{"id":10201,"date":"2025-10-31T14:47:51","date_gmt":"2025-10-31T13:47:51","guid":{"rendered":"https:\/\/www.eufonie.pl\/magic-of-the-nature\/"},"modified":"2025-11-18T16:59:14","modified_gmt":"2025-11-18T15:59:14","slug":"magic-of-the-nature","status":"publish","type":"post","link":"https:\/\/www.eufonie.pl\/en\/magic-of-the-nature\/","title":{"rendered":"Discover the magic of nature"},"content":{"rendered":"\n

Song of the Night Mists<\/em> is the latest project from Stefan Wesolowski, released on the British label Unheard of Hope. The album is the conclusion of a trilogy begun with the albums Liebestod<\/g> (2014) and Rite of the End <\/g>(2017). The latter earned the artist a Polityka Passport nomination for expanding his style, creating music that is dark, decadent and, again, highly visual. <\/strong><\/p>\n\n

Wesolowski’s music combines traditional instrumentation with modern techniques, electronics and natural sounds, oscillating between minimalist meditation and expressive intensity. Song of the Night Mists<\/em><\/strong> is an invitation to a musical journey, fostering moments of contemplation and reflection on the beauty of nature, as well as the fragility of human fate.<\/p>\n\n

The project has already been hosted at the East of Culture Festival in Bialystok<\/strong>, where it served as a prelude to this year’s edition of the Eufonie<\/em> Festival.<\/strong> Now, in the Gdansk hall of the St. John’s Center, the concert returns in a new context – as part of the next edition of the festival dedicated to the music of Central and Eastern Europe. On stage with the artist will be: Anna Pa\u0161i\u0107<\/strong> (harp), Olga Anna Markowska<\/strong> (cello), Maja Miro<\/strong> (flutes), Oliwier Andruszczenko<\/strong>(bass clarinet), Hubert Zemler <\/strong>(percussion), and Piotr Weso\u0142owski<\/strong> (organ \/ portative). <\/p>\n\n

November 22, 2025 | 7:00 pm | St. John’s Center \/ Baltic Sea Cultural Center in Gdansk. <\/strong><\/p>\n\n

You can find the program in the description: Stefan Wesolowski \/ Song of the Night Mists<\/a><\/p>\n\n

BUY TICKET<\/a><\/p>\n\n

Euphony, from the Greek \u03b5<\/em>\u1f50\u03c6\u03c9\u03bd\u03af\u03b1<\/em><\/em>, meaning \u201charmony of sounds\u201d, refers to harmony, order and pleasure of listening.1 It means sounds that move us; sounds that open us to a deeper experience of reality. On the other hand, the plural form of this concept, euphonies, can be understood as a metaphor of varied sound languages, although corresponding with each other: many traditions, forms of expression and idioms, which \u2013 instead of being mutually exclusive \u2013 enhance each other. <\/p>\n\n

W\u0142a\u015bnie w takie rozumienie eufonii jako zjawiska wielog\u0142osowego i post-klasycznego, a zarazem estetycznego, wpisuje si\u0119 tw\u00f3rczo\u015b\u0107 Stefana Weso\u0142owskiego. Jego najnowszy album Song of the Night Mists<\/g> (2025), wydany przez brytyjsk\u0105 wytw\u00f3rni\u0119 Unheard of Hope, jest tego dobitnym przyk\u0142adem. Kompozytor (zarazem skrzypek) my\u015bli o muzyce w spos\u00f3b otwarty i niehierarchiczny, tworz\u0105c brzmienia na przeci\u0119ciu muzyki wsp\u00f3\u0142czesnej i ambientu<\/em>, a w jego utworach klasyczne instrumentarium (np. fortepian, flet, tr\u0105bka, organy) wsp\u00f3\u0142istnieje z syntezatorami analogowymi czy nagraniami terenowymi. <\/p>\n\n

Weso\u0142owski draws on many idioms, inspired by Richard Wagner, Karol Szymanowski, certainly also by Aphex Twin or Winfried G. Sebald\u2019s literary oeuvre (a German prosaist). At the same time, he embeds the Song of the Night Mists<\/em> in an almost physical experience of space, recalling, for example, recordings from the Tatra Mountains, somewhere from the Polish-Slovak borderland, or the sound of church organ. <\/p>\n\n

In the Song of the Night Mists<\/em>, there are numerous references to musique concr\u00e8te in the form of samples featuring the sound of a stream, of footsteps in the snow, of a genuine avalanche, the noise of the wind or the crackling of ice. It seems that these sounds are devoid of a human element, but it is implicitly <\/em>present: it is the human who can fully appreciate the majesty of nature, as Kazimierz Przerwa-Tetmajer did, whose poem Melodia mgie\u0142 nocnych [Song of the Night Mists]<\/em> from the volume Poezje. Seria druga [Poetry. The Second Series] (1894) inspired the title of Weso\u0142owski\u2019s album. Poems. Second Series <\/em> (1894) inspired the title of Wesolowski’s album.<\/p>\n\n

