03/04

Ferdydurke.
Muzyka do spektaklu lalkowego na podstawie powieści Witolda Gombrowicza.
Artur Lesicki - gitara
W spektaklu wykorzystano cytat z poloneza "Pożegnanie Ojczyzny" Michała Ogińskiego.

Ferdydurke

"Thall'Em All" for electric / acoustic string quartet and computer(2022)

Performed by: 
NeoQuartet (Karolina Piątkowska-Nowicka – electric and acoustic violin, Paweł Kapica – electric and acoustic violin, Michał Markiewicz – electric and acoustic viola, Krzysztof Pawłowski – electric and acoustic cello)

Recording: Marcin Kowalczyk
Mix: Paweł Hendrich
Mastering: Paweł Hendrich

"Thall'Em All" is a piece that combines submetal [thall] and contemporary music. For as long as I can remember, metal has played an important role in my life, and over the years I've become heavily musicalized by this genre. I highlighted these musical references doubly - in the obverse and reverse. The obverse is the layer of electronics in the piece with "Thall'Em All", which contains the sonic "aftertaste" of metal music - various overdrives, feedbacks, looping. The concept of the piece also involves translating certain guitar techniques - inherent in the metal subgenres of thall and djent - into music performed by a string quartet.

The entire meta-composition consists of two sub-pieces: "Thall'Em All" and "Thall'Em All | Reverse." The former is a string quartet whose electronics are heavily "soaked" in a sound with characteristics of various metal music genres (mainly thrash metal, death metal, thall and djent). The second, on the other hand, is an over two-minute composition written directly in the thall genre and does not reveal that it is part of a string quartet. It was created as a kind of aesthetic and material reverse of the string quartet.

More info: hendrich.pl/thall%27em-all

Thall'Em All | Obverse (2022)

Katarzyna Dziewiątkowska - Ultima
Wykonawcy: Ensemble musikFabrik
Utwór zrealizowany w ramach finałowego etapu projektu Composer Collider: Poland przeprowadzonego przez Instytut Adama Mickiewicza.

Ultima

"Thall'Em All" is a piece that combines submetal [thall] and contemporary music. For as long as I can remember, metal has played an important role in my life, and over the years I've become heavily musicalized by this genre. I highlighted these musical references doubly - in the obverse and reverse. The obverse is the layer of electronics in the piece with "Thall'Em All", which contains the sonic "aftertaste" of metal music - various overdrives, feedbacks, looping. The concept of the piece also involves translating certain guitar techniques - inherent in the metal subgenres of thall and djent - into music performed by a string quartet. 

The entire meta-composition consists of two sub-pieces: "Thall'Em All" and "Thall'Em All | Revers." The former is a string quartet whose electronics are heavily "soaked" in a sound with characteristics of various metal music genres (mainly thrash metal, death metal, thall and djent). The second, on the other hand, is an over two-minute composition written directly in the thall genre and does not reveal that it is part of a string quartet. It was created as a kind of aesthetic and material reverse of the string quartet.

More info: https://hendrich.pl/thall%27em-all

music: Paweł Hendrich
visualisation: Tomasz Strojecki
recording, programming, mixing, mastering: Paweł Hendrich

Thall'Em All | Reverse (2022)

"Just a Little Beat" for chamber ensemble and computer (2022/2023)
fl, sax | tpt, tbn | perc | pno | vln, vc, cb | comp

Performed by: 
Studio Dan

Daniel Riegler – conducting, trombone 
Thomas Frey – flute
Clemens Salesny – alto saxophone 
Dominik Fuss – trumpet
Raphael Meinhart – percussion
Michael Tiefenbacher – piano / MIDI keyboard 
Sophia Goidinger-Koch – conducting, violin 
Maiken Beer – cello
Philipp Kienberger – double bass
Werner Angerer – sound engineer
Alexander Forstner – production

Recording & Mix: Piotr Papier
Mastering: Paweł Hendrich

Just a Little Beat is the first piece composed by Paweł Hendrich for the Studio Dan. The specific nature of this ensemble is that its members are both traditionally trained classical musicians, as well as improvisers and jazzmen. The work is therefore strictly composed in terms of form and content, and includes the equally important elements of improvisation on composer-defined sound material. This allows the musicians to realize their full potential.

In Just a Little Beat the composer innovatively applies techniques (of sound production and rhythm construction) derived from popular and club music. Thus, the composition is an example of an interesting intermingling of popular music genres with the content and form of contemporary music – as a rule, extremely distant from each other.

The title of the composition is a play on words derived from the English term "just a little bit”. The word "beat" inserted in the title in place of "bit” refers to the rhythmicity of electronic popular and club music (such as pop-synth, dubstep, big beat, breakbeat, hip-hop). The track contains just "just a little" of this rhythmicity, and the rhythms used in the composition do not break through to the foreground, but are – contrary to the original – not obvious and often quite intricate. The second element, in addition to the rhythm, which refers to the above popular genres, is the transfer to the electronic and instrumental layer of the work of the characteristic sonorities of various genres of club music. Nonetheless, these sounds will be combined with non-octave harmonics, characteristic of the composer, therefore not evoking associations with any genre of dance music.

In the piece, the composer develops his concept of musical games, which he applied when writing the string quartet "Thall'Em All" (2022) or the piano concerto "Phantomaticon" (2021). The concept is that some parts of the piece take the form of a musical game, having the characteristics of a puzzle and board game with strictly defined rules. Paweł Hendrich's musical game contains both elements (actions – longer sections and gestures – shorter sections) and musical connections, i.e. types of transitions between these elements. When performing a piece, the musicians individually decide how they will "pass the game", while, of course, following the rules set by the composer.

Work commissioned by National Forum of Music (NFM)

Project co-financed by the Ministry of Culture and National Heritage of the Republic of Poland
within the programme “Composing Commissions” implemented by the National Institute of Music and Dance.

03/04

Katarzyna Dziewiątkowska

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