EVAN ZIPORYN, WACŁAW ZIMPEL, KRZYSZTOF DYS, HUBERT ZEMLER

Waclaw_Zimpel_01krzysztof_dysHubert_Zemler_01EvanZiporyn3_Photo_by_Standa_Merhout

A spectacular program by a dynamic new quartet featuring one of the most acclaimed contemporary US musician: clarinetist Evan Ziporyn and well known polish artists: clarinetist Wacław Zimpel, pianist Krzysztof Dys and drummer Hubert Zemler.
The quartet performing the spiritual original compositions established by the members of the band. The musical program turns to chamber music simplicity with an intimate ensemble of double clarinets, piano and drums inspired by Early Music, the minimalism of Reich, Riley and Glass and esoteric spiritual traditions from around the world.

Evan Ziporyn (b. 1959, Chicago) makes music at the crossroads between genres and cultures, east and west. He studied at Eastman, Yale & UC Berkeley with Joseph Schwantner, Martin Bresnick, & Gerard Grisey. He first traveled to Bali in 1981, studying with Madé Lebah, Colin McPhee’s 1930s musical informant. He returned on a Fulbright in 1987.
Earlier that year, he performed a clarinet solo at the First Bang on a Can Marathon in New York. His involvement with BOAC continued for 25 years: in 1992 he co-founded the Bang on a Can All-stars (Musical America’s 2005 Ensemble of the Year), with whom he toured the globe and premiered over 100 commissioned works, collaborating with Nik Bartsch, Iva Bittova, Don Byron, Ornette Coleman, Brian Eno, Philip Glass, Meredith Monk, Thurston Moore, Terry Riley and Tan Dun. He co-produced their seminal 1996 recording of Brian Eno’s Music for Airports, as well as their most recent CD, Big Beautiful Dark & Scary (2012).
Ziporyn joined the MIT faculty in 1990, founding Gamelan Galak Tika there in 1993, and beginning a series of groundbreaking compositions for gamelan & western instruments. These include three evening-length works, 2001’s ShadowBang, 2004’s Oedipus Rex (Robert Woodruff, director), and 2009’s A House in Bali, an opera which joins western singers with Balinese traditional performers, and the All-stars with a full gamelan. It received its world premiere in Bali that summer and its New York premiere at BAM Next Wave in October 2010.
As a clarinetist, Ziporyn recorded the definitive version of Steve Reich’s multi-clarinet NY Counterpoint in 1996, sharing in that ensemble’s Grammy in 1998. In 2001 his solo clarinet CD, This is Not A Clarinet, made Top Ten lists across the country. His compositions have been commissioned by Yo-Yo Ma’s Silk Road, Kronos Quartet, American Composers Orchestra, Maya Beiser, So Percussion, Wu Man, and the Boston Modern Orchestra Project, with whom he recorded his most recent CD, Big Grenadilla/Mumbai (2012). His honors include awards from the Massachusetts Cultural Council (2011), The Herb Alpert Foundation (2011), USA Artists Walker Fellowship (2007), MIT’s Kepes Prize (2006), the American Academy of Arts and Letters Goddard Lieberson Fellowship (2004), as well as commissions from Meet the Composer/Commissioning Music USA and the Rockefeller MAP Fund. Recordings of his works have been been released on Cantaloupe, Sony Classical, New Albion, New World, Koch, Naxos, Innova, and CRI.
He is Kenan Sahin Distinguished Professor of Music at MIT. He also serves as Head of Music and Theater Arts, and this year was appointed Inaugural Director of MIT’s new Center for Art Science and Technology. He lives in Lexington, Massachusetts with Christine Southworth, and has two children, Leonardo (19) and Ava (12).

Wacław Zimpel received a classical training as clarinetist.
His main inspirations include sacred and ritual music from various cultures. In his compositions he often makes references to composers from the past to create specific contemporary polemics with or commentaries to traditional music. He is the bandleader of polish group Hera, international quintet Undivided featuring Bobby Few and Perry Robinson, polish-german Wacław Zimpel Quartet, high octane jazz quartet Switchback featuring Mars Williams, Hilliard Greene, Klaus Kugel, group Saagara with South Indian percussionists and ToTu Orchestra – 9 piece band consists of musicians from Warsaw. Additionally, he is a member of Resonance – Ken Vandermark’s project.
He also works with Klaus Kugel, Hamid Drake, Steve Swell, Christian Ramond, Dave Rempis, Joe PcPhee, Mark Tokar, Michael Zerang, Maallem Mokhtar Gania, Giridhar Udupa and Mikołaj Trzaska. Wacław Zimpel was pronounced Musician of the Year 2010 in Stef Gijssel’s blog freejazzblog.org and Musician of the Year 2013 in jazzarium.pl.

