:35
03. Vitrage 13:55
04. Cercare 9:39
05. Amore 8:22

2CD 40 page booklet digipack 61:54 | 51:58

Kåre Kolberg is a pioneer of electroacoustic music in Norway, and he was the first Norwegian composer to write a piece of computer music (in 1973). [...] Kolberg's basic ideas for electroacoustic form were shaped in his first works made in Sweden and Poland in the early 1970s, and he used a collage technique with easily recognizable elements that communicated well with audiences. Later, he extended his technique by adding a more electronic-sounding and abstract timbral palette.[...]

In Polish Radio Experimentral Studio Kolberg worked with Bohdan Mazurek, who had been educated in Germany as tonmeister. Kolberg's first piece in Warsaw was called Omgivelser (Surroundings), completed in 1970. Soon he composed several more pieces, including Til Mozart i himmelen (To Mozart in Heaven) and Nova. He also received a commission from the Experimental Studio, resulting in the piece entitled Anonymous (1972).[...]

It is natural to see Kolberg's compositions as contributions to the cultural debates in the 1970s and 80s, not because he composed particularly political music, but because his attitudes and opinions were reflected in writing, organizational activities and music. Kolberg represented a radical departure from rigid genre hierarchies, combining modernist artistic approaches with the affordances of increasingly available technologies. Kolberg drew on ideas from the associative character of concrete music, where sounds from widely diverging contexts and perspectives were combined into new experiences, while at the same time challenging the strict construction principles that were dominant in early electronic music.

Jøran Rudi

Helge Sten Monochromes
BÔΡ BR ES15 October 2014

01. Helge Sten - Quad 1 3:37
02. Helge Sten - Quad 2 1:23
03. Helge Sten - Quad 3 4:37
04. Helge Sten - Quad 4 4:37
05. Helge Sten - Monochrome 16:26
06. Tomasz Sikorski - Solitude of Sounds 22:10

CD ecopack 52:50

New compositions by Helge Sten were commisioned by B臛t Records. Helge Sten used samples from works by Bohdan Mazurek (Pennsylvania Dream) and Tomasz Sikorski (Echoes II)

Maja S. K. Ratkje In Dialogue with Eugeniusz Rudnik
BÔΡ BR ES16 October 2014

01. Eugenusz Rudnik - Divertimento 10:21
02. Maja S. K. Ratkje - In Dialogue with Rudnik 30:10
03. Eugenusz Rudnik - Breakfast on the grass in the cave of Lascaux 10:11

CD 10 page folded booklet ecopack 50:42

Making music is to be in constant dialogue with your own aesthetics and preferences. In inspired moments, you can get surprised by where the process leads you. And in welcoming circumstances, there are no limits or sneaking doubts that disallow you to try out any possibility. The electronic music made by Eugeniusz Rudnik unquestionably encourages such a position. Working with his music has been greatly inspiring, and the nature of his music feels strangely fitting to my own approach to electronic media. [...]

When asked to compose music based upon some of Rudnik's classic works, I was thrilled to hear his non-idiomatic use of field recordings and voices. I have worked with such sounds since I first started to create my own electronic pieces. And the always changing arsenal of concrete sounds that I carry along when I improvise live in concerts has many similar qualities to the musical world of Rudnik. I thought this task could go well.

Maja S. K. Ratkje

Marcin Masecki El pueblo unido jam嫳 ser vencido
BÔΡ BR 1023 October 2014

01-19 1-19 variations on Chilean song "El pueblo unido jam嫳 ser vencido" 42:11

CD ecopack 42:13

Marcin Masecki, an outstanding Polish cross-genre pianist, composed the new work inspired by famous composition of Frederic Rzewski and invited another pianist Piotr Nowicki to perform it.

Arturas Bumšteinas Different Trains
BÔΡ BR R005 October 2014

01. Wielka improwizacja 27:40
02. Acceptnik 16:03
03. Pinavija 18:03

CD ecopack 61:46

The album is a collection of works of Arturas Bumšteinas inspired by Central European cultural landscape (soundscape). It includes radio play Wielka improwizacja commisioned by B臛t Records. Wielka improwizacja is based on the monologue from the 3rd part of the poetic drama Dziady (Forefather's Eve) by Adam Mickiewicz and the archival recording of its reading done by the Polish poet Miron Bia這szewski. Most parts of this composition were recorded in and around the site of the Basilian monastery in Vilnius, which in the 19th century was turned into a Russian Tsarist prison where both Adam Mickiewicz and a protagonist of his poetic drama were jailed.

Miron Bia這szewski do s逝chu
BÔΡ BR BOX1 April 2014

VOL 1 - Theatre
1-6 Miron Bia這szewski - Wyprawy krzy穎we 22:17
7-23 Miron Bia這szewsi, Ludwik Hering - Osm璠eusze 40:00
1 Patryk Zakrocki - Osm璠eusze, czyli ulotno軼i i bazgro造 39:46

VOL 2 - Cabaret
1-14 Miron Bia這szewski, Ludwik Hering - Pie郾i na krzes這 i g這s 13:37
15-44 Miron Bia這szewski - Kabaret Kici Koci 28:22

VOL 3 - Tower Block
1-74 Chamowo (fragmenty), p騧ne wiersze 45:22
75 Marcin Staniszewski - Chamowo 22:08

VOL 4 - Sound Poems
CD1 Miron Bia這szewski - Wiersze d德i瘯owe 42:57
CD2 Mikrokolektyw 39:13

Each volume in separate ecopack sleeve containing also 10-page bilingual insert (Polish/English)

All volumes housed in elegant cardboard box

We start sending the ordered copied from 2nd April on.

6CD 52:19 | 39:46 | 42:19 | 68:11 | 42:57 | 39:13

Here is Bia這szewski you don't know: Bia這szewski do s逝chu (Bia這szewski for listening).
4 albums, 6CD records, 5 hours of recording.
A vast choice from the archival recordings which so far were known for just a few specialists.
The unique recordings are accompanied by pieces made in present times by Mikrokolektyw, Patryk Zakrocki and Marcin Staniszewski, which are intrepretations of Bia這szewski's readings.
Sultan Hagavik TDNWH
BÔΡ K004 February 2014

A1. Marvellous Sausage Juice 3:40
A2. Cardboardon 10:36
A3. Baroque Fart 0:25
A4. First Piece 2:14
A5. Festival of Retards 1:51
A6. Black Cassette 8:45
A7. Style - Yes, The Bride - No 2:04
B1. Introduction to Clausule 0:56
B2. Coupon for the Most Efficient Hostess 0:10
B3. Being-Sick Clausule 2:50
B4. Fr Vangelise 6:25
B5. Dill Sauce Secret 3:46
B6. Mars Viola Bartosz 2:06

MC C60 57:00

Sultan Hagavik: Miko豉j Laskowski, Jacek Sotomski

Ma貫 Instrumenty Kartacz
BÔΡ BR ES13 January 2014

01. Study for One Cymbal Stroke 2:48
     W這dzimierz Koto雟ki
02. Concerto Casio 4:03
03. 5-4-5 6:11
04. Kartacz 6:06
05. Inops Ventilex 7:38
06. Czasok徠y 5:22
07. SiToPhony 8:38

CD 8-page folded insert ecopack 40:46

If I were to look at the ideas promoted by the Experimental Studio against Ma?e Instrumenty's practices, I would refer to the concept of music which is - for certain reasons - "impossible".

Studio electronic productions, preparing instruments, using and editing tapes - all those practices once broadened the perspectives of the art of sound. However, the "unreachable" sound combinations produced by Ma?e Instrumenty could also be considered as an attempt to overcome the "impossibility" in music. However, both cases are differently time-oriented. The Experimental Studio practitioners were mostly interested in using the newest technologies and exploring a sphere of sounds which do not exist in the music tradition. Within Ma?e Instrumenty, I mainly search for archaisms which provide the "real sound" with more space and opportunities of functioning.

Why is the album and the song entitled Kartacz (which literally means "a canister-shot")? The military rhetorics has always influenced different ways various artistic areas were developing. Writing these words shortly before the 100th anniversary of the break of the World War I, I refer to a metaphor of a missile as a tool helping to shape the structure of a music composition. I also reach for acoustic peculiarities linked with the war and the collage of specific lines from Polish war films.

The choice of quotations from Tomasz Sikorski's compositions is neither a matter of coincidence. His music has always been close to me: its experimental character, "Slavonic" spirit and philosophical orientation towards inevitability of time.

