JAGDJAGD are four hunting signals. The trumpeter Emil Miszk, accompanied by four musicians and co-authors of the compositions: Hubert Zemler, Kuba Sokołowski, Miłosz Pękala and Jerzy Rogiewicz, undertook to interperate them. In the context of biological survival, hunting is an anachronistic and irrational performance of cruelty. The hunting performance is cruel because it is not honest and attempts to defend its legitimacy are based on despicable premises (the animals being fed create new populations, these become surplus, and there appears an ecologically justified need to shoot). Hunting signals are the melodies that accompany the pokot - the ceremony of laying out the game, which crowns the hunt. Placed on their right side, dead animals are bid farewell by a signallist, and a different tune is assigned to each type of game. In JAGD, we are dealing with an attempt to re-appropriate hunting signals, to make them our own again, to annex them to another territory. At the same time, it is an attempt to turn towards animals by symbolically stealing their signs. It is a timid gesture, although a significant one, as it founds the music which - by transforming and distorting hunting signals - is anti-hunting in its substance.