Zimpel’s name goes straight into the list of European jazzmen that gave new life to clarinet and bass clarinet,
continuing Dolphy’s example: Surman, Sclavis, Trovesi, and the like.
– Francesco Martinelli, pointofdeparture.org

Polish composer/clarinetist Wacław Zimpel is one of the most promising musicians from the European continent.
– Eyal Hareuveni, All About Jazz

Krzysztof Dys – Polish jazz pianist, mainly associated with modern jazz, avant-garde jazz, classics and chamber music. Born in 1982, Koszalin, Poland.
Krzysztof Dys graduated form the Faculty of Jazz at Ignacy Jan Paderewski Music of Academy in Poznań, Poland, mojoring in piano under Professor Anna Organiszczak. Since 2007 he has been an assistant lecturer at this academy.
So far he has collaborated with the great Polish vibrafonist Jerzy Milian, with famous saxophonist Mikołaj Trzaska, and as well with clarinetist Wacław Zimpel, a great and recognised musician across not only Europe, but also America.
Since 2002 Krzysztof Dys has been a member of Soundcheck, with Maciej “Kocin” Kociński: leader, saxophone, Anrdzej Święs: bass, and Krzysztof Szmańda: drums. The group has released six albums so far.
Than, Dys has worked on regular basis with young, Poznań-based trumpeter, Maciej Fortuna. Their album Tropy has been well-received by the audience and critics as well. Dys also plays in Maciej Fortuna Quartet, with Jakub Mielcarek: double bass and Przemysław Jarosz: drums. In 2013 the group toured outside Poland with a project “Jazz from Poland”, with a goal to present the work of unappreciated or forgotten or Polish jazz composers, beginning in 1950s and continuing to the most recent ones. In 2011 Quartet’s album Lost Keys was nominated to Fryderyki Award in the category of jazz debut of the year.
The main inspiration for Krzysztof Dys is the work of Russian composers Alexander Nikolayevich Scriabin, Sergei Sergeyevich Prokofiev, American artists like Bill Evans and Miles Davis, and last but not least, a great Polish composer, Grażyna Bacewicz.

Hubert Zemler – drummer, percussion player born in 1980 in Warsaw, Poland. An active member of Warsaw’s independent music scene. A recognized sideman.
His musical education started in 1987 in the Karol Szymanowski National Music School in Warsaw. He first played the piano, but after three years he switched to percussion as his main instrument. In the beginning he focused on classical music, but in the end 1990’s he became interested in jazz. In 1999 he started studying percussion in Fryderyk Chopin’s Musical Academy in Warsaw. At that time he was inspired by jazz, contemporary music and improvisation.
In 2002-2003 Zemler along with his brother Konrad Zemler (guitar), Radosław Nowicki (saxophone) and Wojciech Pulcyn (contrabass) toured the Middle East (Syria, Jordan, Egypt and Lebanon) promoting Krzysztof Komeda’s work.
Over the next years he collaborated with musicians representing various, often very distant musical realms. From symphonic orchestras (Sinfonia Varsovia, The National Opera), through jazz (Zbigniew Namysłowski, Wojciech Staroniewicz), world music (Rei Ceballo & Calle Sol, Ritmodelia), rock and blues (Incarnations, Neurasja), sophisticated pop (Natu), blues and folk (Incarnations, Babadag) to contemporary music (Tadeusz Wielecki, Zdzisław Piernik, Arturas Bumsteinas) and improvised music (Slalom, Horny Trees, SzaZa, Kapacitron).
In 2012 starts to collaborate with Piotr Kurek in his project “Piętnastka”. Winning a bronze medal at the Delphic Games in South Korea in 2009 inspired him to play improvised solo percussion concerts. His performance that took place in Chłodna 25 Club in december 2011 was recorded and released by the Lado ABC record label as the “Moped” album.


Kapela Brodów – MUZIKAIM

Kapela_Brod0w_02_by_A_Bieńkowski

“It was the end of the 1980s, during my cooperation with the Village Theatre Węgajty. When I joined them, they were working on Martin Buber’s “Tales of the Hasidim”. Naturally, they used nigunim and Hasidic songs.
“Vincenz’s Stories”, in which I took part as an actor and musician, evolved from “Tales of the Hasidim”. For Vincenz, Hutsulshchyna was an enchated place where all cultures – Ukrainian, Jewish, and Polish, met.
We went there with the Theatre in search of Hutsul music.

