Wojtek Blecharz

HCMF 2017: Polish Radio Choir, Karin Hellqvist

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For the first twenty minutes of the concert given by the Polish Radio Choir in Huddersfield Town Hall yesterday, i was forming the view that, though what we’d heard seemed at odds with his description, Dai Fujikura had nonetheless composed not only two of his best ever works, but better than much of the new choral music i’ve heard in the last few years. However, then Polish composer Agata Zubel came onto the stage to take a bow, and it transpired we hadn’t been told that the entire running order had changed. Only now, after this, did we actually hear the UK and world premières of Fujikura’s Zawazawa and Sawasawa respectively, and as it turned out they were a much more conventional and humdrum affair. Zawazawa was interesting for a time, a mixture of homophonic writing with a muscular delivery giving the impression of a single voice refracted or multiplied into a much larger manifestation. It was let down by an excess of repetition, but quite pretty at times. Sawasawa, by contrast, was thoroughly confused, mainly due to the addition of a marimba that at almost no point seemed connected or related to what the choir was doing. Or, indeed, relevant; often it seemed as though two entirely separate pieces were being played simultaneously. All very odd.
Wojtek Blecharz‘s Ahimsa, the UK première of which had actually begun the concert, explored a fascinating patchwork vocal texture made up of sonic swatches imbued with small, highly characterised motifs, acting like drops of ink being absorbed into a piece of tissue paper. Read more

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Nowy Teatr, Warsaw: Wojtek Blecharz – Body-Opera

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At the 2016 Huddersfield Contemporary Music Festival, the world première of Body-Opera by Polish composer Wojtek Blecharz didn’t exactly go to plan. Located at The Hepworth Wakefield – and set up somewhat hurriedly in the aftermath of the awarding of The Hepworth Prize for Sculpture that had recently taken place – an ensuing electrical fault caused a cluster of power points to fuse and melt, leading to the abandonment of the performance. As a consolation prize, the audience was treated to a short excerpt. From the composer’s perspective, it appears to have turned out to be a blessing in disguise. Listening to him talk about the piece a couple of weeks ago, prior to its second performance at the Nowy Teatr in the Mokotów district of central Warsaw (a beautiful building converted from a warehouse for refuse vehicles), Blecharz clearly believes the problems experienced at Huddersfield were ultimately beneficial. He spoke about not seeing the work as ‘closed’, and to prove the point he has subsequently taken the opportunity to develop it further, in the process greatly expanding it from one to almost two hours’ duration. Developed through a pair of previous works, Transcryptum (2013) and Park-Opera (2016), Blecharz has a very specific outlook and purpose for Body-Opera. He wants to shift the focus from the performer to the audience, creating what he describes as a “shared contemplation of sound”.

To this end, picture the scene: neatly arranged in the four quadrants of the space were 100 mats, one for each member of the audience, with accompanying blankets and pillows. Within each pillow, a loudspeaker, channelling sound directly into the ears and skull of its supine recumbent. Beside the mat, a small black box containing sundry paraphernalia for use during the piece. Across the middle of the space, in one direction, a collection of large suspended metal thundersheets, in the other, something akin to a catwalk with a collection of percussive accoutrements. And above the space, in the centre, a large screen upon which various abstract shapes and film clips appeared. Blecharz’s urge to involve the audience – removing the division between them and the stage – stems from a desire to restore a social or communal aspect that he believes to be lost from conventional operatic production. But the word ‘opera’ in the work’s title is clearly intended to connote the original meaning of the word, the plural word “work”, in addition to its specifically theatrical implications. Blecharz’s Body-Opera consists of a similar collection of discrete, contrasting works that together comprise the whole. What exactly that whole is, or is intended to be, is somewhat harder to articulate. Read more

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