tags: Marcin Stańczyk

Marcin Stańczyk

Friday, February 8th, 2013


photo: Aleksandra Chciuk

(b. 1977, Łęczyca, Poland). He holds degrees from the University of Lodz (Faculty of Law – LL.M.), Academy of Music in Lodz (music theory – M.A. and composition – M.A., D.M.A.). He also finished 3-years postgraduate studies at the National Santa Cecilia Academy in Rome and the CURSUS 1 at Paris IRCAM.

He  has received various prizes and scholarships and has been recognized by different institutions including IRCAM, IMD Darmstadt, Royaumont, Jerwood, Laurentscantorij and Witold Lutosławski Foundations. His music, described by Ivan Fedele in the Il Giornale as “distorsionismo”, has been played by ensembles such as Neue Vocalsolisten Stuttgart, Ensemble Linea, Algoritmo Ensemble, Nikel Ensemble, Oslo Sinfonietta, Bang on a Can All-Stars, Divertimento Ensemble, orkest de ereprijs, Zone Expérimentale Basel.

He has current commissions from the Polish State and the Sinfonia Varsovia Orchestra as well as the Warsaw National Opera for season 2013/2014. He also received a commission for his cycle of soloist studies called Aftersounds. This work was inspired by the optical phenomenon known as ‘afterimage’, explored in the 1940s by polish avantgarde painter Władysław in his series of ‘solarist’ paintings which he referred to as afterimages of light and described in his scientific and theoretical writings called Theory of Seeing. With Aftersounds, music comes not only from morofological ‘reflections’ of sound, various extraneous noises, resonances and echoes but also – as he says – ‘some psychological aspects of the listening, something which is not there yet, but will be in a moment, which precede the sound or has remained afterwards’.