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TrunscrIpLIons und urrungemenLs ure LypIcuI pIenomenu In juzz, sInce IL Is
In LIe essence oI juzz Lo use oLIer composers` muLerIuI und modIIy IL Ior new
composILIons. TIe cIoIce oI LIe LIeme Ior ImprovIsuLIon oILen concerns Irug-
menLs derIved Irom cIussIcuI musIc, Irom urLIsLs sucI us BucI, MozurL, ScIu-
berL und even SLruuss und MuIIer. YeL composILIons by CIopIn uLLrucL LIe
bIggesL und sLIII conLInuIng InLeresL umong juzz musIcIuns.
TIe Lrend ussocIuLed wILI juzz InLerpreLuLIons oI CIopIn's musIc uppeured
In LIe PoIIsI juzz In LIe eurIy 1qqos. On LIe one Iund IL Is LIe mosL orIgInuI
und nuLIve sLyIIsLIc Lrend oI uII LIe Lrends InIIuencIng juzz In PoIund. On LIe
oLIer Iund, IL Is un excepLIonuI pIenomenon InLernuLIonuIIy, becuuse none oI
LIe works oI cIussIcuI composers Iuve been cIosen Ior so muny juzz urrunge-
menLs worIdwIde. However, LIe ucIIevemenLs oI PoIIsI juzz pIunIsLs In LIIs
regurd becume LIe mosL sympLomuLIc, becuuse LIe pIuno LexLure, us weII us
LIe process oI ImprovIsuLIon on u gIven LIeme, sIow LIe mosL obvIous reIer-
ence, noL onIy pureIy musIcuIIy, buL uIso emoLIonuIIy, Lo LIe musIcuI Iunguuge
oI CIopIn. TIe recordIng oI LIe uIbum Chopin by LIe Andrzej JugodzI"skI
TrIo In December 1qq provIde LIe ImpeLus Lo sLurL u serIes oI urLIsLIc ucLIvI-
LIes In urrungIng CIopIn`s works by PoIIsI juzz pIunIsLs.
q
TIIs uwurd-wInnIng
|.| $yjemy w czusucI, gdy ksI%&kI powsLuj% z ksI%&ek, urcIILekLuru z urcIILekLury, u
muzyku z muzykI. PruwIe nIc nIe powsLuje z nuLury, pruwIe wszysLko z IsLnIej%cej kuILury.
Czy sI' num Lo podobu, czy nIe, &yjemy od pewnego czusu w epoce posLmodernIzmu, kLr%
jednI Ignoruj%, InnI sI' pod nI% podpIsuj%. NuIe&' do LycI osLuLnIcI, nerwIcowo reuguj%c nu
poj'cIu posLmodernIzmu bunuIIzowunIe do cross-over juko IdeoIogII I LecInIkI sumpIerw,
juko cywIIIzucyjnego, jedynego wyboru.Andrzej CI#opeckI, In Tomusz SzucIowskI, 'CIopIn
I juzz` |CIopIn und juzz|, 1czz jorum 1z (1qqq), qq.
q
Recorded on LIe InILIuLIve oI PoIonIu Records LIe uIbum Chopin wus recognIzed by LIe
reuders oI LIe muguzIne 1czz Iorum: The record oj the ecr :pp(, receIved LIe PoIIsI Mu-
PuLrycju Mude#u
;q
uIbum sLurLed u reuI uvuIuncIe oI sImIIur projecLs, eucI oI wIIcI consLILuLes
un IndIvIduuI upproucI Lo LIe muLerIuI oI CIopIn reIIecLed In LIe busIc us-
sumpLIons, sucI us LIe seIecLIon crILerIu oI pIeces or LIemes, und LIe process
oI LrunsIormuLIon oI LIe orIgInuI.
