This statement has been presented in Warsaw during the
annual meeting of the ECMTA (European Chamber Music Teachers Association), April
29, 2016.
Prof. Jerzy MARCHWIŃSKI
Music Education in
Poland
Introduction
Since
the end of World War II in 1945, the music education in Poland has been based
on the three-level model consisting of primary, secondary and tertiary
levels. hersPrimary music schools are
equivalent to general profile primary schools, secondary schools – to general
profile high schools and tertiary – to universities or academies.
Primary
music schools provide their students with basic information on music and the
remaining two levels prepare them to professional careers in music.
The
number of state primary and secondary schools of music can only be
approximated, as new ones are constantly emergination in Polandg and the existing ones are
undergoing various modifications. Also,
private schools are dynamically developing, following their own rules.
Didactic
requirements at all primary and secondary schools are quite similar in their
character, if not identical. In addition to the recommended curriculum, they
provide quite a lot of space for the creative inventiveness of teachers and
headmasters.
At
present, Poland has 7 Academies of Music and one University - The Fryderyk
Chopin University of Music in Warsaw (The FCUM).
Although
all 7 Academies have also almost similar operating structure of performing and
theoretical faculties, they are de facto independent. The differences in their levels obviously
result from the quality of the professors, the talent of their students which
is a random factor, and perhaps, the type of professional mentality of milieu.
Reflection on the uniqueness
of The FCUM in Warsaw:
Apart
from all the understandable differences in individual musical atmosphere of the
Academies, there is one aspect which creates quite perceptible difference
between them and The FCUM. It is the
attitude to duo performances, particularly involving the piano with singers and
instrumentalists.
Usually, pianist is perceived as a soloist only. When
he performs with another musician, almost exclusively in duo with a singer or
another instrumentalist, he immediately, in more or less camouflaged way is
perceived as accompanist. Yet duo should be the base of partnership!
The FCUM is the
only university level school of music in Poland which has two chairs of equal
importance - the Chair of Piano Solo and the Chair of Piano Chamber Music at
the Piano Department which always used to be mostly the enclave of solo
performances only.
The
concept of artistic partnership forms the foundation of the Chair of Chamber
Music at the Department of Piano. As I
have always understood it, the Department educates masters and artists; its Solo
Chair focuses on educating solo masters and artists, while the Chamber Chair
educates masters and artists of ensemble, duo performances. (It provides also some basic education for
pianists intending to work as accompanists and coaches, that is a kind of craftsmen, but preferably, full
education in this respect should be provided only after graduation).
I am
also almost sure that the majority of musicians consider ensemble performances
including those of pianists, a problem of lesser importance, almost
trivial. In my opinion such perception
is a gross misunderstanding.
After
having a closer, more thorough look at the musical community, one can clearly
notice that there are very few soloists – just a handful of those who can play
and exist totally on their own. The vast
majority are in fact ensemble artists who perform with the support or
participation of others. In this context, the musical partnership seems to be
the most beneficial and creative approach.
All arrangements
in which one performer is privileged and the other subordinate, such as the
soloist-accompanist combination, are detrimental socially and, primarily,
artistically. For instance, violinists who had been formed by their twisted
professors to play Beethoven's Sonatas for Piano and Violin (für Klavier und
Violine!) as violin pieces with piano accompaniment, are plainly embarrassing
and artistically downgraded. (However, let us not confuse this with the work of
a professional accompanist who provides support as a coach and in similar roles). For a fuller picture, it is worth
emphasising that this problem affects a huge number of performers and is by no
means marginal or trifle.
Such
approach of the University, apart from being a positive proof of the openness
of the Warsaw community of musicians, is truly exceptional, valuable and brave.
The FCUM appreciates the concept of partnership and successfully puts it in
practice.
3 final reflections:
1.
If I
were to discuss worldwide music education, the contents and character of my
reflections would be almost identical with those about education in
Poland. The level depending on the
skills and abilities of professors and students who seek their own path towards
the top of the musical Parnassos. This is exactly how it should be. Luckily, there is no uniform, binding system
or even an infallible method of achieving perfection.
2. I had an
opportunity to visit a number of music education centers, including the most
renowned ones. All of them seem to be
similar. They employ various methods,
represent different levels and effectiveness of their educational efforts.
However, all of them have this (more or less) deformed approach to ensemble (duos)
performances, particularly affecting pianists. I had always been able to spot
the craftily camouflaged spectre of the accompanist, hiding behind the noble
declarations on the significance and importance of partnership in duo
performances. Nevertheless, I am sure that
this apparition will at some stage fade into history once and for all!
3.
I
can say without much hesitation that Polish system of music education is
satisfactory and it ensures a suitable professional level of its graduates. In
the course of my international travels I have often asked Polish musicians who
worked abroad in various music centres, how they assessed their professional
education received in Poland. All of
them, without exception, ensured me that they felt well trained, although they
also had some critical remarks. (However,
are there any perfect systems without any drawbacks?) Nevertheless, young
Polish musicians did not feel slighted by their peers, including graduates of
the most renowned international universities and academies. Quite often, they were able to become leaders
of their communities, without much effort on their part.
(jmarchwinski@gmail.com)
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