Pawe Roma鎍zuk, December 2013

Andrzej Bie瘸n Polygamy
BÔΡ BR ES12 stycze 2014


01. Archangel's Sword 8:35
     Andrzej Bie瘸n
02. Atmospheres 14:14
     Andrzej Bie瘸n, Jacek Malicki
03. Birds 2:45
     Andrzej Bie瘸n, Jacek Malicki
04. Improvisation 20:24
     Intuitive Music Group


01. Polygamy 14:26
     Andrzej Bie瘸n, Krzysztof Knittel
02. I Was and I Was 20:16
     Andrzej Bie瘸n
03. Isn't It 12:36
     Andrzej Bie瘸n

2CD 20-page booklet digipack 45:58 | 47:18

In all respects, Andrzej Bie瘸n (1945-83) was an original and creative composer. His main means of expression were intuitive creation based on general assumptions and well balanced improvisation respecting proportions typical of traditional narrative.
According to Bie瘸n's approach, music that is written down is "music about music". True creation is only possible in the present moment - neither in the past nor in the future. It is an activity performed in real time. Any reference to the road one has travelled, nostalgia or even technology is an attempt to rescue the past. "Music now" associates with the present; it finds musicians with all their baggage of psychological states brought in from the outside; the earlier obtained knowledge becomes infiltrated by the present moment. Considered by many to be an improvisational purist, Bie瘸n maintained that submitting to the vibration of given space and time is a basis for playing. Whereas playing itself is searching for what "hides behind music". Scores left by the composer express his desire to arrange the improvised material. They seem to divide the material into segments and hint subsequent passages and development but they remain open. In his instrumental practice as an improviser, Bie瘸n opposed the concept of trans or "hibernation" in favour of active participation and changeability within the process.

G這wicka & Walentynowicz Red Sun
BÔΡ BR1022 December 2013

01. Sunspot 4:56
02. Transient 1:31
03. Favola 5:45
04. Red Sun 6:50
05. Retina 14:17
06. Presence 17:47
07. Absence 3:58

CD 6-page. folded insert ecopack 55:04

Pieces by Kasia G這wicka commisioned by Performing Arts Fund, Netherlands

Ma貪orzata Walentynowicz - piano
Kasia G這wicka - computer
What makes the music of Kasia G?owicka special? First of all space. Deep and extensive. As in ambient music. Built by reverbs, echoes and electronics. Against this background - a piano. Flickering , rippling. Cascades of repeating notes and rhythms. As in minimal music . Tonal associations, but with different development. Clear sounds, distorted, appear then re-appear hear and there as whispers and crackles. As in glitch music. But clearly you hear the skills of a seasoned composer - the clear intentions and the feeling for 'big form'. Seven works comprise this concept album - from submerged in the electronic glow of "Sun Spot" (2010) to the monastic "Transient" (2011 ), the shimmering "Favola" (2013) thru to the quietly resounding "Red Sun" (2009), which gives the album its title. Sometimes there is an obsessively repeated note, as in track 5, "Retina" (2009). Sometimes the most important moment is a pause - as in the piece "Presence" (2010) dedicated to the memory of Tomasz Sikorski. All those elements join together to become the original world of music of Kasia G?owicka, here embodied by the piano performance of Ma?gorzata Walentynowicz . The world of a purposely imperfect beauty.

Jan Topolski

Zygmunt Krauze Fête galante et pastorale
BÔΡ BR1021 December 2013

01. I Piano Concerto (1976) 19:19
     Polish Radio Orchestra, Wojciech Michniewski, Zygmunt Krauze
02. Fête galante et pastorale (1975) 16:17
     Polish Radio Orchestra, Jacek Rogala, Warsztat Muzyczny
03. Violin Concerto (1980) 21:45
     National Philharmony Orchestra, Tadeusz Struga豉, Konstanty Andrzej Kulka
04. Suite de danses et de chansons (1977) 17:53
     Polish Radio Orchestra, Wojciech Michniewski, El瘺ieta Chojnacka

CD 10-page. folded insert ecopack 75:14

There were several 'firsts' involved in my initial encounter with Zygmunt Krauze's music: my first visit to Poland (1970), my first 'Warsaw Autumn' festival and its first concert (19 September), and the Warsaw premiere of Krauze's first Piece for Orchestra (1969). The memory has stayed with me ever since, not least because here was a work that was distinctly different from the other new Polish music that had so far filtered westwards. I was familiar with some Lutoslawski, Penderecki and G鏎ecki, but what struck me that evening was the restraint, delicacy and individuality of Krauze's music. It stood out for being quiet, reflective and very beautiful.
I have long thought that Krauze has not always been given his due. He is, in fact, a great pioneer. His exploratory nature manifests itself in his abiding fascination with a certain inter-war painter, in improvisation, in new timbral combinations, at times incorporating folk or mechanical instruments, in spatial music and installations, and in being postmodern before the term had much musical currency.
His early absorption in the unistic creations of the artist Wladyslaw Strzeminski - 'compositions of minute, logically arranged parts emerging from the monochromatic surface of the canvas', as Janusz Zagrodzki once put it - led to a piano work such as Five Unistic Pieces (1963) as well as to Piece for Orchestra no.1. Lest it be thought that Krauze's music is always discreet and understated, in 1972 he paved the way for other Polish composers in using indigenous music as his material. Folk Music (1972) divides the orchestra into 21 motley ensembles playing a contrapuntal web of folk tunes, mainly from Eastern Europe, independently and mostly pianissimo possibile. The effect is veiled yet riotously colourful.
Part of Krauze's genius comes from his experience as a pianist (he won the International Gaudeamus Competition for Performers of Contemporary Music in Utrecht in 1966) and as an improviser (he premiered Boguslaw Schaeffer's notorious graphic score, Nonstop). He uses imaginative extended techniques in his music for solo piano (Stone Music, 1972, Gloves Music, 1973). His ensemble Music Workshop (an idiosyncratic combination of clarinet, trombone, cello and piano) gave rise to innumerable works by Polish and foreign composers as well as some of his own most experimental pieces. Rustic instruments (hurdy-gurdies, bagpipes, folk fiddles, shepherds' fifes, sheep bells) combine with improvisatory elements in Idyll (1974), while guitars, mandolins and music boxes feature in Automatophone of the same year.
Krauze began his ground-breaking exploration of installation art in the late 1960s, and in the original Fete galante et pastorale (1974) he combined six ensembles, including folk instruments, tape music and spatial aspects when it was premiered across 26 rooms at the Eggenburg Castle in Graz. In 1987, La riviere souterraine was performed at Metz in a specially constructed walk-through maze of seven 'space cells'.
Perhaps most significantly, the ways in which different musical worlds rubbed shoulders with each other in Krauze's music in the 1970s and beyond - while not abandoning the underlying unistic aesthetic - amounted to proto-postmodernism, way ahead of moves by other Polish composers and indeed many composers elsewhere. His large-scale piano solo The Last Recital (1974) is both serious and droll in its commentary on the relationship between new music and the past, and Krauze continues to be entranced by juxtapositions of genres and idioms. He composes with a unique subtlety and great inner strength, refracting his material through a semi-ironic, semi-abstract lens. There is no-one quite like him.
Adrian Thomas

Arne Nordheim Solitaire
BÔΡ BR ES11 December 2013


01. Solitaire 12:11
02. Warszawa 11:37
03. Ode to Light 16:38
04. Lux et Tenebrae 19:29
05. Pace 9:24


01. Dei kjenslelause 3:50
02. Vi på Alfabulator 2:27
03. Colorazione 18:51
04. Distance 3:04
05. Crossroad 3:11
06. Awaiting 3:07
07. Stille, Kepler tenker 20:41
08. Alfa Alfa 15:26
09. Dråpen 3:26
10. Summa 3:05

2CD 40-page booklet digipack 68:31 | 77:05

The Polish Radio Experimental Studio, founded in 1957, was as an experimental centre and a production unit of the Polish Radio but it has been mainly known as one of the most import_ant creative centres in Europe. In the 1960s and 1970s, the Warsaw centre hosted numerous guests from abroad including almost all of the most distinguished epresentatives of the art of electro-acoustic music: Lejaren Hiller, Franco Evangelisti, Fran蔞is-Bernard M歊he, Vittorio Gelmetti, Roland Kayn, Christian Clozier, Tamas Ungvary, Nigel Osborne, Stephen Montague, Bengt Emil Johnson, Kåre Kolberg and Arne Nordheim. Nordheim often visited "the black room" on Malczewskiego street where the main production space of the Experimental Studio was located. The emotional bond with his Polish friends was as import_ant to him as music. There were many private meetings with J霩ef Patkowski, Witold Lutos豉wski and W這dzimierz Koto雟ki. The composer's relations with engineers were also more than professional. After flying from Oslo to Warsaw, Nordheim went from the Okecie airport straight to the hospitable home of the Rudnik family and "ritually" consumed his favourite Polish dish: white borsch with sausage. Already at the dinner table, the composer discussed with Rudnik their tactics of planned technological and artistic activities. Then, subsequent Nordheim's compositions were born during long hours spent together on Malczewskiego...

V/A Sounding the Body Electric
BÔΡ BR ES10 June 2013


01. Vladan Radovanovi - Voice from the Loudspeaker (1975) 4:15
     english version translated and read by Paul Pignon
02. Sz. Eszt幯yi and K. Wodiczko - Just Transistor Radios (1970/2012) 5:21
     performers: Wim Deca, Nina Fukuoka, Marcelina G豉dysiak, Jan Gromski, Iwona Lebioda,
       Rafa Nicze, Maciej O鄴g, Pawe Wdowicz – transistor radios

03. Wojciech Bruszewski - Junction (1973/2013) 8:02
     reconstruction: Wiktor Skok
04. Collective Actions - Music Within and Outside (1984) 7:07
     performers: Andrey Monastyrski, Nikolai Panitkov, Sergei Letov, Georgy Kizevalter,
       Elena Romanova, Sergei Romashko

05.-09. Eugeniusz Rudnik - Scalars – technological study (1966) 19:12
     Eugeniusz Rudnik
09. Hugh Davies - Shozyg (1964) 12:37
     performers: John Tilbury, Bohdan Mazurek, Eugeniusz Rudnik


01. Rudolf Komorous - Tomb of Malevitch (1965) 3:40
02. Arne Nordheim - Ode to Light (Sculpture) (1968) – studio mix 1 10:27
03.-06. Milan Grygar - Acoustic Drawings (1974) 14:24
07. Arne Nordheim - Ode to Light (Sculpture) (1968) – studio mix 17:25

2CD 32-page booklet digipack 57:24 | 46:11

In this context, the exhibition Sounding the Body Electric was a breakthrough. For the first time, the history of sound of the above mentioned period was told from a different point of view than the musicological one. On the following pages David Crowley and Daniel Muzyczuk write about the Experimental Studio's place in the wide spectrum of Eastern European art. To us, it is more important to see what the latter one tells us about PRES.

