Prof. Jerzy Marchwiński
CHAIR OF PIANO
CHAMBER MUSIC (CPCM)
Idea and reality
Origins of CPCM
In 1978 professor Bogusław Madey, Rector
of the Fryderyk Chopin Academy, offered me the post of Head of Chair of Chamber
Music. I had a clear vision of that department’s structure and character, and I
accepted on the condition that it would be a Chair of Piano Chamber Music of
the Piano Department and not of a body dealing with the ensemble playing of all
instrumentalists. I did not feel competent to preside over a division concerned
with string or wind instruments. Although the professional and psychological
foundations of ensemble playing are the same for all non-solo performances,
piano playing has its own characteristics.
This is a consequence of the simple fact that a pianist can perform without any
other musicians. One could even think of a pianist achieving world-wide fame
exclusively as a solo performer without any partners except perhaps a
conductor. All other instrumentalists, including singers, are largely dependent
on the participation of a pianist, both in performance and in the learning
process.
I have always believed that one of the most fundamental duties of a Chair of
Piano Chamber Music is to offer a pianist the necessary professional and
psychological tools required for fulfilling this auxiliary role for other
instrumentalists and singers.
Here I would like to pay tribute to the Rector of the Academy, professor
Bogusław Madey, who immediately approved of the idea of a Chair of Piano
Chamber Music charged me with the responsibility of becoming its head. With one
exception, all the subsequent authorities of the academy were equally
enthusiastic. This resulted in the reinstatement in 2002 of the Chair, the
absence of which had been regretted for several years.
Conceptual foundation of piano chamber music and CPCM
·
The relationship between
performers should be based on a willing partnership. Developing partnerships is
surely the most fundamental requirement of any collaboration, including those
involving music. The pianist is a partner of the instrumentalist and the
vocalist, and the instrumentalist and vocalist are partners of the
pianist. CPCM intends to dispense with the concept accompanist and to promote the concept partner.
·
There are two forms of a
pianist’s artistic activity: solo playing and ensemble playing. Should
any conflicts appear between partners they are to be solved by means of
negotiation rather than orders. Both forms of piano playing are complementary:
they both require an array of skills and both call for a non-compromising
pursuit of perfection.
·
The first duty of a musical
academy or university is to educate and shape an artist to be a master of solo
and master of ensemble playing. When a
pianist performs in an ensemble, the relationship between the musicians is
determined by the structure of a musical piece and not by a hierarchy of the
soloist-accompanist type.
·
The leading task of CPCM is
to shape an ensemble performance pianist by offering him/her professional and
psychological background as well as forming the attitude required for this type
of piano playing. Training for the job of a coach, or the so called
‘professional accompanist,’ should take place during post-graduate courses.
·
The "accompanist"
mentality has a negative impact on the final result of a group performance:
even if the influence is not dramatic, it is significant enough to make the
difference between a great and an average performance.
·
The concept accompaniment concerns the relationship
between the leading and accompanying elements of a musical piece and not the
pianist’s part.
The
idea of piano chamber music relies on two assumptions. First, that partnership
between the performers is based on the structure of a musical piece and
consequently on the relation between the leading and accompanying elements of
the work itself. It is not based on the conventional relationship between
a soloist and accompanist. Second, that there are only two forms of a pianist’s
artistic activity: a solo performance, and a group performance. Both forms
require an array of flawless piano
skills.
Artistic and professional aspects
The artistic aspect of piano performance has always been dominant in my
approach to ensemble playing. Although the details of my views may have evolved
over time, and a slight formal transformation has taken place, I still believe
the artistic aspect is the most important one. The significance of the
functional aspect of piano playing is undeniable, yet it is a distinct strand,
calling for a different treatment. Since in my perception poetry
co-exists with prose, the spirit co-exists with the physical and the abstract
co-exists with the concrete, I place artistic matters in the respective realms
of the first concept of each pair, and the professional, functional matters in
the realms of the second. The two realms are obviously inseparable and in all
their fascinating, multifaceted complexity they make for a complete picture of
the pianist-artist as an ensemble performer.