). TIe ImprovIsu-
LIon Lukes LIe IIneur sIupe, someLImes enrIcIed wILI doubIe-sLops, sLrongIy
reIerrIng Lo LIe prImury modeI by oscIIIuLIon oI LIe meIody uround LIe busIc
sounds oI LIe LIeme. Ls cIurucLerIsLIc IeuLure Is u Iurge number oI uccIuccuLu-
Chopin cnd jczz. The ccse oj Andrzej 1codzi!sli's .
;q
rus, und LIere ure uIso pussuge-works. JugodzI"skI uses LIe IoIIowIng scuIes:
dorIun (bur 16), cIromuLIc (bur -6), uILered (bur 16-1;), und penLuLonIc
(bur z-z6).
ExumpIe q.
PuLrycju Mude#u
8o
TIe wIoIe ImprovIsuLIon Lukes LIe Iorm oI Lwo q8-bur CIoruses, und eucI
oI LIem Is cIosed wILI LIe IInuI LIemuLIc IrugmenL :
ExumpIe . CIorus
ExumpIe 6. CIorus
TIIs pIuse oI LIe composILIon Is IoIIowed by Lwo IurLIer ones wIIcI con-
sIsL oI doubIe buss ImprovIsuLIon (q8-bur cIorus) und u reLurn Lo LIe LIeme,
LIIs LIme sIown In LIe pIuno purL. Here, us beIore, LIe LrunsIormuLIons oI LIe
muIn meIodIc IIne ure jusL nuunces. TIe Prelude IInIsIes wILI LIree sLuLIc
cIords, IdenLIcuI wILI LIe orIgInuI.
JugodzI"skI IormuIuLes LIe orIgInuI LIemuLIc muLerIuI oI Prelude in E mi-
nor In LIe cIussIcuI Iorm oI u juzz sLundurd, wILI u skIIIuI buIunce beLween LIe
Iunguuge oI juzz und CIopIn`s musIcuI modeI. TIe conIronLuLIon oI LIese Lwo
sucI wIdeIy dIIIerenL worIds oI sounds, In LIe cuse oI JugodzI"skI`s urrunge-
menL, demonsLruLes LIe exIsLence oI u dIscourse beLween romunLIc musIc und
juzz.
CIopIn`s composILIons were und sLIII ure LIe subjecL oI uII sorLs oI ur-
rungemenLs, IncIudIng vurIous wuys oI LrunsIormIng LIe puLLern, wIIcI
runges Irom LrunscrIpLIon, LIrougI InsLrumenLuLIons und urrungemenLs, Lo
purupIruses, resuILIng Irom LIe uuLIor`s InspIruLIon Iound In u purLIcuIur
pIece or jusL ILs muIn LIeme. TIe InLeresL In CIopIn`s musIc Is, Lo some exLenL,
IIsLorIcuIIy jusLIIIed. One Ius Lo reuIIze LIe posILIon CIopIn IoIds In LIe IIs-
Lory oI musIc. He wus LIe InnovuLor, beIng uIeud oI Wugner`s ucIIevemenLs In
LIe IIeId oI Iurmony und IeruIdIng LIe comIng oI Debussy; CIopIn`s use oI
IoIk scuIes und modes sIgnIIIcunLIy unLIcIpuLed RuveI`s or even BurLok`s
ucIIevemenLs. Above uII, Iowever, IL Is CIopIn`s conLrIbuLIon Lo LIe deveIop-
menL oI pIuno LecInIque und LexLure LIuL Is mosL sIgnIIIcunL. TIereIore, LIe
Chopin cnd jczz. The ccse oj Andrzej 1codzi!sli's .
81
IucL LIuL muny musIcIuns, especIuIIy pIunIsLs, wunLed Lo Luke up dIscourse
wILI CIopIn`s musIc In LIeIr own wuy, us IszL dId, Is noL surprIsIng.
