Maria Pomianowska - Dance Of Suka

1. Oberek Pandemiczny / Pandemic Oberek Maria Pomianowska
2. Dance II Anonymous (XVII)
3. Rondeau Fi, Maris De Vostre Amour Adam de la Halle (XIII)
4. Praesulis Eminenciam Piotr z Grudziądza (XV)
5. Moja Pani Matko / Mother Of Mine Anonymous (XVII)
6. Lamento Di Tristano & La Rotta Anonymous (XIV)
7. Poloness Serra Anonymous (XVII)
8. Tourdion Anonymous (XVI)
9. Dance IX Anonymous (XVII)
10. Wyrwany Anonymous (XVII)
11. Dance XI Anonymous (XVII)
12. Dzikość / Wildness Maria Pomianowska

Maria Pomianowska – Biłgoraj suka, Mielec suka, Płock fiddle
Karolina Hulbój – cello, wspak
Sebastian Wypych – double bass
Arad Emamgholi – daf
Wojciech Lubertowicz – frame drums

Arrangements: Maria Pomianowska (03, 04, 06, 08, 10), Jacek Urbaniak (07, 11), Maria Pomianowska & Jacek Urbaniak (02, 05, 09).

Dance of Suka is a continuation of my original project from 2016 called The Voice of Suka (For Tune catalog no: 110). The premise behind Dance… is to present early dances dating from between the 13th and 17th centuries, written out for Early Polish knee fiddles: the Biłgoraj suka, Mielec suka, Płock fiddle, bass suka and wspak as well as drums and a modified double bass. Original works by early composers here serve as a pretext for the accomplished instrumentalists invited to the project to present their own visions of this music. In our age, especially in these times of globalisation, music from 600 or 400 years ago offers a chance to preserve truth in art – art that is expressed spontaneously and leaves a touch of selflessness in the creative act. There are many marvellous recordings of early-instrument ensembles that could be a model for interpretations built on a sound aesthetic from centuries ago. My idea was slightly different. It was based on the connection between early dances and peasant music. The 13th–17th centuries were marked by a slow process in which a boundary developed between folk and court music. To me, my fascination with the old-worldliness, uniqueness and simplicity of folk music is like looking for traces of the musical archetype. Folk art has its own, autonomous beauty. Perhaps that is why it has been a focus of interest for professional composers for centuries. Improvisation, on which artists in olden times based their performances, has become an important aspect of our interpretation of works drawn from lute and organ tablatures. However, our complex improvisations go far beyond the stylistic and technical framework of the period between the 13th and 17th centuries. I received the sheet music for most of the early dances from one of Poland’s most outstanding interpreters of early music: Jacek Urbaniak. The works have been drawn from many sources, including John of Lublin’s organ tablature, the Gdańsk Tablature, Vietoris Codex, a manuscript from the Jagiellonian Library, Matthaeus Waisselius, and Wojciech Długoraj. The whole sounds more like trance’n’roll than courtly music. This is a meeting of maestros, a musical adventure made significantly richer by the creative elements that each of the featured instrumentalists brings. Maria Pomianowska

Recorded 24-26 June 2020 at Studio Dwa Domy in Warsaw (Poland).

Recording, mix & master: Michał Kupicz || Design: For Tune® || Cover: Guido Vermeulen-Perdaen

Label: For Tune 2024
cat. No 0168(029)
format: CD, digipack