Main obligation of the Piano Department of the Music University (Academy)
The main task of a musical academy or university is, in my opinion, to educate
an artist to be a master of solo and a master of ensemble performance. Training
a student to be a “professional accompanist” or coach should belong to
post-graduate studies, preferably in the sense of the post-MA program, or
alternatively in the sense of M.A. studies. Such training should be conducted
in conjunction with continuous work to perfect the pianist’s skills, and is a
life-long obligation of every pianist, whether soloist or ensemble player.
Structural and conceptual problems of CPCM
Initially, there seemed to be some organizational obstacles, such as
combining two separate subjects taught in the Piano Department, “Accompaniment”
and “Chamber playing,” into one called “Piano chamber playing.” This, however,
proved unexpectedly easy to do. The true difficulty lay in the attitude towards
piano chamber playing that was felt by a part of the music community.
There was a deeply-rooted idea that there are two kinds of pianists: a solo
pianist holding the exclusive right to be called an artist of the piano, and a
non-solo pianist who was obliged to accept a subservient position. The non-solo
pianist would often be denied the status of an artist, or even decent billing.
This view on pianism was by no means confined to the Warsaw community of the
time. The proponents of this outrageously ill-founded and fossilized idea can
still be found world-wide. Relentless attempts at crushing it are inscribed in
the CPCM’s manifesto and encouraged in daily activities.
Implementation of CPCM’s mission
Since I accepted the position of Head Chair, I have been obliged to voice my
opinions and act accordingly, disregarding reactions of astonishment,
irritation and even contempt shown by parts of the community. My efforts
have produced a number of positive effects. Let me just mention one of
them, hoping that this will not be understood as revealing a ‘top secret’ of
the Piano Department Board. The first vote on reinstating CPCM after a
few years of suspension ended in an almost unanimous NO, except for three
members of the board who were chamber piano players themselves. As I remember,
the next vote, which took place some years after the first, ended in an almost
unanimous YES , with only one voice abstaining.
It confirms the exceptional openness and broadness of
mind on the part of the milieu of the Piano Department and the Heads of the
Music Academy in general. I am both proud and happy that it is in this environment that I could,
for more than half a century, fulfill my attempts to put to life the great
wisdom of Socrates, which states that “Pedagogy
be midwifery help in giving birth to another personality”.
I still consider the CPCM experience
to be one of the most fascinating professional adventures of my life, even
though I am no longer formally a member of the University staff. The
adventure would not have been possible without the University’s general atmosphere of
openness to new ideas and the supportive attitude of its authorities, and
without the enthusiasm of a number of free and independent
thinkers. I had easily managed to convince them of my views so that they whole
heartedly supported my struggle for the emancipation and professional dignity
of chamber music pianists.
I mention my adversaries with due respect since our professional arguments
facilitated my full appreciation of the problem and in fact turned out to be
really helpful. Our current mutual contacts are a source of genuine joy for me
as they are characterized by feelings of understanding, solidarity and good
rapport.
A few reflections on teaching “profession” and “vocation” at CPCM
The concept of profession embraces
all the instrumental skills, general musical skills as well as the humanities
and psychological knowledge – everything which actually creates the value of a
performing artist.
“Teaching
the vocation” means chiefly the training
which allows to undertake the role of a
coach who cooperates with
music theatres. Such training is
addressed to persons who make a conscious choice to take up this role.
Professional education has always
been in my view the paramount obligation of the CPCM. Vocational education, although included in
the CPCM's scope of competence, should rather be positioned as a post-graduate
study. In my opinion, the very concept
of such study as well as its implementation in local conditions still require
thorough reconsideration.
Generally it might be possible
within the framework of the hitherto teaching formula followed by the CPCM
to provide professional and vocational
training for a chamber pianist. The
basic scope of professional training might encompass an annual seminar and
practical demonstrations of classes performed by experienced
professionals. The basic condition for
the success of a coach and a pianist-collaborator of instrumental and/or vocal
teacher is the active approach of the interested parties, combined with the
sense of duty of absolute, perfect
preparation for the task at hand.
To avoid any possible
misunderstandings: “vocational training” is by no means an antithesis or
negation of the CPCM's ideals. The whole educational process at the CPCM is based on artistry and
partnership. This foundation, developed and strengthened by the CPCM throughout
the whole period of study, should serve as a basis for the whole artistic life
of a pianist, whenever he sits down to play chamber music in an ensemble.