;
CIopIn
IImseII IrequenLIy wILnessed LIe urrungemenLs oI IIs own works, sucI us Mc-
zurlcs sung by PuuIInu VIurdoL. One LIus comes Lo LIe concIusIon LIuL cIuIm-
Ing uny InLerpreLuLIons oI CIopIn`s works Lo be desecruLIng wIuL Is IeId su-
cred Is un u-IIsLorIcuI urgumenL. TIere Is u pIuce wIere one seeks Lo purIIy
LIe musIc oI CIopIn Irom IndIvIduuI Ideus und wIere LIe Lendency Lo modIIy
LIe noLuLIon Is opposed: LIIs Is TIe nLernuLIonuI ryderyk CIopIn PIuno
CompeLILIon.
8
L Is, Iowever, u Iomuge Lo CIopIn LIuL IIs works uIso IuncLIon
us muLerIuI used by LIe mosL ouLsLundIng musIcIuns, wIo Ior yeurs Iuve been
urrungIng LIem In vurIous sLyIes, Lrends und convenLIons. TIIs enubIes CIo-
pIn`s musIc Lo reucI new uudIences.
mprovIsuLIon, wIIcI Is un InIerenL componenL oI juzz urrungemenLs, wus
u weII-known und cuILIvuLed prucLIce In CIopIn`s LImes. Moreover, IL remuIns
In IuII Iurmony wILI LIe creuLIve process experIenced by LIe composer IIm-
seII. CIopIn wus, In IucL, one oI LIe greuLesL ImprovIsers In LIe IIsLory oI mu-
sIc, wIo, Irom cIIIdIood, IuscInuLed IIs IIsLeners wILI LIe gIIL oI ImprovIsu-
LIon und guIned LIe udmIruLIon oI LIe conLemporury press, musIcIuns, poeLs,
wrILers, puInLers, us weII us IIs IumIIy cIrcIe und IrIends.
|...|A concerL wus unnounced, wIIcI greuLIy InLrIgued LIe pubIIc, becuuse LIe
posLers udded LIuL CIopIn wouId ImprovIse on u gIven LIeme. n LIe HuII oI LIe
oId LIeuLre In KrusI"skI Squure, crowded wILI LIe uudIence, EIsner, LIe Iormer dI-
recLor oI LIe ConservuLory, IuvIng reud ouL LIe conLenL oI LIe progrumme, comes
ouL, gIves us u scroII oI puper und usks us Lo wrILe u LIeme Lo be ImprovIsed, und
LIen puss IL on Lo LIe sLuge LIrougI LIe orcIesLru. ryderyk, on receIvIng LIe pIece
oI puper, smIIed - LIen Ie sILs down uL LIe pIuno und begIns Lo pIuy, I.e. Lo Impro-
vIse on LIe gIven LIeme. AmusemenL und cIeer spreud LIrougIouL LIe HuII be-
cuuse LIe LIeme wus LIe weII-known song: Dj db% t chmielu nc te tczli nie
lcz& |OI, you Iops, II onIy you dId noL cIImb up LIose poIes| |...|. He creuLed u joy-
IuI meIody ouL oI LIIs LIeme, wILI LIe seL noLe reLurnIng every momenL; LIe uudI-
ence`s enLIusIusm wenL beyond uII bounds. TIe LIeuLre sIook wILI LIunderous
uppIuuse und cIeerIng. He ImprovIsed on oLIer gIven LIemes, und LIe ovuLIon wus
endIess. We IeIL LIe LIeuLer sIngIng LIe meIodIes pIuyed by ryderyk.
q
;
Adum S#uwI"skI, In SzucIowskI, 'CIopIn I juzz`, q;.
