środa, 31 marca 2021

Garść refleksji o płycie CD: Żeleński-Szeluto-Fitelberg, nagranej przez: Michała Francuza – fortepian, Joannę Konarzewską – skrzypce i Rafała Kwiatkowskiego – wiolonczela, dla „Stowarzyszenia Polskich Muzyków Kameralistów”.

 

·       Będą to wyłącznie REFLEKSJE, ponieważ nie jestem ani teoretykiem, ani muzykologiem, krytykiem lub recenzentem. Przed dysfunkcją prawej ręki, byłem niegdyś artystą- wykonawcą. Dla mnie, ocena artysty przez artystę, ma w sobie element nietaktu. REFLEKSJA, zapewnia wolność i przestrzeń wypowiedzi.

·       Bardzo też sprzeciwiam się i szczerze nie lubię określenia kameralny, kameralistyka, kameralista. Przynależą one, według mnie, do przeszłych pojęć muzyki realizowanej w salonach, na dworach szlacheckich i arystokratycznych, a aktualnie, używane są powszechnie dla określania muzyki wykonywanej przez niewielkie zespoły, głównie instrumentalne.

·       W moim pojmowaniu, istnieją tylko dwa sposoby[JM1]  wykonywania muzyki: solowy (indywidualny, w którym jeden wykonawca realizuje sam, wszystkie elementy składowe muzycznego dzieła), i zespołowy, w którym uczestnicy wykonują tylko niektóre elementy dzieła, stworzone i zdeterminowane przez kompozytora. (Oczywiście, ostatecznym celem wykonywania zespołowego, jest świadomość uczestniczenia przez wszystkich muzyków w realizacji całego utworu, np. bez względu na to, czy jest to wiodąca narracja, czy zwyczajny Bas Albertiego. Mam w pamięci genialną realizację Basu Albertiego przez Marthę Argerich, kiedy jej tzw. „solista”, brzmiał przy niej jak marny wyrobnik).

·       Płyta z Triami, jest wyśmienita pod każdym względem: doboru repertuaru, mistrzowskich wykonawców, w pełni dojrzałych, samodzielnych artystów. Ich wykonawcze partnerstwo, jest doprawdy imponujące!

·       Ogromną radość sprawiają mi zawsze nagrania polskiej muzyki, tej obudzonej z letargu archiwów. Jestem zanurzony w zachwycie nad polską Sztuką, nie tylko muzyczną, naszą, rodzimą. Organicznie nie znoszę klasyfikowania przez porównania. W moim postrzeganiu, wszystko ma swój walor. Sztuka, podobnie jak pejzaż, ma swoje unikatowe piękno, Dolomity swoje, Pieniny, swoje; Polskie Tria z przedstawionej mi płyty dzieją się w swoim klimacie, Tria np. Brahmsa, w swoim.             

·       Do rozpaczy doprowadzają mnie skandaliczne zabiegi twórców z chorą wyobraźnią, którzy w imię fałszywie pojętego sukcesu, dopuszczają się wiedeńskich, haniebnych zabiegów na moniuszkowskim arcydziele narodowego piękna, w imię przypodobania się kosmopolitycznym gustom i wrażliwości. Uważam że, światu zdałoby się pokazywać po prostu żywe piękno naszej Sztuki, zamiast usiłować niepotrzebnie i nieskutecznie kokietować zachodnich, zdegenerowanych decydentów.

·       Peter Schreier, jeden z najznakomitszych, niemieckich śpiewaków XX wieku, powiedział red. Weberowi publicznie, że Moniuszkowski „Znasz-li ten kraj”, jest najpiękniejszą muzyką jaka została napisana do arcydzieła Goethego! Ale trzeba ją najpierw usłyszeć w mistrzowskim wykonaniu!

·       Na Konkursie w Tuluzie, Jury wypowiedziało się do mnie, że po raz pierwszy usłyszeli Arię Jontka, która wprawiła ich w szczery zachwyt; utwór i wykonanie. Przepraszam, to jest droga!

·       Do końca życia nie zapomnę gigantycznego sukcesu recitalu Andrzeja Hiolskiego, z moim, skromnym udziałem, w siedzibie UNESCO w Paryżu, z repertuarem wyłącznie polskim, zaakceptowanym pomimo wątpliwości organizatorów i polskich i oenzetowskich.

·       Generalnie, płyta z Triami jest z „najwyższej półki”. Pochwała dla Instytutu Muzyki i Tańca!

