Perevod Ruch Sutkovski, Kur, Palasz

8/8/2019 Perevod Ruch Sutkovski, Kur, Palasz

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http://www.earlymusic.pl/chopin-project/interview_1.htm

"THE ON! #$H $O%! &N THE 'O()"

The tal* with the +irectors o, the 'arsaw $hamer Opera - te,an ut*ows*i E+war+

%aas0 an+ r0ys0to, ur

te,an ut*ows*i: - while listenin2 to $hopin3s music to+ay the impression is that the

2reat concert o, instruments alrea+y are not use+. The mo+ern concert 2ran+ piano is the

pro+uct o, very remote epoch to the time $hopin4s music an+ romantic music. !ou cannot +raw ,ar-reachin2 conclusions aout the $hopin4s playin2 which was re5uirin2 an

instrument hi2hly susceptile 6capale7 in re,ine ,ormin2 it4s it4s tone in pro+ucin2

le2ato an+ technical pro,iciency - i, the only availale instruments ,rom his time are ,ewori2inals. The same applies to the music o, 8o0art: as to his music we coul+ reach only

with ma*in2 a copy o, the piano 'alter so the only chance to hear what soun+e+ piano

on which $hopin playe+ was to uil+ a copy o, the piano which he use+ in his time. 9n

instrument similar to the piano on which $hopin 2ave his ,irst concert at the alle %leyel

in %aris.'e wante+ to e as close as possile to the truth so we have as*e+ to ma*e ,or us a copy

o, eample instrument o, 1;<= or - i, it is not possile - o, 1;<1. 'on+erin2 who coul+ma*e a copy we too* into account %aul 8cNulty which with whom we alrea+y ha+ an

eceelent cooperation when we were uyin2 8o0art4s instrument. The re5uisite ten+er

proce+ure very strictly +e,ine+ a copy o, which instrument you are intereste+. 8cNultywas the only i++er who met the con+itions impose+ y us an+ the ne2otiate+ price -

althou2h hi2h ,or us - turne+ out to e acceptale an+ also possile to cover y ,un+s

earne+ y the 'arsaw $hamer opera.'e are +eli2hte+ to e part o, the worl+3s ,irst attempt to uil+ a copy o, such piano. 'e

are also ha+ a 2oo+ sure ,eelin2 ecause %aul 8cNulty ,oun+ the instrument which with

woul+ serve as a mo+el to construct our copy also we *new that +urin2 our instrumentthe construction it will e monitore+ on an on2oin2 asis y >iviana o,ronit0*y pianistwith etensive eperience in playin2 such instruments.

%aul 8cNulty too* part in the selection pattern. He sai+ ,irst that a live instrument -

ecause it3s a i2 piano so what was use+ ,or per,ormances in the presence o, manylisteners - is a museum o, instruments ?russels ut then he ,oun+ the instrument o,

instruments in the museum in %aris an+ ,inally mo+ele+ his copy a,ter this.

(@!@TOA #(: - &n the ten+er +ocuments however was provi+e+ a copy o, the

instrument ,rom ?russels ecause ,rom the e2innin2 we +i+ not *now that %aris will e

even etter piano meets our criteria. 'e thou2ht at ,irst it will e an instrument in 1;<1

ut a,ter chan2in2 +ocuments it turne+ out that "our" %leyel instruments mo+ele+ a,terthe piano ,rom the museum in %aris serial numer 1BBB which was complete+ in 1;<=

an+ in Culy o, the same year sol+ to 8r +e >illermay. Nice to *now who playe+ on it.

.. - &t3s an unusual story o, course: li*e %aul 8cNulty we were earin2 the ris* that the

project will ,ail. The instrument was uilt in one an+ a hal, years ecause ma*in2 such a

piano is much more +i,,icult than uil+in2 a copy o, 'alter ,ortepiano or pianos o,'alter4s time. %leyel ,rom 1;<= is much closer to our times than the ei2hteenth-century





technolo2y. 'hen we hear+ soun+s li*e this instrument we were not any more surprise+

that $hopin wante+ to play these pianos wante+ to have them at home composin2 ,or

them an+ ,inally also concreti0in2 on them. The instrument was structurally wellthou2ht throu2h an+ ha+ to e also well eecute+ in or+er ,or the copy to e so

interestin2.

E)'9() %9: - The startin2 part o, the wor* was ma+e in %olan+ pro+ucin2 the cast

iron piano ,rame parts. There is still in our country the *nowle+2e o, how to cast iron

accor+in2 tra+itional technolo2y.

.. D 8y visit o, %aul 8cNulty wor*shop in %ra2ue near )ivisovie move+ me in time.

