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Zygmunt Krauze - Press and interviews

Zygmunt Krauze (b. 1938) stands out among the generation of composers born before the war because of the originality of his sound language. Almost at the very beginning of his career, the composer formed his unmistakable idiom and began to compose music quite unlike any other. The music is usually labeled as minimal - Krauze was one of the pioneers of this style in Europe. It is not a coincidence that his name is often paired with that of Tomasz Sikorski; the two were close friends and Krauze appeared as a pianist in concerts with Sikorski. Still, Zygmunt Krauze is in the world of minimal music a highly individual and intriguing figure because of the inspirations he derived from the paintings and theory of the avant-grade Polish painter living in the 1st half of the 20th century, Wladyslaw Strzemisnki (1893-1952). It was from him that Krauze borrowed the term he uses to describe his own aesthetic - unism. Krauze's unistic compositions resemble Strzeminski's monochromatic pictures, devoid of dramatic conflicts or any significant contrasts. This does not mean, however, that nothing happens in those works. On the contrary, there is very much going on, but in a subtle and delicate manner, and in the centre of that "going on" there is an ornament, masterfully and elaborately designed in its many variant shapes. The composer dresses time in this ornament, adorns time with an arabesque drapery, covers it with a frieze whose design is governed by the logic of number, rhythm, proportion. We can discover, or rather open ourselves to, the hypnotic beauty of this music by contemplating the musical piece as a sound object that lasts, not as a sound process that tends towards a solution.

Andrzej Chłopecki on Zygmunt Krauze's music in
"Polish Collection of the Warsaw Autumn 1956-2005"

This is an opera - not a play

Who is Yvonne to you?

She is an intriguing woman that I find attractive. I have a feeling that I would like to understand her and get to know her better, but I cannot because I don't know enough about her. What arouses my interest in Yvonne is her inscrutability, the fact that she rebels and the knowledge that she is constantly at odds with the world.

Yvonne remains silent. Do you consider this a psychological or a musical fact? In other words, do you mark the length of the rest, the silence pertaining to Yvonne in the score?

From the musical point of view the moment of silence and anticipation is the most exciting part. It builds up the tension, as in music, silence is not a break or a repose. It is a continuation of what we have heard before and what goes on in our imagination or an anticipation of what follows. The situation created by Gombrowicz is wonderful for a composer as it provides a new perspective on how to deal with the two aspects or kinds of silence. So, is it strictly defined? Yes, it is. The silence in the musical score has been recorded in the form of the so-called general rest or pause.

How did your interest in the opera begin?

I composed my first opera in 1981. At that time my works were published by Universal Edition in Vienna, one of the largest music publishers in Europe. Alfred Schlee, the general director at that time, agreat driving force in the field of music and European culture, approached me asking whether I would be willing to compose an opera for the National Theatre in Mannheim. I found this proposition very attractive. With my friend, Helmut Kajzar, who offered his play, The Star, we worked on the libretto for an opera based on the play.
I considered the staging of The Star to be a singular adventure for me. Symphonic music and instrumental concerts - these were the things that I was then interested as a composer. I was not fully aware of the elements that make up an opera and its production. I conducted the opera and collaborated with a German director in Mannheim, yet as it was my first experience connected with opera, I felt a bit lost.
However, in the 80's, when I was living in Paris, I worked with Jorge Lavelli, creating music for his stage productions. This collaboration provided me with a thorough training in the field of theatre, music for theatre, staging and all of its components. As a consequence, when Stefan Sutkowski asked me to compose an opera for the Warsaw Chamber Opera, I was better prepared. I knew the role that music played when an actor or singer was on stage. In 2002, I completed my second opera Balthasar, based on Daniel, a play by Stanislaw Wyspianski.

In what way are the characters treated "literally"? Is it their larger-than-life quality?

If someone tells another person I love you, it can mean yes, I truly love you, or it can be turned into a sarcastic joke, a question, a reproach or a way to tease someone ironically. My position is to take every word, every sentence as it is with no implied meanings or double meanings.
However, when character parts appear, even if one does not intend to define them by music, music carries certain emotions and sets a tempo which, as a result, creates the character and the situation. So, one is either less or more aware of the way one builds up a character. I tried to do this on the basis of the literal meaning of their lines.

The idea of composing an opera based on Yvonne, Princess of Burgundy seems excellent. It is Gombrowicz's best play.

I think the secret of Yvonne's success lies in the fact that it has a classical structure, based on ancient rules that were applied in classical palys, including those of Shakespeare. This allows for great tension among characters to be achieved. The play provides an ideal libretto for an opera. There are also other operas based on the play. One of them is by Boris Blacher, a German composer I met in Berlin, who wrote an opera based on Yvonne. He used the full text without shortening it; his opera was staged in Berlin in the early 60s.

Gombrowicz's attitude towards music was ambiguous, to say the least. He could not be made to belive in the authencity of its reception and the only composer he acknowledged was Beethoven.

Yes, this is true. I had the opportunity of seeing his comments concerning music for the play that were written on the first edition of Operetta, when I was at Mrs. Gombrowicz's home. I must say that I was really astonished... Perhaps he did not have a good ear for music or perhaps music was far from his mind... I found his notes, which Mrs. Gombrowicz showed me, to be completely useless for a composer. This cannot undermine the fact that his plays provide a brilliant starting point for music.

It is a relief to know that he was equally critical of painting and poetry.

Oh, yes. He was a man that had very specific opinions about many things and was very strong in his convictions.

An interview with Zygmunt Krauze on Yvonne, Princess of Burgundy by Ewa Bulhak.

An Unforgettable Concert

Among the performers at the final concert of the 12th Lublin Forum of Contemporary Art one could hear Zygmunt Krauze - pianist, composer and great individuality in the world of music.

The Friday concert was, without any doubts, a historical moment for the music lovers of Lublin; Zygmunt Krauze - an artist appreciated all around the world - performed on the stage of the Lublin Philharmonic. He presented to the public two compositions from different periods of his creative life, yet showing its most important features - originality of concepts, great sensitivity to the quality of sound, unlimited openness of mind and subtlety. The impression - tremendous.

In Arabesque for amplified piano and chamber orchestra the artist uses stones and metal rods in order to obtain surprising sound effects. In the Piano Concerto he reduces the number of wind instruments and introduces two accordions, two electric guitars and saxophones. The piano part is a suggestive guide for the orchestra players - sound ideas realized by the other instruments emerge from its glimmering segments.

Zygmunt Krauze magnetizes the audience with colours, intrigues with his attitude towards the lapse of time and emits an impression of inner harmony. Listening to his music is an inspiring experience. It opens the ears for sounds full of emotions, among which one can find one's own feelings. The world of the composer is his own, recognizable sign of identity, but he also leaves an open space of research for the intelligent performers - the orchestra and the conductor. And here is another surprise: I haven't heard the Lublin Philharmonic Orchestra playing so well for a long time. Slawek Adam Wroblewski made the musicians believe in their own strength, giving them enthusiasm and ideas.

27. 04. 2008
Dorota Gonet (Polish Radio Lublin)
Source: Gazeta Wyborcza Lublin

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