2017

2017
by Jakub Wroblewski

Blog Archive

Saturday, November 4, 2017

Thursday, November 2, 2017

Some shots from rehearsals

Some random shots from rehearsals of Boleslaw Smialy in Teatr Slowackiego/MOS in Krakow.
Premiere 9.11.2017

Sunday, July 2, 2017

Dominik Strycharski at Narodowy Instytut Audiowizualny

Just played a concert in FiNa. It was a part od Awangarda Na Ucho Cycle.

Repertoire:
Kazimierz Serocki - Arrangements, version for Bass Recorder solo
Louis Andriessen - Melodie for Alto Recorder and Piano
Dominik Strycharski - Me Du(S)za for Tenor Recorder and Live Processing

Dominik Strycharski - Blockflutes
Barbara Drazkowska - Piano

THE LINK TO THE SHOW

Link Here

Monday, June 5, 2017

Swiadomosc Nieswiadmosci at Gdanski Festiwal Tanca 2017

2.06.2017 / rezydencja / premiera 2017
G.20.30 / ŚWIADOMOŚĆ NIEŚWIADOMOŚCI / Premiera

koncept: Albert Ciastek, z udziałem tancerzy / wykonanie: Laura Marsal Baulenas, Liwia Bargieł, Małgorzata Piastowska, Tomek Ciesielski, Marta Kosieradzka (I Nagroda Warszawskiej Platformy Tańca 2016), Albert Ciastek / Muzyka: Dominik Strycharski / Wizualizacja: Albert Ciastek / Kostiumy, Scenografia: Agata Lewandowska / Opieka Artystyczna: Anna Piotrowska / 60 min. /

Spektakl jest próbą zajrzenia do umysłu schizofrenika. Każda osoba na scenie ma do opowiedzenia swoją własną historię. Każda z tych obcych sobie osób jest jednym wspólnym organizmem, który nie ma świadomości swojej złożoności.

Albert Ciastek - tancerz, choreograf. Absolwent London Contemporary Dance School. Współpracował z teatrami oraz choreografami takimi jak: DanceMix Theatre (Holandia), Teatr Capitol (Wrocław), Teatr Tańca i Ruchu ROZBARK, Zimmer Frei oraz z Liwią Bargieł.

Marta Kosieradzka - absolwentka wydziału tańca Artesis Krolewskiego Konserwatorium w Antwerpii. Wspołpracuje z tworcami wielu dziedzin sztuki: projektantką mody Juliette Bogers, artystami sztuk wizualnych takimi jak Elena Bajo lub Ben Cain, poetką Sabine Martens oraz z Mikołajem Mikołajczykiem.

Małgorzata Piastowska - absolwentka Akademii Muzycznej w Łodzi (specjalizacja tancerz-choreograf). Kształciła się m.in. u Marco Volty, Tomasa Nepsinskiego, Alessana Wata, Tomasza Wygody, Katarzyny Kizior, Witolda Jurewicza, Karoliny Kroczak, Anny Krysiak.

Liwia Bargieł - absolwentka Konserwatorium Tańca Współczesnego Trinity Laban w Londynie. Autorka choreografii do spektakli teatralnych m.in. Joanna Szalona. Królowa, Otello (reż. W. Raźniak), Opowiadania brazylijskie (reż. M. Hycnar). Od 2012 roku związana z warszawską Akademią Teatralną. Występowała w spektaklach Carolin Finn, Mikołaja Mikołajczyka, Grzegorza Luszka, Guilherme Botelho.

Tomek Ciesielski - członek stowarzyszenia Chorea, performer, badacz, menadżer teatru. Twórca autorskich performansow i autor publikacji o tańcu. Uczestnik międzynarodowych projektów dotyczących zastosowania nauk kognitywnych i neuronauk w badaniach nad tańcem.

Dominik Strycharski - kompozytor, improwizator, muzyk totalny.

