Believes that new music is an important tool of social discourse, which means that she does not consider her field as an art of sound but seeks multi-layered meanings, references and links.
Each of the artists, taking up the topic of searching for the sources of one’s identity, has put her personal experiences into the works and interpretations, which — as it happened — are experiences of women.
TOVA is also a joint search of the soloist and composers into the sound values of the flute — both acoustic values, related to the development of modern performance techniques, as well as electronic values, related to various techniques of processing live and recorded sound.
TOVA, in Hebrew: good. The title comes from the culturally deeply rooted Judeo-Christian norm of “female goodness”, the interpretation of which is undertaken by the artists involved in the project.
Draws inspiration from pop-culture, multilingualism, horror literature and sciencefiction. Hence the Internet objets trouvés often used in her works.
In her work, she focuses primarily on color. Her interests are focused on blending different musical genres. She is a composer as well as a songwriter.
Flutist. Curator. Activist.
Karpowicz responds to its [Wajnberg’s Flute Concerto No.1] poignant mood even more successfully than the Russian virtuoso Alexander Korneyev, for whom the work was written, and she is up to every last demi-semiquaver of the work’s fiendishly demanding final bars.
(Mark Glanville, Classical Music Magazine UK)
Technically, the most interesting was Lothar Voigtlander’s piece “entgrenzen… veratmen” for solo flute, in a splendid interpretation by Karpowicz.
(Marta Konieczny, Ruch Muzyczny)
… they (Karpowicz, Sałajczyk, Zemler) were wonderful in the interpretation of „Openings of the Eye” written in 1951, maintained in an advanced, though a bit dry modernist style, in which they managed to give life until the last note.
(Adam Suprynowicz, Ruch Muzyczny)