We stayed in the old cottage of a Hutsul Did – the village healer and his Byelorussian wife. One evening, when Wacek and Mutka Sobaszek, members of the theatre, played a Jewish tune from Belarus, the woman suddenly stood up, threw off her headscarf, let her silver knee-length hair down and started dancing – the way Chastushkas are danced. She heard a familiar melody in that song. It turned out that the second part of that Jewish dance contained a traditional Belorussian motif. She heard those few notes, the scale and reacted immediately. (…)

It signalled, that Jewish music is so broad that it is able to incorporate music from all the nations amongst whom Jews made their homes, making that music sound Jewish.

At that time, the fashion for Jewish music exploded in Poland. The Jewish Culture Festival in Kraków was founded in 1990. A lot of artists who played Jewish music started coming to Węgajty. It was then that I immersed myself in klezmer.(…)

Klezmer music is a modern, popular understanding of Jewish dance music. It is a combination of the music of Jews from Eastern Europe with American Dixieland. This mix has created the most accessible form of Jewish music. I became familiar with it when working with musicians – Polish, Western European, and Jewish.

Jews played obereks and mazurkas. They adopted this music, they certainly took over Polish motifs. Jews were good musicians. Playing was one of the characteristic Jewish trades. They were hired by the nobility and the burghers. As for peasants, only the rich ones would be able to invite a Jewish band to a wedding, which in turn would be badly received for religious reasons. This did not apply to the nobility – noblemen and Jews cooperated with one another at the inn or in business. The inn was the place where all cultures met. It was a melting point – a place where Jews, Poles, and Gypsies could meet and play. When it came to extending an invitation, the nobility were in the lead, for they appreciated Jewish musicians. And these were klezmers in the true sense of the word – musicians who played at events of all sorts. (…)”
Witek Broda


Koby Israelite Trio

Koby_Israelite_02Yaron_Stavi_1monika_koscielna_01Monika_Kościelna_1

Koby Israelite
Koby Israelite: Composer, Producer, Multi- instrumentalist.
Koby is a true, multi-genre master, combining his love of Rock, Classical, Jazz, World Music, Avant-Garde, and eastern European roots. He has produced a unique multi genre music that has won him great success, Koby has collaborated with some of the world’s leading names in different genres: from Madonna to John Zorn, from Taraf de Haifouks to Fanfare Chiocarlia. He has become a multi-instrumentalist, particularly mastering the accordion and drums.

Koby’s abilities for composing and recording music were recognized when legendary composer,producer, and label owner John Zorn heard his music. He was signed immediately to Zorn’s ‘Tzadik’ Label, going on to release 4 albums and eventually producing John Zorn himself.

Israelite also writes music for Film, Television, Theatre, Multi-Media and Ballet. With his true passion for all things creative, he decided to build his own studio, and as a result has become a very keen producer. A musician who understood the true essence of the global village, long before it called itself a village; Koby abolishes all musical boundaries, putting a unique mix of ‘everything into everything’.
http://www.kobyisraelite.com/

Yaron Stavi
Yaron Stavi plays double bass and electric bass in various styles of music including Jazz, Rock, Classical and World Music.
Yaron was born in Israel in 1975. He has started playing guitar, electric bass and double bass over there. In 1996 he has moved to Berlin. He studied Classical music and Double Bass with Prof. Rainer Zepperitz at The Berlin Academy of Arts and played with numerous orchestras and conductors around Europe, North America and Asia. He was principal bass player of the Mahler Youth Orchestra, playing under Seiji Ozawa, Pierre Boulez, Marris Jansons, Sir Neville Mariner, Ivan Fischer and others.

In 2002 Yaron moved to London. He is a member of Gilad Atzmon’s band The Orient House Ensemble which regularly tours Europe and won best CD in the BBC Jazz awards in 2003. He also plays with the world famous violinist Nigel Kennedy in various bands. Yaron appears on Nigel Kennedy’s album Recital which was recorded at Abbey Road Studios in 2012 and released on Sony Records in 2013. He is a member of the world famous accordionist Richard Galliano’s New Musette Quartet and played with Gonzalo Rubalcaba, Larry Coryell, Peter King, Jarek Smietana, Leszek Mozdzer, Sylvain Luc, Gary Husband, John Ethridge, Eric Truffaz, Andre Ceccarelli and more.

Yaron played on Robert Wyatt’s albums Cuckooland and Comicopera and recorded few albums for John Zorn’s label Tzadik with Koby Israelite. He works with singersongwriter Beatie Wolfe. He appears on Phil Manzanera’s (Roxy Music) albums 6PM, Vozero, 50 Minutes Later, Firebird VII and more. He has recorded on an album of David Gilmour in 2005 and once again in 2013.

