A large portion of music created in the second half of the 20th century revolves around the story of a meeting between man and machine. Around tales of machines pretending to be living musicians. Or of people pretending to be music-making machines. The solo debut of the flutist Ewa Liebchen is a sentimental recollection of these struggles, which are best reflected by the words of an English poet:
So pleasant while becoming inspiration.
As though unseen upon awakening,
Was driven by divine hallucination!
An ancient mental madness contemplating.
That wondrous loving soul subconscious theme!
For those who had forgotten hope and waking,
To any great fantastic lucid dream!
This timeless mortal mind is very aching.
A strange eternal secret visionary,
Yet another lonely episode!
The thoughts of love forever legendary,
A moment from an endless poem ode.
A wonder where the future falls asleep,
Dream of something like electric sheep.
Znaczna część muzyki drugiej połowy XX wieku to historia spoktania człowieka z maszyną. To opowieści o maszynach udających żywych muzyków. Albo o ludziach udających maszyny do tworzenia muzyki. Solowy debiut flecistki Ewy Liebchen stanowi sentymentalne wspomienie tych zmagań, którego ducha znakomicie oddaje wierze angielskiego poety:
So pleasant while becoming inspiration.
As though unseen upon awakening,
Was driven by divine hallucination!
An ancient mental madness contemplating.
That wondrous loving soul subconscious theme!
For those who had forgotten hope and waking,
To any great fantastic lucid dream!
This timeless mortal mind is very aching.
A strange eternal secret visionary,
Yet another lonely episode!
The thoughts of love forever legendary,
A moment from an endless poem ode.
A wonder where the future falls asleep,
Dream of something like electric sheep.
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