Laura Marsal Baulenas - absolwentka London Contemporary Dance Scchool. Na stałe pracuje w Cia Roberto G Alonso. Tańczyła w Why? Dlaczegonie! w choreografii Alberta Ciastka.

Tuesday, May 2, 2017

My new Flauto Dolphy record is here



So here it is. I am very happy to announce that it's finally released.
Probably the first solo recorder jazz record ever made. But maybe it relates to the whole flutes family as well?
It's full of Dolphy and some more...
It's released by Fundacja Sluchaj. Recorded live in Pardon To Tu (the first, legendary location).
Recorded by Rafal Drewniany.
THE LINK HERE
Reviews and links:
HERE
HERE
HERE

Listen to some of it here:



I was really ready and willing to record a solo album. First of all, I wanted the recorder to burst with all the richness of its sound - unleashed, open, complete, and full. I am a fan of the fullest possible communion with the raw, uncensored world of a single instrument - a situation, in which the musician and the instrument find themselves as though put under the magnifying glass.
The situation I placed myself in is fascinating, as the solo recorder is not new to classical music. There are tons of records of the solo recorder with baroque and contemporary music. Every maestro I know has recorded an album like that, and some of them even more than one. Thus, my actions fit in well with the vast world of recorders. At the same time, however, there has not been a jazz or improvised solo album with those instruments. And that is the point - I found this specific pioneerism particularly attractive.
The very first idea that came to my mind was, obviously, to record an album with my own music only. Soon enough I abandoned this idea having realized that a wider context, some clash, would work better. Even more importantly, it should be emphasized that the place of this instrument is here, amongst others. Alone, but simultaneously surrounded by a full orchestra of references and contexts.
Therefore, it was my intention to turn to an artist who combines the two fascinations - different varieties of jazz and classical music. Why Dolphy? Because of his most twisted themes. Because of the vividness and his love for tradition. Because of swing and atonality. His flute. His great, non-jazz, structuralized intervals. Intervals that are dissonant and used in a really smart fashion. The experiment. The frenzied expression. The madness and tenderness. All the controversy. He is both worshiped and rejected. The recorder simply craves fresh blood and I am trying to provide it…
Dominik Strycharski

Friday, April 21, 2017

My New Album "Ghost" is here

So here it is, I am very very happy to announce my - somehow - first ever "contemporary classical" album. So at 41, still some space for a debut!
It also draws another direction in my music life.

The album is Called Strycharski/Andriessen "GHOST". It is part of IMIT commissions for composers. It is released by a great Bolt Records and Michal Mendyk.
The album is recorded in Krolikarnia by myself on recorders/blockflutes and my friend Sebastian Zawadzki on piano.
It contains Louis Andriessen "Melodie" and my "Harmonie"...

A little bit more about the whole process and the album is here:

The story of this album began with the idea of composing my response to Melodie
– one of the pieces dedicated to Frans Brüggen. At first, I searched for information
on the circumstances in which Louis Andriessen’s specific composition was
created. As it has quickly turned out, however, I’m not so much interested in these
circumstances any more. I have realized that this piece is a presentiment but also
a goodbye. A farewell to the spirit of community. The community which – despite
delicate disharmony (microtones) and dissonances – holds together until the end.
Andriessen’s piece stands out against 20th-century compositions for recorder: it’s
an almost unceasing unison of two instruments; the melody is almost stretched
into ambient, although it’s never fully transparent, it never loses its narrative qualities.
We will not find in it widely exploited extended techniques. Instead, there is
continuum and absolute simplicity.
This is why I wrote Melodie’s alter ego – Harmonie. I wanted to show that harmony,
which we still need, has become impossible. And that perfect harmonisation
is a great effort and a great goal which is in fact impracticable. The planned
split sounds unison of the recorder and the piano in reality rattles with microtone
shifts; the desired unity is implemented in the form which is unbearable in terms
of sound, wearying and exceptionally mechanical.
The ending of the piece, however, brings some relief. The musicians are left with
the remains of the musical language reduced to a few signals – in fact, they may
co-function in the short, rhythmically improvised episode ad libitum. This “true”
harmony – in contrary to artificial identicalness – is possible through loosening of
the rules and synchronicity. In the conditions of ambiguity and controlled, acceptable
freedom. At the same time, the composition remains a specific tour de force to
the recorder player: regulating the strength of exhalation for particular split sounds
together with their “mechanical” duration becomes more difficult with time.
P.S. Interlude: Ghost seems located between these two compositions. It’s a spontaneously
produced and recorded commentary to the entire program. The thing
about the presence of something. Here, nearby, not far.

