USC Monogram Polish Music Center Books

POLISH COMPOSERS


HANNA KULENTY

by Maja Trochimczyk

(b. 1961, Białystok)

Brief Biography Details Awards and Commissions Principal Publishers
List of Works Bibliography Kulenty at USC
Manuscripts Works, Bibliography, Discography (Frames)
Composer's official website


INTRODUCTION


Hanna KULENTY (b. 18 March 1961 in Białystok, Poland) began her music education as a pianist in the G. Bacewicz Elementary Music School in Warsaw. From 1980 to 1986 she studied composition with Włodzimierz Kotoński at the Chopin Academy of Music in Warsaw. From 1986-1988 she did her post-graduate work in composition with Louis Andriessen, at the Royal Conservatory of Music in The Hague. She participated in the International Courses for Young Composers organized by the Polish Section of the ISCM, and the International Summer Courses of New Music at Darmstadt. The year 1985 was very important for her career: her composition for symphony orchestra, Ad Unum, received second prize at the European Young Composers' Competition, organized in Amsterdam by the European Cultural Foundation to celebrate the continent's unity. The theme of her work, a dissonant, dramatic and well-crafted study of convergence towards musical unity, was eminently suitable for this occasion. The same piece by the 24-year old composer, performed at the Warsaw Autumn Festival, elicited an enthusiastic response from Jan Weber, a very powerful music critic who warned Kulenty's male colleagues: "Gentlemen, hear and tremble!"

She has received numerous awards and commissions, including the DAAD scholarship to Berlin, Germany (for senior artists in many disciplines), and composition commissions and scholarships from the governments of Poland and Holland. Ms. Kulenty has taught composition at courses and seminars in several European countries; her music has been featured at festivals in Poland, Denmark, England, Germany and Holland. Her music is currently available on three CDs and has been broadcast and recorded in many European countries. In December 1996, the Hamburg Opera premiered her Mother of Black-Winged Dreams at the Munich Biennale. The opera explores the difficult subject matter of "multiple personality syndrome" and touches upon issues of suffering, child abuse, and gender relations. With the scenario penned by a Canadian writer who lives in Holland, Paul Goodman, the chamber work is structured as one huge arch of increasing tension, spanning the duration of the piece.


Kulenty with Goodman and the opera's poster, 1996.

Kulenty's compositional style has evolved during the years. Her earlier music, consisting of many layers of simultaneous "arcs" which begin at different points of their emotional trajectories and proceed at different speeds, often calls for vast instrumental resources (two symphonies, piano concerto, violin concerto). Her preferred medium has been the symphony orchestra which has the richest sound palette, though recently she has written numerous chamber works. Commentators have often compared her orchestral style to Penderecki or Xenakis; she shares their flair for drama, expressive intensity, and relentless, layered rhythms. Formidable technical difficulties make One by One for solo marimba a showpiece of instrumental virtuosity. This work was composed in 1988, published by PWM, and premiered at the Pascal Zavaro Festival, Paris, Radio France, in January 1991. Another solo work, Still Life with a Cellowas commissioned by the Schleswig-Holstein Festival in Germany, composed in 1993 and premiered at the Festival by Polish cellist, Andrzej Bauer. This composition is a counterpart to the earlier Still Life with a Violin composed for Krzysztof Bakowski. Both pieces share a rhapsodic playfulness with time, and a selectiveness of pitch material, though the cello composition is somewhat more repetitive, with more regular rhythmic patterns.


Photo from the premiere of the opera, 1996.

The turn towards minimalism in recent works may be attributed to studying with Andriessen, most of whose students write "minimalist-oriented" pieces. Kulenty calls this phase in her works "European trance music" and often structures her compositions as single, powerful arcs. Good examples of this style are provided by A Fourth Circle for violin and piano (1994) and A Sixth Circle for trumpet and piano (1995). The melodic instrument in A Fourth Circle could be a violin, viola or cello; the work is most frequently performed in the violin version. It was premiered at the New Music Festival, Musikhost, in Odense, Denmark, in 1994; the main theme of the festival was "Three Polish Women: Bacewicz, Moszumańska-Nazar, and Kulenty." A Sixth Circle for trumpet and piano, shares the melodic traits with its predecessor: microtonal inflections and long stretches of held notes in the trumpet, driving ostinati in the piano. Kulenty credits her intuition and the subconscious as the sources for the haunting sonorities and compelling emotional intensity of the music she creates. Whatever the explanation, the result certainly deserves our attention.




