JAREK KOSTKA
JAZZ PIANIST, ARRANGER, ORGANIST, COMPOSER
JAREK KOSTKA
JAZZ PIANIST, ARRANGER, ORGANIST, COMPOSER
JAREK KOSTKA
JAZZ PIANIST, ARRANGER, ORGANIST, COMPOSER
MONIUSZKO
“Music draws on other existing music” is still true. Jarek Kostka repeatedly chose the “starting material” from classic and folk patterns, creating a jazz idiom from it. This time he faced the work of Stanisław Moniuszko, a composer who, like Wagner or Rossini, created music mostly in coexistence with the text. He arranged the songs and arias of our romantic in a modern, jazz convention for choir, soloists, orchestra, rhythm section, and saxophone.
Although the musical form and style change a lot, Jarek Kostka is aware of the literary layer of Moniuszko songs. Works of poets such as Mickiewicz, W. Syrokomla, J. I. Kraszewski, V. Hugo, W. Goethe, and their nineteenth-century overtones, obliged to keep the limits of interference in the original and good taste. From many of Moniuszko’s works, he chose those lyrical, ballad and contemplative, which incline to “swinging nostalgia”. Regarding the musical form, he changes it, brings out a jazz idiom, creates a structure of jazz themes on the basis of which the musicians improvise or strictly implement.
The idea of a jazz concert based on Moniuszko’s “themes” is a tribute to the composer on the 200th anniversary of his birth. All this is a truly personal and contemporary convention, in which the separateness of the two periods of the 19th and 21st centuries is blurred. The restraint and lyricism of Moniuszko’s music, its romantic background with mythical and real characters deeply touches the sensitivity of the artists – the performers of the project. The stigma of Moniuszko’s work does not affect the musical expression of the artists. The “Swinging Chimes” project is proof that music intended for home music-making in the nineteenth century, it doesn’t lose its value currently – it can be popular and recognisable.
MONIUSZKO
“Music draws on other existing music” is still true. Jarek Kostka repeatedly chose the “starting material” from classic and folk patterns, creating a jazz idiom from it. This time he faced the work of Stanisław Moniuszko, a composer who, like Wagner or Rossini, created music mostly in coexistence with the text. He arranged the songs and arias of our romantic in a modern, jazz convention for choir, soloists, orchestra, rhythm section, and saxophone.
Although the musical form and style change a lot, Jarek Kostka is aware of the literary layer of Moniuszko songs. Works of poets such as Mickiewicz, W. Syrokomla, J. I. Kraszewski, V. Hugo, W. Goethe, and their nineteenth-century overtones, obliged to keep the limits of interference in the original and good taste. From many of Moniuszko’s works, he chose those lyrical, ballad and contemplative, which incline to “swinging nostalgia”. Regarding the musical form, he changes it, brings out a jazz idiom, creates a structure of jazz themes on the basis of which the musicians improvise or strictly implement.
The idea of a jazz concert based on Moniuszko’s “themes” is a tribute to the composer on the 200th anniversary of his birth. All this is a truly personal and contemporary convention, in which the separateness of the two periods of the 19th and 21st centuries is blurred. The restraint and lyricism of Moniuszko’s music, its romantic background with mythical and real characters deeply touches the sensitivity of the artists – the performers of the project. The stigma of Moniuszko’s work does not affect the musical expression of the artists. The “Swinging Chimes” project is proof that music intended for home music-making in the nineteenth century, it doesn’t lose its value currently – it can be popular and recognisable.
JAZZ CONTRA BACH
As a jazz pianist and organist at the same time, when playing baroque music, I discovered that Bach is Jazz – there is no need to change much – as his music swings naturally! Is not basso continuo a baroque “rhythm section”? And the author’s identity as an artist and composer? Improvisation, interchangeability of instruments, intimacy – these are not only similarities – this is pure unity and harmony! Although Bach is present at any given moment on this CD, he would be very surprised to hear how much he influenced and inspired us…
Musicians: Jarek Kostka, Jan Adamczewski, Piotr “Max” Wiśniewski, Waldemar Franczyk
If you are interested in buying the CD, please contact me.
