Classical and folk music were intertwined in the life of Andrzej Korzyński. He composed an opera as a thesis for a diploma and at the same time wrote songs for Piotr Szczepanik. At the same time, he collaborated with Andrzej Żuławski on film music, says Grzegorz Brzozowicz, music critic, director of the film “Andrzej Korzyński. Lost Diamond” (2016). Today, Wednesday, May 11, the composer’s funeral service will take place in Warsaw.
“If you compare the different films in which Korzyński worked, the music for each of them is made in different styles: from avant-garde, through rock, to symphonic and classical, as in + Brzezina + Andrzej Wajda” – asserted Grzegorz Brzozowicz in an interview with PAP .
Andrzej Korzyński studied composition and composition at the State Higher School of Music in Warsaw in the professor’s class. Kazimierz Sikorsky. Brzozowicz said that classical education helped Korzyński a lot. “He told me that in music school he gained ease of switching between different musical genres. For example, in music to + in the desert and in the wild + use oriental scales, for example, Persian” – he recalls. “It did not bother him, he was given a task related to the atmosphere of the music, and he adapted very quickly. He was very diligent, composed quickly, accurately and without delay, and also had great ease in writing melodies. He is one of the few Polish composers. Film music, in their films you can hear songs ”- said the music critic.
After graduating, Korzynsky wrote the mini-radio opera “Klutches” (1965) as a diploma. Brzozovic noted that her tapes are in the radio archive. “It is not known whether Korzynsky will continue his career as a classical musician, although he was also attracted to the cabaret and, in parallel with recent years, played as a pianist in the Manneken cabaret. Unfortunately, he had an accident: New Year’s fireworks, made by his friend, exploded At home, in his hand, which damaged two fingers for the rest of his life. He couldn’t have had a proficient career.”
However, as he pointed out, Korzyński used classical music throughout in the music of his films. “Even in Żuławski’s last film + Kosmos + there is a song. He also liked to experiment, combining electronic and symphonic instruments. It all depends on the character and the times when a particular movie or series was made. When he wrote the music for Andrzej Wajda, he wrote the music for the marble man,” he said. He became fascinated with electronic music. This type of music does not quite fit the era, and at the same time it was ideally suited to the film” – he said.
“Classical and folk music were intertwined in his life all the time. When he was graduating from the Academy and composing an opera as a dissertation for a diploma, he also wrote songs for Piotr Szczepanik, for example Greatest hits + yellow calendars +. At the same time, already in 1967. He started working with Żuławski on film music. Their first films included classical and symphonic, but already in the third part of the night + he used rock. He liked to experiment with different sounds and was easy to adapt to. It was not a problem for him that one day he records song, and the next day he records more detailed works ”- stressed Brzozovic.
“In 1972, an album with Korzyński’s film music was released. It was the first complete album with a picture of a film music composer on the cover, since there was no tradition to publish film music albums at that time. First, but his next album was released only after 40 years, It was released by GAD Records” – he pointed out.
Brzozowicz explained that Korzyński was forgotten in the early 1990s. “He made most of the films with Żuławski and Wajda, and he was also famous for + Akademia Pana Kleksa +, and it so happened that in the early 1990s, the Wajda and Żuławski films as well as the fifth part of + Akademia Pana Kleksa + Korczynski started working again in Germany, and he was He has a friend there, Celino Blewis, with whom he made films in the 1970s in the GDR. He appreciated this for many reasons, both financially and in working conditions: excellent orchestras, good preparation, money on time.Selino fled to West Germany in In 1983 he offered to cooperate with Korzynsky, and then he worked there mainly in the 90s. ”
Andrei Korzynsky, born in 1940, graduated from the Department of Composition and Composition at the State Higher School of Music in Warsaw (1964). During his studies he collaborated as a pianist and composer with the academic cabaret Manneken. In 1964 he founded the band Ricercar ’64, recorded his work with them and accompanied the soloists.
In 1965 he was one of the founders of the youth studio “Rhythm” on Polish Radio, which presented, among other things, the works of young musicians performing Bigbit music. Songs were recorded there, among others, Marek Grechota, Chislau Neiman, Zeroni Guitar, Break Out, Trobadoro, Stan Boris, Wojciech Gusowski.
Andrzej Korzyński composed many Polish pop songs in the 1960s. They have been sung by, among others, ABC Group, Błękitko-Czarni, Czesław Niemen, Ada Rusowicz, Katarzyna Sobczyk and Piotr Szczepanik. In the following years, he also composed songs, including. For Andrzej, Eliza, Dwa Plus One, Irena Jarocka, Maryla Rodowicz, Zdzisława Sośnicka, Test and Violetta Villas. In 1983 he invented the character Frank Kimono, played by Pyotr Frunzhevsky, for whom Korzynsky wrote songs.
He was the author of, among others “Yellow Calendars”, “To a Teardrop”, “I’m a Butterfly”, “Little Untitled House”.
In the 1970s he founded Arp Life, the first Polish group to play electronic music.
He has also composed music for more than 150 films and series, including films: Andrzej Żuławski – incl. “The third part of the night”, “The Devil”, “On the universal silver”; Andrzej Wajda – “Everything is for sale”, “Fly catch”, “Birch”, “Marble Man”, “Iron Man”, “Miss Sun”; Sylwestra Chęciński – “Nie ma nie mocnych”, “Love it or leave it”, “Big Shu”; Edward Chebrosky – “Salvation”; Władysław Ślesicki – including “In Desert and Wilderness”; Krzysztof Gradowski – “Akademia Pana Kleksa” He also wrote music for such series as “Janka”, “Tulipan” and “Tigrysy Europa”.
He was, among other things, a laureate of the Music Award for “Red Thorns” at the 1977 Polish Film Festival in Gdansk and the “Man with the Golden Ear” award at the Soundedit Music Producers Festival. Recipient of the Silver Medal for Cultural Merit – Gloria Artes.
He died on April 18 at the age of 82.
Andrzej Korzyński’s funeral service will take place on May 11 at the Church of Creative Communities in Warsaw. After the liturgy, the composer will rest at the Powązki Military Cemetery. (PAP)
Author: Olga Łozińska
Oluse / poured /