I’ve long been attracted by the idea of the musician as an improviser. The pressure to produce perfect performances has gradually led to the emergence of entirely separate musical professions: you have to be either an instrumentalist, or an improviser, or a composer. I think this process has taken something very valuable away from us musicians. That’s why I had the idea of putting together a group where classical and jazz musicians could share their experience. Exprezz’s repertoire is basically built on classical works. The acoustic fabric of these works gives us a pretext for improvisation in different styles. New musical structures come into being as a result: collages of classical and jazz timbres which the musicians play around with. This leads to new discoveries both for the performers and the listener…

 

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Exprezz 
We Told Lutoslawski 

The title of the project “We told  Lutoslawski- inspired by Anna Ciborowska- is not only a play on words but provides a key to the concept of the project.We told  Lutoslawski”forms an unconventional encounter with the great Polish composer’s music. The artists cite fragments from his scores – the Concerto for Orchestra and Chantefleurs et Chantefables  engaging with them, however, through their own narration. They express what they hear in the music of Lutosławski in their own idiom. The acoustic fabric of these works gives us a pretext for improvisation in different styles.  New musical structures are created: collages of contemporary and jazz sounds and colours, musical landscapes juggled by the musicians …. 

“We told  Lutoslawski”is an artistic adventure for both performers and listeners.Musicians who performed in the project:Anna Ciborowska ( piano),Cezariusz Gadzina (saxophones), Jean- Paul Estievenart and Robert Majewski( trumpet), Michał Zaborski (alto), Krzysztof Lenczowski ( cello, guitar), Adam Cegielski and Christophe Devisscher (double bass), Lionel Beuvens, Adam Czerwiński , Krzysztof Gradziuk and Tefari (drums), Marcin Steczkowski (digital effects),Paweł Tomaszewski (Hammond’s organ), Aga Wińska  (soprano).

 The concert tour in 2013:

- 08.06. Centre Culturel Espace Senghor in Brussels,

- 03.10. concert in Koblenz,

- 19.10. Mazovian Cultural Centre in Warsaw,

- 15.11 African Jazz Village in Addis Abeba ( Ethiopia).

   

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SzymanowskaMaria Szymanowska- Polish woman-composer from the XIX centaury – was an artistic muse for such personalities as Goethe, Mickiewicz. Her music is a great example of early-romantic style. It charms with melodic meanders and innovative approach to piano facture. The personality of Szymanowska gives an additional flavour to it. The artist – at the beginning of the XIX centaury- was courageous enough to divorce her bourgeois husband. That wasn’t just a salon scandal but the act of desperation to realize her artistic evocation and talent. Her fascinating biography and two – popular till now – miniatures have inspired me to discover her output. Not many pieces were edited nowadays. Most of them were approachable only in the XIX-centaury editions or manuscripts. I tried to select the most representative – in my opinion- compositions.

For the CD recording I’ve finally chosen two bigger forms- Fantaisie and Caprice (première world CD release), selection of Mazurkas and Polonaises, two Nocturnes ( the most known from her output). The most interesting artistically are Preludes. Here Szymanowska – not limited by the musical form-could open the wings of her invention and intuitional sense of piano. 

 

Compère

I met Gaston Compère while working on the soundtrack of a film about him “Polders”for ARTE. I was recording a suite composed by him with the same title. Since I had only been studying French for 4 years thanI had not read much contemporary French literature and I didn’t realise how important a figure he was in Belgian literature. So I was able to strike up a very natural friendship with a fantastic person. Though he was already seriously ill at the time, he was still bursting with creative energy and youthfulness of spirit. He was a real renaissance man. Though he had achieved success as a poet and writer, he was also an excellent artist and composer. He always made a point of saying that music was for him the purest and most perfect form of art. My repertoire includes his suites for piano”Polders”, “Pour Maya” and “Circonstancielles”, the last of which he dedicates to me. I perform” Les saisons mélangées” and his suite “Olenka” in a duet with the saxophonist Cezariusz Gadzina. Gaston used to compose like Beethoven without the aid of any instrument, let alone a computer. His music is characterised by its extreme sensitivity to colour and the drama of its forms.   

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