50 YEARS OF THE CHAIR OF CHAMBER MUSIC OF THE STANISŁAW MONIUSZKO ACADEMY OF MUSIC IN GDAŃSK

  

50 YEARS OF THE CHAIR OF CHAMBER MUSIC OF THE STANISŁAW MONIUSZKO ACADEMY OF MUSIC IN GDAŃSK

A book  issued by  the Academy of Music in Gdańsk

4 REFLECTIONS by Professor Jerzy Marchwiński

Introduction

• Ladies and gentlemen, the book is simply beautiful! Including its cover!
• I am quite sure that a publication on university chamber music of this kind is a unique phenomenon. It is not only professional but vividly beautiful verbally, reflecting the creative commitment of those who created it and keep it alive.
• In my opinion, any publication about Art should -  even must - contain an element of beauty. The Greek Myths by the famous Robert Groves is not a satisfactory reading for me because it is like a boring lesson, while, for example, The Greek Myths by Jan Parandowski is a masterpiece.

Personal reflection

•  In my perception, there are only two forms of performing music: solo/individual or ensemble performances starting from the duo.
• The solo artist performs the whole piece on his own and on his sole responsibility. In an ensemble, each musician performs the elements of the piece ascribed to him by the composer, assisted by one or more co-performers.
• In my opinion, the adjective chamber,  and the term chamber music are false and misleading. They are a legacy from the past when music was performed in small rooms called chambers, for a limited number of listeners. Hence the name. And yet, I can see no difference between ensemble vs chamber music as far as their purely musical, professional aspects are concerned.   The expectations and requirements are identical. In my opinion, the term ensemble performance perfectly captures the essence of playing together.
•  I always see an ensemble piece as a whole composed for two or more performers, and definitely not for a so-called soloist and accompanist.

A reflection on partnership

• No matter which term is chosen: chamber music or ensemble performance, the artistic aspect of playing together is invaluable, especially for pianists. From the very first steps, the pianist's musical training is carried out individually, in contrast to all other performers -  instrumentalists or singers, who since the dawn of time have been trained – even at the beginner’s stage -  with the assistance of another performer, usually a pianist.
•  I make no secret of the fact that for me the partnership is a sine qua non. When one of the performers is convinced of his privileged position and the other, of his handicap, their work becomes an artistic and emotional scam.
• I have managed to convince young people many times that even an Alberti bass played by one musician can be a treasure of a performance. (Martha demonstrated this is Chopin's Polonaise with cello!).

• Developmental reflection
•   I admit that the length of time that has elapsed from the beginning of my stay at  Okólnik Street, that is, from the 1950s to the present day, is impressive even to me.
• In my understanding of chamber music, the issue of ensemble playing, in general, has developed in an impressive manner throughout the past half-century.
• When I started my studies, we had practically just one performer who was associated with the so-called "accompaniment." It was Professor Jerzy Lefeld who played with anyone who needed it, from a student to a mature artist including Ida Hendel or Henryk Szeryng at his last concerts. The Professor did that splendidly!
•  Occasionally, some Polish performers and teachers used to create impromptu groups and give concerts together.
• Today's reality of ensemble playing is that of high-class ensembles which cultivate their individual profiles and resist classification, as the perfection of musical performances has, nevertheless,  its unique, individual features.
• Numerous festivals and other events have emerged to meet the audience’s authentic need to commune with beauty. In fact, the idea of musical partnership which brings people together seems to be an invaluable benefit.
• To end these deliberations with a smile: I can recall many students who have finally come to terms with the negative undertone or even hostile atmosphere which surrounds ensemble playing in large or small groups. That came as a surprise to their teachers who had officially preached the soloist, that their students actually preferred ensemble performances to solo playing! What is more,  performing music together seems to be the best training in the culture of coexistence.
• There is another inestimable benefit of the so-called chamber music. Playing together is a wonderful lesson in being together, not in some abstract way, but by experiencing the live presence of another performer and enjoying the echoes of such a creative relationship that reverberate not only in music. 

 

With unceasing cordiality,