MANUSCRIPTS AT USC


Kulenty donates her scores to PMC
September 2000, Polish Composers' Union, Warsaw.

  • AAA tre, for viola, cello and double bass (1988. Manuscript score in black ink, 13 pages on music paper of 36 staves, prepared for facsimile edition by PWM.

  • Trigon, for orchestra (1989). Manuscript score in black ink, 56 pages, on music paper of 36 staves, prepared for facsimile edition by PWM.

  • Perpetuus, for chamber orchestra (1989). Manuscript score in black ink, 44 pages, on music paper of 36 staves, prepared for facsimile edition by PWM.




  • KULENTY ABOUT HER TECHNIQUE



    Cover of Kulenty's LP with Ad Unum.

    An arch is simply a structure of a defined emotional course, of a defined climate, containing a climax. At the same time, an arch does not have to follow a classical course - from the introductory phase, through the climax up to the last sounds. It may begin at any place, for example from the climax. I like to write very much as if the work began from the middle, from the climax. Only later does everything fall into an order in which every arch has its own length, develops in its own way, and not at all simultaneously. This is exactly how both of my symphonies are constructed. [...] A polyphony of arches is an overlapping of several arches, combined in such a way that the work as a whole will have the form of an arch. I also try to arrange the climaxes of particular arches in succession one after another, so that something like a permanent climax is formed.

    I was consciously exploring these techniques in Sesto right after the performance of Ad unum. It was extremely important that I could hear my music, and because of this I wrote Sesto, Quarto, Quinto, Arci. However, later those arches of mine got into my blood and I stopped thinking about them. I simply sit down and write. Actually, already Ad unum was created from the beginning to the end without anything crossed out. The only change was that I rewrote the pencil version in ink. Today I write right away in ink. I am sure of what I do, of what I hear. Just in case, though, I begin writing a work by notating all arches on a card. I simply write about the whole work in words. But once a work exists, I don't change it. [Kulenty on her technique, PWM brochure, 1990]


    Cover of Kulenty's CD "Arcs and Circles," 2001.

    Trigon consist of three arches. The first one is formed by piano and orchestra chords, the second one - by a variety of glissandi in strings, harp and percussion, while the third arch is a spectrum of low bass sounds (percussion and bassoon, which are gradually accompanied by more and more instruments). Each arch has its own development. The climax of the first one has been shaped by a swift sequence of chords, which subsequently fade away. The first arch ends at the top point of the second one: the glissandi culminate in a heterophonic quick movement. The third arch begins at the highest point of the second arch, its entry is "flat" or "horizontal" in spatial terms; thus it does not overlap with the second arch, but rather branches out from it. [Kulenty, note on Trigon, Warsaw Autumn 1992]


    BIOGRAPHICAL DETAILS


    Portrait of Kulenty, 2003.


    Education:
    1976-1980 K. Szymanowski High School of Music, Warsaw (diploma in piano performance)
    1980-1986 F. Chopin Academy of Music in Warsaw, M.A. in composition, studies with Wlodzimierz Kotonski
    1986-1988 Royal Conservatory of Music, The Hague, Holland, postgraduate studies in composition with Louis Andriessen
    1983-1990 Participant in the International Courses for Young Composers, organized by the
    ISCM (Polish Section) in Kazimierz Dolny, Poland
    1984, 1988 Participant in the International Courses of New Music in Darmstadt, Germany

    Appointments:
    Spring 1992: Lecturer at the F. Chopin Academy of Music in Warsaw
    May 1995: Lecturer at the First International Courses for Young Composers in Apeldoorn,
    Holland, organized by the Gaudeamus Foundation
    1996 and 2000: Lecturer at the International Courses for Young Composers, organized
    by the ISCM (Polish Section) in Radziejowice, Poland
    2001: Lecturer at the Seventh International Courses for Young Composers in Apeldoor, Holland, organized by the Gaudeamus Foundation

