(...) Among debuts, I most enjoyed Michal Talma-Sutt's piece Avalon’s Gates for flute and computers (this choice was also confirmed by a warm applause of the festival audience). (...)
Marek Zwyrzykowski 'Forty-year Celebration Marathon'
Ruch Muzyczny XLI/Nr. 23, 16 November 1997
Marek Zwyrzykowski 'Forty-year Celebration Marathon'
Ruch Muzyczny XLI/Nr. 23, 16 November 1997
(...)Still another name should be not forgotten: Michal Talma-Sutt (b.1969). After his composition study with Jerzy Bauer (b. 1936), he came with scholarships to the IRCAM to Paris and to the Staatliche Hochschule für Musik und Darstellende Kunst in Stuttgart.
He was the double winner of the International Rostrum of Electroacoustic Music organized with the support of UNESCO's International Music Council. Talma-Sutt is one of the rare artists who remained unaffected by the spirit of the postmodernism. He trusts rather to modernistic ideals.The renouncement on the popular winking and the resist the temptation to write a musical palimpsest do not come only from the artistic medium but also from the selected aesthetics.
The most importent manifesto of his composers position is Cellotronicum for cello and electronic, one of the best Polish compositions of the few past years. In his work Talma-Sutt uses above all the computer: on the one hand as a musical instrument with new interesting sounds possibilities (Soundscape One), on the other hand as the medium with them it is possible to make an interactive connection between natural and electronic sounds (Avalon’s Gates, Cellotronicum).
Excellent compositional craft and intuition in dealing with the computer allows him in his work to achieve a compressed form of the 'narration '. Therefore even, flaccid, loose fragments that could act as an unnecessary ornament can be found very rarely. His music ist always narrative, dynamic, refined; with exciting game of colours and ever with suprises. Talma-Sutt arranges a quasi mosaics with different elements, in those, a conscious listener can recognize interesting musical indications and aesthetic reminiscences (What Nostradamus has kept only for himself ).(...)
Daniel Cichy 'Young rebels and conservative ones'
neue musikzeitung 2005/04
He was the double winner of the International Rostrum of Electroacoustic Music organized with the support of UNESCO's International Music Council. Talma-Sutt is one of the rare artists who remained unaffected by the spirit of the postmodernism. He trusts rather to modernistic ideals.The renouncement on the popular winking and the resist the temptation to write a musical palimpsest do not come only from the artistic medium but also from the selected aesthetics.
The most importent manifesto of his composers position is Cellotronicum for cello and electronic, one of the best Polish compositions of the few past years. In his work Talma-Sutt uses above all the computer: on the one hand as a musical instrument with new interesting sounds possibilities (Soundscape One), on the other hand as the medium with them it is possible to make an interactive connection between natural and electronic sounds (Avalon’s Gates, Cellotronicum).
Excellent compositional craft and intuition in dealing with the computer allows him in his work to achieve a compressed form of the 'narration '. Therefore even, flaccid, loose fragments that could act as an unnecessary ornament can be found very rarely. His music ist always narrative, dynamic, refined; with exciting game of colours and ever with suprises. Talma-Sutt arranges a quasi mosaics with different elements, in those, a conscious listener can recognize interesting musical indications and aesthetic reminiscences (What Nostradamus has kept only for himself ).(...)
Daniel Cichy 'Young rebels and conservative ones'
neue musikzeitung 2005/04
