{"id":1028,"date":"2023-02-27T16:58:05","date_gmt":"2023-02-27T15:58:05","guid":{"rendered":"http:\/\/sweet3.home.pl\/autoinstalator\/nowa\/?page_id=1028"},"modified":"2023-02-28T14:26:07","modified_gmt":"2023-02-28T13:26:07","slug":"de-invitatione-mortis","status":"publish","type":"page","link":"https:\/\/andrzejkaralow.pl\/index.php\/de-invitatione-mortis\/","title":{"rendered":"DE INVITATIONE MORTIS"},"content":{"rendered":"

[vc_row full_width=”stretch_row_content” parallax=”content-moving” css=”.vc_custom_1677513383463{margin-right: 18px !important;margin-left: 18px !important;background-image: url(http:\/\/sweet3.home.pl\/autoinstalator\/nowa\/wp-content\/uploads\/2023\/02\/okladkasmall-scaled.jpg?id=1042) !important;}”][vc_column][vc_empty_space height=”132px”][vc_empty_space height=”332px”][\/vc_column][\/vc_row][vc_row css=”.vc_custom_1677362375575{margin-right: 118px !important;margin-left: 118px !important;}”][vc_column][vc_custom_heading text=”DE INVITATIONE MORTIS” font_container=”tag:h3|font_size:55|text_align:center|color:%23f7f7f7″ google_fonts=”font_family:Montserrat%3Aregular%2C700|font_style:400%20regular%3A400%3Anormal”][vc_empty_space][vc_raw_html]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[\/vc_raw_html][\/vc_column][\/vc_row][vc_row css=”.vc_custom_1677588076586{padding-right: 5% !important;padding-left: 5% !important;}”][vc_column width=”1\/2″][vc_column_text]<\/p>\n

In\u00a0De invitatione mortis\u00a0<\/em>we are dealing with a text that is related to the values and philosophy of the Christian religion. Death, around which the main theme revolves, is not presented as the evil awaiting the man at the end of his life. It is only a symbolic transition to another, new world. The metaopera\u00a0De invitatione mortis<\/em>\u00a0aims to show a different approach to the genre of opera by combining different stylistic and technical influences. It is a kind of a ?desktop? opera, devoid of stage action: It adopts the form of a mystery play, in many aspects of an ascetic music drama, in which the voice acts as the communicator of the libretto?s content and its message. The mystery play character of\u00a0De invitatione mortis\u00a0<\/em>concerns primarily the creation of a sound environment whose centre is occupied by the word, leading the course of the entire metaopera, which can be perceived as a ritual. One can say that\u00a0De invitatione mortis\u00a0<\/em>is a mystery play in which the sound and word, dominating the whole structure, create a new, alien world based on synesthetic and abstract references.\u00a0De invitatione mortis\u00a0<\/em>is also an attempt to address the issue of merging various genres from the borderline of classical, improvised, and electronic music.<\/p>\n