    Guest Lectures:
    1989 Sender Freies, Berlin, Germany
    1989 Conservatory of Music, Rotterdam, Holland
    1990 Academy of Music, Warsaw , Poland
    1990, 1992 Conservatory of Music, Arnhem, Holland
    1993 York University, England
    1994 Odense and Kopenhagen, Denmark
    1994, 1996 Munich Biennale, Munich, Germany
    1998 Long Beach, USCB Santa Barbara, USC, Los Angeles, USA
    1998 Conservatory of Music, Munster, Germany
    2001 Conservatory of Music, Budapest, Hungary
    2002 Bavarian State Oper, Munich, Germany
    2002 Music Sacrum, Arnhem, Holland
    2002 Conservatory of Music, Łódz, Poland
    2003 Conservatory of Music, Amsterdam, Holland

    Jury Membership:
    1992 Member of the National Jury for the World Music Days of the ISCM (ISCM, Polish
    Section, Warsaw)
    1994 Member of the Jury at the Munich Biennale (Opera Competition)
    2002 Member of the Jury at the International Gaudeamus Music Week
    2003 Member of the Jury at the Serocki Competition, Warsaw, Poland

    Fellowships:
    1990-1991 Deutscher Akademischer Austauschdienst (DAAD), Berliner Kunstlerprogramm
    1993, 1994, 1995, 1996, 1997, 1998, 1999, 2000, 2001, 2002, 2003 Grants from Fonds voor de Scheppende Toonkunst, Holland




    AWARDS AND COMMISSIONS

    Awards:
    1985 European Young Composers' Competition, organized by the European Cultural
    Foundation, Amsterdam, Holland, Second Prize for Ad Unum
    1987 Stanislaw Wyspianski Award, Second Class Award for lifetime achievement
    1987 Young Composers' Competition of the Polish Composers' Union, Second Prize for Ride 1986-1989 Four Prizes in the Composers' Competition of the Warsaw Branch of the Polish
    Composers' Union
    1986 First Prize for Quinto
    1987 First Prize for Breathe
    1988 Third Prize for Cannon
    1989 Second Prize for aaa TRE
    2003 First Prize at the International Rostrum of Composers organized by UNESCO, for Trumpet Concerto, premiered in 2003.

    Commissions:

