Violinist Ada Witczyk has firmly established herself as a 21st-century ambassador for classical music, from creating a composition competition during the 2020 lockdown to embarking on international tours and preparing her second album. Through her innovative approach, she has placed Baroque instruments into the contemporary music scene.
During the 2020 lockdown, when much of her work was canceled, Witczyk, who had always struggled with slowing down, needed to find a productive outlet. Alongside her arts manager fiancé, Nick Hardisty, and filmmaker friend Simon Helbling, she came up with the idea to challenge contemporary composers to create new pieces for Baroque violin.
Inspired by the powerful, contemporary music interpretations of the late Czech harpsichordist Zuzana Růžičková, who survived three concentration camps, Witczyk decided to name the competition in her honor. Růžičková’s memoir, aptly titled One Hundred Miracles, seemed a fitting reflection of the competition’s journey.
From the outset, the Růžičková Composition Competition received an overwhelming response. Thanks to the power of social media, composers from all corners of the globe—Poland, Israel, Austria, Mexico, Iran, Peru, Sweden, Thailand, Canada, the US, Indonesia, and beyond—joined in. Five years later, Witczyk is still amazed that more than 250 new pieces have been composed by musicians from every continent.
The competition’s prize offered the three winning pieces the opportunity to be made into professional films. This turned out to be a challenging task, particularly when considering changing restrictions, the need to replace Covid-stricken crew members while on the road, and the scramble to secure last-minute gear and equipment—all within a race against time due to successive lockdowns. To add to the difficulty, the director was based in Switzerland and had to give instructions over the phone. Despite these obstacles, the project came together through the dedication of many individuals who worked tirelessly to create something positive during such a tough time.
The first competition’s winning pieces (available on Witczyk’s YouTube channel) reflect that period in time. Ostinato in 7 by Oscar Gorman-Tysoe speaks of heroism and overcoming adversity. Yellow by Samuel Howley is infused with optimism for the future, while The Spectre by Erik Valdemar Sköld explores the haunting influence of the past on our everyday lives.
Witczyk never expected the competition to grow so rapidly, but it soon became an annual event, with the second and third editions calling on composers to write chamber music for period instruments. Each year, Simon Helbling, with his boundless imagination, transformed the winning pieces into films that were creative and somewhat unconventional for classical music. The choice to use short films with bold visuals was meant to connect with younger audiences who are more accustomed to enjoying YouTube videos of artists like Beyoncé or Dua Lipa rather than attending grand concert halls or opera houses.
The filming locations were anything but conventional—MMA cages, underground car parks, glamorous historic buildings, and gothic churches. The intention was clear: forget the pretentiousness and present classical music in a way that new audiences could easily relate to. The response from online viewers was overwhelmingly positive: “FANTABULOUS!” and “I don’t typically listen to classical music, but I love this!” Live audiences also embraced this fresh approach, with a sold-out lecture-recital at the New Music Gathering at Portland University (USA) and invitations from venues in Italy and beyond.
Witczyk, always eager to experiment and try something new, combined everything learned over the years into the fourth installment in 2023. This time, she created a live concert experience that matched the strong visual presence of their films. Mercato Metropolitano in Mayfair set the stage for the premiere of three new concertos for Baroque violin, a setting that also featured artisan food and drinks.
In 2023, Witczyk embarked on another new endeavor. Impressed by the sensitive and imaginative compositions created for Baroque violin, she commissioned the first five competition laureates to compose short, unaccompanied solo pieces for her debut album New Baroque. Released by First Hand Records, the album received a glowing 10-star review in BBC Music Magazine, along with a mention for ‘instrumental choice.’ The album stands as a testament to the many talented composers who accepted Witczyk’s challenge.
Looking ahead to 2025, Witczyk is preparing to release New Baroque – Sonatas on 28 February, also under First Hand Records. The album will feature the latest competition winners in six brilliant pieces for one or two violins and harpsichord. Witczyk is particularly proud that Simon Standage, her former teacher, contributed to the album, alongside Dominika Maszczynska on harpsichord.
All winning competition pieces have been published by Prima la Musica, and Witczyk extends her thanks to all supporters of New Baroque, especially the Viktor Kalabis and Zuzana Růžičková Foundation and Help Musicians.
With an eye to the future, Witczyk believes that the best music is yet to be composed, and she hopes listeners will enjoy New Baroque.
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