Experiments undertaken in Warsaw's Studio found their reflection on the magnetic tape – a fixed object presenting the final vision of the composer. In consequence, space was usually understood as a parameter of musical form defined by stereophonic system. The most vivid examples of this compositional legacy is an unfortunate and never fully exploited Oskar Hansen's project of adjustable acoustics of the Studio as well as Tomasz Sikorski's attempts at composing reverberations of instrumental sounds – brilliantly faked on console by Bohdan Mazurek.

For this album we were trying to find the pieces in PRES' archives that would deviate from this dominant tendency.

Micha Libera and Micha Mendyk

Populista presents:
United States of America Triptych (I)
Pete Simonelli, Miron Grzegorkiewicz, Micha Biela and DJ Lenar play
1939 Southern Recording Trip Fieldnotes
BÔΡ BR POP07 March 2013

1. Houston, Texas 1:17
2. Port Aransas, Texas 2:26
3. Parchman Prison, Mississippi 11:23
4. Me for Texas An' Me for Tennessee 12:01

CD ecopack 27:07

Populista presents:
United States of America Triptych (II)
Andrea Belfi, David Grubbs, David Maranha, Pete Simonelli play
Ten Intrusions
BÔΡ BR POP08 March 2013

1. The Rose 2:32
2. The Crane 1:25
3. First Intrusion 1:08
4. The Waterfall 1:34
5. The Wind 2:06
6. The Street 4:04
7. Lover 3:16
8. Second Intrusion 1:54
9. Soldiers-War-Another War 3:11
10. Vanity 2:12

CD ecopack 23:22

Populista presents:
United States of America Triptych (III)
David Grubbs, Miron Grzegorkiewicz, David Maranha,
Ma貪orzata Penkalla, Pete Simonelli play
Vanishing Point: How to Disappear in America Without a Trace
BÔΡ BR POP09 March 2013

1. Destroy All Photographs 0:57
2. Kill the Dog 05:52
3. Die with Dignity> 15:47

CD ecopack 22:36

Three takes on America - three journeys and three documents. Written and recorded.
Year 1939, John A. Lomax and Ruby T. Lomax in their Plymouth - going South. 6502 miles, tons of audio recordings and a diary where report on the voices of South and voices of South become barely distinguishable.
Year 1949, Harry Partch - leaving for Gualala. Old smithy on a cliff, an isolated recording studio, breeding of a troop of small creatures called "Eleven Intrusions" - perhaps one of the frst cosmopolitan reinventions of American native music.
Finally, just recently, an anonymous hunt for vanishing - say north of Highway 15 and West of Baker. Online manual.
All three documents were approached by musicians who met in Warsaw for Playback Play 2012 - a week long series of rehearsals and performances.
And then put together to form - what exactly? A historiosophical narrative in music arrangements? A distant mirage of something we have already heard somewhere? Three images of America facing each other?

Arturas Bum靖einas Sleep (An Attempt at Trying)
BÔΡ BR K002 March 2013

1. Prelude / Interlude 6:29
2. My Sedative Friends 4:44
3. Poppinsong 3:45
4. We Watch TV 5:11
5. Lullaby March 4:20
6. No Trains No Planes 4:41
7. Old Chinese Poem 4:43
8. Slumberparty 3:08
9. Walk Along The Beach 4:34

CD ecopack 41:36

Bartek Kalinka Champion of the World Has No Monopoly on the Legions
BÔΡ BR K003 March 2013

1. Interface Tropics 4:36
2. Picnic Under The Stars 3:00
3. Brothers' Quarrels 2:26
4. Drifting Pieces 4:05
5. Heart's Medicine 3:44
6. Nearby Navigation 3:10
7. Hold On To It 3:42
8. King Is Approaching 8:32
9. Confederation 3:31
10. Dragon's Kitchen 3:29

CD ecopack 40:15

Patryk Zakrocki Martian Landscapes
BÔΡ BR 1020 March 2013

1. Martian Landscapes 27:00

CD ecopack 27:02

V/A PRES Scores
BÔΡ BR ES09 January 2013

CD1 PRES realization

01. Andrzej Dobrowolski -
     Music for Magnetic Tape and Piano Solo 12:11
     Eugeniusz Rudnik; piano - Zygmunt Krauze
02. W這dzimierz Koto雟ki - Aela 10:40
     Eugeniusz Rudnik
03.-06. Bogus豉w Schaeffer - Symphony: Electronic Music 17:30
     Bohdan Mazurek
07. W這dzimierz Koto雟ki - Study for One Cymbal Stroke 2:51
     Eugeniusz Rudnik
08. Andrzej Dobrowolski - Music for Magnetic Tape No.1 5:50
     Eugeniusz Rudnik
09. Krzysztof Penderecki - Psalmus 5:05
     Eugeniusz Rudnik

CD2 B臛t commission

01. Andrzej Dobrowolski -
     Music for Magnetic Tape and Piano Solo 11:38
     Wolfram; piano - Philip Zoubek
02. W這dzimierz Koto雟ki - Aela 10:07
     Marion W顤le
03.-06. Bogus豉w Schaeffer - Symphony: Electronic Music 17:36
     Thomas Lehn
07. W這dzimierz Koto雟ki - Study for One Cymbal Stroke 2:53
     Ma貫 Instrumenty
08. Andrzej Dobrowolski - Music for Magnetic Tape No.1 7:23
     Arszyn & Piotr Kurek
09. Krzysztof Penderecki - Psalmus 16:56
     Lionel Marchetti

2CD 28-page booklet digipack 54:20 | 66:36

"PRES Scores" contains original and new realisations of five out of seven Studio's published scores. These are pieces by Andrzej Dobrowolski, Bogus豉w Schaeffer and W這dzimierz Koto雟ki "performeed" in PRES by Eugeniusz Rudnik and Bohdan Mazurek and as B臛t Records commissions by Lionel Marchetti, Thomas Lehn, Philip Zoubek and Wolfram, Arszyn and Piotr Kurek, Marion W顤le and Ma貫 Instrumenty. The scores are a fascinating chapter in the Studio's history. Not only because of the insight into first attempts to write down electronic sounds, being a great material to analyze or displaying links between music and graphics. It is mainly due to the fact that even in those few published scores it is explicitly visible that their utilitarian functions were rapidly replaced with the experimental ones. Precision of communication between a composer and a sound engineer - noticeable in early Dobrowolski's scores or Koto雟ki's "Study?" - is quickly substbstituted by a tendency to experiment with this communication. As early as in 1964 Bogus豉w Schaeffer started working on a graphic score, full of new symbols which are well-defined by the author but which above all serve as tools of identifying the potential actions of the sound engineer. 6 years later W這dzimierz Koto雟ki composed a piece which de facto is deprived of graphic symbols. It is a text-score describing the most important principles of composing works which would create a family of electronic pieces called "Aela". Even though the text is accompanied by a 19-page graphic score, it solely presents an exemplary production. It is probably not a coincidence that in this period the most significant sound engineers in the Studio - Eugeniusz Rudnik and Bohdan Mazurek - became rightful composers whose works were added to the archives. These few scores made it clear that the fact that composers naturally "passed" some responsibility for the final shape of the piece onto musicians was a perfect vehicle for experiments. Where would we find a better reflection of John Cage's belief that it is impossible for a composer to foresee the outcome of experimental action? Having in mind the above definition, seemingly the most conservative Studio's activity - writing scores - is the one that most clearly embodies its eexperimental nature. The PRES Scores album is dedicated to the ambivalence of conservatism and experiment. Scores on paper are what the composer leaves behind and this way requires or at least allows subsequent realizations. Experimental scores should at least allow experimental realizations. The album presents some of them.

V/A Solitude of Sounds. In memoriam Tomasz Sikorski
BÔΡ BR ES08 January 2013

1. Száblocs Esztényi -
Created Music No 3: in memoriam Tomasz Sikorski (1989) 10:40
2. Tomasz Sikorski - Echoes II (1963) 16:26
3. Tomasz Sikorski - Antiphones (1963) 6:49
4. Tomasz Sikorski - Diario 87 (1987) 7:36
5. Kasia G這wicka - Presence (2007) 17:18

1. Száblocs Esztényi - Concerto (1971) 28:24
2. Tomasz Sikorski - Solitude of Sounds (1975) 22:20

2CD 24-page booklet digipack 58:49 | 50:44

The American flavour of minimalism has an "urban" soundscape that emerges from frenetic human interaction. It is the environment that informs a lifestyle and thus, informs the composer. On the other hand, the Dutch style of minimalism is what I'd call "Hippie minimalism". It is informed by culture of activism, as seen in Louis Andriessen's Workers Union and by the pragmatism within the Dutch ethic. This brings me to what the Polish style of minimalism is mostly known for as well as personal experiences and environment of its creators. It's been called "mystic minimalism" and at its core there is an inherent interest to express emotions in a grandiose way.