    1. String Quartet No. 1, commissioned by the Ministry of Culture and Arts,
      Poland, 1984
    2. Arci for percussion solo, commissioned by Stanisław Skoczyński, 1986
    3. Symphony No. 2 for large orchestra and mixed choir, to texts from Spinoza's Ethics, commissioned by Sender Freies, Berlin, 1987
    4. Perpetuus for chamber ensemble, commissioned by De Ereprijs Ensemble,
      Holland, 1989
    5. Trigon for chamber orchestra, commissioned by Rotterdamse Kunststichting, 1989
    6. Piano Concerto No. 1, commissioned by De Ereprijs Ensemble, with funds from Fonds voor de Scheppende Toonkunst, Holland, 1990
    7. String Quartet No. 2, commissioned by the Ministry of Culture and Arts,
      Poland, 1990
    8. Air for chamber ensemble, commissioned by Volharding Orchestra with funds from
      Amsterdamse Kunststichting, Holland, 1991
    9. E for E for harpsichord, commissioned by the Ministry of Culture and Arts for Elisabeth Chojnacka, 1991
    10. Violin Concerto No. 1, version for violin and chamber orchestra, commissioned by
      De Ereprijs Ensemble with funds from School of Dance CNDO, 1992
    11. Passacaglia for chamber orchestra, commissioned by Tage der Zeitenossische Musik, Dresden, 1992
    12. Violin Concerto No. 1, version for violin and large orchestra, supported with a scholarship from Fonds voor de Scheppende Toonkunst, 1993
    13. A Cradle Song for Violin, cello and piano commissioned by Conservatory of Music in Arnhem, 1993
    14. Still Life with a Cello for cello solo, commissioned by the Schleswig-Holstein Festival, 1993
    15. Sinequan for cello solo with delay, sponsored by Fonds voor de Scheppende Toonkunst, 1993
    16. Sinequan Forte A for amplified cello with delay and symphony orchestra, sponsored with a scholarship from Fonds voor de Scheppende Toonkunst, 1994
    17. Sinequan Forte B for amplified cello with delay and chamber orchestra, commissioned by Radio Kamer Orkest, with funds from Fonds voor de Scheppende Toonkunst, 1994
    18. Lysanxia for gamelan and tape, commissioned by Gending Ensemble, Utrecht, with funds from Fonds voor de Scheppende Toonkunst, 1994
      Three works supported with a scholarship from Fonds voor de Scheppende Toonkunst:
    19. A Fourth Circle for violin (or viola, or cello) and piano, 1994
    20. A Fifth Circle for alto flute and delay, commissioned by Carine Levine, 1994
    21. A Sixth Circle for trumpet and piano, 1994-1995
      Three works supported with a scholarship from Fonds voor de Scheppende Toonkunst
    22. Going Up 1 for violin and double bass, 1995
    23. Going Up 2 for chamber orchestra, 1995
    24. Violin Concerto No. 2 for violin and large orchestra, 1996
    25. The Mother of Black-Winged Dreams, opera in one act, commissioned by Munich Biennale, 1995
    26. A Third Circle for piano solo, commissioned by Kees Wieringa, with funds from the Fonds voor de Scheppende Toonkunst, 1996.
    27. Sierra for violin and cello, commissioned by Munich Biennale, 1996
    28. Blattinus for saxophone quartet, commissioned by Sirinks Saxophone Quartet, with funds from the Fonds voor de Scheppende Toonkunst, 1996
    29. Elfen, ballet music for ensemble, commissioned by Academy of Dance, ArhneArnhem funds from the Fonds voor de Scheppende Toonkunst, Holland, 1997
    30. Waiting for... for voice, piano, sponsored with a scholarship from the Fonds voor de Scheppende Toonkunst, 1997
    31. Certus for chamber orchestra, commissioned by ASKO Ensemble, with funds from the Fonds voor de Scheppende Toonkunst, 1997
    32. Part One for orchestra, commissioned by Het Gelders Orkest, with funds from the Fonds voor de Scheppende Toonkunst, 1998
    33. Strettofor flute, clarinet, cello and guitar, commissioned by Warsaw Autumn Festival, with funds from the Fonds voor de Scheppende Toonkunst, 1998
    34. Rapidus for saxophone quartet, sponsored with a scholarship from the Fonds voor de Scheppende Toonkunst, 1998
    35. Harmonium for harmonium solo, commissioned by Dirk Luijmes, with funds from the Fonds voor de Scheppende Toonkunst, 1999
    36. MM-blues for two pianos and two percussions, commissioned by Polish Radio 2, Warsaw, with funds from the Fonds voor de Scheppende Toonkunst, 1999
    37. Decimo for choir in six parts, commissioned by Arnhem Choir festival 2000, Holland, 2000
    38. Symphony No. 3 for symphony orchestra, commissioned by Het Gelders Orkest, with funds from the Fonds voor de Scheppende Toonkunst, 2000
    39. Drive Blues for piano, commissioned by Marcel Worms, with funds from the Fonds voor de Scheppende Toonkunst, 2000
    40. Flute Concerto No. 1 for flute (amplified with optional delay) and chamber orchestra, commissioned by the Ereprijs with funds from the Fonds voor de Scheppende Toonkunst, 2001
    41. Asjaawaa for mezzo-soprano, flute, harp, piano, percussion, electronics, commissioned by the ensemble WireWorks, with funds from the Fonds voor de Scheppende Toonkunst, 2001
    42. Crossing Lines for violin, clarinet, piano, commissioned by Bavarian State Opera
    43. Trumpet Concerto, for trumpet solo and symphony orchestra, commissioned by Polish Radio 2, with funds from the Fonds voor de Scheppende Toonkunst, 2002
    44. Hoffmanniana, opera in two acts, to a libretto based on the last screen-play by Andrei Tarkovsky, commissioned by Theater zum Westichen Stadthirschen, Berlin, with funds from the Fonds voor de Scheppende Toonkunst, 2001-2003
    45. Piano Concerto No. 3, for piano solo and chamber orchestra, commissioned by ensemble Ereprijs, with from the Fonds voor de Scheppende Toonkunst, 2003

    1996 premiere of The Mother of Black-Winged Dreams.



