The modern song genre has its roots in romantic culture. Song as a dramatic narrative showing through lyrics and music whole spectacle became the new type of preforming art. This was both continuation of folk narrative song traditions and establishing new national directions of music culture. The era of national schools took all kinds of music, from orchestral to stage, but it was the song which remained the most popular romantic means of artistic expression. Romanticism in Poland was closely related to the aspirations of rebuilding an independent state. While in many European cultures much of the Romantic songwriting was focused on sentimental subjects, Polish poems and songs dealt with the most serious existential and social issues. And this approach remained a permanent feature of many Polish songwriters in the 20th century. This phenomenon also concerned popular songs with artistic ambitions. For this reason, what in Polish culture corresponded to the genre of French chanson or Russian romance in the second half of the 20th century was called "sung poetry". As a result, the Polish equivalent of the chanson genre are three different categories: songs sung by bards, sometimes referred to as "piosenka autorska” (author's song), songs composed to poetic works, referred to as "poezja śpiewana” (sung poetry) or "piosenka poetycka” (poetic song), and "piosenka aktorska” (acting song), performed as a short dramatic act. In the 1960s, sung poetry became a fully-fledged field of artistic expression, which, thanks to its symbolic and metaphorical content, could overcome the restrictions of political censorship. This also applied to other genres in which the poetic text allowed a certain freedom of expression. Similar mechanisms operated in many autocracies. There were many poetic song performers famous in Polish culture, Czesław Niemen, Marek Grechuta and probably the most valued and most famous Polish poetic song performer Ewa Demarczyk.
Ewa Demarczyk sings Zygmunt Konieczny's songs (1967)
Ewa Demarczyk was actress and singer, performer of artistically demanding repertoire based on choice of best Polish and European poetry. Her name became famous with series of songs written by Zygmunt Konieczny to Polish 20th century poets. Performances of these songs were rewarded on most significant festivals in Poland and recording of her debut album which became emblematic and radiant artistic statement. Album Ewa Demarczyk śpiewa piosenki Zygmunta Koniecznego (Ewa Demarczyk sings Zygmunt Konieczny's songs), she published in 1967, became her instant success. Her black and white, posterised photo, begin the series of records unifying popular music with deeper existential, moral or historiosophic themes. As Juliusz Kydryński stated in sleeve notes, her position of truly great artist “is confirmed by her inability to make compromises, to do things the easy way. She is demanding of herself and the public as well”, Then popular music critic added “She always takes the risk: reaches for the top. She is audacious and at the same time extremely hard-working. Perhaps this is why she always wins”.
Her debut LP was significant and complexe recital of songs based on poems by Miron Białoszewski, Bolesław Leśmian, Julian Tuwim, Krzysztof Kamil Baczyński, Maria Jasnorzewska-Pawlikowska and many others. The accompaniments were recorded by Zygmunt Konieczny's instrumental band and the Polish Radio Symphony Orchestra conducted by Stefan Rachoń.
Brave, dramatic interpretations make these songs being more modernistic mini-dramatic performances than typical
popular song genre. The sound of her voice, means of interpretation made these recordings a standard for many subsequent albums, not only those close to Ewa Demarczyk in terms of genre. Brave, dramatic interpretations make these songs being more modernistic mini-dramatic performances than typical popular song genre. The sound of her voice, means of interpretation made these recordings a standard for many subsequent albums, not only those close to Ewa Demarczyk in terms of genre. In Polish musical culture, it became an event with momentous consequences, it was reissued at least 11 times, thus filling the generation gap and creating a context for most poetic songs. Four stars would be sufficient for objective reasons, but from the point of view of Polish culture, the album undoubtedly deserves the full five stars. Ultimately, I propose to accept a rating of four and a half stars, understanding that such a rating does not fully reflect the importance of this album at a specific historical moment and a specific place on the map of Europe.
