1+1+1+1 / Warszawa
TIME: 23:59
VENUE: SAUNA
115 Marszałkowska St. (entrance from Przechodnia St.)
Warsaw
A concept by Mats Gustafsson, free instrumentation.
ONE room.
ONE player.
ONE audience.
ONE minute.
The audience will not know who will be playing (and why).
Audience is led into a room, by an assistance – one at the time, where one musician is waiting and playing a one minute solo, composed or improvised depending on the will, urge and idea of the performer.
When the minute is over. The audience will be led out by an assistant, later bringing another audience (one person) into the same room, meeting either the same artist or an entirely different one.
All following the rules of 1 + 1 + 1+ 1
The piece will continue until there are no audience left in line waiting outside the ONE room.
Solo improviser, often in collaboration with contemporary dance, visual art, poetry and theatre Composer of solo work for saxophone, live electronics and ensemble pieces. Sound Installations.
Commissions by Swedish Concert Institute, Swedish National Radio (P1 & P2), KulturBro 2000, Krakow jazz autumn 2013, Norrlands Operans Symfoniorkester, Now and Forever Space project 2014, Klangforum Wien. Compositions played by Sonic Youth, Nu-ensemblen, Peter Brötzmann Chicago Tentet, Copenhagen Art Ensemble, The Thing, AALY Trio, The End, Trondheim Improvisers Ensemble, Neneh Cherry, NyMusikk TRondheim, FRIM Storband, Trondheim Voices a.o. Curator of festivals; Sounds 89 & 99, Solo -92, Dygn (-95), Open Music – KulturBro 2000, 2002, Wels /unlimited music 2003, Perspectives 2004, Perspectives 2007, Perspectives 2009, Nickelsdorf Konfrontationen 2010…
Curator of Swedish concert Institute’s tour project-series “Frislag” since 2000. Re-started FRIM in 1998 (the association of free improvised music in Sweden). Citizen of Elgaland/ Vargaland (KREV) Started Blue Tower Records with Harald Hult in 1989. Started Crazy Wisdom with Christian Falk and Conny C. Lindström in 1999.
Started Olof Bright Editions with Thomas Millroth in 2000. Started SLOTTET with Conny C Lindström and Maria Eriksson in 2006.
Extensive touring, over 2000 concerts and over 250 recording projects, with music ensembles and solo projects in Scandinavia, Europe, Australia, Africa, South & North America and Asia. Major festivals and clubs/performance theatres/museums in Sweden, Norway, Finland, Denmark, Iceland, Estonia, Lithuania, Lettvia, Russia, Poland, Belarus, Germany, Ukraine, Belgium, Holland, France, England, Scotland, Ireland, Austria, Switzerland, Spain, Portugal, Italy, Greece, Monaco, Slovenia, Turkey, Hungary, Slovakia, Croatia, Macedonia, Serbia, India, China, Japan, Korea, Tasmania, Australia, New Zeeland, USA, Brazil, Canada and Ethiopia.
Colin Stetson was born and raised in Ann Arbor, spent a decade in San Francisco and Brooklyn honing his formidable talents as a horn player, eventually settling in Montreal in 2007.
Over the years he has worked extensively, live and in studio, with a wide range of bands and musicians including Tom Waits, Arcade Fire, Bon Iver, TV On The Radio, Feist, Laurie Anderson, Lou Reed, Bill Laswell, Evan Parker, The Chemical Brothers, Animal Collective, Hamid Drake, LCD Soundsystem, The National, Angelique Kidjo, Fink, and David Gilmore. Meanwhile he has developed an utterly unique voice as a soloist, principally on saxophones and clarinets, his intense technical prowess matched by his exhilarating and emotionally gripping skills as a songwriter.
Stetson’s astounding physical engagement with his instruments (chiefly bass and alto saxophones) produces emotionally rich and polyphonic compositions that transcend expectations of what solo horn playing can sound like.
Stemming from that approach and aesthetic, he has been contributing regularly to the world of film, TV, and game scoring over the past decade with such titles as Hereditary (2018), The First (2018), Red Dead Redemption 2 (2018), Color Out of Space (2019), Barkskins (2020), Mayday (2021), Among The Stars (2021), Texas Chainsaw Massacre (2022), and Uzumaki (2022).
Born as Dieter Kovačič in 1973
Turntablist, hacker, filmmaker, autodidact, composer, collageur, conscientious copyright objector. Since 1997 dieb13 has played hundreds of shows in more than 30 countries as soloist as well as a member of various ensembles. Long-term cooperations with (among others) Billy Roisz, Phil Minton and Mats Gustafsson.
About 65 releases on circa 35 labels.
Music for theater-, dance-, opera-, film- and video-productions, as well as installations and exhibitions.
Founder and operator of the internet platform klingt.org
Curator for festivals and concert series.
http://dieb13.klingt.org
Szwedzka improwizatorka i perkusistka z siedzibą w Trondheim, Norwegia. Ze swoim dystyngowanym brzmieniem i teksturą na 20-calowym bębnie basowym, perkusji i werblu Matildę można usłyszeć solo lub w konstelacjach z niektórymi z najlepszych europejskich i skandynawskich muzyków improwizujących i choreografów/tancerzy. Wraz z wokalistką Maggie Nicols i pianistką Lisą Ullén tworzy trio; Trio Generations. Obecnie Matilda jest aktywna jako artystyczny badacz w NTNU w ramach projektu “In Motion, Movements with Direction”, gdzie wraz z tancerzami rozwija i pogłębia artystyczną praxis interdyscyplinarnego współdziałania w swobodnej improwizacji.