    PRINCIPAL PUBLISHERS

    Works until 1994 published by PWM Edition

    PWM Edition (PWM)
    Polskie Wydawnictwo Muzyczne
    al. Krasinskiego 11a
    31-111 Krakow, Poland
    Tel/Fax: 48--12--822-01-74
    E-mail: internet@pwm.com.pl

    Distribution in North America (USA, Canada, Mexico) by Sole Agent of PWM:

    Theodore Presser Company
    Presser Place, Bryn Mawr
    Pennsylvania 19010
    Fax: 215/527 7841

    Most works composed after 1994 published by Muziekgroep Nederland (Donemus),

    Paulus Potterstraat 14
    1071 CZ Amsterdam
    The Netherlands
    Phone: 31 (0) 20 305 89 00
    Fax: 31 (0) 20 673 35 88
    E-mail: info@muziekgroep.nl


    LIST OF WORKS

    Stage Works
    Przypowieść o ziarnie [Parable of the Grain], Monodrama to texts from Three Women by
    Sylvia Platt (in Polish transl.), composed in 1985 (PWM), premiered at a 1985
    PTMW Concert in Piwnica na Wojtowskiej, Warsaw

    The Mother of Black-Winged Dreams, Opera in one act, composed in 1995 (Donemus).
    Libretto in English by Paul Goodman. Premiere at the Munich Biennale 1996,
    Hamburg Opera (9 December 1996, repeat performances 10-13 December),
    Director: Claus Guth.

    Hoffmanniana, Opera in two acts, composed in 2002 (Donemus). Libretto in German by Erik
    Aufderheyde.


    Premiere of Parable of the Grain, with Wielecki and Kulenty, 1995.

    Works for Orchestra and Large Ensembles

    Ad unum, for symphony orchestra, composed in 1985 (PWM), premiered by N.O.S. Radio

    Orkest Hilversum, cond. David Porcelijn, Groningen, September 1985.

    A few minutes for Ereprijs, for chamber ensemble, composed in 1992, unpublished,
    premiered in April 1992 by De Ereprijs, Arnhem

    Air, for chamber ensemble, composed in 1991 (PWM), premiered in September 1991,
    by De Volharding, Amsterdam

    Breathe, for string orchestra, composed in 1987 (PWM), recorded by Amadeus Orchestra,
    cond. Agnieszka Duczmal, Poznan

    Going Up 2, for chamber ensemble, composed in 1995 (Donemus), premiered at the
    "Warsaw Autumn" 1995, by De Ereprijs

    Part One first part of the 3rd Symphony for symphony orchestra, composed in 1998 (Donemus),
    premiered in April 2000 by the Het Gelders Orkester, Arnhem

    Passacaglia, for orchestra, composed in 1992 (PWM), premiered in October 1993, Dresden,
    Orchestra from Berlin

    Piano Concerto no. 1, composed in 1990 (PWM), premiered by De Ereprijs, with Jaroslaw
    Kapuscinski, piano, in September 1990, Arnhem

    Piano Concerto no. 2, composed in 1992 (PWM), premiered at the "World Music Days"
    ISCM Festival, Warsaw, May 1992, by National Philharmonic Orchestra,
    Andrew Ball, piano.

    Perpetuus, for chamber ensemble, composed in 1989 (PWM), premiered in October 1989 by
    De Ereprijs, Arnhem

    Quatro, for orchestra, composed in 1986, not performed, unpublished

    Trigon, for orchestra, composed in 1989 (PWM), premiered at the Festival of Young
    Composers "Confrontaties," Rotterdam, November 1989

    Sinequan Forte A, composed in 1994 (Donemus), not performed

    Sinequan Forte B, for orchestra and cello, composed in 1994 (Donemus), radio recording by
    Radio Kamer Orkest, cond. Peter Etovos, with Mathias Muller, cello, 26 May 1996

    Symphony no. 1, composed in 1986 (PWM), premiered by the Danish Radio Orchestra,
    "Warsaw Autumn" 1989

    Symphony no. 2, composed in 1987 (PWM), to texts from Spinoza's Ethics, premiered in
    Berlin, 26 May 1989, SFB Radio, orchestra conducted by Peter Hirsch

    Symphony no. 3, composed in 2000 (Donemus), not performed

    Trumpet Concerto, for orchestra and trumpet, composed in 2000 (Donemus), premiered on 3 March 2003 in Katowice, Poland by Marco Blauw as the soloist with the WOSPR Orchestra (National Polish Radio Orchestra of Katowice), under the direction of Belgian conducter Ronald Zollman.

