The founder of Ad Libitum festival, Krzysztof Knittel, creates aesthetically, thematically and formally varied music which combines experiences derived from his composition and computer programming studies, as well as his work at the Experimental Studio of Polish Radio, live electronics, improvised music, graphic computer music, sound art, elements of poetry, visual and performance arts, rock, jazz, and even hip hop. His improvisations have always included elements of structure, (frequently computer-based) procedures, technological environments, performative gestures, and relations between members of the various bands he has founded. 

Marek Chołoniewski is an indefatigable explorer in search of (neo-? post-?) avant-garde, and an eternal experimenter, combining instrumental, electroacoustic, post-Internet music, performance art, sound installations, audio-visual, new media, and digital network projects. He is a key figure in Cracow’s experimental music scene. In 1977 he set up ‘Muzyka Centrum’ Artistic Association, which became a platform for pursuing his varied artistic interests. For many years he has been associated with, among others, the Electroacoustic Music Studio of Cracow’s Academy of Music and Audio Art festival. A pupil of Bogusław Schaeffer, he has himself educated new generations of musicians and composers who explore the frontiers of contemporary music.

Both artists have collaborated for many long years. This year they invited the young pianist-composer Joanna Duda to join them for their Ad Libitum concert. She is a producer of stage music, and represents the borderland between acoustic and electronic compositions, taking advantage of both the piano and integrated circuits.

Trevor Watts and Veryan Weston have been active in the European improvised music scene for more than 40 years. The former is the only living member of the legendary Spontaneus Music Ensemble, whose impact on the status and importance of the European improvised music world can hardly be overestimated. The latter has been, among others, the musical partner of one of the greatest improvising singers, Phil Minton. What brought these two together has been, from the start, an extremely wide spectrum of inspirations, from contemporary music to jazz to African rhythms. All these elements, albeit in varying proportions and intensity, have contributed to their musical language. Watts and Weston appear to be ideal partners, since they have the extremely rare gift of nearly intuitively understanding and collaborating with each other. Their concerts usually turn into dazzling journeys through music, in which stylistic boundaries cease to exist.

Italian gamba master Paolo Pandolfo presents his fascinating vision of early music and its development over the centuries, shedding light on phenomena in contemporary culture. He stresses the importance of improvisation as a tool for penetrating the work’s structure, aimed at creative work rather than mere reproduction. Being a conscious artist who independently defines his or her own aesthetic stance calls for incessant exploration and for complete commitment, backed up by hard work. Technical perfection should never become an end in itself, however, and dampen the natural enthusiasm derived from artistic creation. Drawing pleasure from whatever we engage in is of overriding importance. 

I saw the best minds of my generation destroyed by madness, starving hysterical naked – these are the first words of Allen Ginsberg’s legendary poem Howl, used by Bogusław Schaeffer in his unique score. Krzysztof Knittel thus commented on the concert entitled ‘sono-sphere-of-the-word’: Are open scores a form of opposition to the white collars and bow ties of serialism? Is repetitive music meant to oppose dodecaphony? What was the influence of the beat generation on transformations in contemporary music? And the impact of the hippie movement, of the slogan ‘make love not war’, and sexual freedom? Of Far-Eastern systems of thought, such as Buddhism and Hinduism? Possibly also of anarchism? Was marihuana pitted against the morning coffee-with-toast? The urge to protest against the establishment and rat race – could it be that these factors impacted new music in the 1950s and 60s? When did the first open and graphic scores appear? Where do intuitive music and free improvisation come from?

Mateusz Kołakowski, then hailed as the ‘child prodigy’ of Polish jazz, from the 12^th year of his life gave regular performances in the most famous clubs in the USA, studying classical piano at the same time. He has won numerous prizes in both classical and jazz competitions.

Peter van Bergen, Dutch improviser and performer of contemporary music, esp. of the so-called ‘Hague School’. Founder of the famous LOOS Ensemble; member of Hoketus ensemble.