Â I can offer You a lot of interesting musical projects:
1.Magic of the bow Solo-concert-workshop-lecture
2.Folk Chopin or At the sources of the Â Chopin's music
3.LutoSlavs Tradition Composition Improvisation /W. LutoslawskiÂ
4.Polish Folk music andÂ
5.Chopin on 5 Continents
6.Maidens Prayer -music of forgotten Polish composer Â Tekla Badarzewska
7. Suka & Fidel Orchestra First knee positions fiddles orchestra
8.Multi Culti Â Polish and Arabic, Persian, Chinese cross-culture projectsÂ
9. Silk Road Suite
11.Arabic music/Persian music
14. Polish forgotten female composers
and other which are stated below
Â Magic of the bow
Concert intends to present instruments which, in spite of vast differences in structure, tonal quality and the types of music played on them, belongs to the one great family-bowed stringed instruments. Their common feature is an Euro-Asian origin. Why did man first construct bowed instruments ? Â Was it an aspiration to produce the equivalent of the human voice? Who built the first stringed instruments? Did all instruments appear at the same time in different cultures or originate from one primaeval source? In spite of many theories concerning these topic, the question still remains open. It is also interesting to note that stringed instruments developed in isolation from each other have been engendering for ages similar emotional associations in their own cultures. These instruments posses an ability to create a pensive atmosphere, longing and melancholy. Besides all the similarities there are a great deal of differences as a result at development through the ages in separate conditions. The easiest to identify is naturally the difference in appearance and structure. Equally important are the technical styles of playing each sort of instrument connected with musical theory and practices of a particular culture At the concert Maria Pomianowska demonstrate two fundamental techniques of playing by right and left hands. They are the basis for the whole field in theory of music that concerns methods of using both hands in performing compositions for stringed instruments. When employing the right hand artis who play violin or cello will use the so-called overhand grip and those playing Asian instruments will hold the bow with the palm of the hand turned upwards. As for shortening strings hence attaining different pitches are as following: pressing technique ( pressing strings with the finger top) cello, er-hu, kamancheh, folk-bass Â and finger ânail technique ( pushing aside with the nail of the finger)sarangi, morin-chur, gadulka, Â suka from Bilgoray, suka from Mielec, fiddle from Plock. Both above mentioned techniques have internal differences which in general terms supposedly lead to achieving another set of rich ornaments and sound colours. The nature of particular stringed instrument for example the material from which the strings are made of is of great importance in attaining interesting sound colours. Â The blending of unusual sets of instruments from far different corners of Euro-Asia will enrich traditional colour associations. The idea of the concert is to show how Asian instruments helped to reconstruct Polish forgotten tradition: finer-nail bowed-stringed Â instruments.
Concerts present following instruments:
Suka from Bilgoray ,Fiddle from Plock ,Suka from Mielec, folk bass,
Gadulka-Bulgaria, Kamancheh- Iran, Sarangi-India ,Morin-Chur â Mongolia ,Er-hu â China
( instruments are described in the section The Art-Instruments )
Â Concert can be played by duo.
The project present the music of the great composers from the perspective of the modern man's expectations. Although his works are the highest expressions of artistic creation, they have not yet reached the vast audience, which does not listen to classical music often. My project aims to change this situation. Due to its innovatory content, it is addressed to the broad spectrum of recipients, who listen not only to classical music, but also to other genres, such as jazz, pop or world music. The program presents LutosĹawski's music in a manner never used before. The pieces on the CD will contain a compilation the three main subjects directly connected to the Â composer's work: tradition (folk sources in his compositions; chosen works of LutosĹawski along with Polish folk melodies performed on folk intruments), composition (original pieces of the composer arranged for Â non-classical instruments, both European and non-European) and inspiration (creation of copyright pieces based on chosen works of W. LutosĹawski) The music of the composers stimulates the imagination of the artist and motivates him to improvisation. This element of own composition derived from the inspiration by LutosĹawski's music is the joining element of the whole project. The three elements of creation described above, which are the base for creating a new sonically-expressive quality in the presentation of W. LutosĹawski's music, appear with differing intensity throughout the project. In result a coherent, homogenous effect with a unique character was created.
Â No one can really question the fact that the uniqueness of Chopinâs masterpieces in a large part is a result of inspirations drawn from folk music. Custom has it however that both of these phenomena Â function in a separate context and belong to a different performance traditions. âAt the sources of Chopinâs musicâ has been created in order to break this stereotype. By reducing folk music and Chopinâs Mazurkas to a common denominator our aim was to give to the listener a completely new look at his music.
Having a stormy history and rich traditions, Poland, the country in which Frederic Chopin was born, had an irreversible impact on the life, work, and genius of the young composer. Nobody has ever questioned the fact that the uniqueness of Chopinâs masterpieces was greatly inspired by folk music, especially the one of the Masovia region. Chopinâs music was developed in the country that had a very special geographical location in Europe. The Polish folk music was strongly influenced by the music of the North, South and the West for centuries. When listening to Polish folk songs and melodies, one can discover echoes of the times when the Tatars or Turks were trying to conquer the continent, bringing behind the rhythms and melodies of far Asia â mysterious land visited by merchants, explorers, and others, often causal messengers of the global culture. Â The folk music to which young Chopin listened in his childhood before setting out abroad was an anonymous record of all these influences. We live in the time when different means of transport allow us to move around on the face of the Earth from one place to the next in a matter of hours. This facilitates multicultural contacts on an unprecedented scale. This wasnât always the case. Â As early as 180 years ago on a chilly November morning Frederic Chopin left Kalisz for Dresden, a journey by stagecoach that would take a number of days. Â The composer might have never suspected that the fifth of November, 1830 was the last day he would spend in his beloved fatherland. Well, times are changing. If Chopin was alive today he would have boarded a plane (like many other people) and made it to a different country or continent. If he had decided to settle down in twenty-first-century Paris he would have seen a city that is a mishmash of multiculturalism. Â Paris is the place where one can find all kinds of music grown out of the European culture or representing other traditions, such as from Persia, China, India, Japan, Africa, Siberia, Australia, and etc. Â If Chopin had been exposed to this unique exotic instrumentarium, one can only wonder what his favorite genres would have been? We know he was open to folk music. What cultures, musical traditions, or instruments would have inspired his works? This is interesting insomuch that Chopinâs works are timeless. Although 160 years have passed since the composerâs death, his works are as powerful as before, despite the fact that the human tastes, fashions, and requirements have greatly changed over time. Â It is enchanting and inspiring. Moreover, every generation discovers in his pieces something very personal and important for their own era. Practically, all contemporary musical genres have been at least once inspired by Chopinâs works.