"Phantomaticon" for chamber orchestra, piano and computer (2021)
fl, ob, cl, bsn | tpt, hr, tbn | 2 perc | pno | comp | pno solo | vln 1, vln 2, vl, vc, cb

Performed by: 
Orkiestra Muzyki Nowej, Szymon Bywalec - conductor, Dorota Adamczak - piano, Paweł Hendrich - computer

Recording: Wojciech Marzec
Mix: Wojciech Marzec
Mastering: Paweł Hendrich

In the virtual world you can get lost more than you can find - this is the warning Stanisław Lem included among many theses he put forward in one of his most famous essays "Summa technologiae". In the composition "Phantomaticon" I presented the very issue of losing oneself in the artificial world. The title of the piece refers to the phantom machine described in the aforementioned essay - the process of creating artificial worlds. This process is – according to Lem – "art with feedback", which consists in creating two-way connections between the artificial reality and its recipient. It is also worth noting that the second part of the work's title (-aticon) forms an anagram of the word "action". This emphasizes the active role of the creator in creating a new (musical) reality. This activity concerns the performance of the final phase of the piece, in which the performers make decisions live about choosing the right part (action) and its variation (color). This situation is supported by an application I have developed. It is a kind of 'live performance simulator' for the conductor, thanks to which he can test any variant of the composition's ending and choose the best one. So it comes to "feedback" between the creator and the performer. 

As Stanisław Lem emphasized, in artificial reality, we are not only lost in something but also we lose ourselves – as a species. We abandon humanism for transhumanism, taking advantage of the highly developed technology that supports our lives. The modern, increasingly automated world is thus inevitably approaching the question: what do I need a human being for? In the piece "Phantomaticon" the role of the ensemble and electronics is to build a symbolic image of a dystopian world. The soloist, on the other hand, plays the role of the last humanist in a posthuman world.

Project co-financed by the Ministry of Culture and National Heritage of the Republic of Poland within the programme „Collections” – the priority „Composition Commissions” implemented by the Institute of Music and Dance. 
Commissioned by Orkiestra Muzyki Nowej.

Fractalized

Phantomaticon

Phantomaticon (2021)

Chamber Music IV
[live performance recording, Poznań 4 IV 2022]

Philip Haworth - oboe
Sarah Saviet - violin
Stephen Upshaw - viola
[www.riotensemble.com]

Michał Janocha - live electronics

Score:
https://www.babelscores.com/catalogs/instruments-electronics/7505-chamber-music-iv7505

Chamber Music IV (Riot Ensemble)

adagio sostenuto (2022)
for ensemble 

written for and performed by Ensemble Linea

Keiko Murakami – Flûte Renaissance 
Heidi Caillet– Hhautbois d’amour
Thomas Quinquenel – Basson
Thierry Spiesser – Trombone
Caroline Delume – Théorbe 
Aleksandra Dzenisenia– Cymbalum
Jean-Philippe Wurtz – Direction

https://www.ensemble-linea.com


Live recording
25.04.2023, Opéra National du Rhin, Strasbourg
Arsmondo Festival

https://www.pawelmalinowski.com/music/

2022

adagio sostenuto

for amplified horn, harp, accordion and viola

conductor - Nadim Husni
perf. Paweł Nasuta, Katarzyna Zabielska, Mateusz Dudek,Paweł Riess

Academy of Music in Cracow 2015

irradiacja

___________________________
Please, listen on headphones!
___________________________

Krzysztof Ratajski - piano
Teoniki Rożynek - piano, sampler

Bilokacja

for bass clarinet, harp, percussion and cello

conductor - Nadim Husni
perf. Bartek Słojewski, Zuzanna Federowicz, Katarzyna Stasiewicz, Olga Przybył

UMFC Warsaw 2016

bug report

Personaggi: Euridice 
for choir of 24 soloists and orchestra
Introduzione

libretto: Nathalie Gendrot

Chór Polskiego Radia
Polska Orkiestra Radiowa
Szymon Wyrzykowski, choir conductor
Szymon Bywalec, conductor

Personaggi: Euridice, Introduzione

From the EP - "Memo, The Beat Tape", PREMIERE DATE 18.04.2017


"Memo, The Beat Tape" explores nostalgia and ability to recall the childhood memories. EP investigates traditional convention of beat tapes and creates the coherence by moving the essential elements of one track to another as an illustration of memories blending together into one blurry picture. Samples complimented by live instruments recorded by Moo Latte, intricately creates a room and a private space which invites everyone for a journey to the previous millennium. "Memo, The Beat Tape" confronts Moo Latte's african temper with the scandinavian mindset, jazz sounds of keys, bass and guitar with soul and folk samples and hip hop groove. It is an immersive blend of hazy structures and defined beat where soulful instrumental compositions smoothly float into each other and reflect over infancy's easiness.

<a href="https://theartistunion.com/tracks/21fb4c" rel="nofollow">Download for free on The Artist Union</a>

Free Download

Moo Latte - 1997 | Memo, The Beat Tape - Official Single

cityscape kraków. 5

Michael Guttman - vn

Jing Zhao - vc

Marzena Diakun - cond.

Sinfonia Varsovia

commisioned by Polin Museum

first performance: Polin Music Festival 2019

home is elsewhere

The concept for this piece comes from The Dictionary of Obscure Sorrows, a collection of words invented by John Koenig that “aims to fill a hole in the [English] language—to give a name to emotions we all might experience but don’t yet have a word for.” The title for this
piece comes from the definition for “the meantime.”

the meantime
n. the moment of realization that your quintessential future self isn’t ever going to show up, which forces the role to fall upon the understudy, the gawky kid for whom nothing is easy, who spent years mouthing
their lines in the wings before being shoved into the glare of your life, which is already well into its second act.

This piece was commissioned by the Great Lakes Chamber Music Festival for the Callisto Quartet, who premiered the piece at St. Hugo of the Hills in Bloomfield Hills, Michigan in June 2019.

This recording features the Aizuri Quartet, recorded by Andrés Villalta at Princeton University in November 2020.

adagio sostenuto

Paweł Malinowski

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