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Broken Wing - guitar transcriptions


Accordion and …

Fryderyk Chopin for guitar

Ilość sztuk:
Mirosław Drożdżowski is a person of exceptional sensitivity to music. Of course, he is not the only one, but sensitivity takes different forms in different people. Drożdżowski is filled with music and at the same time engulfed by it. He is a composer (or an author, as he modestly claims) of a few hundred pieces! Many artists, having once entered the path of artistic work, follow it proudly looking continuously for further remarkable solutions. For others, their artistic work becomes a burden arising from the fear of unintentional borrowing that may lead to an unconscious plagiarism. In case of Drożdżowski the situation is different. For him, referring to various styles and musical genres is something natural. He almost constantly moves between classical and rock music, through jazz and Latin American rhythms. His transcriptions of Niemen's pieces and recently published collection of arrangements of Latin American songs have triggered off very positive reactions both among critics and among performers those who already give concerts and those who are just toiling up the scene. The question „why Drożdżowski transcribes Chopin from keyboard to guitar frets?” is out of place. One could put forward different theories with reference to this question and all of them would be correct, but what is the point? In Chopin's music there is something unusual that finds its way to the soul of a common man, even if he or she does not expect that. And how does it find its way to the soul of an uncommon man? We have got the possibility to find it out through the collections mentioned above, which include 10 pieces for two guitars. I know how these arrangements came into being. The author was totally preoccupied with the work on them. Engaged in teaching activities during the day, he devoted subsequent nights to burying himself in the thicket of notes, out of which he often had to choose those most essential ones dispensing with others, which were, after all, also important. Although Chopin is credited with the saying: „there is nothing more beautiful then the guitar unless it is two guitars…”, the fact is that he composed his works for the piano and every attempt at transcribing this unique music for another instrument is a great challenge. Chopin gave a concert together with a Spanish guitarist Fernando Sor, which could be regarded as proof of his real interest in this instrument. Even during his lifetime some of his pieces were transcribed for the guitar. Yet, such attempts were rather harshly judged. His music had also a considerable influence on the works of Francisco Tarrega (Mazurkas) and Alexander Tansman. As a matter of fact, „Chopin sounds” can be heard also in the music of modern Polish and foreign artists composing for the guitar (including the author presented here). Drożdżowski has courageously put the guitar next to the piano score. Will his transcriptions gain the trust of guitar virtuosos, listeners and critics? I claim they will, because what he does in his musical actions is genuine and comes from the place where a man stores his most precious values. After all, this is what counts most in every artistic work and in music it is additionally perceptible, sort of beyond our consciousness. And Chopin? Well, maybe he would write down a verbal impression on a table napkin? Oh, if I could lean my fingers on guitar frets I would spark mazurkas put out a waltz with a harmonic weave an arpeggio into a polonaise From soft strings at dawn would I weave a spider web with dew drops or a mesh full of notes-butterflies I would wrap sounds in grey dusk so that they could remain trembling in their gentleness until tomorrow, the day after tomorrow, forever… Witold Stawski
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