Kyrre Laastad is an musician, producer and sound engineer living and working in Trondheim, Norway. From a background in jazz and improvised music, he works in various genres and traditions, always trying to maintain balance between pushing the music towards new territory while still keeping it musically cohesive. As a musician he has played with various people such as Christian Wolff, Jenny Hval, Mats Gustafssson, Pauline Oliveros and Lost Girls. Parallel to his work as a musician he also produces and records albums for other people, recent credits in this department is records by Jenny Hval, Kim Myhr, MoE and Moskus.
Anders Nyqvist was born in 1977 in Sweden and started playing the trumpet at the age of 10. After graduating from high-school in his home town of Trollhättan, he was offered a scholarship to study music at the Hong Kong Academy of Performing Arts. There, he studied both trumpet and voice, but soon decided on the trumpet as the instrument of his choice.
After three years in Hong Kong, he was awarded a scholarship to continue his studies at the Royal Academy of Music in London.
He became a member of Klangforum Wien in 2004.
For Anders Nyqvist, the opportunity to work with composers, developing new sounds, contributing his experience and being part of the creative process, is an essential ingredient of music making. He has performed internationally both as a soloist and with chamber music ensembles at most of the major festivals and concert venues. As a soloist, he has performed with ensembles and orchestras such as the Deutsches Symphonie-Orchester Berlin, Helsinki Philharmonic Orchestra, Radio-Symphonieorchester Wien, and Tonkünstler-Orchester Niederösterreich.
Since 2009, he has taught trumpet for the Performance Practice in Contemporary Music degree program, at the University of Music and Performing Arts in Graz; and from 2011 also at the University of Music in Vienna. He also regularly conducts master classes in Europe and Asia.
Numerous pieces have been written especially for him by composers such as Matthias Pintscher, Bernhard Gander, Bernhard Lang, Pierluigi Billone, Nina Šenk, and Roland Freisitzer.
Anders Nyqvist has also participated in a great number of CD, DVD and television productions.
Violinist, fiddle player, singer, composer. Musician fascinated by Polish folk art. Seeker of a universal language that connects the world’s distant musical cultures. Graduate of ethnomusicology at the University of Warsaw.
She performs and records albums with numerous bands, co-creating projects on the borderline of styles and cultures (Etnofonie Kurpiowskie, Struktura, Stilo, Kontraburger, Village Kollektiv, etc.). At the Polish Radio festival “Nowa Tradycja” (New Tradition) 2002, she received the special prize Golden Goose for the best musician and the first place with the band Stilo. At the “Folkopranie” festival in Skierniewice, she was recognised as the most interesting musician and awarded individually. Since 2001, she has been co-founding the band Kapela ze Wsi Warszawa, with which she has achieved numerous successes on the most prestigious stages around the world (including WOMAD, WOMEX, Glastonbury Festival, Rudolstadt Festival, Solidarity of Art, Rainforest Festival), played more than 1000 concerts and received numerous awards (3 Folk Phonagrams of the Year at the PR New Tradition Festival, BBC Radio3 World Music Awards, 5 Fryderyks, 2 Machinery, European Radio Union Grand Prix, Grammy Award nominations, multiple 1st place in the World Music Charts Europe and others). Together with her band, she collaborates with many artists from Poland and abroad: Norway, Sweden, Spain, USA, Canada, India, Iran (e.g. Esperanza Spalding, Bill Laswell, Leszek Możdżer, Kayhan Kalhor, Sandy Scofield, Andy Teirstein, Jack Wall, Mercedes Peon, Dj Feel-X, Torgeir Vassvik, Dhoad Gypsies from Rajastan, Hedningarna), creating new constellations of ethnic sounds. She is closely associated with folk singers and musicians from the Mazovia region (Maria Bienias, Marianna Rokicka, Stefan Nowaczek, Carniacy, Bandysionki, Kapela Zdzisława Kwapińskiego, with whom she recorded the album Re:Akcja Mazowiecka together with KzWW), as well as with a band from Dobrowody on the Polish-Belarusian border.
She has also co-written and performed music for Japanese manga, computer games (Myst IV), films (Lost Urzecze, Kapel Mistrze, Zimna wojna, Sąsiady), theatre productions (Balladyna, Tale of Three Horses, Musicians of the Great Field) and music for the New York new opera A Blessing on the Moon. As a soloist, she collaborates with composer Nikola Kolodziejczyk (2019 premiere of the composition Baroque of the New Era – Handel XXI, 2022 premiere of the Symphony ‘Return to Matanza’ with the Symphony Orchestra of the Pomeranian Philharmonic).
The artist sings with a white voice and specialises in playing reconstructed Polish folk instruments – the Biłgoraj suka and the Płock fiddle, using the so-called nail technique and experimenting with their specific sound.
Maniucha Bikont (born 1986) – singer, musician, anthropologist, participant in field research in Poland, Ukraine, Belarus and Russia. She sings traditional, modern and authorial music, plays the tuba. Arranges songs, creates theatre and film music. A graduate of the Institute of Polish Culture and Artes Liberales, she also studied at the chair of ethnomusicology at the Music Academy in Kiev with Prof. Yevgen Yefremov (2010/2011). She holds a master’s degree from the Institute of Polish Culture and a doctorate from Artes Liberales. Three-time scholarship holder of the Ministry of Culture and National Heritage, winner of the Tournament of Real Musicians (2014), two-time winner of the New Tradition competition (2016, 2017), nominated for the Coryphaeus of Polish Music (2020, 2021). Vocalist of the bands Maniucha and Ksawery, Tęgie Chłopy, Niewte, Dziczka, Z lasu. She collaborates with Assaf Talmudi, Cezary Duchnowski and Radical Polish Ansambl, with Bartek Weber and the Aurora Collective, or the Prusinowski Kompania band. The most personal of her albums is Oj borom borom.
