Magdalena Długosz

born in Kraków in 1954, she graduated from the city’s Academy of Music, where she studied composition (with Krystyna Moszumańska-Nazar) and theory of music (with Józef Patkowski). Since 1979 she has been working in the Electroacoustic Music Studio of the Kraków Academy of Music. It was there that she realized her first pieces for tape. She subsequently worked in the Polish Radio Experimental Studio in Warsaw, the Institute for Electro-Acoustic Music (ems) in Stockholm, eas in Bratislava and the grame Studio (Groupe de Recherche Appliquée en Musique Electroacoustique) in Lyon. Her compositions have been featured at new music festivals in Poland (Warsaw, Poznań, Wrocław, Gdańsk, Kraków) and abroad (Nuremberg, Cologne, Berlin, Dresden, Hamburg, Stockholm, Oslo, Bratislava, Lyon, Washington, Lviv, Minsk, Bourges, Strasbourg, South Korea).

Selected works (since 1980): Modus for tape (1980), Spatial System for small orchestra and electronics (1980), Pulsations for tape (1983), Mictlan for tape (1987), Mictlan II for accordion, digital echo-generating device and tape (1988), Yes and No for tape (1990), At the Roots for tape (1990–91), Lenyon for tape (1994–95), Patjan for percussion and tape (1996–97), TaBaMa for solo tape (1997–98), TaBar for electronically transformed double bass and computer sound layer (1998–2000), Zakopane liryki for electronically transformed clarinet and computer sound layer (1999–2000), Ombraggio for violin and electro-acoustic layer (2002–03), Ombrarchetto for tape (2003), Abamus for cello and electro-acoustic layer (2003–04).

Zakopane Liryki for saxophone and computer soundtrack (2004) is
a new version of a piece composed in 1999–2000 in the Electro-acoustic Music Studio of the Music Academy in Kraków.
Originally, the solo part was scored for clarinet, the basic material for the computer soundtrack being the conventional clarinet sound recorded by Wojciech Komsta. The recording was subjected to various transformation processes in the studio, ranging from minimal ones (such as overlapping or transposition) to processes so far-reaching that they made the original sound absolutely unrecognizable.
In the present version of the piece I decided to confront the computer soundtrack with the saxophone sound. As in the original version, my intention was to use unconventional and sophisticated performance techniques, which would allow me to create a sound which is sophisticated and non-classical in character. During the concert performance, the instrumental sound is not subjected to far-reaching
electronic transformations but only to slight modifications, the aim of which is to make the two layers of the piece unified.
Duration: 12’