-> Here is the link to get it on Monotype <-
-> And here as well on Bolt <-


Tuesday, April 18, 2017

Things I did in 2017 so far

So there has been a very busy time in the beginning of 2017. Crazy and stressful at times.
I basically was part of 3 amazing and different theatre pieces. With 3 different directors.
To name them:

Szewcy, dir J. Sobczyk, Narodowy Stary Teatr, Krakow
Lovecraft, dir. L. Kos, Teatr Studyjny, Lodz
Filoktet, dir. W. Klemm, Teatr im. Jaracza, Lodz

Here we go, chronologically.

| SZEWCY,
Dir. Justyna Sobczyk, Narodowy Stary Teatr, Krakow

TWÓRCY / CREATORS
Justyna Lipko-Konieczna, dramaturgia
Justyna Sobczyk, Justyna Lipko-Konieczna, adaptacja
Justyna Łagowska, scenografia, kostiumy, reż. światła
Dominik Strycharski, muzyka
Justyna Wielgus, choreografia
Ewa Wrześniak,inspicjent, sufler, asystent reżysera

OBSADA / CAST

Szymon Czacki Czeladnik II
Krzysztof Globisz - Hiper-Robociarz
Radosław Krzyżowski - Księżna Irina Wsiewołodowna Zbereźnicka-Podberezka
Michał Majnicz - Sajetan Tempe
Małgorzata Zawadzka - Prokurator Robert Scurvy
Martyna Krzysztofik - Czeladnik I
Anna Komorek - Bosa Dziwka
Ireneusz Buchich de Divan - Fierdusieńko
Paweł Kudasiewicz - Gnębon Puczymorda

| LOVECRAFT
Robert Bolesto, dir, Łukasz Kos
Teatr Studyjny, Lodz

Obsada:
Dominik Ochociński – Tomasz Malicki, Ministrant Piotr, Ryszard, Lekarz 53, Mózg Lovecrafta, Kręgosłup Lovecrafta
Sergiusz Olejnik – Ciocia Anna, Józef, Nerwy Lovecrafta, Lekarz 33
Aleksandra Przesław – Sonia, Zdarta Żywcem Skóra z Lovecrafta, Ministrant Paweł, Chora na wózku
Karolina Sawka – Ciocia Lilka, Krzyk Lovecrafta, Mała Mongołka
Michał Styczeń – Lovecraft
Agata Turkot – Król Jadwiga, Ksiądz, Azia, Zakonnica
Asystent reżysera: Wojciech Rodak
Współpraca reżyserska, scenograficzna i kostiumy: Joanna Niemirska
Charakteryzacja: Agnieszka Hodowana
Muzyka: Dominik Strycharski
Wideo, wizualizacje, plakat: Kamil Walesiak

| FILOKTET
H. Muller
dir. W. Klemm

przekład Jacek St. BURAS
scenografia Kornelia DZIKOWSKA
kostiumy Julia KORNACKA
muzyka Dominik STRYCHARSKI
choreografia Maćko PRUSAK

O B S A D A

Filoktet Iwona DRÓŻDŻ-RYBIŃSKA
Odyseusz Bogusława PAWELEC
Neoptolemos Iwona KARLICKA

Sunday, February 26, 2017

Wielcy Inni in Rzeszow

Anika Idczak
Mariola Łabno-Flaumenhaft
Robert Żurek
Krystian Szymczak
Dominik Strycharski