Sikorski's minimalism was unique to any of these native and foreign influences. He was a philosopher-minimalist concerned with the meditative properties of his compositions. He was impressed by the existential crisis in Kierkegaard's philosophical work, The Sickness Unto Death. Sikorski's attraction to despair may have had roots in personal tragedy, where intoxication, abandonment and ridicule plagued his existence.

His philosophy could be as well paraphrased by Queen's existential Bohemian Rhapsody: "nothing really matters, anyone can see, nothing really matters..." On the other hand, literally every note matters in his distinct minimalist style. It is here that I've identified most strongly with Sikorski's longing for brutal beauty. In this space, one can go so far as to be intentionally painful.

Kasia G這wicka

"Solitude of Sounds: in memoriam Tomasz Sikorski" is a collection of works created in Polish Radio Experimental Studio by Polish pioneer of minimalism, Tomasz Sikorski and by his friends and followers.

Zygmunt Krauze Spatial Music
BÔΡ BR 1019 January 2013

1. Spatial-Musical Composition (1968) 17:55
     Studio version mixed by Krzysztof Sztekmiller in 2012
2. Fête galante et pastorale (1974) 19:47
     Pro Arte Ensemble Graz
3. Spatial-Musical Composition (1968) 31:57
     Documentation of sound installation by Teresa Kelm, Zygmunt Krauze and Henryk Morel
     Recored and mixed by Arszyn at "Sounding the Body Electric" exhibition
     Muzeum Sztuki - 鏚, 2012

CD 10-page folded insert ecopack 69:39

W豉dys豉w Strzemi雟ki's unism as well as functionalism are to be found at the roots of the first sound installation in Poland. Prepared for Galeria Wsp馧czesna in Warsaw, it is a piece signed by an architect Teresa Kelm, composer Zygmunt Krauze and sculptor Henryk Morel. "Spatial-Musical Composition" is a follow up of Morel's and Krauze's explorations initiated in 1966 together with Cezary Szubartowski and Grzegorz Kowalski which resulted in an action titled "5x". The sculptural elements of the previous one are lacking in the realization due to the fact of its premiere after Morel's death. Still, audience was given an opportunity to control the sounds and colors of the installation. Moving freely between the spaces, one could build up his or her own version of the composition using the tools delivered by the artists. For the latter ones, it was a way to overcome the canonical, passive reception inscribed in the concert hall. But there is more for the inspiration of the piece than just the polish avantgarde of the interwar. By assigning the audience freedom for their own audiosphere, the artists reveal their debt in magnetic tape processing. Modular character of the composition makes it easy to separate and blend the tracks and so freeing of audience in the installation is based on acknowledging the principles of recording and mixing tools.

If it was the only installation by Zygmunt Krauze, it would be difficult to see the conceptual background of the modern composition. But it is the conceptual force that drives his six years latter piece "Fete galante et pastorale". Composer takes a detour to get back to the very origins of spatial music making use of the architecture - namely Eggenborg castle. He inscribes the music in space which pushes one to rethink the notion of chamber music. The piece is contextualized not only thanks to particular space but also because by its internal structure which consists of segments echoing pre-20th Century music. What was abstract in "Spatial-Musical Composition" revealing universal psychophysical conditions of sound reception, here becomes concrete by associations with court and folk music triggered by consecutive tracks.

The album is a journey just as much paradoxical as absolutely achronic. Two versions of "Spatial-Musical Composition" differ significantly. They were both realized in 2012 with the use of original tapes. Thus, they are both an attempt at performing the piece after 44 years. One was recorded in architecture built for Museum of Art in 鏚 during the exhibition "Sounding the Body Electric (curators: David Crowley and Daniel Muzyczuk). Arszyn willingly followed the artists instructions and recorded his own mix of the installation - surprisingly expressive in this meditative composition. The same source material was used for the studio mix. "Fete galante et pastorale" in between the two versions is an original recording from 1974. However, placing the composition in historical chronology seems dubious because of the segments styles. It seems at the same time a source and a result of "Spatial-Musical Composition" from 1968. It is its result because Krauze's interest in architecture dates far back in time. It is its source as well displaying Baroque inspirations in composer's sound installations.

Daniel Muzyczuk

Making the walls quake as if they were dilating with the secret knowledge of great powers
BÔΡ BR 1018 December 2012

1. Making the walls quake as if they were dilating with the secret knowledge of great powers 37:40

CD 32-page booklet digipack 37:42

Recording of the sound sculpture in the Polish Pavilion at 13th International Architecture Exhibition in Venice

Sound sculpture by Katarzyna Krakowiak
Sound design by Ralf Meinz
Voices by Ulrike Helmholz and Sabina Meyer
Recorded, edited, mixed and mastered by by Ralf Meinz
Architectural Biennale sound sculpture amplifying the entire building of the Polish Pavilion turned into a flat CD? Will you say it completely misses the point? Brings the real space into a stereo system? Or is it just different? Listening to this album, you will definitely miss some of the acoustic reinforcements of the room we created to raise a sculpture following the natural acoustics of the room. They are only explained here in words, on the following pages. But this is the high time and also the best occasion to highlight other dimensions and bring them to foreground here.

We approach the building as the composition itself. And what we hear is the material. The complexity of the material, the fallaciousness and the anxiety of it. Definitely crossing the line of how much we actually want to hear. Let us say that you can hear the total sum of the sounds we could hear in the Pavilion.

The sounds of the interior - the people, what they say and what they do, how they move - inside the room. The sounds of the exterior - just in front and just in the back of the Pavilion with walls and ventilation system working as filters - the boats, the construction work, the cicadas. But also again: the people, what they say and what they do, how they move - outside but audible. The sounds of the neighboring Pavilions - the Venetian and the Serbian with their own sound installations and soundtracks. But also again: the people, what they say and what they do, how they move - neighboring and audible. The sounds of the room - their vibrating walls, floor and ceiling; their beats and their noises. And finally the sounds of the exhibition and in particular the sounds of the opening with Ulrike Helmholtz and Sabina Meyer singing in the Pavilion. All that amplified, filtered, edited, mixed and sequenced just to make this complexity NOT vanish like it does in every day hearing with our ears.

Michal Libera

Hearing a piece that tries to be a translation of what you could imagine happening in the polish pavilion at the Biennale 2012 in Venice demands a lot of the listener. So being responsible for the composition needs a lot of translation work. The focusing-point is neither making a drama piece for the radio, nor explaining how a person explores the room. So it is in fact a try to harmonize the audible events from the room and in the room; at the same time rebuilding the musical work of Ulrike Helmholz and Sabina Meyer with their brilliant voices in that rough audio surrounding. Both of them started from totally different points: Ulrike with abstract improvisation and Sabina with arias from Monteverdi. In the process both worked with different singing methods and unfortunately only a part of it can be shown here.

Uncommon noises and sounds appear and at the same time very clear sounds from in and out the room irritate because they are very figurative. Inharmonic, disturbing and unpleasant is the result of what was originally distributed by almost 100 speakers through 24 real and many more tricked output channels. Composing the noises, harmonizing the audible events, which were created by the room, the atmospheres, the voices, instruments and other sources has been not only the challenge in Venice but even a lot more for this CD. Every noise, tone and step further in the timeline is a decision made with certain processing on the inputs and all tracks in a unique way. So in the mix for the CD I tried to make the specially developed algorithms usefully working on the noises and sounds for having a two channel stereo CD in the end. Using complex chains of audio treatments for every detail should create what is appearing as difference-, harmonic- and feedback-tones. It contains delays, filters, bit reductions, phase and formant changes and they were used dynamically not statically. Every event causes a change in parameter for the corresponding track. At the same time the overall coincidence was manipulated by "main events on main tracks". When you look at the graphical picture of the piece you can see that it is intertwined like a complex structure.

One more word to the room: it has been the instrument, amplifier and listener - in the sense that it reverberated and repeated everything happening inside. That is because we worked electro-acoustically on the room as being the inner world of the artist, Kasia Krakowiak, like she worked on the architectural "face" of the room also considering her body as the basis of reference. The masterpiece of holding all this in balance was, and is made by the curator of the whole project, Michal Libera. He had the vision of working with architecture, sound and music in that special way. Also I am grateful for Ulrike's and Bertil Rehmann愀 work and help in the developing process of the CD.