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W\u00a0De invitatione mortis\u00a0<\/em>mamy do czynienia z tekstem, kt\u00f3ry zwi\u0105zany jest z przekazem warto\u015bci i filozofi\u0105 religii chrze\u015bcija\u0144skiej. \u015amier\u0107, wok\u00f3\u0142 kt\u00f3rej obraca si\u0119 g\u0142\u00f3wny w\u0105tek, nie jest przedstawiona jako z\u0142o, kt\u00f3re czeka na cz\u0142owieka u kresu jego \u017cycia. Stanowi ona jedynie symboliczne przej\u015bcie do innego, nowego \u015bwiata. Metaopera\u00a0De invitatione mortis<\/em>\u00a0na celu ukazanie innego podej\u015bcia do gatunku operowego w kontek\u015bcie \u0142\u0105czenia r\u00f3\u017cnych wp\u0142yw\u00f3w stylistycznych i technicznych. Jest to rodzaj opery ?pulpitowej?, bez akcji scenicznej: przyjmuje ona form\u0119 misterium, w wielu aspektach ascetycznego dramatu muzycznego, w kt\u00f3rym g\u0142os pe\u0142ni funkcje komunikatora tre\u015bci libretta i jego przekazu. Misteryjno\u015b\u0107\u00a0De invitatione mortis\u00a0<\/em>dotyczy przede wszystkim wytworzenia d\u017awi\u0119kowego \u015brodowiska, w kt\u00f3rego centrum znajdzie si\u0119 s\u0142owo prowadz\u0105ce przebieg ca\u0142ej metaopery daj\u0105cej si\u0119 postrzega\u0107 jako rytua\u0142. Mo\u017cna powiedzie\u0107, \u017ce\u00a0De invitatione mortis\u00a0<\/em>stanowi misterium, w kt\u00f3rym dominuj\u0105ce w ca\u0142ej strukturze d\u017awi\u0119k i s\u0142owo tworz\u0105 razem nowy, obcy \u015bwiat bazuj\u0105cy na synestetycznych i abstrakcjonistycznych odniesieniach.\u00a0De invitatione mortis\u00a0<\/em>jest r\u00f3wnie\u017c pr\u00f3b\u0105 podj\u0119cia si\u0119 zagadnienia fuzji r\u00f3\u017cnorodnych gatunk\u00f3w z pogranicza muzyki powa\u017cnej, improwizowanej i elektronicznej.<\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_custom_heading text=”De invitatione mortis was nominated for the Fryderyk Award 2021 in cathegory: Album of the year: Oratory and Opera” font_container=”tag:h2|text_align:center” link=”url:https%3A%2F%2Ffryderyki.pl%2Ffryderyk-2021%2F”][vc_separator style=”shadow” border_width=”4″][vc_single_image image=”1041″ img_size=”full” alignment=”center”][vc_raw_html]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[\/vc_raw_html][\/vc_column][\/vc_row][vc_row css=”.vc_custom_1677588094567{padding-right: 5% !important;padding-left: 5% !important;}”][vc_column width=”1\/2″][vc_column_text]<\/p>\n

Characterised by extensive symbolism and expression, the libretto is a poetic triptych written by Maciej Papierski for the special needs of the work. The form of the opera, based on three acts-movements, within which there are three songs-images presented by three individual protagonists, reflects the layout of the text directly in its shape. Necessary to create an integrated opera performance, the relationship between the music and text determines the arrangement of such a form, referring to the tradition of the ancient theatre: A tripartite construction, unity of action, time, and place, fate, three singers-actors confronted with an instrumental octet, and a chamber male vocal ensemble. One of the roles of the actors-singers is also responsible for the function of the leader of the chorus, i.e. coryphaeus.<\/p>\n

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Charakteryzuj\u0105ce si\u0119 rozbudowan\u0105 symbolik\u0105 oraz ekspresj\u0105 libretto to poetycki tryptyk napisany przez Macieja Papierskiego na specjalne potrzeby utworu. Forma opery, oparta na trzech aktach-cz\u0119\u015bciach w ramach kt\u00f3rych znajduj\u0105 si\u0119 trzy pie\u015bni-obrazy przedstawione przez poszczeg\u00f3lnych trzech bohater\u00f3w, bezpo\u015brednio anga\u017cuje uk\u0142ad tekstu w jej kszta\u0142t. Niezb\u0119dna do stworzenia zintegrowanego operowego spektaklu relacja muzyki z tekstem determinuje uk\u0142ad takiej formy, nawi\u0105zuj\u0105c do tradycji teatru antycznego: tr\u00f3jdzielno\u015b\u0107 konstrukcji, jedno\u015b\u0107 czasu i miejsca akcji, dzia\u0142anie fatum, wyst\u0119puj\u0105cych na scenie trzech \u015bpiewak\u00f3w-aktor\u00f3w skonfrontowanych z oktetem instrumentalnym oraz kameralnym m\u0119skim zespo\u0142em wokalnym. Jedna z r\u00f3l \u015bpiewak\u00f3w-aktor\u00f3w odgrywa r\u00f3wnie\u017c funkcj\u0119 przewodnika ch\u00f3ru ? koryfeusza.<\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row css=”.vc_custom_1677588109305{padding-right: 5% !important;padding-left: 5% !important;}”][vc_column width=”1\/3″][vc_column_text]I. Euthanatos<\/p>\n