·       Trochę mnie zasmuciło, że w znakomitym, skądinąd, booklecie, nie znalazłem nazwisk ekspertów technicznych od nagrywania, artystów od urody dźwięku i dynamiki. Tak, tak, upominam się o nich!  W dorobku mam sporą liczbę nagranych płyt i z całą odpowiedzialnością mogę powiedzieć, że wprawdzie za fortepianem siedział jeden, a drugi, w reżyserce, za konsoletą, ale nie waham się ich obu nazwać artystami, z całym oczekiwaniem partnerstwa. Z niektórymi, sesja nagraniowa była permanentną udręką i niepokojem, z drugimi - uskrzydlająca radość i komfort wspólnego kreowania. (Nomina sunt odiosa!).

           (prof. Jerzy Marchwiński

 [JM1]

A handful of reflections on Żeleński-Szeluto-Fitelberg CD recorded by Michał Francuz - piano, Joanna Konarzewska - violin and Rafał Kwiatkowski – cello, for the Association of Polish Chamber Musicians.

                                                              

·        Please note that these are just REFLECTIONS, as I am neither a theoretician, nor a musicologist, critic, or reviewer. Before the dysfunction of my right hand, I used to be a performing artist.  For me, an evaluation of an artist by another artist see seems a  little unseemly, while a REFLECTION  provides freedom of expression and space for it.

·        I also strongly object to and truly dislike the term chamber – as in chamber musician and chamber music. It belongs to the past, when  music was performed in drawing rooms at gentry estates and aristocratic courts; nowadays  it is  commonly used to describe music performed by small ensembles, mainly instrumental ones. 

·        As I see it, there are only two ways of performing music: solo (individual, in which one performer executes alone all the constituent elements of a musical work), and in the ensemble, in which the participants perform only some elements of the work created and delineated by the composer. (Of course, the ultimate goal  of the ensemble performance is the awareness of all the musicians that they participate in the execution of the entire work,  be it  the leading narrative or the common Alberti bass. (I can remember a brilliant performance of the Alberti bass by Martha Argerich, when her so-called "soloist" sounded like a poor drudge in comparison).

·        The CD with  the Trios is excellent in every respect: the selection of repertoire and masterful  performance by  mature, independent artists. Their  partnership in music is truly impressive!

·        It is always a great joy for me to hear recordings of Polish music that has been woken up from the lethargy of the archives. I am truly awed by our native, Polish art in general, not only in music. 

·        I organically hate any classification by comparison. In my perception, everything has its value. Every art, like the landscape, has its unique beauty:  The Dolomites have their own, the Pieniny Mountains have their own; the Polish Trios from the CD presented to me have their own unique  atmosphere, while the Trios of  Brahms etc., also have their own climate.           

·        I am driven to despair by the scandalous actions of artists with a sick imagination who, in the name of falsely perceived success, commit Viennese, disgraceful tricks on Moniuszko's the masterpiece of national beauty, to  please cosmopolitan tastes and sensitivity. I think that the world would benefit from simply showing the living beauty of our sensitivity, instead of unnecessarily coquetting  Western, degenerate decision-makers.

·        Peter Schreier, one of the most outstanding German singers of the 20th century said publicly to Jan Weber, that Moniuszko's  Znasz-li ten kraj”  (Kennst-du das Land) is the most beautiful music that has ever  been written for Goethe's masterpiece! But it must first be heard when performed by a master!

·        At the Toulouse Competition, the Jury commented to me that it was the first time they had heard Jontek's Aria, which left them in genuine awe; referring both to the piece and the performance. Sorry, but that's the right way!

·        For the rest of my life, I will never forget the gigantic success of Andrzej Hiolski's recital, with my modest participation, at the UNESCO headquarters in Paris, with exclusively Polish repertoire, approved despite the doubts of both Polish and UN organizers.

·        Generally, the CD is a top-shelf work.  Praise be to the Institute of Music and Dance!

·        It made me a little sad that the otherwise excellent booklet fails to give the names of technical experts on recording  - the artists in charge of the beauty of the sound and dynamics. Yes, yes, I insist on them!  I  recorded a considerable number of albums and I can confidently say that although one person sat at the piano and the other at the mixing console in the sound booth, I would not hesitate to call them both artists, with all the expectation of partnership. With some, the recording session was permanent anguish and anxiety, with others -  sheer joy and comfort of joint creativity. (Nomina sunt odiosa!).


           Prof. Jerzy Marchwiński

 

 

poniedziałek, 15 marca 2021

Do moich PT Czytelników:

 

Z osobistym smutkiem i żalem informuję PT Czytelników, że skutkiem arbitralnej decyzji aktualnego Rektoratu UMFC, (rok akademicki 2020/21), moja Katedra Kameralistyki Fortepianowej (KKF),  w swej dotychczasowej formie, przestała istnieć. Rektorat stworzył nową Katedrę, Katedrę Kameralistyki Fortepianowej i Smyczkowej (KKFiS).

