The third season of the THE HIGH NOON series is coming up—a series of concerts where we invite you to listen attentively right in the middle of the day.
On Sunday at noon, we come together to experience music that calls for focus but also allows us to slow down for a moment. We’re interested in the intimacy of sound, an intimate atmosphere, and the chance to listen without rushing—from improvisation and experimentation, through electronic and contemporary music, to fresh takes on tradition.
This fall, we invite you to five events featuring artists from Poland and abroad who, in various ways, are searching for their own artistic language and unconventional approaches to working with sound.
Voices, flutes, and the harmonium will come together with the spiritual traditions of India; Autechre’s compositions will be adapted for acoustic guitar; and ambient and jazz will blend with field recordings. We’ll also hear a flute that uses breath as a full-fledged element of music, as well as forgotten Polish string instruments—the Biłgoraj suka, the Płock fidel, and the Płock chordophone—in new original compositions.
We’ll meet at noon. Please listen carefully.
PROGRAM
October 4, 12:00 PM
Amirtha Kidambi & Angel Deradoorian
Amirtha Kidambi and Angel Deradoorian come together at the intersection of experimentation, improvisation, spirituality, and the musical traditions of their ancestors. Kidambi—a vocalist known for her work with The Elder Ones, as well as her collaborations with Mary Halvorson and Robert Ashley—draws on the Indian tradition of devotional music. Deradoorian, known for her work with Dirty Projectors, Decisive Pink, and Avey Tare’s Slasher Flicks, draws on her Armenian roots. Both artists have spent years developing their own artistic language within Brooklyn’s DIY scene, and as a duo they find a surprisingly shared space. Their voices, flutes, and electronics intertwine into melismatic, polyphonic structures underpinned by harmonium drones and synthesizer pulses. It is meditative music, but far from gentle ambient—full of microtonal tensions, intensity, and a search for new forms of shared sound.
October 10, 12:00 PM
Shane Parish, Autechre (guitar)
Can Autechre’s music be played on a single acoustic guitar? Shane Parish shows that the line between electronic music and instrumental music is far less clear-cut than it might seem. The American guitarist, composer, and improviser treats interpretation almost as a separate form of composition: he breaks existing pieces down into parts, examines their rhythm, structure, and melody, and then rebuilds them using an extremely precise fingerstyle technique. On his 2026 album *Autechre Guitar*, he adapted the compositions of one of the most radical duos in electronic music for the acoustic guitar. Previously, he took on similar challenges with works by Aphex Twin, Kraftwerk, Alice Coltrane, John Cage, and Ornette Coleman. Parish, known for his work with Ahleuchatistas and the Bill Orcutt Guitar Quartet, will demonstrate how techno, electro, and algorithmic electronic music can be transformed into an intimate guitar recital.
November 29, 12:00 PM
Maciej Forreiter
Maciej Forreiter turned his move to the countryside into a starting point for creating his own musical world. A guitarist known primarily for the experimental jazz quartet Sneaky Jesus, as well as the bands Pradziad and SONOMNIA, in his solo work he turns to ambient, improvisation, and music of an almost spiritual nature. The material was created while he was building a house in southwestern Poland—the melodies sketched out late in the evening after a full day’s work turned out to be simple, calm, and direct. Half of the album was recorded in a meadow, along with ambient sounds, and the other half in a wooden house. The warm sound of an old semi-acoustic guitar is combined here with loopers, synthesizers, improvisation, and experiments with sustain. Forreiter’s music may evoke associations with Jeff Parker, Sam Gendel, or Alice Coltrane, but it stems above all from a very specific place and personal experience.
December 6, 12:00 PM
Juli Deák
In Juli Deák’s music, the breath ceases to be an invisible element of her playing and becomes one of the most important instruments. The Polish-Hungarian flutist and saxophonist draws on her classical training but channels it toward improvisation, experimentation, and an intensely physical experience of sound. In her solo project, *The Breathing Project*, she employs circular breathing, overblowing, harmonics, noise, singing while playing, and the rhythmic clatter of the keys. She also amplifies what classical performance practice often tries to hide: loud inhalations, instabilities, pitch deviations, and a rough tone. As a result, a single flute begins to resemble a polyphonic organism where precision meets fragility and spontaneity. Deák has collaborated with, among others, the VENI ensemble, Konstmusiksystrar, and KammarensembleN JazzaJ. Her concert will be a meeting of virtuosity with music that remains alive, physical, and unpredictable.
December 13, 12:00 PM
Karolina Matuszkiewicz
The Biłgoraj suka, the Płock fidel, and the Płock chordophone—instruments that have been virtually absent from active musical practice for years—become tools of a thoroughly contemporary artistic expression in the hands of Karolina Matuszkiewicz. A violinist, vocalist, composer, and multi-instrumentalist, she specializes in string and knee instruments, combining her experience in classical, traditional, and experimental music. In August 2026, she released her debut solo album, *Studnia Dźwięków*: eight tracks, including six original compositions, performed exclusively on three reconstructed Polish folk instruments. Matuszkiewicz has collaborated with, among others, Nikola Kołodziejczyk, Sutari, Karolina Cicha, and Kapela ze Wsi Warszawa, and in 2026 she received the Grand Prix and the Audience Award at the Nowa Tradycja festival. Her solo concert presents tradition not as a closed archive, but as material from which one can create one’s own, deeply personal musical language.
Due to the intimate setting and limited seating, please arrive starting at 11:30 a.m.
Organizer: Palma Foundation
Partner: New Things Are Coming from the Sea
Media Partners: ImproSpot, Glissando, Trojmiasto.pl
The Palma Foundation’s projects on Jaśkowa Dolina Street are funded by the City of Gdańsk as part of the “Social Spaces of Culture” program.
