In exchange. Polish musicians and those from the local scene meet at various points in the festival.

A midnight concert as a continuation of the sound-|space experiment "Celestially Light I" at the Altes Stadtbad, in which the violist Neasa Ní Bhriainand the guitarist Kuba Wójcik further develop the sound of 'celestially light' alongside the Leipzig pianist, composer and sound designer Philipp Rumsch and the Polish percussionist-composer Albert Karch, who is also active as a producer in addition to his versatile activities as a musician. 

On October 7, with a minimal lineup, Karch and Rumsch, who met while studying together at the Rytmisk Music Conservatory in Copenhagen and have since collaborated on a wide variety of projects, will present pieces they both came together to conceive in Karch's studio in Warsaw during the long summer of 2019. 

Celestially Light is less about pieces or compositions, but rather about a sound aesthetic: a ground of existence held in vibration, on which more and more voices settle. Like a carpet with loose ends that invites to be woven further and invites us as listeners to climb up and follow the branching paths: From the origin of Celestially Light, a hint at the beginning of the piano piece "Rain Tree Sketch II" composed by Tôru Takemitsu in 1992, to the first album of a series of projects initiated by Albert Karch, such as the eponymous record with the renowned Japanese vocal artist Ichiko Aoba, to the recordings in the aforementioned summer in Warsaw with Philipp Rumsch. Or even the above-mentioned installative walk-through of the Altes Stadtbad. 

A midnight concert as a progression that takes the festival day into the night with meditative sounds. An ambient set that further explores the aesthetic depth dimension of 'heavenly light' and takes the stage as a harbinger of the announced album of the two musicians. 

"Those two words became a kind of manifesto for what I intend to present [...] - music that is sparkling, delicate, quiet... celestially light", Karch says. It was no coincidence, but providence, that he came across these two words, which would probably not have been made to sound like this in any other ears or hands. Created by Horace Walpole, in this case the neologism serendipity certainly meets it most precisely: an incredible find that enriches the music world in an incredible way!