Yaron toured with Phil Manzanera and on a residency in Ronny Scott’s Jazz Club in London they hosted David Gilmour among other guests. He has played again with David Gilmour on a charity concert where they were join on stage by the likes of Kate Moss, Lilly Allen, Shane Macgowan and Madness’s singer Suggs. Yaron plays with The Blockheads as a substitute for their legendary bass player Norman Watt-Roy.
https://myspace.com/yaronstavi

Monika Kościelna
Monika started playing the violin at the age of 4. As a child, she participated and won numerous violin competitions in Sosnowiec, Poland in 1999 and 2001. In 2008, she started studying violin performance at The Academy of Music in Cracow, under the supervision of Prof. Wieslaw Kwasny. In 2011, she received her Bachelor of Art degree with high distinction. Monika was then awarded the Erasmus scholarship – a European grant – to begin her music studies at The Guildhall School of Music and Drama in London, in the following year. Intermittently, she additionally worked in The Polish Orchestra Sinfonia Iuventus, an ensemble consisting of young talented Polish musicians. In 2012, she was granted a scholarship by The Guildhall School of Music and Drama to stay and continue her music education as a postgraduate student. Monika has performed in The Guildhall Symphony Orchestra, where she worked closely with such conductors as Gianandrea Noseda and Diego Masson. Also, she has played with The London Symphony Orchestra, under the baton of Valery Gergiev. In December 2012, she was selected for a public masterclass with Leonidas Kavakos, in which she performed the Tschaikovsky violin concerto.
Monika received her Master of Performance diploma in 2014, with Merit. In the same year she was a part of the 6 piece band at The Splash Festival in the Royal Festival Hall and performed at The Edinburgh Fringe festival, as the first violinist of The Philharmonic of Wit.
http://www.monikasviolin.com/


Krzysztof Dys plays Mordehaj Gebirtig

krzysztof_dys_fot_radoslaw_berenta_770_1

It is a special project of Tzadik Poznan Festival 2015. It is a program of songs by acclaimed Yiddish composer Mordechai Gebirtig, whose haunting lyrics and melodies became some of the most beloved and popular songs of their time. He was not to survive the Holocaust.
Dys’s masterful readings capture all the awe and mystery of this legendary giant of Jewish Culture.

Polish jazz pianist, mainly associated with modern jazz, avant-garde jazz, classics and chamber music. Born in 1982, Koszalin, Poland.
Krzysztof Dys graduated form the Faculty of Jazz at Ignacy Jan Paderewski Music of Academy in Poznań, Poland, mojoring in piano under Professor Anna Organiszczak. Since 2007 he has been an assistant lecturer at this academy.
So far he has collaborated with the great Polish vibrafonist Jerzy Milian, with famous saxophonist Mikołaj Trzaska, and as well with clarinetist Wacław Zimpel, a great and recognised musician across not only Europe, but also America.
Since 2002 Krzysztof Dys has been a member of Soundcheck, with Maciej “Kocin” Kociński: leader, saxophone, Anrdzej Święs: bass, and Krzysztof Szmańda: drums. The group has released six albums so far.
Than, Dys has worked on regular basis with young, Poznań-based trumpeter, Maciej Fortuna. Their album Tropy has been well-received by the audience and critics as well. Dys also plays in Maciej Fortuna Quartet, with Jakub Mielcarek: double bass and Przemysław Jarosz: drums. In 2013 the group toured outside Poland with a project “Jazz from Poland”, with a goal to present the work of unappreciated or forgotten or Polish jazz composers, beginning in 1950s and continuing to the most recent ones. In 2011 Quartet’s album Lost Keys was nominated to Fryderyki Award in the category of jazz debut of the year.

The main inspiration for Krzysztof Dys is the work of Russian composers Alexander Nikolayevich Scriabin, Sergei Sergeyevich Prokofiev, American artists like Bill Evans and Miles Davis, and last but not least, a great Polish composer, Grażyna Bacewicz.


PIOTR MEŁECH / MARCIN A. STECZKOWSKI / MARCIN JADACH / MICHAŁ KASPEREK PLAYS MORDEHAJ GEBIRTIG

Piotr_MelechMarcin_Jadach_02 Michal_KasperekMarcin_A_Steczkowski

it is a special project of Tzadik Poznan Festival 2015. It is a magical evening of songs by acclaimed Yiddish composer Mordechai Gebirtig, whose haunting lyrics and melodies became some of the most beloved and popular songs of their time. He was not to survive the Holocaust.