The present day of CPCM
CPCM’s activities are still concerned with building and strengthening the
ideological foundations. This takes place on two planes: organizational
and psychological.
The plane of organization includes academic curricula, examinations, tests, and
relations with the instrumental department and the vocal department of the
university. Co-operation with the other
departments is vital for establishing links between pianists and other
instrumentalists and singers in the learning process. The psychological plane
involves activities aimed at continuous promotion of the partnerships from the
very moment a student is confronted with ensemble playing.
I also believe it is very important to make a student realize as early as
possible that ensemble playing does not require less perfect preparation than
solo playing. On the contrary, owing to the psychological and professional
complexity of common performance, the expectations may be even greater.
CPCM attempts to introduce ensemble piano playing into the curricula of musical
schools at the primary and secondary level so that ensemble playing may be
taught in conjunction with individual playing at all the levels of musical
education, from primary school to university.
CPCM has also taken steps towards changing the name of the subject called ‘Work
with accompanist’ to ‘Work with pianist’ at the instrumental and vocal
departments of all musical schools. The professional consequences of such a
change would be a new understanding of what collaboration involves, both by the
artists themselves and by the community. Last but not least, this would also
enhance the artistic quality of performance. At the Fryderyk Chopin University
of Music such changes have already taken place.
The idea of partnership is promoted at seminars, conferences, and master
courses devoted to partnership. The benefits resulting from joint performances with
students from other departments are not confined to concerts, but include also
the preparations involving the instrumental and vocal pedagogues. The selection
of concert themes initiated by CPCM and realized jointly with the other
departments include Krzysztof Penderecki’s chamber music, American, French, and
English ethnic music, monographic concerts dedicated to Hugo Wolf or Dmitri
Shostakovich, and even cabaret and musical comedy. These concerts
played a vital role in developing students’ sensitivity to and awareness of the
sense of partnership.
A duo is a kind of arrangement which epitomizes all the ideological and
professional tenets of partnership. CPCM is attempting to establish a regular,
perhaps even annual, competition of duos consisting of a piano and voice, or a
piano and any other instrument (excluding two-piano duos).
There are actions undertaken at CPCM aimed at providing the framework for
training professional coaches who would participate in educating instrumentalists
and vocalists, or who would be employed in opera houses. These actions focus on
post-graduate studies as it is virtually impossible to add more material to the
already overloaded curriculum of the B. A. program. Besides, the decision to
choose a particular form of artistic activity should be made not by first-year
students but by graduates who are mature enough to realize their talents and
preferences as pianists.
I am inclined to think that in the sphere of mental and psychological experiences,
the problems encountered by CPCM in its daily operation do not diverge from
those encountered by others trying to implement changes to the well-established
status quo. The popular saying The devil is in the details is reflected
in the reality of CPCM, too. As a counterpoint, I often quote another proverb: Better the devil you know, than the devil
you don’t know. In the case of the piano chamber music, the metaphorical
devil is to be found in the deeply rooted prejudice regarding the “traditional”
soloist-accompanist relationship. This prejudice, found in some quarters, has
pejorative connotations for all concerned.
CPCM prospects
Considerations of the future prospects of CPCM are inseparably associated with
considerations concerning the future of all the arts, including music. I
personally look into the future without fear, believing in the eternal truth “Ars longa, vita brevis”. I am deeply
convinced that art is invincible, since the desire for beauty, poetry, and
music is inseparable from the human spirit and for this reason I feel no fear
for the future of music and musicians. The realm of high art and performances
of masterpieces seems not to be threatened by the flood of kitsch and media fast food. Great performances attract
huge audiences who come to opera houses and concert halls to enjoy the sheer
beauty of music, even when they are not widely advertised. Hence, my
conviction that an arts university should always remain faithful to its duty,
which is to plant in the minds of youth an interest in art and the need to
strive for perfection.