With the first cracking of the shell, with the bursting of the seed, with a tiny bit of oxygen \u2013 blooms the time. It blooms slowly,
\nit hisses and foams in the blood \u2013 it wants to grow.<\/p>\n

It tints the scaffoldings, the dishes and the bones.
\nNew worlds grow on the raw board of the stage,
\nbut they will never reach it, they will not reign the theatre.<\/p>\n

People know nothing of clocks. They float through their sleep. Those who have never born any traits of the truth, will get lost. Reverbs, aftersights, echoes and holograms.<\/p>\n

Time and I are no friends. I end time
\nand commence permanence. Clocks are but golden, dead circles.<\/p>\n

You ? the one who denies me a place \u2013 here I come
\nto harvest the crop of your time.
\nYou and your end both know what will get smashed against the reef.<\/p>\n

[\/vc_column_text][\/vc_column][vc_column width=”1\/3″][vc_column_text]V.\u00a0The Physician<\/p>\n

The end is nigh and every moment
\nturns into a still frame reduced to ashes.
\nThe insensitivity of death turns
\nthe frailty of the image into a button of paint<\/p>\n

It takes the pigment away,
\nextracting it from blood and tissues.
\nA heap of metal rubble and smashed glass<\/p>\n

instead of a work of art.<\/p>\n

I would like to find a moment of obliviousness,<\/p>\n

a crumb of time falling out of sight
\nof death.<\/p>\n

[\/vc_column_text][\/vc_column][vc_column width=”1\/3″][vc_column_text]IX. The Ill One<\/p>\n

A rose shrub is rising in my windows,
\nits little twigs flowing with the song of the earth.
\nA light breeze sways the murky pattern of its sprouts, the green threads, but I do know
\nthat today the windows will get darkened
\nby a wall of leaves. Awaiting,
\nI will rise and look into the mirror, into the shadow<\/p>\n

turning green with the dusk. Death?
\nI have always been carrying a rose thorn<\/p>\n

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artwork: Keiji Matsumoto<\/p>\n

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    \n
  1. Euthanatos<\/li>\n<\/ol>\n

    Pierwsz\u0105 rys\u0105 w skorupce, p\u0119kni\u0119ciem nasiona, drobink\u0105 tlenu rozkwita czas. Rozkwita powoli, syczy i pieni si\u0119 we krwi, chce rosn\u0105\u0107.<\/p>\n

    Czas barwi rusztowania, naczynia i ko\u015bci. Nowe \u015bwiaty rosn\u0105 na surowej desce sceny ale nie si\u0119gn\u0105 do niej, nie zaw\u0142adn\u0105 teatrem.<\/p>\n

    Ludzie nie znaj\u0105 si\u0119 na zegarach. P\u0142yn\u0105 przez sen. Zgubi\u0105 si\u0119 ci, kt\u00f3rzy nie nosili znamion prawdziwego. Przeg\u0142osy i powidoki, echa i hologramy.<\/p>\n

    Czas nie jest ze mn\u0105 w przyja\u017ani. Ja ko\u0144cz\u0119 czas i zaczynam trwanie. Zegary to tylko
    \nz\u0142ote, martwe okr\u0119gi.<\/p>\n

    Ty, kt\u00f3ry odmawiasz mi miejsca, przychodz\u0119, By zebra\u0107 plon twojego czasu.
    \nTy wiesz i tw\u00f3j kres wie, co roztrzaska si\u0119 o rafy.<\/p>\n

    [\/vc_column_text][\/vc_column][vc_column width=”1\/3″][vc_column_text]V. Lekarz<\/p>\n