Maurice Ravel's Bolero occupies an unquestionable place in the history of music as the most famous and indeed one of the most outstanding works of the early twentieth century. Despite the apparent simplicity of form and content, this work has everything that characterizes the final break with 19th-century music and sets new directions in symphonic music. The Bolero effect, as well as the music for Daphnis and Chloe, were the result of the composer's talent and sonic sensitivity. His achievements in the field of orchestration, however, changed the approach to instrumentation and harmonics, and as a result had an impact on later symphonic music, and indirectly also on the shaping of modern jazz harmonics. Ravel's Bolero is in the repertoire of every symphony orchestra, not to mention hundreds of more or less simplified or complicated popular, rock and jazz arrangements, to mention the excellent recording by Jacques Loussier, a pianist known for his jazz remakes of Bach's music, but also many other composers. Therefore, it is particularly important to know Ravel's interpretation of this work.
Bolero was Ravel’s last ballet music. It was commissioned by famous dancer Ida Rubinstein who premiered this ballet November 22, 1928 in Paris Opéra in choreography by Bronislava Nijinska. The conductor of the first performance was Walter Straram. After the premiere Ravel was informed about an unknown woman, who was heard screaming Au fou, Au fou! (Madman! Madman!), Ravel replied: That lady… she understood. The idea of this work was unusual. First, whom Ravel revealed it was his friend and music critic Gustave Samazeuilh. Composer said he promised ballet music for Ida Rubinstein. Playing melody with one finger Ravel asked: Don’t you think that has an insistent quality?And then he said about the idea of a new work: I’m going to try to repeat it a number of times without any development, gradually increasing the orchestra as best I can. He composed this work in a considerably short four months period July through October 1928.
Maurice Ravel – Bolero (1930)
First working title of the new work was Fandango, but when composer realized that fandango's characteristic acceleration would be contradictory to his idea, he changed the title to Bolero. As consequently this was made, the work is a magnificent orchestral crescendo increasing tension only through orchestration. Bolero shortly became the most famous of his works. Ravel was not convinced about the value and musical potential of this “experiment”. In an interview for The Daily Telegraph he stated: I am particularly desirous there should be no misunderstanding about this work. It constitutes an experiment in a very special and limited direction and should not be suspected of aiming at achieving other or more than it actually does. Nevertheless, Bolero is his most frequently performed composition. Almost immediately Bolero appeared in the symphonic repertoire. Less than a year after the ballet premiere, November 14, 1929 Bolero was played as a concert performance by the New York Philharmonic Symphony Orchestra conducted by Arturo Toscanini. Two months later, on January 11, 1939 Orchester des Concerts Lamoureux conducted by composer gave Bolero the European concert premiere in Paris. And two days after this premiere Piero Coppola recorded a World premiere recording of Bolero with Grand Orchestre Symphonique du Gramophone. This recording was made onstage at the Salle Pleyel in Paris. Later, but still in January 1930 Ravel recorded his Bolero for Polydor conducting the same Orchester des Concerts Lamoureux. Three months later, on April 30, Serge Koussevitzky recorded Bolero with the Boston Symphony Orchestra. With these renditions, the position of Bolero as concert work was firmly established.
Maurice Ravel — Bolero (rec.1930)
Ravel’s recording shows some significant features we have to consider trying to catch the composer's idea. First of all he is executing the whole performance almost in metronomic steady tempo. General change of dynamics works as a wide growing crescendo built by volume of sound and articulation but the main factor of change is timbre of instruments, which is also connected with articulation and sound expression. There were some doubts if Ravel was the only conductor and interpreter of his work. It is true Ravel called for some help from conductor Albert Wolff, but this was only technical assistance as rehearsal conductor. In spite of some writers looking for sensation, Ravel was a competent conductor, and pianist. Pressed by Turnabout album of Ravels historic performances includes orchestral recording of Bolero conducted by Ravel and three piano works played by composer: La Vallee Des Cloches, Chansons Madecasses with singer Madeleine Grey and Pavane Pour pour une infante defunte. Despite some technical imperfections, this recording can be confidently recommended to anyone, and for those interested in Ravel's work, it is a must-have.