    Violin Concerto no. 1, version for chamber orchestra, composed in 1992 (Donemus), premiered
    by De Ereprijs and Krzysztof Bakowski, violin, as music for a ballet by Tony
    Thatcher, realized by CNDO, Arnhem, November 1992

    Violin Concerto no. 1, version for large orchestra, composed in 1993 (PWM), premiered by
    WOSPRiT, conducted by Antoni Wit, with Krzysztof Bakowski, violin,
    "Warsaw Autumn" 1994

    Violin Concerto no. 2, composed in 1996, (Donemus), premiered in June 2000 by the Het
    Gelders Orkester, conducted by Jurjen Hempel, with Isabelle van Keulen,
    violin

    Works for Chamber Groups

    Arcus, for three percussionists, composed in 1988 (PWM), premiered by the Cracow Percussion Group, directed by Jan Pilch, February 1988, Herkulessaal, Munich

    aaa TRE, for viola, cello and double bass, composed in 1988 (PWM),
    premiered in Cracow, 1989

    A Cradle Song, for violin, cello and piano, composed in 1993 (PWM), premiered by Krzysztof
    Bakowski, violin, Andrzej Bauer, cello, and Pawel Kamasa, piano,
    Munich Biennale, May 1994

    A Fourth Circle, for violin (or viola, or cello) and piano, composed in 1994 (Donemus),
    premiered at the New Music Festival, Musikhost, Odense, Denmark, 1994

    A Sixth Circle, for trumpet and piano, composed in 1995 (Donemus), premiered by Tal Bar-Niv,
    trumpet, Sergei Silvansky, piano, Los Angeles, USA, 1998

    Asjaawaa, for mezzo-soprano, flute, harp, piano, percussion and electronics, composed in 2001 (Donemus), premiered by Ensemble WireWorks, in Budapest, Hungary,
    October 2001

    Blattinus, for saxophone quartet, composed in 1996 (Donemus), commissioned by Sirinks
    Saxophone Quartet, premiered in February 1997 in Amsterdam

    Cannon, for violin and piano, composed in 1988 (Donemus), premiered by Krzysztof Bakowski, violin, and Jaroslaw Kapuscinski, at a 1989 "Promotion Concert" of the PWM,
    Warsaw

    Certus, for chamber orchestra, composed in 1997 (Donemus), premiered by the ASKO ensemble directed by Stephan Asbury, Paradiso Amsterdam, December 9, 1997

    Crossing Lines, for violin, clarinet and piano, composed in 2000 (Donemus), premiered by
    members of the Bavarian State Opera, in March 2002, Munich Germany

    Decimo, for six-voice choir, composed in 2000 (Donemus), premiered at
    "Arnhem Choir Festival 2000" in June 2000, Arnhem, Holland

    Elfen, ballet music for chamber orchestra, composed in 1997 (Donemus),
    premiered on May 28, 1997 by Ereprijs in Arnhem

    Flute Concerto No. 1, for flute (amplified, optional delay) and chamber orchestra,
    composed in 2001 (Donemus), premiered by de Ereprijs and Anne LaBerge, flute,
    Arnhem, Holland

    Going Up 1, for violin and double bass, composed in 1995 (PWM),
    premiered in May 1995, in Munich

    Lysanxia for gamelan and tape, composed in 1994 (Donemus), premiered
    by Gending Ensemble, in October 1994, Enschede, Holland

    MM-Blues, for two pianos and percussion, composed in 1999 (Donemus), premiered
    by the Hammerhead Consort at Polish Radio 2, June 2000

    Quinto, for two pianos, composed in 1986 (PWM), premiered by Szabolcs Estenyi
    and Jerzy Witkowski, pianos, at the "Warsaw Autumn" 1987

    Rapidus, for saxaphonsaxophone, composed in 1998 (Donemus), premiered
    by the Aurelia SaxaphonSaxophonet September 1998, Utrecht, Holland

    Ride for six percussionists, composed in 1987 (PWM), premiered by the Warsaw Percussion
    Group, directed by Stanislaw Skoczynski, at the Academy of Music, Warsaw,
    June 1987

    Sierra, for violin and cello, composed in 1996 (Donemus), premiered on 11 December 1996,
    Munich

    Stretto, for flute, clarinet, cello and guitar, composed in 1998 (Donemus),
    premiered at "Warsaw Autumn" 1998

    String Quartet no. 1, composed in 1987 (PWM), not performed

    String Quartet no. 2, composed in 1990 (PWM), premiered by the Balanescu String Quartet,
    Huddersfield Festival, 1990

