PARTNERSHIP IN MUSIC. Scientific and Methodical Session in Licheń, September 19-21, 2019

Prof. Jerzy MARCHWIŃSKI

Rejowiecka 17A

PL 04-897 WARSZAWA

Tel/Fax: (+48-22) 872 1500

Mob: (+48) 601 235 576

E-mail: JMarchwinski@gmail.com

Blog: jerzy-marchwinski. Blogspot.

Personal reflections on the occasion of

PARTNERSHIP IN MUSIC,  Scientific and Methodical Session

Lichen, September 19-21, 2019

Dear Audience,

1.     Let me begin with extending thanks to Professor Andrzej Chorosiński for inviting me as an honorary guest to this unique, important Session. I consider it a great distinction to be here with you. I have known Professor Chorosiński for many decades. It is admirable that throughout his life, he has been consistently focusing on the Art and caring for the artistic value of his work, despite all the intricacies of our everyday reality.

2.     Professor Chorosiński is a grand master of the organ. In my view, this unique instrument is extraordinary for two reasons: on one hand, it is an amazing, incredible music instrument, having all its wonderful characteristics and special features; on the other – it serves the transcendental aspect of the human condition, due to its centuries-long connection with religion.

3.     The religion, and The Christian religion, in particular, has always manifested a deep and natural need for art and beauty, noticeable in architecture, painting and, obviously, in music. It seems that music has been the means of expression for a full range of religious experiences: joy, mourning, prayer, exaltation, exhilaration, and drama. For ages, it has accompanied or rather partnered the human voice in singing and in dialogue with the congregation.

4.     According to my personal criteria, valuable art is confined within the extremes of kitsch and masterpiece, and I am convinced that Christian art, throughout its history, has definitely gravitated much closer towards masterpiece than towards kitsch. The beauty of those paintings, sculptures, and edifices is breath-taking. Most temples, pictures, plafonds, pietàs in art and antiphons, chorales, responsories and hymns in music seem to be pure prayer even to persons like me, who do not identify themselves with any religion.

5.     As I have already mentioned, the problem with the organ is definitely twofold. On one hand, it is like any other musical instrument, irrespective of its complexity and unique character; on the other, it is a preferred instrument serving the cult, religion, faith and spiritual matters. I am less interested in the first aspect which is purely instrumental and professional. Frankly, I might decline the invitation to a Session devoted to the organ as such, or even to the piano, string or brass instruments. Their subject seems to be limited to the artistic community and therefore is rather rarefied. However, I was truly happy and keen to participate in this Session devoted to the interaction of the instrument with the cult, the active presence of the organ in the temple and its contribution to the mysticism of the ceremonies. Actually, the organ fits equally well in the concert hall and in the church.

6.     I was truly awed by the phrase I found in the scenario of the Session: the search for beauty in the liturgicalccompaniment. It perfectly expresses the quintessence of this Session. Although I do not participate in church services, I attend them at times. Regrettably, they hardly ever approximate beauty. Quite often, the excruciating sound of poor-quality instruments combined with the ineptitude of some ignorant organists becomes unacceptable and prompts one to leave the church rather than pray. In some cases, it is regrettably much closer to kitsch than to masterpiece, even in prominent TV programs. It is a rare occasion to listen to a competent and talented master of the organ; in most cases, it happens quite unexpectedly. If it happens, my ecstasy reaches its peak, and I am truly, entirely happy.

7.     It would be unfair to generalize, but once, when I dropped by chance in the Notre Dame Cathedral – before it was hit by the cruel event of fate – it was brimming over incredibly beautiful musical narrative offered by one of the organ masters working in that Parisian temple. I was awed by that mystical, unforgettable moment.

8.     In my view, the main purpose and reason for this Session is to transmit the knowledge and musical know-how from the masters to the young adepts of the art, teaching them how to partner the faith, the religion, and first the faithful – with wisdom and beauty. This meeting actually deserves the name of the Symposium – a Greek feast, which is associated with art, while the term Session is more scientific. It is an extremely valuable and important, or perhaps even a pioneering event which focuses on improving the live presence of music in the everyday reality of the church. In my view, it is also an important step towards mastery and perfection, which will eventually eliminate musical ignorance and tackiness from the temple.

9.     The audience of organ music is not a typical music-loving crowd from the philharmonic hall. Its members want something more than the music to which a standard concertgoer is accustomed, as they, at least in theory, desire to submerge themselves in the atmosphere of prayer; this is exactly the reason for which they go to the church. And the musicians should not disturb them!

10.   The partnership between two performing musicians is a phenomenon different from the unique, and ultimate partnership between a playing and singing performer and a member of the audience who listens to his art and sometimes participates in it by singing. I am positive that such a marvelous kind of partnership between the master and the listener – that is between the organist and the congregation, can be taught and cultivated. Actually, I have always done my best to show my students that the music which they perform to the best of their skills and talents should not serve them but their audience which needs and expects art. This is the essence of the musical partnership between the performer and the recipient, between the organist and the churchgoer.

11.  The time has come for the coda of my Licheń prelude. I must confess that the focus of more than fifty years of my teaching has always been the Art, not just knowledge and skill. This Session, in which I have the honor to participate, also focuses on the Art, and in particular on Art allied in partnership with Faith.

12.  I have always tried to convince young people, generally with very good or unexpectedly good results, that our work might be the most beautiful and dignified fruit of human mind. It is us, the musicians, irrespective of the degree of our talent, who are gifted with great privilege: our job is to focus on Beauty and Art. Whatever twists and turns the reality takes, we can live in the creative luxury of Hippocrates’ adage Ars longa, vita brevis, and – as I have always been saying - an experience that Art is not just an ornament of life, it is the Life itself.