The Collaborative Performer
In the English-speaking world,
especially America, the term Collaborative
Pianist has appeared in recent years, and is now beginning to replace the
term accompanist. The
former, although positively meant still seems closer in spirit to the sense of
pianistic service. In order to convey the sense of true collaboration and
partnership, it invented a more adequate name Collaborative Performer, also preferred at CPCM.
During the
common performance of a musical piece by a pianist and another instrumentalist
or vocalist, collaboration applies to both parties, not just the pianist. The
pianist is a partner to the instrumentalist in the same way as the
instrumentalist is a partner to the pianist. For the sake of illustration, let
me mention the beginning of the Beethoven’s “Spring” sonata, where in the first
10 bars the pianist accompanies the violinist and in the next 15 the violinist
accompanies the pianist.
The need for reciprocal partnership
figures evidently in all kinds of ensemble performance, including music for the
piano and voice. CPCM considers it to be its natural duty to make this point
clear not only to its own students but also, however tactfully, to
partners collaborating with them. That is why, perhaps, if it were necessary to
find a two-word phrase epitomizing the purpose of the existence of CPCM, it
would be “teaching partnership”.
Unique character of CPCM
Obviously, CPCM is not the only institution in the world dealing with piano
playing in an ensemble. Practically, each musical university has a separate
body dealing with this domain.
The
Chair of Piano Chamber Music if not the only institution in the world is
certainly a unique undertaking. For the first time in the history of university
musical education in Poland and probably abroad, a chair specialising in
ensemble piano performance opened in a piano department. For the first time in
history, two rightful chairs, of solo and ensemble performance, came into being
side by side in a piano department, the stronghold of the pianist-soloist
concept. The Fryderyk Chopin University of Music has the right to feel proud of
its courageous and unique decision.
I am certain that the teaching of partnership by CPCM, providing the
professional and -- what is equally important -- psychological basis for partnership, is possible in the case of all
students. The most significant elements of education are those pertaining
to piano skills and to the awareness of the idea of partnership. These two
elements are also crucial for the professional functioning of all
instrumentalists and vocalists.
Forecasts for CPCM’s future
Predicting the future of CPCM is inseparably tied to generational change. I am unable to foresee
what our graduates will do with the knowledge we have passed on to them.
What they will keep, what they will reject, what will happen tomorrow,
what progress and evolution will bring remains to be seen. The only certainties
seem to be that art will not cease to exist and develop, and that the idea of
partnership is of great value.
The very existence of CPCM proves that the ideas described in this essay are
possible to realize. The atmosphere of partnership being the basis of education
in piano chamber playing results in the young people’s enthusiastic attitude to
their studies. I do hope that the generations to come will preserve that
enthusiasm at CPCM.
Relationship between the spirit and the matter
As I have already mentioned, I consider art, artistic values, partnership,
attitude and other related concepts as being of the spirit, and the problems of
doing the job of a coach or professional accompanist as being more
practical. In this sense, the atmosphere at CPCM undoubtedly belongs to the spirit.
Here the old problem of the relationship between the spirit and the physical
appears. To my mind, the spirit has an almost unlimited power to make things
happen. It is the driving force behind development and progress, having given
the impetus to the creation of “Solidarność” (“Solidarity”) movement, it eradicates obstacles on the way to freedom,
both small or local, and great, such as the Berlin Wall.
Therefore,
it seems that the outlook for the future of piano chamber music in general
and at CPCM in particular is bright. It is based on the deeply felt
conviction that the final triumph of the idea of partnership is inevitable and
that the accompanist mentality, still widespread in the musical community, will
have to yield to it.
The harbinger of partnership
is laboriously making its way to the surface through the stale ground of accompanying.
But it is making its way! In the Fryderyk Chopin
University of Music for instance, only a few years after the launching of the
Chair of Piano Chamber Music, the concept of partnership is blossoming ever
more beautifully and effectively, nourished by the grateful enthusiasm of the
University’s most valuable resource: its Students.
In the final chord of this essay I would like to remind the PT Reader that the
main idea underlying the activity of CPCM is to equip the graduate with the
professional and psychological qualifications for group playing, to educate
him/her in the spirit of partnership and in the awareness of being an artist
employing their talent – the gift bestowed upon them - and the acquired
skills in the service of Art.
Blog: Jerzy-Marchwinski.Blogspot.com
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