Pieces on the CD:
1. Jesu bleibet meine Freude
2. Preludium et fuge c minor
3. Bouree
4. Arie
5. Wachet auf! ruft uns die Stimme
6. Ich ruf zu dir Herr Jesu Christ
7. Toccata et fuga d minor
Jazz Contra Bach – Bouree
Jazz Contra Bach – Jesu Bleibet Meine Freude
Jazz Contra Bach – Toccata Et Fuga
JAZZ CONTRA BACH
As a jazz pianist and organist at the same time, when playing baroque music, I discovered that Bach is Jazz – there is no need to change much – as his music swings naturally! Is not basso continuo a baroque “rhythm section”? And the author’s identity as an artist and composer? Improvisation, interchangeability of instruments, intimacy – these are not only similarities – this is pure unity and harmony! Although Bach is present at any given moment on this CD, he would be very surprised to hear how much he influenced and inspired us…
Musicians: Jarek Kostka, Jan Adamczewski, Piotr “Max” Wiśniewski, Waldemar Franczyk
If you are interested in buying the CD, please contact me.
Pieces on the CD:
1. Jesu bleibet meine Freude
2. Preludium et fuge c minor
3. Bouree
4. Arie
5. Wachet auf! ruft uns die Stimme
6. Ich ruf zu dir Herr Jesu Christ
7. Toccata et fuga d minor
Jazz Contra Bach – Bouree
Jazz Contra Bach – Jesu Bleibet Meine Freude
Jazz Contra Bach – Toccata Et Fuga
ST HILDEGARD
The choice of the artistic work of St Hildegard is not random. She lived and worked in the early 12th century. She was an extraordinary person of great power and influence in medieval Europe. She was a multi-talented woman: a visionary, scientist, composer, philosopher and physician. Her intellectual activity and creativity emerge especially in the second half of her life until its end (she lived 81 years). Hildegard was a forerunner in many areas. As the first woman in the Middle Ages she independently founded a convent, she was also the first who made the comprehensive description of the German flora and fauna. St. Hildegard is also the first known author of morality and first and only known composer who signed the name on her work as well as the first saint who wrote the autobiography and memoirs. She is being regarded as the first German philosopher of nature and physician. As first from women brought up the subject matter of sexual life and gynecology in her letters.
Our project relates mainly but not only to the music of St Hildegard. In this matter her achievements are impressive. Although it derives from Gregorian chant it does not actually have any analogies in contemporary Europe. It is an independent phenomenon of exceptional expression power.
Hildegard’s compositions appear today in Western Europe directly and out of the church context. She is herself a phenomenon inspiring contemporary musicians performing Gregorian chants and also those who form various musical styles on the borderline of chants and current music. Her songs, hymns, chants, and sequences still inspire us, in our creative work today.
In Jarek Kostka’s project, instrumental passages – quasi jazz, totally enrich the whole musical piece, without compromising the original song and its readability. The use of modern instruments: piano, saxophone, percussion and other (instruments were also introduced by Hildegard in her chants), expands the context of sound and becomes a symbol of the transfer of values from the “cultural roots” to the present. Inventive directing of the whole performance introduces necessary non-musical topics (life and health philosophy, active life attitude regardless of age, continuous internal improvement and development, seeking harmony with the environment and back to nature. These topics follow contemporary trends in sensitizing people to environmental problems and presence of nature in their lives as well as the need for unity between city and nature), where the base builds the theological work of St. Hildegard, descriptions of her visions, revelations, and mystical experiences also life and health philosophy.
Pieces on the CD:
1. Quia ergo femina
2. Cum processit
3. O rubor sanquinis
4. O viriditis digiti Dei
5. Bridge over 1000 years
6. O succesores
7. Spritui Sancti honor sit & Epilogue
Jarek Kostka – piano
Mariusz Kozłowski – saxophone
Pro Vobis Chamber Choir conducted by Krystyna Kamińska
Solists: Magdalena Nowak, Katarzyna Różańska
Michał Garstecki – mix, mastering
Editor – Stowarzyszenie “Gloria in Musica”
Artistic concept and production – Jarek Kostka
Cum processit
Bridge over 1000 years
ST HILDEGARD
The choice of the artistic work of St Hildegard is not random. She lived and worked in the early 12th century. She was an extraordinary person of great power and influence in medieval Europe. She was a multi-talented woman: a visionary, scientist, composer, philosopher and physician. Her intellectual activity and creativity emerge especially in the second half of her life until its end (she lived 81 years).
