What are the special challenges/pleasures of working with particular musicians, singers, ensembles or orchestras?
Many of my pieces were written for particular ensembles as a result of close cooperation. This way of working bases on reciprocal trust. For example, last year, I had the opportunity to work with Duo Van Vliet. Through many meetings and conversations, we developed the piece that included some challenging elements, like playing with dismantled bow on detuned viola or using extreme dynamics. The final result would not be possible, without the artistic involvement of those fantastic musicians.
And it rose and it fell and pulsed like a wave (2019/20) performed by Duo Van Vliet:
During the lockdown, I worked with my friends, composers Teoniki Rożynek and Monika Szpyrka, on a new project, where the intimate space of the apartment was turned into a magical sonic playground. We developed the music together, the process included the composition, improvisation, and performance and I found it as an artistic breakthrough.
Gramy piosenki awangardowe (2020) performed by Malinowski/Rożynek/Szpyrka
My recent piece, Imaginarium Polkolor was written for Ensemble Kompopolex and recorded by these amazing performers. The theatrical actions are connected here with strict amplification and demanding electronics parts. The ensemble was extremely supportive during the exhausting process of rehearsing, and I’m sure, that many elements will not be realised without their energy and ideas.
Imaginarium Polkolor (2020) performed by Ensemble Kompopolex
How would you characterise your compositional language?
I’m often working with the musical past: passages derived from famous classical pieces, 90’s synthesisers, tapes, movies, and amplified objects. I’m trying to emphasize the unreal elements in everyday stories.
How do you work?
Making a score is for me almost always the last stage while working on the new piece. I start with capturing the ideas, which are sometimes far away from the music itself. Then I’m seeking the relation between those and musical material. I found that many of those ideas come from the experiments and dialogue with the performers.
…still in the middle of happening (2020) performed by United Instruments of Lucilin
What do you feel needs to be done to grow classical music audiences/listeners?
I consider New Music to be an amazing genre. It goes beyond the sound and includes immersive staging situations, it is aware of the reality and it’s still growing and developing. I think it is important to consider how the music is presented, and to remember diversity and equality while curating projects.
What has been the highlight of your time on the LPO Young Composers Program which you have taken part in over the last year?
Working with London Philharmonic Orchestra, Brett Dean, and Foyle Future Firsts for the premiere of my piece declined/restored\elapsed was a remarkable experience. In this particular scenario, I had the opportunity to try my ideas and sketches during series of workshops. The musical possibilities and artistic creativity of every performance are outstanding! The challenge here was to consolidate the project with the pandemics restrictions. I was able to come to London only twice: at the very beginning of the project in September, and now for the rehearsals in June. For almost the whole year I worked remotely. However, the production team with the support of Adam Mickiewicz Institute made the project possible.
The world premiere of Paweł Malinowski’s piece declined/restored\elapsed was performed by the London Philharmonic Orchestra at the Royal Festival Hall on Wednesday 30th June. The piece will be digitally premiered on YouTube and Facebook on Tuesday 10th August at 7pm.
Paweł’s participation in the LPO Young Composers Program was enabled and supported by the LPO’s collaboration with the Adam Mickiewicz Institute.