Prof. Jerzy
Marchwiński
THE CONCEPT OF A DUO
This essay is not intended as a
collection of textbook phrases, guidelines
or advice. I
hope that my kind audience and readers are ready for a set of highly subjective reflections on the
fascinating relationship between performers
which is a duo.
It seems that one can either live alone or in a relationship
with others. I do not see any other
option. And a duo, that is two persons being together, is the most
basic arrangement of togetherness; amplified, it can reach the dimension of a
nation.
This division is also true for the world of
music. A musician can either play on his
own, or with others. No other option is
available. Duo is the smallest possible
ensemble, and it can expand into larger ones, up to the level of the grand
philharmonic orchestra.
Consequently, a soloist is the only musician who plays a piece on his
own, performing all its components (although a music work is a unity, it consists of many elements: melody, rhythm, harmony, counterpoint, dynamics, agogics, articulation, form and emotional contents) and taking full responsibility for it,
without any external assistance or involvement. All the others perform in a team
and therefore count as ensemble performers.
The partnership between two performers
who enjoy their freedom seems to me the most efficient and creative
relationship between ensemble artists.
The relationship between them is structured by the composer who
determined the distribution of leading and accompanying elements. The performer
of the leading element is at that moment the star, and the performer of the
accompanying element plays a secondary
part. In most of the works, these roles
interchange. After a few bars during which
one of the artists is clearly a leader, almost a soloist, a switch occurs
and he turns into a subordinate character performing the accompaniment.
The
soloist/accompanist arrangement is clearly the antithesis of partnership. In such
arrangement one of the performers plays
by definition as a soloist, enjoying a privileged position, and the
other takes up the subordinated role of an accompanist which has attracted many
negative connotations.
The traditional education of a
musician and pianist in particular focuses on solo performances to a
considerable extent. The education in ensemble work is provided out of courtesy
and it still remains marginal.
I view it as very unfortunate, as in
my opinion the ultimate goal of educating a musician includes, in varying proportions, the ability
to perform solo and in an ensemble.
Obviously, such proportions depend largely on one’s aptitude and
personal interests.
The education of a soloist, all and any style
differences considered, is based on a uniform
foundation and character. This concerns also the ensemble education, apart
from the obvious instrumental and aesthetic differences.
Essentially, a duo of pianists does not differ from a duo of a
pianist and a singer or a pianist with an orchestra understood as a single
instrument. The list of basic duties and obligations which are expected from
the partners is identical for all ensemble performers.
·
Professional skills of artists on all the
three levels: pupils, students and mature performers, are an obvious expectation and will not be
discussed here. I have never had a problem in
formulating varied instructions to persons from each of these groups:
pupils, students of my master classes
and independent, mature artists who
approached me for advice or evaluation.
·
It is necessary to be perfectly prepared
already for the first rehearsal with the partner.
·
It is not only necessary to learn one’s own part,
instrumentally and structurally, but to get well acquainted with the partner’s
part – in other words, with the whole musical work.
·
I recommend emphatically to focus, right from
the first contact with the work, on the goal of
playing by heart.
·
One should respect the expectations of partnership which in brief include the
following: joint responsibility for
the whole performance, respect for the partner, openness to dialogue, readiness
to accept the differences of the partner,
the inside space, the ability to hear oneself and the partner
simultaneously, the culture of
togetherness, the confidence in the partner, the ability to accept compromise and a skill of tactful tension /problem solving.
·
I truly recommend that the professional
skills and dispositions of the partners should be on a similar level. A
disproportion between them creates a difficult and graceless situation, such as
a piano duo of Martha Argerich and Alexander Rabinovitch. She was phenomenal
and he mediocre. Martha’s phrases are
exquisite but when Alexander repeats them, boredom descends.
I chose not to discuss any interpretation and aesthetic aspects, as de
gustibus non est disputandum. The above list may serve as a reliable foundation for the success of a duo,
at least to a considerable extent.
Actually, it can be applied to any
ensemble performance. It provides staunch foundation for the spontaneous development of the natural desire
to interpret music and undertake aesthetic choices.
At this moment, it may worthwhile to
discuss the natural selection. It happens quite often that two able or even
talented performers who are perfectly prepared professionally and are full of
good intentions, just cannot reach an understanding. Perhaps it is due to the
mentality, sensitivity and character, just
as it happens in ordinary life?
Why two people who are good and
sensitive enough, simply cannot live
together? I seek the answer in vain! It
seems to be a part of the mystery which is a human being. Perhaps it should stay undisclosed?!
Email : jmarchwinski@gmail.com
Blog: Jerzy-Marchwinski.Blogspot.com
Warsaw, February 5, 2018
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