Dresden is a city of radiating artistic culture, literature and music. Among many cultural achievements, the city on the Elbe could boast of an extraordinary organ tradition. It is worth remembering that Dresden, as the capital of Saxony, was one of the most important musical centers of its time. Heinrich Schütz spent his entire creative life in Dresden - from 1615 to 1672, educating many generations of composers who had a significant impact on the development of the musical culture of the 17th century. One who created strong base for musical culture of this city was organ builder Gottfried Silbermann, who was eminent organ masters of the late Baroque. He built in Dresden four instruments: the Sophienkirche, Hofkapelle des Residenzschlosses, Frauenkirche and unexampled organ in Katholische Hofkirche, which was the last instrument designed by the master. The construction of Silberman’s last instrument was completed in 1755, two years after his death by his students and associates Zacharias Hildebrandt and his son Johann Gottfried Hildebrandt. Originally, Silbermann planned 66 registers, eventually the instrument had 47 registers on 3 manuals and pedal and 3000 pipes. In 1944, the organ was hidden in the monastery of St. Marienstern, thanks to which the pipework, the action and the console survived the British bombing of Dresden on February 13, 1945. The organ case was destroyed, carved wood prospectus and big parts of wind supply were lost. In 1963-1971, this monument of organ building has been restored by Jehmlich Company.
Herbert Tachezi an der Silbermannorgel vol.1 (1986)
Exceptional instrument requires great artist who is able not only to present the instrument's unique features, but also can create interpretations of the best works of the era and build a recital adequate to the quality of unique instrument. The Dresden Cathedral Silbermanorgan was recorded many times. One of most significant session took place a year before the 300th anniversary of Johann Sebastian Bach's birth. The Viennese organist Herbert Tachezi (1930-2016), who has recorded a set of works by the great composer on the organ of the Dresden Cathedral. The session was co-produced by two labels from the western and eastern parts of the then divided Germany - Teldec and Eterna. As a result, two albums in Direct Metal Mastering technology were published: in 1985 two LPs were released under the label Teldec (BRD) and a year later under the label Eterna (GDR). Both labels also released CDs - Teldec in 1985 and Eterna in 1989.
The program included a selection of Bach's most famous organ compositions, from the Toccata and Fugue in D Minor BWV 565 to the Passacaglia in C Minor BWV 582. Between these two pillars of the repertoire of each organist, Tachezi placed the Prelude and Fugue in E-flat Major BWV 552 and Prelude (Fantasy) and Fugue in G Minor BWV 542. This choice may seem too obvious - it contains the most appreciated, most spectacular works in organ literature, but after listening to the album, it turns out to be extremely accurate from an artistic point of view. By linking these works, Tachezi was able to demonstrate the depth and space of the sound of the instrument and the resonance interior in which it was built, while creating a philosophically and aesthetically coherent program. The majestic Prelude in E-flat Major, which, according to Schweitzer, is an image of divine power, and the corresponding triple Fugue, which is a representation of the Holy Trinity, are the only prelude and fugue for organ published by Bach during his lifetime. They form the frame for the third issue of Clavier-Übung - a collection with a clear religious and semantic plan, which is recognized by all significant musicologists writing on Bach's organ literature. As a result, this program allowed Herbert Tachezi to build a narrative presenting a close relationship between the top-class organ building achievement and the metaphysical content of Bach's work. It is hard to imagine a better tribute to the music of the great Leipzig cantor.
Albums issued on vinyl records can tell the complex story of music, performances and artists, trends and ideas, composers, instrumentalists, vocalists and lots of people being a part of the recording industry. Professional position of creative producer in the era of vinyl records was significantly higher than any time
before and after. Those were the times of records as subjects of value, pieces of art and complete product. In the digital era, the ease of recording, simplicity of studio processing, cheap manufacturing of discs and possibility to download music in any format were the factors that rapidly changed the world of the musical industry. The compromise between quality of cutting the matrix and the length of the music recorded on one side of the record with worsening quality of sound with every overtime minute was the real technical problem and a symbolic frame for artistic freedom in all types of recording. The other side of the problem was audience demand and expectations. The role of any producer was to seek a balance between these factors and artists’ creative freedom.
