There is always a risk in combining diverse musical genres, various musical experiences and, above all, different kinds of audiences with their specific habits. The more we appreciate the courage of the Organizers of 14th Ludwig van Beethoven Easter Festival. Daring is, noteworthy, the 7th commandment from Decalogue of Festival Director as published in recent “Beethoven Magazine”. To quote Elżbieta Penderecka: “Daring to go beyond the realm of classical music, towards jazz and valuable pop. To co-develop artistic projects with such individuals as Mísia, Urszula Dudziak, Grażyna Auguścik, and the musicians of Andrzej Jagodziński Trio. The festival should satisfy the hunger for non-repertoire music”.

The programme listed two performances of Chopin’s Sonata in B flat minor Op. 35, first by renowned Korean classical pianist, Julius-Jeongwon Kim, setting a standard for Andrzej Jagodziński Trio to draw their syncopated version upon it. The two worlds were to be united in the performance of Etude in G flat major Op. 25 No. 9. Kim decided to begin with an extra work: Nocturne in c sharp minor Op. 27 No. 1.
The audience, consisting in larger part of jazz lovers, was initially indifferent to Kim’s art, but this changed with every movement performed. Despite the strange stage layout of the instruments, with Kim’s piano sounding against the wall, the sound and volume of the instrument were enjoyable.
Julius Jeongwon Kim performed the Sonata with confidence. Most notably, he had observed the repeat sign of the first movement, creating a dramatic tension with the repeated exposition that allowed him to reach the climax in the development-and-recapitulation section. In the Scherzo the pianist created moving changes of moods that were later followed by Andrzej Jagodziński Trio.
It is utterly banal to state that every experience enhances our perception of the world. But this is the truth as well. We had the privilege to listen to Erquan Spring Reflecting the Moon, a theme by Hua Yanjun, arranged by Wu Zuqiang and performed on inaugural concert by Shanghai Symphony Orchestra. It was a sweet melody to European ears but in fact it was expressing sorrow and bitterness. Without this experience we would find Kim’s interpretation of the Marche funèbre to be rather distant and objective one. But after realizing the way the nations of Far East express the same emotions, we were appreciating Kim’s playing. He had applied the same qualities that were present in Erquan Spring…: the sweetness of sound, the regularity of beat, the smile that does not express joy, rather is a sign of respect and sorrow. Quite frankly, this was unusual moment of the evening.
And then the Presto finale was played almost without the use of pedal, very precise and accurate. It was a noteworthy life performance of the Sonata that certainly was Kim’s success and won him a warm applause.
The Andrzej Jagodziński Trio (the leader at a piano, supported by Adam Cegielski – double-bass and Czesław “Mały” Bartkowski – drum kit) offered a very interesting jazz rendering of Chopin’s Masterpiece. In general, they have retained much of the structure of the composition, with two main themes in the first movement that were recapitulated after the improvisational sections, with clear ABA structure of Scherzo and interesting finale driven with pure rhythm.
The first movement, quite unusual form for a jazz ensemble, did not depart far from Chopin’s music. Many Chopinesque harmonies were retained as they were very jazzy indeed. The only reservation we had was that percussion put too much emphasis on cymbals and that the part of percussionist was too glued to the Chopin’s themes, instead of providing counterpoint to them. This had changed later, especially with imaginative Scherzo.
There was a double-bass solo passage between second and third movement, and notably the Marche funèbre was far from the simplest connotations with sad service. The music was lively, syncopated one, with only some motives derived from Chopin shining here and there like sun reflexes on the water. The bridge to finale was played by Bartkowski, whose solo won audience’s applause.
The final item of the afternoon was played by all musicians united. Kim again was setting the standard for the ensemble, but then he entered with more jazzy figures in an exciting dialogue between two pianos. But the climax was reached by rhythmic section with imaginative ending on cymbals. The joy of making music together was well received by the audience who demanded an encore, so the musicians repeated the Etude – giving yet another, different version. It was in accord with jazz improvisation practice; moreover, it was in full accord with Chopin’s own performance habits.
Krzysztof Komarnicki