Jaroslaw Kapuscinski is an inter-media composer and pianist whose work has been presented at New York’s MOMA, Zentrum für Kunst und Medientechnologie in Karlsruhe, Museum of Modern Art Palais de Tokyo in Paris, National Reina Sofia Museum in Madrid and many other venues. He has received numerous awards, among others, at the UNESCO Film sur l’Art Festival in Paris in 1992, VideoArt Festival in Locarno in 1992 and 1993, Manifestation Internationale Vidéo et Art Éléctronique in Montréal in 1993 and International Festival of New Cinema and New Media in Montréal in 2000.
Kapuscinski’s primary interest is creation and performance of works in which musical instruments are used to control multimedia content. He was first trained as a classical pianist and composer at the Chopin Academy of Music in Warsaw and expanded into multimedia at a residency at Banff Centre for the Arts in Canada (1988) and during doctoral studies at the University of California, San Diego (1992-1997). As of 2008 he is Assistant Professor of Composition and Director of Inter-media Performance Lab at Stanford University. He has taught at McGill University in Montreal, Royal Academy of Arts and Music in the Hague, Art Conservatory and Music Academy in Odense, Conservatory of Music at University of the Pacific and lectured internationally. He has published among else “Composing with Sounds and Images”, an article outlining his inter-media theory.
Music for Gramophone, Dancer, Conductor and 9 Musicians from Webern’s Concerto op.24
The inspiration for the work is Anton Webern’s aphoristic Concerto for Nine Instruments (1936). This seminal work like all of his music is formed out of brief, jewel-like moments that deserve more time spent in their contemplation than a regular performance allows. Steve Schick and I decided to have an event in which the Webern piece will be performed twice, once at the beginning and once at the end of the concert, while I will compose a work in two parts – the first will be played after the opening performance of Webern, the second part before the closing performance. Together with choreographer Young Doo Jung and sound sculptor John Granzow we intend to create a personal, contemporary and intercultural re-reading of the Webern: providing a postscript and prelude, a new lense and a new intermedia ground for Music at its purest.