Teo Macero — Impressions of Charles Mingus (1983)
One of legendary producers was Teo Macero (1925-2008), professional musician himself, who sacrificed to support the careers and artistic development of many musicians of jazz and other genres. As composer and saxophonist he was one of these jazzmen who built professional positions in a narrow circle of insiders only. For the wide public he was producer of dozens of jazz albums, but among musicians he was recognized as a competent and creative artist, composer, arranger and saxophonist. Thank to his professional competences he was able to help artists to realize such cornerstone albums as Monk’s Dream and Underground by Thelonious Monk, Mingus Ah Um and Let My Children Hear Music by Charles Mingus, Time Out by Dave Brubeck, but above all groundbreaking fusion albums In a Silent Way and Beaches Brew by Miles Davis. He was producer of most Davis albums published by Columbia Records and his role was so prominent, Davis’ biographer Paul Tingen in book Beyond Miles stated, his role was similar to what George Martin was to The Beatles. Macero was also real friend for many musicians. Miles Davis dedicated him composition Teo (1961). The same did Thelonious Monk with his composition Teo (1964) and Maynard Ferguson with composition Teonova (1973).
Teo Macero — Impressions of Charles Mingus (1983)
Born in Glens Falls, NY, Macero studied composition in Julliard School of Music. Active musician in the field of jazz, he was successful playing his own formations as well as a sideman recording with many others. Beyond jazz he was producer of over one hundred classical music records. In post-war avantgarde movement he acted as performer and as a composer. He became famous as Columbia record producer taking part in most significant recording sessions. First of them was Kind of Blue (1959) recording session where he was not credited but already coworking with main producer Irving Townsend. From Sketches of Spain (1960) Teo Macero was constantly Miles Davis producer. As producer of groundbreaking works for many artists Teo Macero acted as an art curator – he was prolific as creative. Phenomenon of his work consisted in skillfully convincing artists of the value of artistic priorities. He was trusted for his professional musician competence and for artistic intuition, both in dynamic musical equilibrium. His own music, as is often the case, was overshadowed by production achievements. And this is why the album Impressions of Charles Mingus is as much significant. Listening to this gives the artist a chance for justice.
Technology is what changes the world. New sources and technical methods of sound modeling have always formed the basis of the development of new styles and even a new aesthetic paradigm. The history of electronic music in USA began in 1951, when the Columbia Music Department purchased the first Ampex 400 tape recorder. Two composers: Vladimir Ussachevsky and Otto Luening began experimenting with recorded voices and instruments. During the First Congress of Experimental Music in 1953, they made contact with composers in Europe who created the first experiments in radio studios: Pierre Schaeffer and Pierre Henry in Paris, and Karlheinz Stockhausen and Herbert Eimert in Cologne. These meetings resulted in many new ideas for the development of electronic music studios in universities of USA and Canada. In 1957 first American studio was installed in Macmillan Hall. The same year group of composers were able to work with RCA Mark II synthesizer installed in the studio, a flagship of Columbia–Princeton Electronic Music Center. And the first presentation of electronic music from Columbia–Princeton Electronic Music Center took place at the Composers Forum concert at the Macmillan Theater at Columbia University on May 9, 1961, and was repeated the next day. Material from this concert was published by Columbia in 1964.
Six pieces by six composers presenting the most advanced achievements in the field of experimental and studio music. Few of them were composers of different cultures. The first in the program was Bülent Arel (1919-1990), a composer and pioneer of electronic music from Turkey. Born in Istanbul, a graduate of the Ankara Conservatory, he was invited in 1959 by the Rockefeller Foundation to the Columbia-Princeton Electronic Music Center, later became a professor at Yale University (from 1961 to 1970) and a professor at the State University of New York at Stony Brook, where he worked from 1971 to retired in 1989. He was an active composer of contemporary symphonic and chamber music, his music for tape includes the two main pieces of Stereo Electronic Music No. 1 (1961) and Stereo Electronic Music No. 2 (1962). The first of these two tracks was presented during the concert mentioned above and released as an introduction to the first LP presenting the achievements of the Columbia-Princeton Electronic Music Center.