    Nadchodzi kres i ka\u017cda chwila<\/p>\n

    obraca si\u0119 w spopiela\u0142y kadr.<\/p>\n

    Nieczu\u0142o\u015b\u0107 \u015bmierci sprowadza<\/p>\n

    Krucho\u015b\u0107 obrazu w guzik farbki<\/p>\n

     <\/p>\n

    Zabiera z powrotem pigment,<\/p>\n

    Wyci\u0105ga go z krwi i tkanek.<\/p>\n

    Sterta \u017celastwa i zmia\u017cd\u017conego szk\u0142a<\/p>\n

    Zamiast dzie\u0142a sztuki.<\/p>\n

     <\/p>\n

    Chcia\u0142bym znale\u017a\u0107 moment nieuwagi,<\/p>\n

    Okruch czasu wypadaj\u0105cy z zasi\u0119gu wzroku<\/p>\n

    \u015amierci.[\/vc_column_text][\/vc_column][vc_column width=”1\/3″][vc_column_text]IX. Chora<\/p>\n

    W moich oknach wschodzi krzew r\u00f3\u017cy,<\/p>\n

    w jego ga\u0142\u0105zkach p\u0142ynie \u015bpiew ziemi.<\/p>\n

    Lekki wiatr chwieje m\u0119tnym wzorem p\u0119d\u00f3w,<\/p>\n

    zielonych nitek, ale wiem,<\/p>\n

    jeszcze dzi\u015b okna zaciemni<\/p>\n

    mur li\u015bci. W oczekiwaniu<\/p>\n

    wstan\u0119 i spojrz\u0119 w lustro, w cie\u0144<\/p>\n

    zieleniej\u0105cy ze zmrokiem.<\/p>\n

    \u015amier\u0107?<\/p>\n

    Ja od zawsze mam w sercu<\/p>\n

    r\u00f3\u017cy cier\u0144.<\/p>\n

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    Drawing inspiration from atmospheric sounds (being a part of ambient music, as far as the sound is concerned),\u00a0De invitatione mortis\u00a0<\/em>becomes a field for extending colour relationships (primarily in the synesthetic sense) between instruments (as well as between the electronic layer) and vocalists,<\/strong>\u00a0and, therefore, creation of a sound world to which the entire mystery is transferred. The need to create sounds contributing to dark colours, also in its literal meaning, plays an essential role. One can call this need to use a specific, subdued colour ?the aesthetics of the night,? which refers both to the relationship between pitch and colour and the desire to create one?s own sound and colour world, i.e. the aura and atmosphere generated by the musical layer itself. Synesthesia plays an important role in a number of my works ? it is significant both in\u00a0De invitatione mortis<\/em>\u00a0and in the previous one-act opera\u00a0Kepler<\/em>, where each of the three scenes was based on a different colour theme.\u00a0De invitatione mortis\u00a0<\/em>uses a colour that is largely inspired by text. The libretto itself and the ?play of lights? appearing in it constitute an important reference to the sound colour and consequently to harmony and expression.<\/p>\n

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    Czerpi\u0105c inspiracje z atmosferycznych brzmie\u0144 (wchodz\u0105cych brzmieniowo w rejony muzyki ambientalnej),\u00a0De invitatione mortis\u00a0<\/em>staje si\u0119 polem do rozszerzenia relacji kolorystycznych (przede wszystkim w rozumieniu synestetycznym) mi\u0119dzy instrumentami (jak r\u00f3wnie\u017c pomi\u0119dzy warstw\u0105 elektroniczn\u0105) i wokalistami,<\/strong>\u00a0a co za tym idzie, stworzeniem \u015bwiata d\u017awi\u0119kowego, do kt\u00f3rego zostaje przeniesione ca\u0142e misterium. Istotn\u0105 rol\u0119 pe\u0142ni potrzeba tworzenia d\u017awi\u0119k\u00f3w sk\u0142adaj\u0105cych si\u0119 na ciemn\u0105 kolorystyk\u0119, r\u00f3wnie\u017c w rozumieniu dos\u0142ownym. Mo\u017cna t\u0119 potrzeb\u0119 u\u017cycia konkretnej, stonowanej kolorystyki nazwa\u0107 “estetyk\u0105 nocy”, kt\u00f3ra odnosi si\u0119 zar\u00f3wno do relacji wysoko\u015bci d\u017awi\u0119k\u00f3w z kolorem, jak i ch\u0119ci wytworzenia w\u0142asnego \u015bwiata d\u017awi\u0119kowo-kolorystycznego: czyli aury i atmosfery wytwarzanej przez sam\u0105 warstw\u0119 muzyczn\u0105. Synestezja odgrywa istotn\u0105 rol\u0119 w wielu moich utworach \u2013 jej wa\u017cny udzia\u0142 r\u00f3wnie\u017c pojawia si\u0119 w\u00a0De invitatione mortis<\/em>, a tak\u017ce w poprzedniej jednoaktowej operze\u00a0Kepler<\/em>, gdzie ka\u017cda z trzech scen zosta\u0142a oparta na innym temacie kolorystycznym.\u00a0De invitatione mortis\u00a0<\/em>wykorzystuje kolor, kt\u00f3ry w du\u017cej mierze inspirowany jest tekstem. Samo libretto i wyst\u0119puj\u0105ca w nim ?gra \u015bwiate\u0142? stanowi istotne nawi\u0105zanie do kolorystyki d\u017awi\u0119kowej, a co za tym idzie ? harmoniki i ekspresji.<\/p>\n

