· 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
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