8
Grzegorz MIcIuIskI, IbId., q8.
q
|.| Og#oszono koncerL, kLry ogromnIe zucIekuwI# pubIIczno(), gdy& w uIIszucI do-
duno, &e CIopIn nu poduny LemuL b'dzIe ImprowIzowu#. W suII sLurego LeuLru nu pIucu
KrusI"skIcI, przepe#nIonej pubIIczno(cI%, po odczyLunIu szLuk obj'LycI progrumem wycIo-
dzI EIsner, wczesny dyrekLor KonserwuLorIum, wr'czu num zwILek pupIeru I prosI, uby(my
nupIsuwszy LemuL do ImprowIzucjI, przez orkIesLr' poduII nu scen'. ryderyk odebruwszy
kurLk', u(mIecIn%# sI' - sIudu do IorLepIunu I zuczynu gru) Lj. ImprowIzowu) nu zuduny
PuLrycju Mude#u
8z
ArrungemenLs oI CIopIn`s musIc Iuve consLunLIy been crILIcIzed by pur-
IsLs wIo regurd sucI uLLempLs us u kInd oI proIunuLIon (compIeLe works wILI u
degree oI puLrIoLIc conLenL seem Lo Iose LIe IuLLer In LIe sound cIuos oI juzz
ImprovIsuLIons wIIcI dIsLurb LIe InLegruI Iorm oI LIe orIgInuI composILIons).
TIe busIc probIem Iere seems Lo be LIuL LIIs Ignores LIe IucL LIuL CIopIn`s
musIc Is essenLIuIIy onIy u sLurLIng poInL, u kInd oI ouLer embIem Ior LIe creu-
LIon oI enLIreIy new composILIons, curryIng u dIIIerenL conLenL, cIurucLerIzed
by LIe uuLIor`s IndIvIduuIILy. TukIng InLo consIderuLIon LIe consLunL presence
oI posLmodernIsm LIese duys, LIe uddIng oI swIng, unknown In CIopIn`s duys,
Lo LIe quuIILIes oI IIs musIc, Is boLI un InLeresLIng und upproprIuLe prucLIce.
WIuL we do, Is perceIved wILI greuL sympuLIy und InLeresL by u Iurge group oI
cIussIcuI musIc Iovers, especIuIIy LIose open Lo unconvenLIonuI LIIngs. Hence IL Is
worLI LIe eIIorL. Muy we jusL noL IeL ourseIves be currIed uwuy by LIe eusy enLIu-
sIusm, muy we noL be InvoIved In uny kILscIy ucLIvILIes. TIere Is sucI u dunger.
Any uILerIng oI CIopIn`s orIgInuI work musL be done wILI un ucuLe sense oI re-
sponsIbIIILy.
1o
Trcnslcted b Mcrzenc 1ercz!slc
LemuL. Rudo() I weso#o() przebIegu po cu#ej suII, bo LemuLem Lym by#u znunu pIosenku: Dj
db% t chmielu nc te tczli nie lcz& |.|. Ju& z Lego LemuLu rozwIn%# rudosn% meIodI', w
kLrej co cIwIIu powrucu#u zudunu nuLu, zupu# pubIIczno(cI przeszed# wszeIkIe grunIce.
TeuLr Lrz%s# sI' od okIuskw I grzmI%cycI okrzykw. mprowIzowu# jeszcze nu Inne podune
LemuLy, u okIuskom nIe by#o ko"cu. WyszII(my z LeuLru (pIewuj%c grune przez ryderyku
meIodIe. KrysLynu KobyIu"sku, 'mprowIzucje ryderyku CIopInu` |ryderyk CIopIn`s
ImprovIsuLIons|, Rocznil Chopinousli 1q (1qqo), 6q.
1o
To, co robImy, jesL odbIerune przez spor% grup' kIusycznycI meIomunw, zw#uszczu
LycI oLwurLycI nu rzeczy nIekonwencjonuIne, z du&% sympuLI% I zuInLeresowunIem. CIybu
wI'c wurLo sI' Lym zujmowu), oby(my LyIko nIe duII sI' porwu) #uLwemu enLuzjuzmowI,
&eby(my nIe duII sI' wcI%gn%) w dzIu#unIu kIczowuLe. JesL LukIe nIebezpIecze"sLwo. JukkoI-
wIek przerubIunIe orygInu#u cIopInowskIego musI by) dokonywune z ogromn% odpowIe-
dzIuIno(cI%. KrzyszLoI HerdzIn, In SzucIowskI 'CIopIn I juzz`, q.