    Waiting for..., for piano and voice (text), composed in 1997, premiered by
    Robert Nasveld (piano) and Leuwe Visser (voice) on 21 NovermbeNovemberdd>in the IJsbreker, Amsterdam

    Works for Solo Instruments

    Arci, for percussion solo, composed in 1986 (PWM), LP recording by S. Skoczynski, Warsaw

    A Fifth Circle, for alto flute with delay, composed in 1994 (Donemus),
    premiered at Dresdener Tage für Zeitgenossische Musik, Carine Levine, alto flute,
    1994, Dresden

    A Third Circle, for piano, composed in 1996 (Donemus),
    premiered by Kees Wieringa in December 1996, Holland

    Cadenza, for violin solo and delay, composed in 1992 (PWM),
    premiered by Krzysztof Bakowski, 1992, Studio S-1, Warsaw, 1992

    Drive Blues, for piano, composed in 2000 (Donemus),
    premiered by Marcel Worms in February 2001, Amsterdam, Holland

    E for E, for solo harpsichord, composed in 1990-1991 (PWM),
    Polish premiere by Elisabeth Chojnacka, Warsaw Autumn Festival 1992,
    Academy of Music

    Harmonium, for harmonium, composed in 1999 (Donemus),
    premiered by Dirk Lujimes in August 1999, Holland

    One by One, for solo marimba, composed in 1988 (PWM),
    premiered at Pascal Zavaro Festival, Paris, Radio France, January 1991

    Sesto, for piano, composed in 1985 (PWM), premiered by Jaroslaw Kapuscinski at
    "Warsaw Autumn" 1985

    Sinequan, for cello, composed in 1993 (PWM),
    premiered by Andrzej Bauer, at the National Philharmonic Hall, Warsaw,
    November 1993

    Still Life with a Cello, for cello, composed in 1993 (PWM), premiered by Andrzej Bauer,
    at Schlezwig-Holstein Festival, 1993

    Still Life with a Violin, for violin, composed in 1985 (PWM),
    premiered by Krzysztof Bakowski, at the vernisage, at the National Museum,
    Warsaw, 1985

    Three Minutes for the Double Bass, composed in 1983 (PWM),
    premiered by Tadeusz Wielecki, Darmstadt, July 1984

    Electroacoustic Music

    Prosba o Slonce [Request for the Sun] , for tape, realized in 1984, at the Electronic

    Music Studio, Academy of Music, Cracow, premiered at Darmstadt, 1984

    Souvenir from a Sanatorium, for computer TX816, McIntosh, Yamaha KX88, and
    Synclavier, composed at premiered in 1988, at the Courses for Young Composers,
    Parczew, Poland




    SELECTED BIBLIOGRAPHY

    Catalogues, promotional brochures:
    Hanna Kulenty PWM Edition (1990, 1992, 1993)
    Hanna Kulenty Donemus (2003)

    Theses:
    Cordula Jasper: Zur asthetik der musikalishen form bei Werken fur Schlagzeug solo M.A. thesis, Technische Universitat, Berlin 1996 (with analysis of Arci)

    Articles:
    Ługowska, Marta: A typical woman. Conversation with Hanna Kulenty Polish Music/Polnische Musik 24 no. 4 (1989): 16-23.

    Padding,Martin: Essay in the Program Booklet of the Music Festival of Young Generation Composers Confrontaties Rotterdam 1989

    Rasmussen, Per Erland: Gentlemen, hear and tremble!' Komponisten Hanna Kulenty in Program Book of New Music Festival Musikhost 94, ed. P.E. Rasmussen, Odense, Denmark: Fyns Unge Tonekunstnerselskab, 1994

    Solinska, Ewa: Article in Zycie Warszawy, 1992.

    Other interviews:
    with Marietta Morawska-Bungeler (Cologne), Beata Stylinska (Warsaw, Polskie Radio), Volke Rabe (Swedish Radio),
    Cordula Jasper (Zersplitterte Gefuhle: Ein Portrait der Polnischen Komponistin Hanna Kulenty; SFB Radio, Berlin, 1996)

    Selected reviews from Poland:
    Jan Weber (Zycie Warszawy 1986, no. 223), Bohdan Pociej (Ruch Muzyczny 1988, no. 19; 1989 no. 14),
    Elzbieta Szczepanska (Ruch Muzyczny October 1995).


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