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STEFAN WĘGŁOWSKI (*1985) From 1 to 7 (2017) dedicated to Apoloniusz Węgłowski with all my love 1 1 05:13 2 2 06:38 3 3 04:30 4 4 04:40 5 5 05:03 6 6 05:27 7 7 08:28 TT 40:03 Yeyoung Sohn, soprano Marcin Dylla, guitar 3 The first important application element was the freedom while working on the registered the answer to the question: how to use the material. Each “timbre” line – using our mi- instrument accompanying the human voice crophone – has been assigned the appropri- line? The guitar, so heavily exploited by em- ate performance technique and performed inent composers of the 20th and 21st centu- on an instrument with the appropriate tun- ries, had to be redefined. So, I started re- ing. This way the extracted and recorded searching, which led me to discover the sound areas became the founding material previously never explored possibilities of used to create the album. Writing a compo- this instrument. sition based solely on the vision of the fu- ture sound and breaking new ground was The initial action was to create the right mi- an amazing compositional and cognitive crophone to achieve sounds and registers challenge. The entire sound space of this al- The original idea accompanying my work on that have been so far omitted. We faced bum, except of obviously the vocal parts, is the album “From 1 to 7” was a reference to an engineering challenge with the need to an electronic variation on the guitar sounds the songs of the medieval period of the Ars construct a completely new registration recorded by these unique techniques. Antiqua form. It was a period of boom for technique, and a whole spectrum of new new techniques, both in the space of con- performance techniques. Together with the The first performance of the songs was giv- struction of the work as well as the perfor- sound engineer Kamil Kęska and neuro- en by Marcin Dylla, one of the greatest gui- mance and notation techniques. It is during surgeon Krzysztof Szalecki, MD, we began tarists of our times. Working with him, and this period that new “types” of songs ap- to think about the relationships that take his invaluable approach both during the im- pear – the melody liberated from the tenor place in these aspects. provement of performance techniques cre- position became the middle or upper voice, ated by myself, as well as his invaluable and other voices started to accompany the We also started to explore the possibilities notes on the possibility of electronic “tim- melody. The compositional challenge and offered by the instrumentalist-instrument bres” applications, revealed unexplored op- the purpose while working on this album relationship. These activities resulted in cre- portunities for even greater creative ac- was the desire to redefine the sound while ation of appropriate tools: physical, i.e. a mi- tivities. The beautiful timbre of Yeyoung’s maintaining appropriate proportions be- crophone with a mounting allowing for re- voice merged the unique sound layer of this tween the vocal line and the accompanying cording without limiting the performer (the album, and the final production itself were instrument, while enclosing the emotions of help from engineer Maciej Kobiałko was in- greatly gratifying and creative experiences peace and sadness that permeate and can- valuable), and virtual: plugins and timbre for myself. not exist without each other in this form. plugins written by myself, that finally gave Stefan Węgłowski 4 5 frequency and ultrasonic range of process- ing. In terms of electricity, piezoelectric microphones are capacitors. They transform acoustic signal into voltage signal. They also exhibit high capacitive internal imped- ance, which makes it difficult to use long cabling. The solution used in the project is an uni- morphic piezoelectric membrane with a diameter of 27 mm and a thickness of 0.24 mm, with an adapted XLR connector enabling direct connection to the micro- phone input of the preamplifier. It is a light and sturdy construction. When searching for the sound it quickly turned out that us- Around 140 years ago, science defined the ing such a vibration sensor as a mobile el- piezoelectric effect. It was discovered by ement that moves around all the elements Pierre Curie, along with his older brother of an acoustic guitar produces the most Jacques, who claimed that exerting pres- sonically interesting effects. The essence sure on certain materials produces electro- of the articulation was achieved by fixing motive force. This remarkable phenomenon the piezoelectric component to the finger can be observed in the structures of cer- of the guitarist’s left or right hand. Such a tain crystals, ceramic materials, and even solution allows easy penetration of vibra- in organic substances (e.g. bones, protein, tions of the instrument sound box, but al- DNA). Piezoelectricity is applied in many ar- so direct reception of string vibrations from eas, it is used in measurements, micro-en- places with various spectral characteristics, gines, ultrasonic generators, electronic cir- and the ability to