    [\/vc_column_text][\/vc_column][\/vc_row][vc_row css=”.vc_custom_1677588141492{padding-right: 5% !important;padding-left: 5% !important;}”][vc_column width=”1\/2″][vc_column_text]<\/p>\n

    The sound inspirations in\u00a0De invitatione mortis\u00a0<\/em>lie both in contemporary music trends and improvised music; associations with\u00a0minimal music<\/em>, ambient, or modern jazz are also justified. However, the metaopera does not directly take over the features contained in the rhythm and metrical division dominant in the mentioned trends. It is important to indicate their characteristic, subdued sound, the fact of operating with saturated, yet uniform sound layers (or clouds, also called textures), which continually create constant or changeable melodic-harmonic structures as a result of the inspiration. Therefore, the main goal is the integration of sound colour, harmony, and melody as one harmonising factor influencing the form and sound of the composition.<\/p>\n

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    Inspiracje brzmieniowe w\u00a0De invitatione mortis\u00a0<\/em>le\u017c\u0105 zar\u00f3wno w nurtach muzyki wsp\u00f3\u0142czesnej, jak i improwizowanej, ukierunkowuje skojarzenia w stron\u0119\u00a0minimal music<\/em>,\u00a0ambientu<\/em>, czy nowoczesnego jazzu. Metaopera nie przejmuje bezpo\u015brednio cech zawieraj\u0105cych si\u0119 w ich rytmice, podziale metrycznym, dominuj\u0105cych we wcze\u015bniej wymienionych nurtach. Istotne jest wskazanie jako efekt inspiracji ich charakterystycznego, stonowanego brzmienia, operowanie nasyconymi, lecz jednolitymi warstwami (lub chmurami, zwanymi r\u00f3wnie\u017c teksturami) d\u017awi\u0119kowymi, kt\u00f3re nieustannie kreuj\u0105 sta\u0142e lub zmienne struktury melodyczno-harmoniczne. G\u0142\u00f3wnym celem jest zatem integracja kolorystyki, harmoniki i melodyki jako jednego wsp\u00f3\u0142graj\u0105cego czynnika, kt\u00f3ry wp\u0142ywa na form\u0119 i brzmienie kompozycji.<\/p>\n

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    The main idea in the scenes of The Ill One was to confront the human life existing in “our world” with the aspect of the mysticism of the afterlife, which the man is unable to comprehend. In\u00a0De invitatione mortis,\u00a0<\/em>the figure of Euthanatos is a\u00a0sui generis<\/em>\u00a0symbol of a world to which every human being is heading, or at least he mediates between it and the human one. The role of The Physician, who is the most “earthly” figure, is in the human, literal world, but, due to his profession, he is in contact with the place to which The Ill One is heading. The Physician is an objective witness of the intermingling worlds and the coming fate. Deceptively, he is not able to influence where the human life is heading \u2013 he has only the power to slightly delay the time the fate arrives. In the last act, the listener is a witness to how The Physician is reconciled to the fact that the human life is only a small part of a great plan and there is no possibility of human interference in the fate and time dimension. The last bars of\u00a0De invitatione mortis\u00a0<\/em>are a kind of acceptance of the death?s invitation and surrendering to it. The end does not mean darkness and murk at all; its presence signals the beginning of a new existence of the soul.<\/p>\n