Ralf Meinz

Wolfram Atol Drone ±
BÔΡ BR 1017 December 2012
Bocian Records bc W December 2012

1. The Edge 3:59
2. SE 6:27
3. GameLAN 1:36
4. NW 8:02
5. Flashback 2:42
6. Smokgame 4:12
7. Minimumgame 2:46
8. Back to the Atol 16:25

CD ecopack 46:09

Phonos ek Mechanes C+-
BÔΡ BR 1016 November 2012
Niklas Records n/010 November 2012

1. C+- 16:03
2. Computerstck I 14:25
3. Pianolenie 15:39
4. Folxus 08:00

Cezary Duchnowski - piano, computer
Pawe Hendrich - electric guitar
S豉womir Kupczak - electric violin, computer

CD ecopack 54:07

The Phonos ek Mechanes trio was founded in 2007 by three composers and electro-acoustic performers from Wroc豉w: Cezary Duchnowski, Pawe Hendrich and S豉womir Kupczak. The name of the group comes from Greek and means "the sound of the machine" which reflects specific methods of artistic creation applied by the three musicians. They play typical instruments such as the piano, electric guitar or electric violin, often prepared and tuned for microtonal music. Sounds that are created this way do not reach listeners' ears but they are transferred to computers where numerous modifications to the signal are performed in real time. The instrument becomes a controller and the computer becomes an instrument, "a machine" producing the sound. As a result, the listener is reached by the sound effect which does not resemble the sounds of original instruments.

The album belongs to a series "Wroc豉w Klang", coproduced by B臛t Records and Niklas Records and devoted to new experimental music created in The European Capital of Culture 2016.

Sponsored by City of Wroc豉w

S豉womir Kupczak Report
BÔΡ BR 1015 November 2012
Niklas Records n/009 November 2012

1. Report 38:07

S豉womir Kupczak - computer
Irmina Babi雟ka, Jacek Paruszy雟ki - voices
Pawe Krzaczkowski - libretto
Ewa Guzio貫k-Tubelewicz - mastering

CD 10 page folded insert ecopack 38:07

"You've been carrying this suicide for the twentieth year and for the twentieth year in a row you still don't know what to do about this suicide you've been nestling in yourself for twenty years - and, after twenty years now, you still don't know what to do about the suicide you've been carrying for forty years. You go to the kitchen, you make coffee, you forget where you are, your thoughts concentrate only on the defeat you've been living with for sixty years, that after sixty years you still have no idea what to do with the suicide you've been carrying in yourself for eighty years. And you move on. As if nothing ever happened."

B臛t Records i Niklas Records proudly present a new radio play by S豉womir Kupczak (an outstanding young Polish composer of electroacoustic music) to libretto by Pawe Krzaczkowski.

The album belongs to a series "Wroc豉w Klang", coproduced by B臛t Records and Niklas Records and devoted to new experimental music created in The European Capital of Culture 2016.

Sponsored by City of Wroc豉w

Sultan Hagavik 9 Symphonies
BÔΡ BR K001 November 2012
Niklas Records n/008 November 2012

1. Symphony No. 1 Cowboy Shit 3:00
2. Symphony No. 2 Death and the Dark Whore
     (hommage à F. Schubert) 05:58
3. Symphony No. 3 Unsubtitled 04:03
4. Symphony No. 4 Rough Techno 02:44
5. Symphony No. 5 The Dickstep 03:00
6. Symphony No. 6 Rose-scented Childish Dreams 05:22
7. Symphony No. 7 Piano Trio ("H.M. G鏎ecki fairly unknown") 05:02
8. Symphony No. 8 Gumdead 04:54
9. Symphony No. 9 I Don't Like Persons 03:44

Miko豉j Laskowski, Jacek Sotomski - cassette players

CD ecopack 37:47

sultan hagavik is first Polish band (and probably the second one in the world) which performs music using tape decks. It was founded in July 2011 in Wroclaw, in circumstances hard to specify. The band utilizes recordings found on old cassettes, as well as their own material recorded with analogue dictaphone. Using tape decks as musical instruments allows duo members to create completely new sonic quality. In their sur-conventional compositions they refer to many musical genres; from pop to punctualism.

The album belongs to a series "Wroc豉w Klang", coproduced by B臛t Records and Niklas Records and devoted to new experimental music created in The European Capital of Culture 2016.

Sponsored by City of Wroc豉w

Corneliu Dan Georgescu Et vidi Caelum Novum
BÔΡ BR 1013 September 2012
Niklas Records n/007 September 2012

1. Horizontals [Symphony No 2] 21:50
     National Radio Orchestra
2. In Perpetuum [String Quartet No 10] 17:42
     Arcadia String Quartet
3. Et Vidi Caelum Novum [Skizze fr ein Fresko 3] 17:30
     Kammersymphonie Berlin & Ars Nova Ensemble Berlin, Peter Schwarz

CD 10 page folded insert ecopack 57:03

"Composing as contemplation of a musical archetype" - this is the best recapitulation of what Georgescu says about his own music, pointing to Jung's archetypes of collective unconscious. What is most crucial and powerful in these works is not how originally the composer captures the musical material, plays with it and reshuffles it. One could even say that Georgescu does not compose and does not "arrange" sounds, but rather contemplates archetypical figures and turns towards basic components, pure elements.

Georgescu's approach is founded on the idea of the "stopped time" picturing the "eternal stillness". In this sense, it juxtaposes the concept of both linear and circular (also connected with movement) time. This type of "stillness" does not stem from negating movement of spheres and the world's never-ending bustle, but from looking at it from the perspective of eternity, where they are simply glimpses and short moments in the "great resting wholeness".

It's worth referring here to a famous Romanian common ground with the Orient and the specific relationship of this strange country with India or Tibet which by no means is only an extravagant intellectual figure. It is truly tangible, for instance if one treks across the Carpathians. Let us take two geographical names: Rishikesh and Maramuresh - which one is Indian and which is Romanian?...

V/A Blanc et Rouge
BÔΡ BR ES07 October 2012

1. Eugeniusz Rudnik - Lesson II 15:24
2. Krzysztof Penderecki - Death Brigade 30:50
3. Eugeniusz Rudnik - Elegy to the Victims of War 23:56

1. Radio Moscow, 1962... 4:28
2. PRES - 20th Anniversary of the Polish Worker's party 7:46
3. El瘺ieta Sikora - Rhapsody for the Death of the Republic 11:50
4. Bohdan Mazurek - Epithaph (2nd version) 6:45
5. El瘺ieta Sikora - Janek Wi郾iewski-December-Poland 16:17
6. Eugeniusz Rudnik - Epithaph of Stones 8:12
7. Maria Pokrzywi雟ka - Reglamentoso 5:06
8. The Pole Reports from Space (excerpt from a radio play with music by Eugeniusz Rudnik) 8:03

1. Eugeniusz Rudnik - Guillotine DG 9:32
2-8. Krzysztof Knittel - Dorikos [1, 2, 3, 4, 5, 6, 7]
     (Wilan闚 String Quartet) 27:15
9. Krzysztof Knittel - Glckspavillon for Cathy (Zdzis豉w Piernik - tuba) 36:20

3CD 32-page booklet digipack 70:10 | 68:27 | 73:07

Presenting yet another collection of "absent" works is an evidence of their creators' critical approach and lack of consent to political pressure, under which they had to function. This album is only a selection of compositions belonging to this trend. Under the wing of the Warsaw Polish Radio Experimental Studio emerged dozens of hours of socially engaged music. These compositions to a various degree alluded to the current events but also pointed to the broader historical and humanistic context. Visible references to "here and now" do not lower the artistic rank of those works. What is more, they mysteriously make them more universal.

Sponsored by Ministry of Culture and National Heritage of the Republic of Poland and Capital City of Warsaw Municipal Office

John Tilbury Fot Tomasz Sikorski
BÔΡ BR 1014 September 2012
Bocian Records bc JT September 2012

1. Autograph (Tomasz Sikorski, 1980) 7:20
2. Rondo (Tomasz Sikorski, 1984) 8:02
3. Zertstreutes Hinausschauen (Tomasz Sikorski, 1971) 7:27
4. Improvisation for Tomasz Sikorski (John Tilbury, 2011) 12:40

Piano by John Tilbury

Recorded on 15th of December 2011 in Kr鏊ikarnia by Zosia Moru
Mix by Zosia Moru
Mastering by The Norman Conquest
Produced by Micha Libera and 4.99

CD ecopack
Co-released with Bocian Records

It was in 1961 that I first met Tomek Sikorski. We were both in Zbigniew Drzewiecki's class at the Warsaw Conservatory. He must have been in his early twenties. I recall he was quick-tempered, volatile; he did not suffer fools gladly. His speech was quick and precise, as were his movements. "Quickly, quickly", he would exhort his friends. He loved the music of Bach and had performed one of the Books of the "48" the previous semester. Regrettably, it was before I arrived in Warsaw. We became firm friends. Hardly a day went by when we did not meet up somewhere, often with friends, to talk, especially but not only about the new music, and eat and drink, at the Bristol Hotel or in a favorite coffee bar, Telimena or Ali Baba on the Krakowskie Przedmiescie street. He was the most generous of men, sometimes difficult but with a heart of gold.

The music on this album demonstrates Sikorski's unerring feeling for harmony and register; the "minimalism" of these pieces was absorbed naturally, the repetitions never seem arbitrary. Above all, this is piano music, par excellence. The improvisation for prepared piano which follows is a humble tribute, elegiac in character and full of echoes and personal reminiscences of the man and his music.

On my return to England in 1965 we lost touch; we were leading busy lifes and our paths never crossed again. But the memory remains. Strong and clear. They were good times.


