Michał Talma-Sutt

Born in 1969 in ¸óde, he studied composition with Jerzy Bauer at the city1s Music Academy. In 1995 he attended a year-long course in composition and computer music at ircam in Paris. While there, he realized a multimedia project Voyage Amer, together with the French designer Alain Galet. In 1997 he made his OWarsaw Autumn1 debut with Avalon1s Gates for flute and computer.
In 1998­2001 he continued his education as a postgraduate student of Ulrich Süße at the Hochschule für Musik und Darstellende Kunst in Stuttgart. In 1999­2000 he also participated in a course in object modelling synthesis at the Zentrum für Kunst und Medientech-nologie (zkm) in Karlsruhe, where in August 2000 he presented, together with video artist Berthold Gantner, the multimedia project L1ange noir ­ 4 Skizzen. He now lives in Berlin.
Micha1 Talma-Sutt1s honours include prizes at the International Rostrum of Electroacoustic Music in Vienna: Second Prize in the general category and First Prize in the Ounder-30s1 category for What Nostradamus has kept only for himself (1998), and First Prize in the general category for Light and Shade (2000, Madrid).
He held a grant from the Witold Lutos1awski Foundation (1995­2001).

Selected works: Piano Sonata No. 2 (1987), 6 Structural Preludes for piano (1990), Schizofreniata for clarinet and piano (1991), Piano Trio (1991), Octet for Wind Instruments (1992), Double-Progress for 15 instruments (1993), ŠDarknessŠ for amplified harpsichord and tape (1994), Shadows for tape (1994), Music from OUlisses1 by James Joyce for mezzo-soprano, piano and four percussionists (1994), Circulations for piano and orchestra (1994), What Nostradamus has kept only for himself for tape (1995), Sphinx1s Games for solo flute (1996), Avalon1s Gates for flute and computer (1997), Light and Shade for tape (2000), Rituale Balenae for tape (2001), Soundscape One for tape (2001), Cellotronicum for cello and computer (2002).

Soundscape One was commissioned by the Polish Radio Experimental Studio. It is easy to guess that the title is a combination of two words: sound and landscape. As usual, in writing electroacoustic music, one of the main questions for me is the possibility to create new Osound worlds1, kinds of ­ as we could say ­ unknown planets1 landscapes. The word One could suggest that there is a cycle. So, maybe not
a cycle, but it is possible that I will compose few more such landscapes in my life. There are so many planets in the cosmos...
On the other hand, maybe the better description of this kind of music would be Sound Object. Anyway, in case of tonight1s concert both titles ­ Soundscape or Sound Object, are not exactly adequate, as the video part, realised by my friend, video artist Berthold Gantner, was added to the piece. However, it is now not only the sound landscape/ object and perhaps the better title would be Abstract-Object One.
I am very glad that thanks to this concert I renewed my contact with Berthold. Now we plan a further collaboration, with the inverted situation ­ the visual part will be created first, and music later. Morover, we want to use the possibilities of creating live both music and visual layers.
Micha1 Talma-Sutt