Columbia–Princeton Electronic Music Center (1964)
One of artists known for his serious contribution to the development of the ideas and techniques of concrete and electronic music was an Egyptian ethnomusicologist and composer Halim El-Dabh (1921-2017). In his works he combined electronic sounds and processed human voice. El-Dabh’s work Leiyla and the Poet shows modern version of old Arabic tale about Layla and Majnun. The story of Qays ibn al-Mulawwah, 7th century Bedouin poet obsessed with beloved Layla became the context for the narrative form in this early period of concrete music. He achieved interesting effects using processed vocal sounds in the manner rooted in traditional folk music. He became the pioneer of such forms already in beginning of 1940s. He was student of Cairo University, when in 1944 he created The Expression of Zaar, using wire recorder. Composition Layla and Poet was recorded 15 years later in Columbia-Princeton Studio on AMPEX tape recorders. Halim El-Dabh has strong influence on the ideas of developing experimental music and experimenting composers of popular music. His idea of looping became technical base for many progressive artists, and its influences included popular music. Some references can be found in the early work of the West Coast Pop Art Experimental Band (Leila), Mothers of Invention and Frank Zappa.
Two composers playing leading role in the studio, presented two compositions combining electronics with traditional musical media. In the work by Vladimir Ussachevsky (1911-1990) called /Creation—Prologue based on text of Babylonian creation myth Enuma Elish, electronic sound was used as accompaniment to performance of The Little Chorus Of Macalester College mastered by Ian Morton. In Gargoyles by Otto Luening (1900-1996) sound of RCA synthesizer recorded and tape manipulated is interfering with solo violin played by Max Pollikoff. Two works published on this record were created solely as a result of pure artificial sound. Argentinian-American composer Mario Davidovsky (1934-2019) presented Electronic Study No. 1 based on sine wave, square wave and white noise tape manipulations. He came to USA in 1960 to study music and remained as citizen. One of his teachers was composer and mathematician Milton Babbitt (1916-2011) who’s Composition for Synthesizer opens B-side of the album. Babbitt was also performer of this work on RCA Synthesizer. These pure electronic works show how fruitful was new idea of sound creation in connection with 20th century new principles of musical form. Six works, five of them composed with tape manipulations, four composers born outside US, three works of pure electronics, two works connecting electronics with traditional media, one example of musique concrete – this math is something really making sense. Five stars for sixty years of noble presence in musical world.
John Adams, one of the best composers of today’s America, started his creative career in the end of the decade of sixties. Time of avantgarde ideas and great achievements of post-war music was about to an end. From the beginning of his composing he took esthetic positions of post-minimalistic style dealing with Darmstadt school ideas. As 31 years old composer in 1978 he wrote Shaker Loops for string septet in modular version, where conductor decided when musicians should move from one module to another. Five years later orchestrated this work and number of repetitions has been specified in the score.
His early works like Shaker Loops, Grand Pianola Music (1982) and many fragments of his first opera Nixon in China (1987) became a great success and pave his road to the fame of master of contemporary minimalism although most of his works cannot be recognized as minimal music. In the middle of second decade of his creative work he was already far from minimal ideas and in symphonic score Harmonielehre from 1985 he moved back to the expressionist means and loose tonality. Nevertheless in 1990’s he was listed in one row with masters of 1960’s generation Terry Rilley, Steve Reich and Philip Glass. Some elements of this style he was working also in next decades, i.e. using steady pulse as characteristic feature of his style, but the last decade of 20th century and two decades of new Millenium was the time of his greatest creative achievements.
John
Adams — Must the Devil Have All the Good
Tunes? (2020)
Concert compositions occupy a special place in John Adams’ oeuvres. Starting from Violin Concerto (1993) to Scheherazade 2 – symphony for violin and orchestra (2014) he presented an unusual melodic lightness and lyricism contrasted with dramatic tensions. In compositions for piano and orchestra these qualities were augmented with motoric intensity and expressive radiant harmonics interacting with variety of rhythmic patterns. In third piano concerto called Must the Devil Have All the Good Tunes? Was commissioned by Los Angelese Philharmonic and premiered March 7, 2019 in Walt Disney Concert Hall by Yuja Wang and Los Angeles Philharmonic Orchestra conducted by Gustavo Dudamel. In November 2019 artists recorded this work for Deutsche Grammophon and in April 17, 2020 album was released. New piano concerto uses the same steady pulse we know as a hallmark of composers style. This is the starting point for the process of developing and expanding patterns as figurative units for motoric and intensive piano action. This virtuoso concerto continues the line of great concertos by Bartok and Prokofiev. It consists of three movements: I Gritty, funky, but in Strict Tempo; Twitchy, Bot-like, II Much Slower; Gently, Relaxed III Piú Mosso: Obsession / Swing. Firm and energetic, perfect and virtuoso music suita the diabolic name which has its root in saying of Martin Luter. The program of this LP comprises concerto Must the Devil Have All the Good Tunes? and as an encore China Gates (1977) for piano solo, early composition based on principles developed in minimalistic period. Perfect performance of orchestra conducted by Gustavo Dudamel and brilliant virtuoso piano by Yuja Wang gave this visionary music good premiere. For composition and for performance complete five stars.
