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Australian / Polish composer Dominik Karski presents several works for flute performed with collaborators Ewa Liebchen on piccolo, flute, alto flute, bass flute, tam tam, Rafal Jedrzejewski on flute, alto flute, bass flute and tam tam, and Zofia Dowgiatto Zynch on harp, including the 4-part "Veiled Voice", "Glimmer", and two parts of "Streamforms".
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Catalog ID: BR 1034
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Recorded at Polish Radio Studios, in Warsaw, Poland, in August, September, October, 2015, by Ewa Guziolek-Tubelewicz and Julita Michalak.
Ewa Liebchen-piccolo, flute, alto flute, bass flute, tam tam
Rafal Jedrzejewski-flute, alto flute, bass flute tam tam
Zofia Dowgiatto Zynch-harp
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1. Glimmer 6:29
2. Streamforms 7:46
3. Veiled Voice I 3:02
4. Veiled Voice II 2:58
5. Veiled Voice III 4:30
6. Veiled Voice IV 3:41
7. Open Cluster M45 11:27
8. Veiled Words 10:00
9. 112 Iphigenia 2:08
10. Streamforms III 7:45
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"The works on this disc present a story of my love affair with the flutes. It started in 2002 when I was writing Glimmer, which awoke my fascination with the low flutes, especially the bass flute, then turning into an obsession, as two bass flute solos saw the light of day the following year... The love affair, however, could not have been so fruitful if I hadn't crossed paths one day with the two musicians from Flute o'clock: Ewa Liebchen and Rafał Jędrzejewski.
Our collaboration has been developing and growing since 2010, with the duo commissioning new works and taking up the existing repertoire - all of which is now assembled together on this disc, documenting the exploratory process we have gone through over the years. Their input from the performers' point of view was greatly valuable and I would like to thank them and Zofia Dowgiałło-Zych (who joins in Streamforms III) for playing such a huge part in this long-term collaborative adventure and for making this disc a reality. It is a milestone that encompasses a vast journey - but the journey still continues.."-Dominik Karski
"After several years of cooperation between Dominik Karski and Flute o'clock, thanks to Bôłt Records, we received a set of works for flutes, tam-tams and the harp of his authorship.
The Polish-Australian composer discovered the sound of the flute many years ago. But he did not focus on one variation of this instrument, on the contrary - because his music is performed on different flutes, from piccolo to bass. "GLIMMER Flute o'clock" Publisherwas released in June this year and accommodated ten compositions that were created in 2002 - 2015. The earliest recording from this set is "Glimmer" (2002) for alto and bass flute. In "Streamforms" (2003) we experience amplification for a solo bass flute, with a characteristic counterpoint in the form of expressive exhalation. In turn, "Veiled Voice" (2012) was made for two flutes, while "open cluster M45" (2003) is also a song intended for an amplified bass flute. I was particularly interested in "Streamforms III" with the participation of the harpist Zofia Dowgiałło-Zych.
I do not intend to pretend to be a professional in this field, but the art of Dominik Karski extracts from the flute its physicality and overexpression, thanks to the extraordinary skill (or equilibristic articulation) of the Flute o'clock duo : Ewa Liebchen and Rafał Jędrzejewski."-plytyniesluchane.wordpress.com (translated by Google)
• Show Bio for Dominik Karski
"Dominik Karski's music has been regularly performed in Europe, USA and Australia; significant recent events include performances by The Roentgen Connection (The Netherlands), Flute o'clock (Poland), Małgorzata Walentynowicz in duo with German baritone Frank Wörner (Musica Polonica Nova 2014), Swedish violist Karin Hellqvist (the acclaimed premiere of Certainty's Flux at the 2013 Warsaw Autumn followed by CD release and further performances, including Huddersfield Contemporary Music Festival), creative projects realised with the Scottish flautist Richard Craig (streamforms for bass flute presented in Sweden, UK and USA and CD release of the work in the UK; pre-seed for flautist and ensemble realised in collaboration with SMASH ensemble in Spain), as well as collaboration with the Swedish Paetzold contrabass recorder soloist Anna Petrini (Superb Imposition premiered at the Musica Electronica Nova 2011 in Wrocław and released on CD in Sweden). The composer collaborated with ELISION ensemble in the years 2003-2010, which resulted in numerous performances, including the 2007 Warsaw Autumn, concerts in Australia, and the UK (Huddersfield Contemporary Music Festival, 2006). Also of importance was the performance of his inward by Ensemble SurPlus in 2005 at the Akademie Schloss Solitude in Stuttgart.
The composer participated in the ISCM World New Music Days 2004 in Switzerland, Gaudeamus Music Week in Amsterdam in 2002 (honourable mention) and 2003, the International Andrzej Panufnik Young Composers' Composition Competition in Krakow (1st prize), as well as international forums organised by Le Nouvel Ensemble Moderne: FORUM 2000 (Australia/Canada) and the 2001 Rencontres de musique nouvelle (Canada).
His music was recognised in Australia through awards such as the 2003 Albert H. Maggs Composition Award (The University of Melbourne) and the 1998 ABC Young Composers' Award, also numerous performances by leading musicians and ensembles such as violinist Elizabeth Sellars, percussionists Peter Neville and Claire Edwardes, cellist Geoffrey Gartner, flautist Kathleen Gallagher, ELISION ensemble, Libra Ensemble, and Ensemble Offspring, as well as the symphony orchestras of Western Australia, Queensland, and Tasmania.
His composition studies took place in Perth and Brisbane with Brian Howard and Steven Cronin. He completed PhD degree in composition at the University of Melbourne, also having studied at Universität für Musik und darstellende Kunst Wien (Austria) under the mentorship of Chaya Czernowin in 2006-07.
He received numerous grants and scholarships from institutions in several countries: ArtsWA, Australia Council for the Arts, The Ian Potter Foundation, and The University of Melbourne (Australia); Le Domaine Forget Music and Dance Academy (Canada); Kulturkontakt Nord (Sweden); Ministry of Culture and National Heritage, Music and Dance Institute, ZAiKS, and The Adam Mickiewicz Institute (Poland).
The physicality of producing sound is the central focus in his works; his approach is directed at the quality of sound through focusing on the player-instrument relationship as the primary source of the musical substance. The compositional method involves close collaboration with performers with the aim to gain in-depth knowledge of performance techniques and instrumental properties. Experiment and searching constitute the foundation of the music, as the composer's main goal is to learn about innate energies and emotional charges contained within various sonic structures."-Dominik Karski Website (https://dominikkarski.musicaneo.com/about.html)
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