As we look from the point of view of Time, we can say that there were very few people who believed in success of the whole venture. The venture which, according to the Great Theory of Polish Problems, from the very beginning was doomed to failure. That theory advocates that the more ambitious and creative the idea is, the smaller chances are of realizing it. That idea, about which we are talking, was characterised by freshness, imaginativeness and a kind of adolescent naivety which omnipotent Time transformed into quite an original artistic project - one of those which are said to be extremely difficult to find. However, it turned out to be a success. It happened in a bizarre way linking within itself elements of hard work, strong will and a bit of arrogance.

In the meantime, the fruit of the idea which has been mentioned, and which came into being in minds of young and defiant people, has ripened, and, as befits a healthy four-year-old, more and more loudly and more and more importunately it has been driving everyone’s attention to itself. This teenager is R20, a group of musicians who had enough persistence and courage (because in fact it is a kind of courage) to work extremely hard, intensively and charitably in order to create a new quality. Obviously, the final purpose has not been fully accomplished, however, we can speak of substantial success. In a relatively short time, having a budget oscillating around the mystical number Zero, the orchestra managed to organize quite a lot of concerts which, as regard form and content, differ to the great extent from this what is being performed in the fossilized musical environment of Great City and its surroundings.

The Orchestra’s artistic interests concentrate mainly on works which are disregarded greatly by serious listeners of superserious music and scorned by remarkably classical performers of truly classical music. The Music about which we are talking is, needless to say, modern music i. e. a branch of creative activity defined by jovial music lovers in crude and not very sophisticated terms which, obviously, we are not going to quote. That is why the overriding purpose of the orchestra’s activity is performing that unfortunate modern music, the clumsy bastard of great Beethovens and Bachs. It is the overriding purpose but not the only one as a distance toward tradition does not have to mean, and, in this case, does not mean a disparaging attitude toward the Great Past. That is why, apart from pieces musicologically ambiguous, the group performs willingly composers of the Great and Respected presenting them in a way precisely adjusted to the sensitivity of the contemporary Ear. Therefore the orchestra’s repertoire suggestions will satisfy both music lovers, however open and flexible, and real old stagers of (post)modernism. What is more, the stage setting is each time adjusted to the music and circumstances which ensures the whole spectrum of the aesthetic experience from almost classic seriousness to rock-club confusion in a psychedelic style.