Sponsored by Ministry of Culture and National Heritage of the Republic of Poland

Populista presents:
Miron Bia這szewski plays Adam Mickiewicz Dziady
BÔΡ BR POP06 May 2012

Dziady II (complete)

1. Ciemno wsz璠zie, g逝cho wsz璠zie 2:30
2. Patrzcie, ach, patrzcie do g鏎y 3:21
3. Ju straszna p馧noc przybywa 1:11
4. Hej, kruki, sowy, orlice! 4:20
5. Sarmo 瞠brze, darmo p豉cze 2:39
6. Nie lubisz umiera z g這du! 1:31
7. Nie ma, nie ma dla mnie rady! 1:19
8. Podajcie mi, przyjaciele 1:47
9. Na g這wie ma kra郾y wianek 4:01
10. Czego potrzebujesz duszeczko 1:47
11. Teraz wszystkie dusze razem 1:12
12. Pasterko, ot tam w 瘸這bie... 1:57
13. Gdy gardzisz msz i pierogiem 2:28
14. To jest nad rozum cz這wieczy! 2:31

Dziady IV (montage by Miron Bia這szewski)

15 Kto tam stuka, kto tam stuka 2:10
16 On swoje, a ja swoje, nie widzi, nie s逝cha 1:39
17 I czeg騜 ona przede mn uciek豉? 2:40
18 Oto dziesi徠a wybija 2:29
19 Niech j sumienia sztylety rani! 2:08
20 Jedenasta wybija 3:14

Dziady III (fragment - Wielka Improwizacja)

21 Samotno嗆 - c騜 po ludziach, czym 酥iewak dla ludzi? 5:46

CD ecopack 52:13

"Singing. Speaking. Exactly. Moreover: the kind of difference between them? Supposedly clear. But where does the border line go? Is it terminology? Is it stretching the syllables (or even sounds)? Or altering the pitch? Or rhythm? Perhaps trembling of the voice? With stretching? (...) Often we had particular speakings (calculated according to its own melody but still speakings), straightforward singing and singing-speakings, on the edge, which turned out to be pretty broad as variety of almost singings was turning out, crooning speaking, sections of monotones or the opposite - rhythmic pile-ups becoming music out of its own urge. Hence there was no point in bringing foreign, outer music, music as such - apart from acoustics of objects playing their roles or rhythm of walking (e.g., drumming buskins)"*.

This is how Miron Bia這szewski was recollecting a performance formula created in Teatr Osobny run by him, Ludwik Hering and Ludmi豉 Murawska between 1955 and 1963. He used to perform one of his favorite texts there - the fourth part of "Dziady" by Adam Mickiewicz in his own montage and edit. Taking the role of a choir, his companion was Ludmi豉 Murawska. The same edit of the fourth part - now a solo by Bia這szewski - and the same performance concept is to be found on the tape recording of "Dziady". It is the most interesting and sonically rich material among several recordings of texts by romantic authors - Mickiewicz, S這wacki and Norwid - which Bia這szewski did for his own purposes in 1964 and 1965. The material on the CD consists of extensive sections of the recording of "Dziady". The only excluded part was the least sharp and intense scene I of the third part of the drama. Included are the ones stepping outside the regular model of reading and thus uniting text and sound / music. These fragments stand for the thesis that Mickiewicz and Bia這szewski meet where the word "opera" looses its most obvious meaning. Formulated by Andrzej Stawar, one of the commentators of "Dziady" in Teatr Osobny, it was supposed to point out that in "Dziady" Mickiewicz was aiming at an opera. Located in a province of no opera tradition, he could not write it "properly" but only in a way he imagined it. Intention of such a twisted trajectory can only be fulfilled by equally unusual performance: mis-opera or opera-misunderstanding, something resembling the opera but only by accident and indirectly. And perhaps it was actually fulfilled by Bia這szewski who - unlike Mickiewicz - knew opera very well but did not think about it while performing "Dziady".

Maciej Byliniak

* M. Bia這szewski, O tym Mickiewiczu jak go m闚i, "Odra" 1967, nr 6.

Voice, objects and tape by Miron Bia這szewski
Recorded by Miron Bia這szewski in Warsaw on 25th of December 1965
Researched, selected and edited by Maciej Byliniak
Mixed and mastered by The Norman Conquest, Maciej Byliniak and Micha Libera
Produced by Micha Libera
Cover artwork by Aleksandra Waliszewska
Layout by Piotr Bukowski

Populista is a CD series curated by Micha Libera
more: http://patakaind.blogspot.com/

Populista presents:
Jean-Louis Costes plays Marquis de Sade Justine
BÔΡ BR POP05 May 2012

1. Sade is Sick 1:55
2. How Beautiful is Pain 2:09
3. Orphan and Poor 1:08
4. Evil is the Best Way to Good 1:15
5. Justine and the Greedy Master 1:04
6. Poverty is a Crime 1:24
7. Justine in Jail 2:16
8. Crime is Freedom 1:31
9. Justine Raped by the Traveller 2:58
10. Sodomy is Heaven 2:16
11. Justine Raped by the Pedophile 4:40
12. Loss of Semen 2:03
13. Justine Eats the Shit of a Monk 8:53
14. The Stronger is Always the Better Reason 1:39
15. Sade is Sick 1:16
16. Her Majesty 3:14

CD ecopack 39:43

Voice, melodies and adaptation by Jean-Louis Costes
Recorded, mixed and mastered by Zosia Morus on 15th of October 2011 in Kr鏊ikarnia
Edited and produced by Micha Libera
Premiered at The Birth of Noise out of the Spirit of XVIII Century Music series
accompanying the exhibition Ladies with a Doggy and an Ape
Cover art work by Aleksandra Waliszewska
Layout by Piotr Bukowski

Populista is a CD series curated by Micha Libera
more: http://patakaind.blogspot.com/

Populista presents:
Ergo Phizmiz with Alessandro Bosetti, Maciej Cielak, DJ Lenar, Lula, Julia Zi皻ek play Robert Ashley Purposeful Lady Slow Afternoon
BÔΡ BR POP04 May 2012

1. Purposeful Lady Slow Afternoon 18:40

CD ecopack 18:40

Voices by Ergo Phizmiz and Lula
Piano by Ergo Phizmiz
Guitar by Maciej Cie郵ak
Violin by Julia Zi皻ek
Laptop by Alessandro Bosetti
Turntable by DJ Lenar
Recorded by Jan Mularz at Ch這dna 25, 10th of September 2011
Edited, mixed and mastered by Micha Libera and The Norman Conquest
Produced by Micha Libera
Premiered at Playback Play 2011
Cover art work by Aleksandra Waliszewska
Layout by Piotr Bukowski

Populista is a CD series curated by Micha Libera
more: http://patakaind.blogspot.com/

Witold Szalonek Medusa
BÔΡ BR 1010 February 2012

1. Poseidon and Medusa
     for 2 piccolos, bass flute, alto flute and crotales 15:08
2. Medusa's Dream of Pegasus
     for flute and bass flute 12:18
3. The Head of Medusa
     for free flutes 19:40

CD 10 page folded insert digipack 47:06

Sensuality of the sound, discipline of the form, epic scale and theatricality of performance - Witold Szalonek's music is multidimensional and still quite unknown. Highly valued by audiences and critics, it still hasn't gained a well-deserved place in the concert life. Its significance was by no means limited to the post-war history of Polish music and its spectacular stream: sonorism. Szalonek's interests were much more universal and had far-reaching consequences for the whole European music. Szalonek's interest in the sound equaled affirmation of its entire physiology. The composer was famous for his knowledge of wind instruments and invention of so called multiphonics or "combined sounds". He found a method to split a single sound - through an appropriate grip and blast - to its harmonic elements, thanks to which it's possible to perform double, triple or even quadruple stopping on a melodic instrument. Szalonek systematically examined technical possibilities of instruments, discovered their sound potential and added several new sounds to the musical dictionary. Triptych about Medusa - a mythological creature with hair of living snakes - is almost illustrative music. The composition is a result of Piotr Lachman's request to compose music for one of Jolanta Lothe's theatrical spectacles. Szalonek never accomplished this task due to lack of time; instead, he devoted three separate pieces to this compelling subject.

Bogus豉w Schaeffer - Assemblage
BÔΡ BR ES06 February 2012


1. Assemblage (second simultaneous version) 18:14
2-5. Symfonia elektroniczna (performed by Bogdan Mazurek) 17:29
6. Heraklitiana (soloist: Urszula Mazurek - harp) 20:52
7. Projekt (soloist: Zdzis豉w Piernik - tuba) 14:32


1. Projekt (soloist: Mariusz P璠zia貫k - oboe, cor anglais) 16:24
2. M.P. s逝cha Heraklitiany (Miko豉j Pa這sz - cello) 21:00
3-6. Symfonia elektroniczna (performed by Wolfram) 17:05
7. Assemblage (first simultaneous version) 4:14
8. o.t. dec. 2011 (Thomas Lehn) 10:11

2CD 20 page booklet digipack 70:57 | 68:54

Polyversional compositions were defined by Bogus豉w Schaeffer already in the 1960s. They were pieces written down not as "definite aggregates" being an obligation towards an interpreter to perform the sounds composer had in his mind but rather potential aggregates encompassing variety of possible versions. After nearly half-century, a couple of notes should be added to the definition, even if they are nothing more than questions on its margins. They are not rooted in any theoretical insight but only in working on that particular album.
The question is: if the score is missing, can polyversionality mean improvising the soloist part upon listening to a fixed tape? (see: Heraklitiana - the composition for tape and soloist. There is possibly a score for this piece somewhere but a few month long search, with assistance of its author, gave no desired result.) If close listening to an "original" version (based on a score) leaves a lot of doubt about the faithfulness to the score, do other more loose versions have to be mere variations? (see: o.t. dec. 2011 by Thomas Lehn.) And finally: does changing a title free us from an obligation of a faithful performance or is it only a misuse and attempt to pretend that a particular performance which is nothing more but one of possible realizations of Schaeffer's compositions is a creation of a different composer?