&t ,eels as maye ,actories in the early nineteenth century loo*e+ similar. Aor ma*in2

some i2 part there were sometimes up to si people in wor*in2 to help %aul all partsthere were ma+e manually means the closest possile techni5ue ,or the ol+ time. & saw

the case o, %leyel piano ,rom the thirties nineteenth century which %aul ha+ ou2ht in

%aris at the ,lea mar*et o, ol+ pianos. This case was in such a+ state that it was not any

more 2oo+ ,or any restorin2 ut you can remove the soun+oar+ an+ see how successivelayers o, woo+ 2lue+ were as thic* ims were lai+ insi+e the woo+ out an+ how all

internal parts were matchin2 parts to each other. &t turne+ out that the case is ma+e o, oa* plywoo+ F= mm thic* which - to increase ri2i+ity - with each si+e as a++e+ on 2lue F-

mm layer o, woo+ y layers arran2e+ vertically an+ all to2ether covere+ with ornate

maho2any veneer. Arom the outsi+e measurin2 instrument mo+el in museum it wasimpossile to see these +etails. &n a similar ,rame ma+e o, F=-millimeter plywoo+

compose+ o, three layers o, plywoo+ continuin2 the strin2 elements are G= mm thic*.

.. - $oncerts which was planne+ on a copy o, %leyel piano re5uire the orchestra ,romthe time o, $hopin. This orchestra is a team o, 8usica 9nti5ua $olle2ium >arsoviense D

which was always playin2 only on historical instruments. The orchestra was ,oun+e+ in

1BI. Now the orchestra is preparin2 itsel, to per,orm on instruments ,rom the ,irst perio+ o, the (omantic era a %leyel /8cNulty ,ortepiano also ma+e in tunin2 romantic

time so everythin2 will e *ept accor+in2 these lines. 'e will also use music scores ,rom

$hopin3s time as the >ariations on 8o0art3s Op. F or ,rom the time close to this perio+.'e want to e the most authentic $oncerts scores are much ol+er than use+ now+ays

Aiteler2 e+itions. &n our theater at al. oli+arity ha+s alrea+y launche+ the $hopin !ear.

The premises provi+e+ y our ions $lu was alrea+y or2ani0e+ an evenin2 +e+icate+ to

the music o, $hopin. even on2s o, $hopin there sin2in2 y Ol2a %asichny* in partnershio with Eve %elwec*iej interpretations were etraor+inary eauti,ul an+

movin2. ey 'arsaw $hamer Opera concerts are planne+ ,or F; F an+ <= eptemer

in the Jreat Hall o, the (oyal $astle. &n each o, them will e a piece ,or piano an+orchestra with ome a++itional pieces. To2ether with the >ariations on 8o0art3s Op. F will

e per,orme+ the +uet "K ci +arem la mano" ,rom )on Jiovanni san2 y 8arta

?oers*a an+(oert Jierlach who will appear in the opera costumes e,ore an+ a,terthe eecution o, $hopin3s >ariations >iviana o,ronit0*i. On the secon+ +ay Natalia

%asichny* will per,orm $oncerto in E minor y $hopin e,ore which will e soun+e+

the overture to the opera LTwo Huts 6$hat*a small $otta2eMM7 y urpins*i. The thir+

evenin2 will e ,ille+ with $oncerto in A minor per,orme+ y Canus0 Olejnic0a*



prece+e+ o, $oncert Overture y &2nacy Aeli*s )or0yns*i. $olle2ium 8usica 9nti5ua

>arsoviense Orchestra will e le+ y ai ?umann. 'e are thin*in2 o, recor+in2 all the

wor*s an+ to release $) alums.

E.%. - There is also a ,rame aroun+ these events. ome +ays e,ore the concerts with

$hopin3s music will e per,orme+ %assion y Coseph Elsner in Evelen2ical $hurch.Elsner was evan2elic an+ passions are ,amiliar concert ,orm $hopen when he was in

%aris trie+ to ma*e it pulishe+ which means he value+ it. On Octoer 1 an+ F in our

theater is also sche+ule+ LHal*a in the >ilnues version.

.. - Our piano is the only such copy in the worl+. %aul 8cNulty is uil+in2 a secon+

instrument ut it +oes not inten+ to sell sayin2 that the price woul+ have e more then

hun+re+ thousan+ euros ie the price o, mo+ern concert instrument. Our piano oli2e+ to e use+ on many occasions - ,estivals courses seminars musicolo2y ecause the main

motive was interest to ,in+ out how $hopin3s music soun+e+ in the time when he himsel,

was per,orme+. 'e mi2ht not e ale to restore all manners o, his playin2 maye not his

sutlety an+ ,ree+om ut we can 2et closer to soun+ palette which ha+ at his +isposal.On most ori2inal ,ortepianos o, the time playin2 is possile only with +i,,iculty an+ their

soun+ capailities are limite+. ?y usin2 a new copy we can try to overcome theselimitations ecause possily our instrument is soun+in2 closer to the ori2inal than the

two hun+re+ year ol+ ori2inals.

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Perevod Ruch Sutkovski, Kur, Palasz