Piotr Mełech – clarinetist, composer, improviser; involved with the Poznan music scene for almost a decade, he is comfortable echoing the jazz tradition, European avant-garde, free impro, as well as broadly-defined ethnic music. Melech often searches for new sounds, means of expression, and acoustical textures, and aside from using conventional performance techniques, he often takes clarinets apart and utilizes the various pieces (or some conmbination of them) to create a palette of acoustic effects.

He is a co-founder of the Enterout Trio, Divided by 4, Tsigunz Fanfara Avantura, Tfaruk Love Communication, and has collaborated in a duet with the American cellist Fred Lonberg-Holm and the electronic artist Patryk Lichota.
He has performed concerts and recorded with such artists as Michael Zerang, Clayton Thomas, Mats Gustafsson, Tymon Tymanski, Piotr Damasiewicz, Pawel Postaremczak, and Ksawery Wojcinski.
He has collaborated with the “Strefa Ciszy” [Zone of Silence] Theatre (“Kwatera”), Poznan-based poets Edward Pasewicz and Szczepan Kopyt, and has co-created the theatre troupe “Kapral Feat. De Kolt” (music for the show Bad Song).
He has led a cycle of improv concerts, the Triolowe Rozklady Yazzdy, in the Poznan club, Dragon.
He is a recipient of the Third Prize in the XV Polish Radio Folk Music Contest “Nowa Tradycja” [New Tradition] (with the ensemble Tsigunz Fanfara Avantura).


Sztetl Quartet

Sztetl_Quartet_04 Sztetl_Quartet_03 Sztetl_Quartet_01 Sztetl_Quartet_02

Tomasz Stawiecki (clarinet), Radek Polakowski (accordion), Piotr Janiec (tuba) and Batrosz Nazaruk (drums), are the musicians who form a Warsaw group “Sztetl”.
Sztetl is a project set up because of a longing for the Jewish culture and traditions flourishing during interwar period of time. The idea of forming this group started in Warsaw although all of the musicians come from Sejny – a small town in the north-east of Poland. The group cooperates with Wyznaniowa Gmina Żydowska in Warsaw, performs in clubs closely related to Jewish culture, during wedding receptions or dancing parties. What makes Sztetl stand out of other similar groups is the close relation to traditional sounds and building the programme based only on original sources, notes and recordings from the interwar period. In 2013 the group performed in Presidential Palace in Warsaw.


“CINNAMON SHOPS” based on the novel by Bruno Schulz

sklepy_cynamonowe_01_by_grzegorz_tatar sklepy_cynamonowe_05_by_bartek_warzecha sklepy_cynamonowe_06_by_bartek_warzecha sklepy_cynamonowe_04 sklepy_cynamonowe_02 sklepy_cynamonowe_03

 

The Puppet and Actor Theatre “Kubuś” in Kielce, Poland

Staging and directing – Robert Drobniuch
Adaptation – Tomasz Damulewicz
Associate director – Cengiz Özek
Scenography and puppets – Cengiz Özek
Music – Michał Górczyński Karol Nepelski
Live Music – Michał Górczyński

Cast:
Joseph – Karol Smaczny
Father – Andrzej Kuba Sielski
Adela / Mother – Ewa Lubacz
Animation of figures, mirrors and lights – Ewa Lubacz, Andrzej Kuba Sielski, Grzegorz Karkowski

Kind of audience: 15 +

An ascetic room in which the emptiness is filled with memories, dreams, scattered stories of the protagonist. Scraps of past years, snatches from childhood, phantoms, smells, delusions. All enclosed in blurry images – written down, plotted, scribbled from life, suspended in time and space. Solidified between the past and the present, between reality and dream, between light and shadow.

This is how the world of exceptional works of Bruno Schulz – Polish writer, graphic artist and painter – is seen by the creators of the performance “Cinnamon Shops”. This play is an attempt to cope with the prose which is one of a kind – poetic, abstract and often considered as impossible to stage. It is an attempt to capture something what is elusive, hence unique in its staging form based on shadow theater.
Specific Schulz climate consists of play of lights, inspired by a plastic creativity of the artist, suggestive monologues and contemporary live music.

Everybody knows that whimsical time, in the course of mundane and ordinary years, occasionally will bring forth from its womb other years, odd years, degenerate years, somewhere in which, like a little six finger upon a hand, a spurious thirteenth month sprouts up. Spurious we say, for seldom will it grow to full size.
It happened in that thirteenth, supernumerary and somewhat spurious month of the year.
Fragment of script