The Song of the Night Mists<\/em> closes the trilogy of albums consisting of the CD under a Wagnerian-like title \u2013 Liebestod <\/em>(2014) \u2013 and the album Rite of the End<\/em> (2017), the title of which brings to mind Igor Stravinsky\u2019s The Rite of Spring<\/em><\/em>. The Song of the Night Mists is composed of five pieces, each of which has its own sound narrative while creating \u2013 in relation to the others \u2013 an emotional landscape full of tension and spirituality. It is a mix of traditional instruments with electronics and an experimental approach to the form and space, a manifesto of euphony in a plural form. <\/p>\n\n

Weso\u0142owski bez zb\u0119dnego nadmiaru, wr\u0119cz subtelnie, precyzyjnie balansuj\u0105c wielowarstwowe brzmienia, opowiada o pi\u0119knie przyrody, co uwypukla tytu\u0142ami kompozycji, zaczerpni\u0119tymi z j\u0119zyka geologii. Core<\/em> wprowadza s\u0142uchacza w nastr\u00f3j ambientu<\/em>, konsekwentnie buduj\u0105c dramatyzm przebiegu, tonowany spokojnym brzmieniem fortepianu, a podsycany niepokoj\u0105cymi interwencjami tr\u0105bki. Utw\u00f3r Peak<\/g> ociera si\u0119 o brzmienia industrialne, a Glacial Troughs<\/g> i Stalagmite<\/g> przywracaj\u0105 omal\u017ce hipnotyzuj\u0105c\u0105 atmosfer\u0119. Wilhelm Tombeau<\/g> to monumentalny, prawie trzynastominutowy utw\u00f3r z organami, b\u0119d\u0105cy emocjonaln\u0105, niezwykle osobist\u0105 wypowiedzi\u0105 kompozytora. Finalne, nag\u0142e uci\u0119cie d\u017awi\u0119ku sprawia wra\u017cenie wybudzenia z transu, nieoczekiwanego powrotu ze \u015bwiata zadumy czy muzycznej podr\u00f3\u017cy. <\/p>\n\n

Therefore, at the end of the Song of the Night Mists<\/em>, the composer suggests silence. However, he does not regard sounds as the silence\u2019s ornament or an aesthetic decoration: sounds remain a medium enabling a moment of reflection and contemplation. In this sense, he is a euphonic creator, understanding the concept of euphony not as a matter of course, but as something that needs to be rediscovered. The Song of the Night Mists <\/em>encourages us to pursue our own intimate quests and to create euphony from tensions and unobvious, original harmonies. <\/p>\n\n

* Zob. A. Jarz\u0119bska, Z dziej\u00f3w my\u015bli o muzyce. Wybrane zagadnienia teorii i analizy muzyki tonalnej i posttonalnej, Krak\u00f3w 2002, s. 25, 31. <\/p>\n","protected":false},"excerpt":{"rendered":"

Song of the Night Mists is the latest project from Stefan Wesolowski, released on the British label Unheard of Hope. The album is the conclusion of a trilogy begun with the albums Liebestod (2014) and…<\/p>\n","protected":false},"author":990013,"featured_media":9764,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[143],"tags":[],"class_list":["post-10201","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-aktualnosci"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.eufonie.pl\/en\/wp-json\/wp\/v2\/posts\/10201","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.eufonie.pl\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.eufonie.pl\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.eufonie.pl\/en\/wp-json\/wp\/v2\/users\/990013"}],"replies":[{"embeddable":true,"href":"https:\/\/www.eufonie.pl\/en\/wp-json\/wp\/v2\/comments?post=10201"}],"version-history":[{"count":3,"href":"https:\/\/www.eufonie.pl\/en\/wp-json\/wp\/v2\/posts\/10201\/revisions"}],"predecessor-version":[{"id":10745,"href":"https:\/\/www.eufonie.pl\/en\/wp-json\/wp\/v2\/posts\/10201\/revisions\/10745"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.eufonie.pl\/en\/wp-json\/wp\/v2\/media\/9764"}],"wp:attachment":[{"href":"https:\/\/www.eufonie.pl\/en\/wp-json\/wp\/v2\/media?parent=10201"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.eufonie.pl\/en\/wp-json\/wp\/v2\/categories?post=10201"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.eufonie.pl\/en\/wp-json\/wp\/v2\/tags?post=10201"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}