DJ Lenar - Re:PRES
BÔΡ BR ES05 January 2012

1. First Intro 0:16
2. First One 1:11
3. First Two 1:50
4. First Three 3:44
5. First Four 2:00
6. First Five 0:20
6. First Closing 0:51
8. Digital Silence 0:10
9. Second Intro 1:11
10. Second One 4:58
11. Second Two 0:23
12. Second Three 4:54
13. Second Four 0:29
14. Second Five 2:10
15. Second Six 3:44
16. Second Seven 2:52
17. Second Closing 0:01

CD 8 page folded insert digipack 31:04

Nobody knows how many miniatures have been conceived by Rudnik. But one thing for sure: a lot. Plenty enough to make a direct release impossible. The number of them calls for action - something needs to be done with them in the first place; a selection at least, some ordering perhaps. They remind a bit of music material, which form is eventually decided not by its composer but by a published or other user. Their virtual destiny was radio theatre. But in a first step of our attempt at Rudnik's "Miniatures" we pass it not to a dramatist but to a musician. Together with other pieces from the Studio as "Miniatures" are not only a material to work on but also an exposition of a specific approach to music concrete making: work quickly, in-between other things you do, don't spend too much time on it. In other words: hit and run.

Knittel / Sikora / Michniewski Secret Poems
BÔΡ BR ES04 January 2012

1. The Second Secret Poem 12:07
2. In The Tatra Mountains 20:46
3. The Zones of Adherence 11:28
4. Whisperetto 10:42

1. Norcet (2. version) 16:25
2. 3 Studies 4:36
3. 3 Studies 4:53
4. 3 Studies 5:47
5. Polygamy 14:32
6. Odds and Ends 11:02
7. Old Style Pieces 8:22

1. Flashback, hommage à Pierre Schaeffer 4:14
2. View from the Window 8:25
3. The Head of Orpheus 17:11
4. The Night Face Up 15:59
5. The Second Journey 13:52

3CD 40-page booklet digipack 55:03 | 65:37 | 59:41

The KEW stands for a group of three composers: Krzysztof, El瘺ieta and Wojciech, founded in 1973 when they were all students at the Fryderyk Chopin Higher State School of Music in Warsaw. They were a group of friends who enjoyed spending time in good (i.e. each other's) company and collectively coming up with new compositions. They weren't average students. El瘺ieta Sikora had already been on probation (1968-1970) in Groupe de Recherches Musicales in Paris under the guidance of Pierre Schaeffer and Fran蔞is Bayle and had performed in France several times. Wojciech Michniewski (who had graduated with honours from the Department of Composition, Conducting and Theory of Music) was giving numerous performances and was supposed to shortly obtain "Orfeusz", the main award for the best performance of a Polish composition at the Warsaw Autumn Festival of Contemporary Music. Krzysztof Knittel was already successful in the area of popular music and he did not cease searching: he took part in courses on the Fortran programming language and attended lectures on mathematical and humanistic logics and on theories of probability. He was also a listener of a cycle of professor Tatarkiewicz's philosophical lectures.

Populista presents
Bernhard Schtz & Reinhold Friedl play Robert Schumann Dichterliebe
BÔΡ BR POP01 October 2011

1. Im wundersch霵en Monat Mai 4:21
2. Aus meinen Tr鄚en sprie絽n 1:02
3. Die Rose, die Lilie, die Taube, die Sonne 1:07
4. Wenn ich in deine Augen seh' 1:37
5. Ich will meine Seele tauchen 2:55
6. Im Rhein, im heiligen Strome 1:27
7. Ich grolle nicht 0:51
8. Und w腷en's die Blumen, die kleinen 1:27
9. Das ist ein Fl飆en und Geigen 2:40
10. H顤 ich das Liedchen klingen 2:16
11. Ein Jngling liebt ein M輐chen 1:13
12. Am leuchtenden Sommermorgen 2:55
13. Ich hab' im Traum geweinet 3:08
14. Alln踄htlich im Traume 1:18
15. Aus alten M酺chen 3:02
16. Die alten, b飉en Lieder 2:55

CD ecopack 34:14

Voice by Bernhard Schtz
Piano by Reinhold Friedl
Recorded by Ralf Meinz in zeitkratzer studio, Berlin, 13th of June 2010
Mixed and mastered by Ralf Meinz
Produced by Michal Libera
Premiered at The Song Is You festival, Warsaw, 22nd of November 2009
Cover artwork by Aleksandra Waliszewska
Layout by Piotr Bukowski

Populista presents
Frédéric Blondy & DJ Lenar play Mauricio Kagel Ludwig van
BÔΡ BR POP02 October 2011

1. The Key. A Shattering Story of Otto Tomek and his Companions (Musicologists) 2:55
2. The Table. Old, Exotic and Electric 2:53
3. The Locker. Him with Anecdotes 1:09
4. The Wall. One Page May 0:30
5. The Treadle. Edited without Sound 1:04
6. The Stand. Without Destroying his Property 1:34
7. The Movie. Beethoven is Modern 0:10
8. The Chair. Not a Rumba (Cuban) 0:18
9. The Needle. Whole as well as Speed 2:46
10. The Window. Enhancing Banality or Pedestrian Allusions 1:30
11. The Angel. Beethoven House Invented at Liberty 5:19
12. The Chair. Not a Rumba (Catalan) 0:18
13. The Frame. At Each Blur 2:28
14. The Movie. Spectator Beethoven (Bamsterdam) 1:24
15. The Deaf. Abolition by No Means 1:24
16. The Wheel. Opportunity to Execute 3:30
17. The Board. Largo in D minor from the Fifth Piano Trio, Op. 70 No. 1 in D major 2:52

CD ecopack 32:05

Piano by Fr嶮廨ic Blondy
Turntable by DJ Lenar
Recorded by Zosia Morus at Zacheta National Gallery of Art, Warsaw, 19th of March 2011
Assembled, edited, mixed and mastered by DJ Lenar and Michal Libera
Produced by Michal Libera
Premiered at Hyperacusis music series, Zacheta National Gallery of Art, Warsaw, 19th of March 2011
Cover artwork by Aleksandra Waliszewska
Layout by Piotr Bukowski

The music contains quotes of soundtracks to movies Land des Schweigens und der Dunkelheit by Werner Herzog (15, 16), Ludwig van by Mauricio Kagel (1-3, 7, 10, 14, 16, 17), the performance of Ludwig van by Alexandre Tharaud (1, 17), the lecture with performance by Alfred Cortot (17). And snippets of sounds by Lê Quan Ninh (percussions, 15, 16), Sabina Meyer (voice, 16), Miko豉j Palosz (cello, 16), Dagna Sadkowska (violin, 16) and Ingar Zach (percussions, 15). And millions of other sounds that have their authors unknown to us.

Populista presents
Rinus van Alebeek plays Luc Ferrari Cycles des Souvenirs
BÔΡ BR POP03 October 2011

01. untitled 72:30

Recorded by Rinus van Alebeek
Voice by Brunhild Ferrari
Recorded by Rinus van Alebeek in Montreuil, 29th of October 2010
Unmixed and unmastered
Produced by Michal Libera
Cover artwork by Aleksandra Waliszewska
Layout by Piotr Bukowski

CD ecopack 72:30

Populista is a CD series curated by Micha Libera for B臛t Records.
More info...

Mimeo - Wigry
BÔΡ BR LP01 May 2011

A. untitled 21:52
B. untitled 17:28

C. untitled 22:55
D. untitled 23:40

2LP gatefold cover 39:20 | 46:35

I know everybody is laughing at it and I also realize it is missing the point for many reasons but... my phantasy is that MIMEO is today's Duke Ellington Orchestra (Rafael Toral being Johnny Hodges for sure...!). Yes, of course, I know, there is no Duke here but how about everybody's having such a clear and autonomous voice - immediately recognizable sound, particular way of playing, maybe even a method?

I believe this is why the set up in Wigry with separate loudspeakers for each musician worked that well. One, because of the difficulties with setting up the stage for ten musicians and two, because everybody played a single line. So despite a regular church reverb there was no cloud of noise but 10 people really playing at the same time; all the sounds in the air really coming from somewhere or rather from someone.

Clarity of separate loudspeakers also meant that the audience could mix it live. People got it immediately and started walking in search of different acoustic niches of the place. But also the music itself. It looked a bit like a live installation with balance of voices depending much on the listener's position. What you hear on the recording definitely is a Marcus Schmickler position - in Cologne.

