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Media coverage

• A Festival in the Making – Maciej Krawiec, Ruch Muzyczny

• Lublin’s Celebration of Improvisation – Maciej Krawczyk, JazzPRESS, September 2022, p. 144

Without hierarchy, without repetition

This was neither a showcase nor a competition. There was no room for hierarchy or the ranking of talents. Instead of dominance—cooperation. Instead of formulas—freedom. Instead of repetition—ephemerality.

Every sound, every gesture, every moment was a one-time record of a relationship between people and space. The audience did not observe the concerts from a distance—it entered them, becoming a co-participant in the process.

Performing in various configurations were, among others: Piotr Damasiewicz, Vasco Trilla, Alex Reviriego, Luís Vicente, Marcelo Dos Reis, Kellen Mills, Dovydas Stalmokas, Aleksandra Drążkowska-Kutrzepa, Jacek Steinbrich, Krzysztof Redas, Jan Michalec, Tomasz Piątek, Michał Stachyra, Agnieszka Górczyńska, Łukasz Downar, Maciej Połynko, Sławomir Księżniak, Tadeusz Cieślak, Marcin Sudziński, Jan Styrany, Grzegorz Lesiak, and others.

Meetings beyond borders

The strength of the project lay in its unexpected personal configurations. Musicians from Lublin met on stage with artists representing the European free improvisation scene. These encounters could neither be predicted nor planned—they emerged naturally from listening, openness, and shared risk.

At the heart of the experience was attentiveness: quick reactions, sensitivity to impulses, and a readiness to communicate beyond words. Improvisation here was more than a technique—it became a language and a way of thinking, and at times even a tool for building a sense of community.

Three Days, Twelve Concerts, Countless Musical Directions

For three June evenings, the Black Hall of Galeria Labirynt transformed into a living laboratory of sound—a crucible in which music was born here and now, without rehearsals, announcements, or predefined scenarios. The seventh edition of Music of the Third Ear brought together more than twenty artists from Poland and across Europe, inviting them into bold, spontaneous creative confrontations. At the core were intuition, trust, and a full openness to the unknown. Instead of a carefully curated line-up, there was process: fluid, organic, and unpredictable.

Over the course of three nights, audiences experienced twelve unique concerts. Each one created its own world—intense and self-contained, existing only for a moment and only within that specific space.

More than twenty artists experimented with sound and form, navigating a broad stylistic spectrum: from minimalist sonic sketches, through intimate interactions built on silence, noise, and gesture, to energetic improvisational explosions and multi-layered structures with an almost dance-like pulse. This was music without genre boundaries—alive, sensitive, and often surprising both for the audience and for the performers themselves.

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