Warsaw Autumn (Warszawska Jesień) , 19-28th September,is a festival with a long tradition and a true witness to music history. It is the only contemporary music festival in Poland on an international scale and with an international status. For many years, it was the only event of this kind in Central and Eastern Europe. Nonetheless, it remains a living organism: it thrives as much as Polish cultural funding and the general condition of music allow. The Festival is organised by the Polish Composers’ Union. The Repertoire Committee, an independent body appointed by the Union’s Board, determines the program of each edition of the festival. Warsaw Autumn is, therefore, an international and nonprofit festival of a nongovernmental association.
Warsaw Autumn was created in 1956, during the thaw that followed years of Stalinist dictatorship. Even though the government quickly abandoned the democratisation course, the Festival continued without interruption (with two exceptions) during the entire Communist era: its finances were secured by the state (up to this day, it is primarily finances from public funds). In the 1990s, Poland’s new economic and social situation threatened the financial stability of Warsaw Autumn. With a new model and procedures of culture financing developed since, the subsequent editions of the Festival may now be planned in a much more predictable way.
It is Warsaw’s cultural flagship. Warsaw Autumn has cooperated with leading Polish cultural institutions including the National Philharmonic, Grand Theatre–Polish National Opera, Polish Radio, Polish Television, Adam Mickiewicz Institute, National Audiovisual Institute, and National Institute of Music and Dance, as well as, significantly, the embassies, cultural institutes and foundations of the many countries whose music is represented at the festival. When Warsaw Autumn has a national or regional theme, the cooperation is very close, such as in 1998 with a Scandinavian programme supported by the Nordic Council of Ministers, Pierre Boulez’s 80th anniversary with French cultural institutions on the 80th anniversary of the composer’s birth, the Polish–German Year in 2005, and the North Rhine–Westphalia Cultural Season in Poland in 2011.
The atmosphere of the Festival has certainly changed in recent years, compared to the early 1990s and earlier. Our concerts have expanded to different venues across Warsaw in search of new audiences: apart from traditional venues such as the Warsaw Philharmonic, Music Academy, theatres, and churches, Warsaw Autumn now also take place in less “classic” places: sports halls, old factories, modern buildings, and clubs. New colour is being added to the Festival by young people, who prevail in the audience. They are not professional musicians or artists: they just participate in culture. As to the music itself, it increasingly often features an electroacoustic layer. Concerts require complex systems of sound distribution. Composers treat space as an important factor of form. They introduce video projections and new technologies. A good example is the audiovisual orchestra concert presented during the 48th Warsaw Autumn Festival. The incredible scenery of the Highest Voltage Hall’s “futuristic” facilities, wonderfully illuminated by Polish Television, became an additional element of the show.