Closed Garden, Open Garden

June concerts on the roof have become a lab tradition. We invite you once again to the garden, where beneath the open sky, the sounds of the city will merge with music.

The city itself inspired Bobby Ge in his composition for violin with electronics, Doppelgänger Streets. The composer, walking through the streets, often felt the surrealism of the neighbourhood – the clash of loud concert halls and skyscrapers with dirty alleyways and poor diners. He was fascinated by how the same street could be a synonym for luxury and culture for one person, yet a grim, merciless purgatory for another. In the city, different realities overlap. They do not compete – they seem not to notice each other. This makes it possible to walk obsessively through cities endlessly. You never know which world you will unexpectedly enter.

Music has the power to encircle. It can enter our mind like a recurring thought from which there is no escape. In Michael Gordon's The Light Is Calling, short sound fragments do not develop but persistently circulate – relentlessly and hypnotically. Similarly, in Paweł Janas's Hypnosis, repetition becomes an experience itself – gripping and consuming, leading into a trance – a state in which perception is suspended and the boundary between control and its loss begins to blur.

In Báry Gísladóttir's Rage against reply guy, we feel the tension between repetition and mounting intensity – as if energy, initially trapped in a closed loop, gradually seeks an outlet. Sound functions here as living matter – capable of transformation and resistance.

Hortus Conclusus, Hortus Apertus by Ewa Trębacz – the world premiere of this evening – is a work in which isolated elements of reality are magnified, fragmented, and layered. The closed garden – a space of introspection, but also of solitude and obsessive return to detail – gradually opens, and sound, embodied in voice and instruments, enters into relations with the surroundings – with air, space.