But one thing about about the amplification struck me the most. Five of the musicians arrived an hour before the concert, after few hours of flying to Warsaw and then 6 hours of driving to the distant lake area of Northeast Poland. What is the link? Many things have been said about MIMEO and how XXI Century they are, how up to date is everything they do with all the electronics, ways of communicating etc etc. But in Wigry the feeling was also that it was all very easy and simple. No complex amplification systems, no labyrinths of cables and no rehearsals - just a raw, very basic meeting of people who come, plug in and play.

Micha Libera
Cornelius Cardew - The Great Learning
BÔΡ BR 1008 December 2010

1. Paragraph 1 37:44
2. Paragraph 2 37:05

1. Paragraph 3 42:10
2. Paragraph 4 27:06

1. Paragraph 5 64:10

1. Paragraph 6 26:21
2. Paragraph 7 37:11

4CD 16-page booklet digipack 75:01 | 69:28 | 64:12 | 63:44

We are proud to present the first complete release of a milestone of XX century music and a first piece to be called minimalist (by Michael Nyman). In a nearly 5-hour long recording of the piece one can hear Webern's punctualism, Reich's trance music, Ligeti's "clouds of sound" and echoes of Cage's conceptual provocations. The monumental music-theater mystery, on the one hand, evokes long lost spirit of archaic tribal rituals and, on the other, prophesies emancipated, experimental home-made music of the XXI century. Cornelius Cardew, one of the most visionary composers of the revolutionary 60., never attempted to create a masterpiece nor a summa of New Music; be it composed, improvised or experimental. "The Great Learning" is most of all a fulfilled utopia; a universal, egalitarian and unconventional art. Not meant for a concert hall, theater stage, avantgarde gallery or art lofts but performed by a group of amateurs gathered together in an archaic-leftist Scratch Orchestra wandering through the fields in search of authentic, emancipatory experience. "The Great Learning" has become exactly this for many of contemporary visionaries such as Michael Nyman or Brian Eno.

Four decades after its completion, the composition remains one of the most often recalled and imitated masterpiece of counterculture avantgarde. And the most ignored by the music market - official, popular and independent. Most probably because of its ideal and unabated inadequacy towards their consequences and standards.

We have managed to recreate its original scenery and context. In an almost untouched outdoor of Polish north-east and historic, sacral spots of Suwalszczyzna, Cardew's insiders met amateurs from ten different countries to bring back to life this unique ritual. Here, in a form of 4 CD album, comes an audio documentation of this unprecedented event.
Polish Radio Experimental Studio is the first official series of CD releases dedicated to the music produced in the legendary Studio. Established in 1957 by J霩ef Patkowski, it was among the first institutions of that kind in the world with only Paris, Cologne and Milano preceding the Warsaw one. Despite that, unlike their foreign colleagues who quickly became the most important figures of the XX century music, Polish composers working in the Studio are known only to a limited number of insiders. Yet, as Reinhold Friedl, leader of zeitkratzer points out, "the pieces give the impression of an artistic approach which has never been as strict or ideologically restricted as German electronic music or French concrete music. It seems to me that none of the musicians connected with this studio have had the tendency to limit him/herself to "electroacoustic music", rather they all have a natural and holistic approach to composing" [see: BR ES03]. This is why the releases give us opportunity to revisit our historical ideas of XX century music with a fresh and inspiring insight.

Various - PRES Revisited. J霩ef Patkowski in memoriam
BÔΡ BR ES01 December 2010

CD1 (Originals)
1. Bogus豉w Schaeffer - Antiphona 7:29
2. Eugeniusz Rudnik - Collage 5:02
3. Krzysztof Penderecki - Psalmus 5:07
4. Bohdan Mazurek - Episodes 8:31
5. Bogus豉w Schaeffer - Assemblage 8:37
6. Bohdan Mazurek - Esperienza 3:35
7. Eugeniusz Rudnik - Dixi 4:42

CD2 (Covers)
1. Phil Durrant - Antiphona 7:50
2. Miko豉j Pa這sz, Maciej 奸edziecki - Collage 4:41
3. John Tilbury - Psalmus 5:08
4. Phil Durrant, Miko豉j Pa這sz, Eddie Pr憝ost - Episodes 6:18
5. Maciej 奸edziecki - Assemblage 6:30
6. Phil Durrant, Miko豉j Pa這sz, Eddie Pr憝ost, Maciej 奸edziecki, John Tilbury - Esperienza 3:28
7. Miko豉j Pa這sz - Dixi 4:36
8. Phil Durrant, Miko豉j Pa這sz, Eddie Pr憝ost, Maciej 奸edziecki, John Tilbury
    - Hommage To Bogus豉w Schaeffer's Symphony 15:45

2CD 40-page booklet digipack 43:03 | 54:17

The album's core is the recording of the concert dedicated to Polish Radio Experimental Studio in London's Cafe Oto (CD2). Electronic pieces from the Studio were turned into instrumental structured improvisations performed by legends of improvised music, members of AMM John Tilbury and Eddie Pr憝ost, coming back to playing violin, Phil Durrant and two Polish musicians of the younger generation - guitarist Maciej Sledziecki based in Cologne and Warsaw cellist, Mikolaj Palosz. In their solo sets, they presented their individual variations on the compositions created in the Studio. Their collaborations were framed by graphic scores based on original recording and prepared by Denis Kolokol. His attempt was to make use of the idiosyncratic instrumental language of each of the improvisers; language that owes so much to the development of electronic music. CD1 consists of original, remastered recordings of the pieces that were performed in Cafe Oto as they seem to be among the greatest productions of the Studio.
Bohdan Mazurek - Sentinel Hypothesis
BÔΡ BR ES02 December 2010

1. Six Electronic Preludes 15:07
2. Bozzetti 5:04
3. From a Notebook 16:35
4. Canti 9:22
5. Sinfonia Rustica 9:45
6. Ballade 7:40
7. Pennsylvania Dream 9:37

1. Children's Dreams 9:01
2. Daisy Story 19:28
3. Reverie 9:37
4. Letter to Friends 10:08
5. Epitaph (1st version) 6:35

2CD 36-page booklet digipack 73:30 | 54:59

Sentinel Hypothesis is a monograph 2xCD album by one of the most important figures of Polish Radio Experimental Studio. Bohdan Mazurek started working in the Studio in 1962 as a recording engineer but soon became its prominent composer, both of illustrative (film music) and autonomous music. His compositions are known for their solicitude for sound and extensive use of traditional instruments - not as neutral or random base for composition but rather as a material presupposing its limitations and ways of usage. The selection of compositions on the album are dated from 1967 to 1989 showing a wide spectrum of his interests from "classical" electronic music to what would today be called field recordings. The CDs are accompanied by thorough analysis of the compositions by one of the most active researched of Studio's history, Boleslaw Blaszczyk, as well as comments of their author, Bohdan Mazurek.
Zeitkratzer - plays PRES
BÔΡ BR ES03 December 2010

1. Dixi (Eugeniusz Rudnik) 5:11
2. View from the Window (El瘺ieta Sikora) 8:34
3. Low Sounds (Krzysztof Knittel) 4:53
4. Icon (for tape) (Dennis Eberhard) 11:09
5. Norcet (Krzysztof Knittel) 6:39
6. Episodes (Bohdan Mazurek) 9:05

CD 12-page insert digipack 73:32

Instrumental versions of the pieces from Polish Radio Experimental Studio arranged by probably the most unusual ensembles of contemporary music - zeitkratzer. International virtuoso group is specialized in this kind of provocative approach to electronic music. Taking as starting point the fact that instrumental techniques are indebted in electronic music, zeitkratzer proves that what in the 60. was possible only thanks to recording studios, nowadays can be played live, on violins and pianos. This is exactly what happen on 4th of September in Sejny's White Synagogue, where the premiere of the repertoire took place. After listening to hours of compositions from the Studio, musicians have selected six of them to be reinterpreted for the concert. They represent different stages of Studio's history and were prepared for instrumental covers by zeitkratzer during its members stay in Residential Arts Centre in Wigry. Now the selected six compositions are presented as a CD album.
Arturas Bumstšteinas - Heap of Language
BÔΡ BR 1007 May 2010

1. Heap of Language (CD version) 10:10
2. Nasdaq 9:18
3. Malcowa 7:29
4. Ikea Organ 8:31
5. Verbatim 16:11
6. Antiradical Opera 22:05

CD insert/poster digipack 73:32

Creating music out of nothing is simply impossible. It's better, then, to consciously "re-write history" rather than pretend to be some kind of demiurge [...] An interesting example is the cycle "Five Songs" which includes "Nasdaq" and "Malcowa". Each singer sent me his favorite song which ranged from pop to real folk-music. The recordings of these pieces have been then re-composed and transformed in many different ways. I used spectral analysis to come up with harmony material for the instrumental ensemble. I re-organized the original vocal parts using graphic and number notation; I also made use of the so called "audio scores", which are model recordings, imitated later by the performing musicians [...] Open forms are introduced in order to make more space for the creativity of performers. This increases the possibility that the music will become some kind of communication, that the meeting with the musician becomes a meeting with another man, and not only a performer. And pretty much everyone can understand the language of numbers I used for the notation to approximate the pitch and rhythm intervals in my "Antiradical Opera". Anyone can interpret my "sound scores" by simply imitating the prototype recording. This entails the concept of shared responsibility for the overall effect.