In the time of violent unrests, when constitutional rights are trampled by armed forces, politicians are staying against people, companies still are creating growth of public debt, and corporative mass-media false picture of reality, only arts and music can remind you what an honest world should look like. For some it will be a moment of rest, momentary relief in pain, but in many cases, it is powerful exposure of common concerns and dreams. To understand it, you don't need any special competences, this is publicly open message. Position of rock music comes from it is impact in actions against Jim Crow laws and imperialistic wars, like the one against Vietnam. Action was considerably strong and gave impulse for huge wave of counterculture movements. Position of rock music from 1960's was one of most significant effects of this process. In second half of 1970’s the era of disco was in full swing, big part of rock music looked like already historic genre. Pop rock as more entertaining and ideologically indifferent was in raising trend. Many artists were repeating earlier achievements in various subgenres, expanding them with some fashionable improvements, and gaining success. In late 1970’s most respectable subgenres of rock show some rebellious ideas, and most popular among them was punk rock. Its rhythmical, harmonic, and instrumental simplicity one could understand as weakness, but in fact these elements serve just as background for lyrics. Punk was more counterculture movement than just a genre and besides musical characteristics most significant feature of punk rock was its political commitment.
Tom Robinson Band — Power in the Darkness (1978)
Many bands in UK were playing syncretic rock with elements of new style recognized as punk and more traditional hard rock, glam rock, and various pop music styles. One of these bands was Tom Robinson Band, also known under abbreviation TRB. Band was established in 1976 by Tom Robinson, singer and songwriter, gay rights activist. He started his own band as singer giving performances on early London punk scene. He invited his friend Danny Kustow as guitarist, by add in music paper they have found drummer “Dolphin” Taylor, then by next audition they found keyboardist Mark Ambler. Tom Robinson decided to play bass guitar himself. Punk rock was politically engaged in general, but Tom Robinson band was more radical than others although their music was not so defiant as The Clash or Sex Pistols.
TRB played much more complex and sometimes moderate version of punk rock gravitating towards new wave. Based on rock rhythms it sounded modern and fashionable. Their started with hit song 2-4-6-8 Motorway – it was 1977 hit picking 5th position on UK Singles Chart – which together with B-side anthem I Shall Be Released it should be considered as a classic punk rock single. After this success in May 1978 EMI released Tom Robinson Band’s debut album Power in the Darkness. As punk rock album it is unusually rich as a variety of elements coming from every corner of rock and various pop music traditions. And it’s still interesting showing in original version some ideas that became fruitful in punk rock in 1990’s.
Tom Robinson Band — Power in the Darkness (1978)
From the starting moment TRB were sympathizing with Rock Against Racism movement, which was supported by Tom Robinson from the beginning. The cover graphics of the album was the same raised fist as they used as band’s logo. No wonder debut album of TRB was created as a contribution to Rock against Racism campaign. Information about campaign on album cover includes short manifesto: “We want rebel music, street music. Music that breaks down people’s fear of one another. Crisis music. Music that knows who the real enemy is”. UK edition had 10 songs; in most local editions 2-4-6-8 Motorway song was added. US edition was 2LP with many bonus tracks. In UK and European editions part of the album cover was the LP size stencil showing raised fist and ring with name of the band.
Not only rebellious ones, but most of popular culture artists have generally pro-equality and against- attitude. Although exceptions happen and many artists are testing random kinds of rebellious ideas, good majority is oriented towards values typical for open society, including anti-totalitarianism and advocating full rights for minorities. This direction is common in attitudes of most significant artists. They are saying about what is close to their social and individual interest, sometimes even putting their relations into risk. But experience shows those who are trying to support their careers with hate speech usually do not deserve attention.
