|
Bach and Jazz
Take Bach: Güher & Süher Pekinel’s view on their album as compiled by the German “Piano News” magazine
When listening to this album, audience will ask themselves why this piano duo is so interested in Bach and jazz. We’ve come through a long process of development and advancement to reach this stage.
Johann Sebastian Bach has always been a mirror for both of us since our childhood; a mirror that reflected the true and at the same time a multi-dimensional philosophy. We have found the transparency and the eternal search for the extraordinary and its direct formulation in harmony only in Bach. The greatness of Bach rests in his unlimited vision and his ability to be in the past in the present and in future simultaneously.Multi-dimensional mathematics of Bach has always mystified us. While various melodic arrangements developed in authentic labyrinths, the musical expression creates a rhythmical “process” as result of counter-dynamics which in turn created by 16’s, trioles, and 32’s. By re-arranging the feature of this architecture, it is possible to catch jazz’s basic “swing”! Is this an alienation of Bach’s music? No! Through transformation, music gains a new dimension and transparency.. New ways in interpretation are opened to us through improvisation.With the dissolution of mathematical structure, and replacement of it by "swing elements", everything lightens.But “lightness” does not mean “easiness”. Just the opposite, this “lightness” in the substructure brings “swing” with it. Thus, with the contribution of jazz, music gains a new dimension. All these prove Bach’s timeless greatness.In this context, working with Jacques Loussier brought us to a new vision of Bach. We are, therefore, thankful to him.
When we listened to Jacques Loussier for the first time, we found out with surprise that with an original new form between improvisation and composition, he had found a new and original “style” based on jazz. For us, the generation of pianists who have grown up with Bach's new interpretations of famous pianist Glen Gould to whom it opened new trends, this style was a brand new and a different exploration. It led us to discover Bill Evans and George Shearing. We had the opportunity to experience them as "poets" of jazz pianists.
Both Shearing,Evans and Loussier have found their original styles in jazz. All three pianists have studied not only Bach's but also Brahms', Schumann's, Debussy's, Ravel's, Satie's and Milhaud’s harmonies which they combined perfectly to end up in new interpretations. Bela Bartok has written “Contrasts Trio” for Benny Goodman, Stravinsky spent his nights at jazz bars for years and devoted himself to writing “Ebony Concerto” for Woody Herman Orchestra.
Developments continued from Penderecki to Boulez until our day.
This reveals that although jazz originates from New Orleans it has, in the process, developed an "European" interpretation which combines classicism with modernizm. We have experienced this in the past, when students from all over the world started their days in Julliard by playing jazz improvisations instead of Chopin's "etudes" or Bach’s "fugues".
How can an “extraordinary” connection develop and grow as an “ideal” connection? Can a musical "form" established through centuries find its freedom and harmony outside its basic "mould"? For us, it is only a natural process of development. Today, all types of music are experiencing an intensive globalization, facing oppositions from each other, automaticly dissolving or forming a "new life" through interconnection.This is best reflected by Modern Music which develops new styles and patterns while encountering radical forces of change which in turn, brings it somewhat naturally closer to jazz's basic concepts .
“Fusion” and “World Music” is in the beginning of a new age. In this new age, jazz, too, will look for and engage in new partnerships and collobrations.
Güher & Süher Pekinel
read essay in German
|
|
