Compositions: Włodzimierz Kotoński, 1959 (1); Paweł Romańczuk, 2013 (2-7)
If I were to look at the ideas promoted by the Experimental Studio against Małe Instrumenty’s practices, I would refer to the concept of music which is – for certain reasons – “impossible”. Studio electronic productions, preparing instruments, using and editing tapes – all those practices once broadened the perspectives of the art of sound. However, the “unreachable” sound combinations produced by Małe Instrumenty could also be considered
as an attempt to overcome the “impossibility” in music. However, both cases are differently time-oriented. The Experimental Studio practitioners were mostly interested in using the newest technologies and exploring a sphere of sounds which do not exist in the music tradition. Within Małe Instrumenty, I mainly search for archaisms which provide the “real sound” with more space and opportunities of functioning.