smoothly adjust the dis- cuit oscillators. Piezoelectrics has been tortions of the processed signal. used in electroacoustics for many years in microphones and loudspeakers with high Kamil Kęska 7 STEFAN WĘGŁOWSKI YEYOUNG SOHN tition in Bytom (Ada Sari’s prize for the best coloratura soprano), the Debussy Interna- tional Competition in Salzburg (2nd prize in the general category, 1st among sing- ers), the 7th International Competition of European Vocal Promotion “Golden Voic- es” in Warsaw (2nd Prize and a Special Award), the Pustina International Competi- tion in Žďár nad Sázavou (Czech Republic), the Halina Halska-Fijałkowska 5th Interna- tional Vocal Competition, the 11th Interna- tional Vocal Festival Belcanto in Nałęczów (1st prize, Golden Nightingale Grand Prix), Yeyoung Sohn is a graduate of the Fryderyk and the 25th International January Fes- Chopin University of Music in Warsaw, hav- tival in Brest (Belarus). She was also a fi- ing studied with Urszula Trawińska-Moroz. nalist of the International Vocal Compe- Composer, producer, live performer. His Subsequently, she underwent an artistic in- titions of Marmande and Canari (France). work includes mostly compositions for ternship with professor Ewa Iżykowska and During her studies, she repeatedly received small ensembles and solo instruments. In graduated with a postgraduate degree in special scholarships for outstanding ar- his music he uses minimalist and spectral Interdepartmental Song Studies. She also tistic achievements (Scholarship Société techniques, combining them with a broad- completed doctoral studies at the Fryderyk Générale, twice the Scholarship Propolonia, ly defined area of electronic music (field Chopin University of Music in Warsaw and the Scholarship of the Rector of the Fry- recording, sampling, max / msp program- received her PhD in 2016. She participated deryk Chopin University of Music). ming). He teaches at the Faculty of Media in the Opera Academy of the Grand The- Art at the Academy of Fine Arts in Warsaw atre / National Opera in Warsaw. In 2003, she made her debut in South Ko- and the Faculty of Media Art at the Polish- rea in the contemporary opera TeHyung as Japanese Academy of Information Tech- Yeyoung is a laureate of many European vo- well as in Poland the same year during the nology in Warsaw. He lives and works in cal competitions, including the Iwona Boro- second Kostrinella Music Festival, when Warsaw. wicka Operetta and Musical Competition she performed for the first time on stage in Cracow (2nd prize and five special priz- in Europe. Since then, she has been giv- stefanweglowski.com es), the Adam Didur International Compe- ing concerts both in Poland and around 8 9 the world. She participated, among others, ków Philharmonic, the Artur Malawski Phil- in the following festivals: International Fes- harmonic Hall in Rzeszów, The Nation- tival of Viennese Music in Wrocław, Opera al Forum of Music in Wrocław, the Philhar- and Operetta Festival Masovia, Kostrinella monic in Zielona Góra, the Philharmonic in Music Festival, International Music Festival Gorzów, the Fukuoka Arts Center in Japan, in Łomża, Summer Music Festival in Wiel- the Arts Center in Daegu, South Korea and iczka, Jan Kiepura Festival in Krynica-Zdrój, at the Palais de France in Istanbul. Yeyoung International Festival Kaleidoscope of Mu- Sohn teaches voice at the Fryderyk Chopin sic in Sopot, Jerzy Waldorff Summer Fes- University of Music in Warsaw. tival in Radziejowice, May Festival in mem- ory of Jan Kiepura and Marta Eggerth in Kazimierz Dolny, Music Festival of Mu- sic at the Springs in Lądek-Zdrój, Interna- tional Vocal Art Festival Vica il Cantare in Nałęczów, International Chamber Music Festival Artelier in Szczecin, Internation- al Festival in Brest (Belarus), International Festival Belcanto in Nałęczów, Internation- al Festival “from Chopin to Górecki” in War- saw, Johann Strauss International Festival in Wieliczka, International Festival Gloria in Białystok, Iwona Borowicka Summer Oper- etta Festival in Wisła and G. Gorczycki In- ternational Festival in Bytom. She performed at the Grand Theater and National Opera in Warsaw, the Warsaw Chamber Opera, the Opera Krakowska in Krakow, the Silesian Opera in Bytom, the Royal Castle in Warsaw, the Polish Baltic F.Chopin Philharmonic in Gdańsk, The Kra- 10 11 MARCIN DYLLA the Naxos label. His live recital DVD Wawel Royal Castle at Dusk was nominated for the 2010 Fryderyk Award in the category of So- lo Classical Music Album of the Year. Mr. Dylla made his Concertgebouw recital debut in November 2016 during a busy 2016/2017 season when he was also the appointed faculty-in-residence at the San Francisco Conservatory of Music for the Fall 2016 semester. Recent tour highlights Hailed by Washington Post as “among the included return invitations to Mexico, Chile, most gifted guitarists on the planet” Polish and recitals throughout Asia including To- guitarist, Marcin Dylla is a rare phenomenon kyo, Japan followed by Nagoya, Fukuoka, in the recent history of Classical Guitar.

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