Sokołowska adds that words and music are treated equally in the play. Holzwege is a collage of different elements – concert, improvisation, musical experiments. As she underlined, music is not an addition, but a ‘legitimate participant and a commentary to what happens among the actors’.
The director Katarzyna Kalwat noticed, that ‘Sikorski is not a widely known composer’. As she said, this was a starting point for the creators' search.
95 per cent of people on the street probably couldn't say who he was. That is why we wondered, whether this play, our search, our struggles give us the possibility to make a pop icon out of Sikorski. We asked ourselves, whether creating an unforgettable persona in a play is even possible. Can this mechanism of creation even exist here?
Tomasz Sikorski (1939-1988) was a pianist and a composer. He studied composition in the Music Academy in Warsaw under the guidance of his father Kazimierz Sikorski, and piano with Zbigniew Drzewiecki. He created sonorist and minimalist pieces. He worked, among other places, in the Experimental Studio of the Polish Radio and as a lecturer in the school he graduated from. He received scholarships from the French and American governments. He composed, among others, Antyfony for a soprano, piano, horn, bells, 2 gongs, 2 tam-tans and tape-recorder (1961-1963), Homofonia for 12 wind brass instruments, piano and gong (1970), Zerstreutes Hinausschauen (Widok z okna oglądany w roztargnieniu na fortepian, 1971), a radio opera The Adventures of Sinbad for a soprano, a tenor, 6 reciters, a female choir and an orchestra (1971-72), Holzwege for a symphonic orchestra (1972), Muzyka nasłuchiwania na 2 fortepiany (editor's translation: Music of intent listening for 2 pianos, 1973) and Samotność dźwięków na taśmę (Solitude sounds for a tape, 1975). He played concerts in Stockholm, Athens, Brussels, USA and Japan.
Author: Anna Legierska, transl. NMR, January 2016.