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Lidia Zielińska

Lidia Zielińska studied composition at the State Higher School of Music in Poznań, where she lives. She participated in numerous courses in composition and electronic music in Poland and abroad ('Musicultura' in Breukelen, the M. Deutsch Symphonic Workshop in Paris, courses organized by IRCAM in Kraków and by the Polish Society for Contemporary Music in Rydzyna and Wzdów). She also played the violin in the Poznań Philharmonic Orchestra and the 'Amadeus' Polish Radio Chamber Orchestra of Agnieszka Duczmal, in which her husband, Zygmunt Zielński (son of Izabela Ostaszewska) is principal cellist.

She has received commissions from Polish Radio, the Solidarity Union, the Eighth Day Theatre, the Holland Dance Festival, Euro-Musik-Theater in Stuttgart, the Dutch ensemble 'de Ereprijs', Radio Sweden, and the Ministry of Culture of Baden-Württemberg. She worked as guest composer in the Electronic Music Studio IPEM/BRT in Ghent and the Electronic Music Studio in Stockholm, and as composer-in-residence at the Institute de la Musique Electroacoustique in Bourges.

She has extensively published and lectured on contemporary Polish music, electroacoustic music, the history of experimental music, sound ecology and traditional Japanese music. Her lecture venues have ranged from various European universities, the ‘Manggha’ Centre for Japanese Art and Technology in Kraków, the Centre for Contemporary Art in Warsaw, the World Forum for Acoustic Ecology in Stockholm and Peterborough, as well as numerous academic sessions in Poland and abroad. She has taught and given summer courses, seminars and workshops in Poland, Belarus, Canada, Chile, France, Germany, Holland, Japan, Moldova, Sweden and Switzerland.

She runs a composition class at the Music Academy in Poznań and the sound reception workshop at the city's Fine Arts Academy. She is a member of the Repertoire Committee of the 'Warsaw Autumn' Festival (1989-92 and from 1996) and of the Presidium of the Main Board of the Polish Composers' Union (from 2001). She served as Artistic Director of the 'Poznań Musical Spring' Festival of Polish Contemporary Music (1989-92) and of the 'Child and Sound' International Festival in Poznań. She was also a member of the Programme Committee of the ISCM World Music Days in Warsaw (1990-92), and has sat on the juries and served as consultant of numerous festivals in Poland, Sweden, Germany and Belarus.

Selected works:

  • Eh, Joe, monodram for mime, tape (voice) and orchestra after Samuel Beckett (1978)
  • Violin Concerto (1979)
  • Litania for string quartet (1979)
  • Farewell Mr. Toorop for orchestra (1981)
  • Homage to Poznań June 1956 for orchestra (1981)
  • Mrs. Koch, tragifarce in one act after Miron Białoszewski for solo voices, audio cassettes, vocal and instrumental ensembles (1981)
  • Two Dances for strings (1981)
  • Traktat for oboe and string trio (1982)
  • Cascando for actor and double mixed choir after Samuel Beckett (1983/91)
  • Gagaku Lullaby for double bass (1984)
  • Artificial Cult for tape, video, neon signs and visual objects (with Wojciech Olesiak, 1985)
  • Sonnet about Tatra Mountains for four musicians (1985)
  • Fiction for orchestra (1986)
  • Glossa for viola or violin (1986),
  • Heldenleben, Belauscht, Belauert for audio tape, video tape and shadowgraph (1986)
  • Polish Dances for tape, after Father Baka (1986)
  • Pleonasmus for oboe, violin and string orchestra (1986)
  • Feature Piece for saxophone and tape (1987)
  • Kaleidoscope-Passacaglia for percussion, slides and clapping hands (for children, 1987)
  • Musique Concrete for choir and orchestra (1987)
  • Descendent for harpsichord or piano (1988)
  • String Quartet (1988)
  • Huit heures de la vie des femmes, music theatre for 9 performers (1988)
  • The Same, performance (1988)
  • Sound Museum, ‘live’ installation for children (1988)
  • Little Atrophic Symphony for orchestra (1988)
  • Music for Holy Week for mixed choir and percussion (1988)
  • Musica humana or How Symphonies Are Born, radio piece (1989)
  • Cascando for actor and double mixed choir after Beckett’s play (1983/91)
  • Jacquard for 14 musicians (1991)
  • Graphic II for 10 instruments and live electronics (1991)
  • Fago for bassoon, double bass and accordion or electronic keyboard (1992)
  • Short piece for flute and computer or tape (1992)
  • Voices, performance (with Izabella Gustowska, 1992)
  • Soaked Ground Music with children audience participation, narrator, conductor and tape (1993)
  • Zeitschlingen, sound spectacle (1994)
  • Venture Unknown, ballet (1995)
  • Section Togo for men’s choir and piano (1995)
  • Schon wieder diese weissen Mäuse for tape (1996)
  • Expandata for snare drum and tape (1997)
  • Motetus universalis, installation (1997)
  • Ballad about a Ballad for tape (1997)
  • Percussionata for 40-60 percussionists (1998)
  • Zoom for violin and orchestra (2000)
  • Just Too Many Words for tape (2001)
  • Grain to Grain for 13 instruments (2002)
  • A Sketch Drawn from Nature, multimedia performance (2002)
  • Dumchrzquii for tape (2004)
  • Rapsodia for violin and electronic sounds (2004)
  • Nobody is perfect for electronic sounds and 17 instruments (2004)
  • Przypadki pana von K./Die Fälle des Herrn von K., ballet – electroacoustic music (2005)
  • Obiadki w Rejowcu – text-sound-composition (2006)