    [\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_single_image image=”1053″ img_size=”full” alignment=”center”][\/vc_column][\/vc_row][vc_row css=”.vc_custom_1677588160829{padding-right: 5% !important;padding-left: 5% !important;}”][vc_column width=”1\/2″][vc_single_image image=”1029″ img_size=”full” alignment=”center”][\/vc_column][vc_column width=”1\/2″][vc_column_text]<\/p>\n

    G\u0142\u00f3wn\u0105 ide\u0105 w scenach nale\u017c\u0105cych do Chorej by\u0142o skonfrontowanie \u017cycia ludzkiego egzystuj\u0105cego w ?naszym \u015bwiecie? z aspektem mistyczno\u015bci \u017cycia pozagrobowego, kt\u00f3rego cz\u0142owiek nie jest w stanie poj\u0105\u0107. W\u00a0De invitatione mortis\u00a0<\/em>posta\u0107 Euthanatosa jest swoistym symbolem \u015bwiata, do kt\u00f3rego zmierza ka\u017cda ludzka istota, a przynajmniej po\u015bredniczy mi\u0119dzy nim a \u015bwiatem ludzkim. Rola Lekarza, kt\u00f3ra jest najbardziej ?ziemsk\u0105? postaci\u0105 znajduje si\u0119 w \u015bwiecie ludzkim, dos\u0142ownym, lecz, ze wzgl\u0119du na sw\u00f3j zaw\u00f3d, ma ona styczno\u015b\u0107 z miejscem, do kt\u00f3rego zmierza Chora. Lekarz jest obiektywnym \u015bwiadkiem przenikaj\u0105cych si\u0119 \u015bwiat\u00f3w i nadchodz\u0105cego fatum. Wbrew pozorom nie jest on w stanie wp\u0142yn\u0105\u0107 na to, dok\u0105d zmierza ludzkie \u017cycie ? w jego mocy le\u017cy jedynie nieznaczne przesuni\u0119cie czasu nadej\u015bcia tego losu.\u00a0 W ostatnim akcie s\u0142uchacz jest \u015bwiadkiem, jak Lekarz godzi si\u0119 z tym, \u017ce \u017cycie ludzkie jest tylko ma\u0142\u0105 cz\u0119\u015bci\u0105 wielkiego planu i nie ma mo\u017cliwo\u015bci ingerencji cz\u0142owieka w los i wymiar czasu. Ostatnie takty\u00a0De invitatione mortis\u00a0<\/em>s\u0105 swoistym przyj\u0119ciem zaproszenia \u015bmierci i oddanie si\u0119 w jej r\u0119ce. Koniec wcale nie oznacza ciemno\u015bci i mroku; jej obecno\u015b\u0107 sygnalizuje pocz\u0105tek nowej egzystencji duszy.<\/p>\n

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    De invitatione mortis<\/em>\u00a0is a subjective view and an attempt to tame inexplicable things and phenomena, such as death, transience, or fate. Papierski’s libretto, stopping the action, transfers three heroes representing various roles and existential situations to the level of reflection and ethereal discussion: A terminally ill woman, physician, and personification of death (Euthanatos) as a guide to the world of the living and the dead. The individual parts of The Ill One, Euthanatos, or The Physician can be interpreted in an ambiguous way: On the one hand as a personal manifestation of a lonely person, her cry and desire to free herself from the inevitable fate, and on the other hand as an attempt to intellectually touch the eschata.<\/p>\n

    [\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_single_image image=”1038″ img_size=”full” alignment=”center”][\/vc_column][\/vc_row][vc_row css=”.vc_custom_1677588173840{padding-right: 5% !important;padding-left: 5% !important;}”][vc_column width=”1\/2″][vc_single_image image=”1037″ img_size=”full” alignment=”center”][\/vc_column][vc_column width=”1\/2″][vc_column_text]<\/p>\n

