Maciej Frackiewicz - Wam-Iationen (2019)

The accordion has something of an over-instrument: two voices can not only be played dynamically, completely independently of each other, they can also - as with the big church organ - be tuned in a very specific way. Also, the dynamics that result from its efficient air production approaches any wind instrument easily. The resulting huge variable applications have thus emancipated this instrument in the present sustainable from any restrictive connotation as a "folk musical instrument". Currently, the Polish musician Marciej Frackiewicz contributes to this with his creative project: It's all about Mozart - in other words, that composer who is not the only one who cares a great deal about cultivated chamber music. In this sense, Maciej Frackiewicz moves his instrument here in the environment of a small chamber staff, gets friends in the boat, which stand by him on flute, viola and cello. His long-standing professor at the Detmold Academy of Music, Grzegorz Stopa, also attended the concert exam at Frackiewicz before joining the Folkwang Hochschule in Essen.

It becomes clear: The accordion playing is usually in the center because of its character - for example, when Frackiewicz sensitively weaves the carpet of melodic threads and filigree the motifs and themes. The vibrato-free, naturally somewhat static sound has its very own presence - this "otherness" invites the other instruments to dock in a variety of tonal colors. Thus, a sensitive game is combined with the singing of the flute, with carried string movements and the oboe, which always adhere something neatly narrative. Thus, Adagio and Rondo KV 617 first mark a friendly, graceful world. Maciej Frackiewicz emerges in the Fantasia KV 608 in a soloistic and highly virtuoso manner, in order to dialogue with his teacher on the second instrument, which sensitively continues in the long dreamy cantilenas of various adagio and andante movements, and through the timbres offered here, again and again, moments of a songlike To release intimacy.

Making music in Mozart's time had something very immediate, improvisational. This means, above all, to play with the material with relish and, in doing so, to engage humorously in the bag of tricks. Macjiej Frackiewicz and Grzegorz Stopa duel with virtuoso sophistication in the famous variation movement on the chancon "Ah vous dirais-je Maman". As the melody is broken down into figurations, accelerated or excessive point-high, and it goes sky high and at the same time in the deepest bass-cellar. Yes, these instruments can do a great deal and all that the two players use here seems plausible.

Would Mozart himself enjoy his new WAM-Iations by Piotr Tabakiernik? Here, individual passages, quotations, motifs from Mozart pieces are taken - to form a new cheeky-happy mosaic, in which even Dadaist sound poetry is used.

But apart from that, all the jazzy bass lines, weird counterpoints and lightning fast inventions are all pure Mozart. The creator of this contemporary Mozart homage attaches great importance to this. For the unconventional instrumentation ideas of Maciej Frackiewicz such a reworking comes as called.