Życzę nowopowstałej Katedrze wielu osiągnięć, a jej sternikowi, znakomitemu artyście, Profesorowi Robertowi Morawskiemu, kreatywnych i mądrych decyzji.

To my PT Readers:

 

With sadness and regret, I inform you that is the result of an arbitrary decision of the current Rectorate of the Chopin University of Music (the academic year 2020/21), my Chair of Piano Chamber Music (KKF)  ceased to exist in its hitherto form. The Rectorate created a new Chair, the Chair of Piano and String Chamber Music (KKFiS).

I wish the newly created Chair many achievements, and its helmsman and an excellent artist Professor Robert Morawski, creative and wise decisions.

 

piątek, 12 marca 2021

Conversation: David Shengold-Myra Huang-Jacek Nędzyński

  

Many thanks for the book!

Odebrane

David Shengold

Załączniki10 lut 2021, 03:45

do Jerzy, Jerzy

Dear Jerzy-

I wanted to know that I *finally* got a chance to read your book, which I greatly enjoyed. Much wisdom there, and such a judicious tone! I sent it to one of the most accomplished collaborative pianists on the American Scene, Myra Huang. She was delighted to receive it and sent me a copy of a letter she writes to the Grammy Nominations Committee (a recording she made this year with a tenor is nominated this year). I thought you would appreciate her stance, so am I attaching it with her permission.

All best wishes to all of you. Let us hope we return to some semblance of normality soon!

Cheers- David

 

Myra Huang

303 W.66th St.  Apt 4EW

New York, NY 10023

myrahuang@gmail.com

www.steinway.com/artists/myra-huang

 

November 24th, 2020

Recording Academy

3030 Olympic Blvd.

Santa Monica, CA 90404

 

To the Recording Academy:

My name is Myra Huang, and I am a member of the Recording Academy since 2017.  I am a pianist and was nominated for a Grammy in the “Best Solo Classical Voice” category for my album “Gods and Monsters” with tenor Nicholas Phan in 2018, and we have been nominated again for this upcoming Grammy year in the same category, for our album “Clairieres: Songs by Lili and Nadia Boulanger.”

I thank you for the great honor that the Academy brings to artists around the world, and for the longstanding tradition of all the advocacy for the arts that you have created through your esteemed organization.  Especially in this painful the year of 2020, your organization provides moments of hope, acknowledgment, and leadership to the arts which has been one of the hardest-hit industries due to the pandemic. 

I am writing today because I do hold one complaint, which is that in the Grammy’s listing of the artists in the “Best Classical Solo Voice Album” category, my instrument is listed as “accompanist,” as it is also for the other pianists who were nominated in this category.  I object to this word because the word “accompanist” infers that my role was “lesser than,” when in fact I consider the genre of my album with Nick as chamber music, where all instruments involved are equal.  Art Song is chamber music for voice and piano, not voice and accompanist.  Not only that, I feel that some dignity is taken from me when I am not listed with my instrument, which is the piano.  Every other instrumentalist is assigned their due title, whether it be a conductor, a string quartet, a choir, or an orchestra.  Only the piano somehow is converted to the word “accompanist,” and it is hurtful to all pianists who have equally contributed to their ensembles and albums.   

 

I sincerely hope you will consider changing the word “accompanist” to “pianist” or perhaps even just “piano” in the future.  I have seen the many changes the Academy has been making in recent times to bring equity, acknowledgment, and progress to supporting all artists, and so I am hopeful that I can be heard in this matter.

Very gratefully yours,

Myra Huang

 

Jerzy Marchwinski

sob., 13 lut, 17:45

Hi, David. - I got it! - The Myra tekst is great! I am truly happy not to be alone. Myra's words you can find in my Essay

David Shengold

sob., 13 lut, 20:17

do mnie

Hi Jerzy

Glad to hear that you are well and fighting the good fight!

Let me ask Myra if you can quote her letter before you do- OK?

Best- David

David Shengold

niedz., 14 lut, 22:54

do mnie

Hi Jerzy

 

Myra Huang wrote back, in reference to your circulating her letter:

"How delightfIt would be my honor, of course.  I also have great news - I was just informed this week that my proposal to the Recording Academy was accepted and passed, so beginning with this year’s new entries, pianists will no longer be called “accompanists.”  A small but important victory :).

Please give Mr. Marchwinski my best wishes and my gratitude for his solidarity."

