Polish Cello Quartet / fot. Łukasz Rajchert
Polish Cello Quartet / fot. Łukasz Rajchert
Musica Polonica Nova
5:00 PM
BWA Wrocław Główny

Adrian Foltyn Overfitted Hypertune for 4 cellos, tape and video **(2022)
Witold Szalonek 1 + 1 + 1 + 1 for 1-4 string instruments (1969)

The commissioning of the Overfitted Hypertune for 4 cellos, tape and video **(2022) by A. Foltyn was co-financed from the funds of the Ministry of Culture and National Heritage Cultural Promotion Fund as part of the programme ‘Composing Commissions’ realised by the Institute of Music and Dance.


Coorganizer: BWA Wrocław Galerie Sztuki Współczesnej



Tomasz Strojecki – video
Adrian Foltyn –  sound projection
Polish Cello Quartet:
Tomasz Daroch, Wojciech Fudala, Krzysztof Karpeta, Adam Krzeszowiec – cellos

BWA Wrocław Główny
ul. Piłsudskiego 105, 50-085 Wrocław

CelloCode is the name of a special event that will take place at BWA Wrocław Główny as part of Musica Polonica Nova. Here, the music and the image will constitute a whole, fitting into the gallery space. The Polish Cello Quartet will perform the work of one of the leading authors of avant-garde music in Poland, Witold Szalonek, and a new composition by a contemporary artist Adrian Foltyn.

The Polish Cello Quartet was founded in 2011 on the initiative of four cellists of the young generation: Tomasz Daroch, Wojciech Fudala, Krzysztof Karpeta and Adam Krzeszowiec. This original line-up performs works of contemporary music, discovering new sonorities. The first sounds that will fill the hall will be those from Adrian Foltyn’s Overfitted Hypertune. It was intended for a line-up of four cellos, tape and video. Both the musical and visual layers constitute a coherent whole here thanks to the creative use of space. 

Witold Szalonek went down in history as one of the most important representatives of musical avant-garde in Poland. His extensive activities in this field led him to develop his own craft, which soon resulted in his own compositional techniques and further exploration of the musical matter. The composition 1 + 1 + 1 + 1 for one to four string instruments was created in 1969 and to this day is one of the most interesting pieces in the artist’s oeuvre. It is in vain to look for a traditional score here – instead, the composer used an innovative method of notation, implemented an unusual technique of articulation and sonoristic effects. However, he opted for the freedom of line-up, without imposing any specific solutions. This evening the work will be interpreted by a cello quartet.

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