Ritual II

What does the Wielkopolska cheers have in common with the music of a rite that never existed? Drone, rehearsal and the belief that traditional instruments are not exclusively a thing of the past.

Wiwaty's album grows out of Wielkopolska traditional music and brings out avant-garde potential from it. Karol and Filip Majerowski turn to fragments of melodies by Walente Żmuda and Szczepan Sadowski, the Kurowski brothers, Tomasz Brudła and Franciszka Ciesiółka, treating them not as quotes, but as an inspiration to think differently about sound. The continuous tone of the bagpipes, brass instruments and voices lengthen the musical time until the rhythm begins to dissolve in resonance and the melodies reveal microtonal tensions, rumbling and performance imperfections. Everything happens without electronics. With the music of Sara Davachi, this material combines elegance and patience with which the sound develops and reveals the next harmonic components. For us, this is part of the new piping scene with Brìghde Chaimbeul or Harry Górski-Brown at the helm, whom you already know from previous editions. The bagpipes act as an acoustic oscillator and retain a regional identity. WCIAS does not modernize tradition — experiment has long been present in it.

After the intervention of Jakub Ziółkowski, a similar language will take over Kromleh, but it will break his connection with a particular region and source. Pancerza's crank lyre and Maćek's percussion, known from the album Na komary, will meet in a new composition with the Indian stringed instrument, Sylwestra Sudnik's santur. It will not be an addition, but an equivalent third vote. Three amplified instruments will build dense layers of drone, repetition and trance noise, sounding like a remnant of a cultural rite that we will not find on any map.

WCIAS finds experiment in tradition. Kromleh invents tradition in an experiment.

The concert is co-organised by Cricoteka.

Availability:

The event will last about 65-70 minutes and will take place without interruption. Two performances will be joined by a ten-minute intervention by Jakub Ziółkowski.

The audience will sit around the central stage on cushions, poufs and carpet. Several chairs will also be available for people who cannot sit on the floor or low seats.

Both performances will be amplified and based on long sounds, repetitions and overlapping layers of sound.

You can leave the event at any time, but there will be no possibility to re-enter the hall.