 

All best- David

 

Accompanist vs. Pianist and the Recording Academy

Odebrane

Jacek Nędzyński

niedz., 7 mar, 21:58 (2 dni temu)

do myrahuang, mnie

Dear Ms. Huang,

I a personnel Manager of Professor Jerzy Marchwinski. (www.nedzynski.com/jerzymarchwinski_masterclasses.htm

Mr. David Shengold informed us about your letter concerning terms accompanist and pianist, to the Recording Academy and its reaction. Today I’ve sent a message to the Recording Academy.

Professor Jerzy Marchwinski asked me to send you a copy of the message, you may be interested in. Below please, find the text.

 Wishing you all the best

 Jacek Nedzynski

 

Jacek Nedzynski Artists Management

Regatowa 12, 60-480 Poznan, Poland

Ph.(+48) 61.848.2565, mob.(+48) 606.884.609

www.nedzynski.com

 

 

Dear Sirs,

Mr. David Shengold has informed us that  Ms. Myra Huang, a pianist twice nominated for the  Best Solo Classical Voice Grammy Award for her recordings with a singer, has requested in her letter of November 24, 2020, that you should drop the term accompanist and replace it with pianist and also, which is most important,  that the Recording Academy accepted her request.

We welcome the news with great joy, all the more so because  Professor Jerzy Marchwiński postulated exactly the same concept more than half a century ago.

The Professor, represented by my Artists Management, is the founder of the Chair of Piano Chamber Music at the Fryderyk Chopin University of Music in Warsaw and had been its long-standing head for many years (www.nedzynski.com/jerzymarchwinski_masterclasses.htm ). As a pianist, he worked with many outstanding performers including Maureen Forrester, Régine Crespin, Ewa Podleś, Konstanty Andrzej Kulka, and Andrzej Hiolski. The Professor's efforts to ensure that a piano artist performing together with a singer or instrumentalist should be called a pianist rather than an accompanist, in connection with his idea of the indispensable musical partnership between these artists, has become one of the leitmotifs of his professional activity (http://www.nedzynski.com/jerzymarchwinski_partnershipinmusic.htm ). He wrote many essays, articles, and lectures on that subject, which has fortunately resulted in the disappearance of the term accompanist from the media not only in Poland but also in most European countries.

It gives us great satisfaction that the term pianist has been accepted by the Recording Academy. We sincerely congratulate you and hope that this will become an example and a guideline for other American media and music institutions.

Thank you very much for your kind attention.

Wishing you all the best, sincerely yours,

Jacek Nedzynski

 

Jacek Nedzynski Artists Management

Regatowa 12, 60-480 Poznan, Poland

Ph.(+48) 61.848.2565, mob.(+48) 606.884.609

www.nedzynski.com

 

 

 

 

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piątek, 19 lutego 2021

POLAND FOR FOUR HANDS&PIANODUO ARTISTS

 

REFLECTION:

 

     It is truly beneficial and beautiful the phenomenon that there are  more and more CDs with recordings of Polish solo and ensemble music available on the market, as that music has until recently been relegated to the limbo of ignorance or oblivion. Let me mention two CDs as an example of that new, commendable trend. The first is  POLSKA NA 4 RĘCE (Poland for Four Hands)   Zarębski Piano Duo composed of two gentlemen: Grzegorz Mania and Piotr Różański. The other one, presenting pianoforte duos is  PIANODUO ARTISTS, performed by  two ladies: Joanna Derenda-Łukasik and Marzena Buchwald.

            Listening to these two CDs, one can note  the difference between the male and female sensitivity. Both recordings are - at least in my view - masterful, but it seems that the male artists contributed more sophistication, and the female ones - more spontaneity. 

     Excellent professional  and personal background is an obvious condition for the success of every performance, but it is particularly important in the case of Polish music, which is less known worldwide. 

     I am neither a  reviewer nor a critic. Actually,   I share my personal comments with certain embarrassment and discomfort, because an evaluation of an artist by another has always felt a bit unseemly for me. 

     All the differences and divergences aside, the Polish background and character of those recordings may prove to be their most valuable feature. I would not speak for others, but  Polish art and creativity invariably have made me feel proud and dignified. However, I would never venture to drape Polish music in cosmopolitan rags which can be caricatured to deform the beauty of our national opera and other art.

       The two CDs mentioned above are but an example illustrating my cultural expectations.  I have always been of the opinion that the standard of performance must be top class.  Only then will the Music have a chance to defend itself without any excessive maneuvers which in my view can do more harm than good. 

    The discussed recordings are a part of the world in which perfect performances express the "soul music" of numerous generations and move the audience to tears.  For this reason, they deserve a wise promotion.