    De invitatione mortis<\/em>\u00a0jest subiektywnym spojrzeniem i pr\u00f3b\u0105 ujarzmienia niewyt\u0142umaczalnych rzeczy i zjawisk, takich jak \u015bmier\u0107, przemijanie czy los. Libretto Papierskiego zatrzymuj\u0105c czas akcji, przenosi do poziomu refleksji oraz eterycznej dyskusji trzech bohater\u00f3w reprezentuj\u0105cych r\u00f3\u017cne role i sytuacje egzystencjalne: terminalnie chor\u0105, lekarza oraz samo uosobienie \u015bmierci (Euthanatos) w roli przewodnika po \u015bwiecie \u017cywych i umar\u0142ych. Poszczeg\u00f3lne partie Chorej, Euthanatosa, czy Lekarza mo\u017cna interpretowa\u0107 w spos\u00f3b niejednoznaczny: z jednej strony jako osobisty manifest osamotnionej osoby, jej krzyk i ch\u0119\u0107 wyzwolenia si\u0119 z nieuniknionego fatum, z drugiej za\u015b strony jako pr\u00f3b\u0119 rozumowego dotkni\u0119cia rzeczy ostatecznych.<\/p>\n

    [\/vc_column_text][\/vc_column][\/vc_row][vc_row css=”.vc_custom_1677588180913{padding-right: 5% !important;padding-left: 5% !important;}”][vc_column width=”1\/2″][vc_custom_heading text=”CREDITS” font_container=”tag:h2|text_align:center”][vc_column_text]<\/p>\n

    Recording, mix, mastering: Micha\u0142 Bereza, Igor Szyma\u0144ski
    \nProgram note: Andrzej Kara\u0142ow
    \nTranslation: \u017baneta Pniewska
    \nArtworks: Keiji Matsumoto
    \nPhotos: Zuza G\u0105siorowska
    \nLayout: \u0141ukasz Pawlak
    \nEditor: Emilia Dudkiewicz<\/p>\n

    [\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_custom_heading text=”PERFORMERS” font_container=”tag:h2|text_align:center”][vc_column_text]<\/p>\n

    Joanna Freszel \u2013 sopran (Chora\/The Ill Sone)
    \nAleksander Rewi\u0144ski \u2013 tenor (Euthanatos)
    \nDawid Dubec \u2013 baritone (Lekarz\/The Physician)
    \nMale Vocal Ensemble “Gregorianum” (preparation: Berenika Jozajtis)
    \nMicha\u0142 Ochab \u2013 saxophones
    \nAndrzej Kara\u0142ow \u2013 piano, synthesizer, electronics
    \nDzio\u0142ak\/Stankiewicz Duo: Jacek Dzio\u0142ak \u2013 clarinets \/\u00a0Mateusz Stankiewicz: \u00a0accordion
    \nMessages Quartet:
    \nMa\u0142gorzata Wasiucionek \u2013 I violin
    \nOriana Masternak \u2013 II violin
    \nMaria Shetty \u2013 viola
    \nBeata Urbanek-Kalinowska \u2013 cello<\/p>\n

    Martyna Szymczak \u2013 conductor<\/p>\n

    [\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n","protected":false},"excerpt":{"rendered":"

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    Read more “DE INVITATIONE MORTIS”<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"page-templates\/full-width-no-title.php","meta":{"footnotes":""},"class_list":["post-1028","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/andrzejkaralow.pl\/index.php\/wp-json\/wp\/v2\/pages\/1028","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/andrzejkaralow.pl\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/andrzejkaralow.pl\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/andrzejkaralow.pl\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/andrzejkaralow.pl\/index.php\/wp-json\/wp\/v2\/comments?post=1028"}],"version-history":[{"count":23,"href":"https:\/\/andrzejkaralow.pl\/index.php\/wp-json\/wp\/v2\/pages\/1028\/revisions"}],"predecessor-version":[{"id":1188,"href":"https:\/\/andrzejkaralow.pl\/index.php\/wp-json\/wp\/v2\/pages\/1028\/revisions\/1188"}],"wp:attachment":[{"href":"https:\/\/andrzejkaralow.pl\/index.php\/wp-json\/wp\/v2\/media?parent=1028"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}