Hildegard was a forerunner in many areas. As the first woman in the Middle Ages she independently founded a convent, she was also the first who made the comprehensive description of the German flora and fauna. St. Hildegard is also the first known author of morality and first and only known composer who signed the name on her work as well as the first saint who wrote the autobiography and memoirs. She is being regarded as the first German philosopher of nature and physician. As first from women brought up the subject matter of sexual life and gynecology in her letters.
Our project relates mainly but not only to the music of St Hildegard. In this matter her achievements are impressive. Although it derives from Gregorian chant it does not actually have any analogies in contemporary Europe. It is an independent phenomenon of exceptional expression power.
Hildegard’s compositions appear today in Western Europe directly and out of the church context. She is herself a phenomenon inspiring contemporary musicians performing Gregorian chants and also those who form various musical styles on the borderline of chants and current music. Her songs, hymns, chants, and sequences still inspire us, in our creative work today.
In Jarek Kostka’s project, instrumental passages – quasi jazz, totally enrich the whole musical piece, without compromising the original song and its readability. The use of modern instruments: piano, saxophone, percussion and other (instruments were also introduced by Hildegard in her chants), expands the context of sound and becomes a symbol of the transfer of values from the “cultural roots” to the present. Inventive directing of the whole performance introduces necessary non-musical topics (life and health philosophy, active life attitude regardless of age, continuous internal improvement and development, seeking harmony with the environment and back to nature. These topics follow contemporary trends in sensitizing people to environmental problems and presence of nature in their lives as well as the need for unity between city and nature), where the base builds the theological work of St. Hildegard, descriptions of her visions, revelations, and mystical experiences also life and health philosophy.
Jarek Kostka – piano
Mariusz Kozłowski – saxophone
Pro Vobis Chamber Choir conducted by Krystyna Kamińska
Solists: Magdalena Nowak, Katarzyna Różańska
Michał Garstecki – mix, mastering
Editor – Stowarzyszenie “Gloria in Musica”
Artistic concept and production – Jarek Kostka
Pieces on the CD:
1. Quia ergo femina
2. Cum processit
3. O rubor sanquinis
4. O viriditis digiti Dei
5. Bridge over 1000 years
6. O succesores
7. Spritui Sancti honor sit & Epilogue
Cum processit
Bridge over 1000 years
NORDIC SOUNDS
We would like to introduce a new and interesting music project of Polish jazzmen gathered around Jarosław Kostka – pianist, arranger, and author of the concept. Riding the wave of success of the album “Chopin Profanum” published in 2010 in tribute to Chopin, the artist searched for new ideas in the musical legacy of Edvard Grieg. When analyzing his work, he turned his attention towards the Norwegian folk music, from which Edward Grieg drew his inspirations – after all, this is the reason why Grieg is called by Polish musicologists the “Chopin of the North”.
Confirming timeliness of the adage known to Chopin and Grieg – “The music draws from another existing music” Jarek Kostka reached into “Per Gynt” suite and songs, orchestral pieces and piano by Edvard Grieg. He made a selection, some musical pieces were deliberately shortened and he pulled out of them this “something special”, which is required for the impulse to jazz improvisation. And so it was created some musical material which became the base for further transformations and sound exploration.
All this is a tribute to the next, great Romantic from the North. “Nordic Jazz Project” is another, just the more mature and creative stage of the author of “Chopin Profanum.” Moderation and lyricism of Grieg deeply move musical sensitivity in many musicians and opens for them and for the listeners a wide range of artistic experiences.
The band consists of:
Jarek Kostka – piano
Jan Adamczewski – saxophones
Piotr Wiśniewski – bass
Waldemar Franczyk – drums
Ievan Polkka
Jean Sibelius – Valse Triste
Edvard Grieg – Solveig’s Song / In the Hall of the Mountain King
Edvard Grieg – Anitra’s dance
Finlandia
NORDIC SOUNDS
We would like to introduce a new and interesting music project of Polish jazzmen gathered around Jarosław Kostka – pianist, arranger, and author of the concept. Riding the wave of success of the album “Chopin Profanum” published in 2010 in tribute to Chopin, the artist searched for new ideas in the musical legacy of Edvard Grieg. When analyzing his work, he turned his attention towards the Norwegian folk music, from which Edward Grieg drew his inspirations – after all, this is the reason why Grieg is called by Polish musicologists the “Chopin of the North”.
Confirming timeliness of the adage known to Chopin and Grieg – “The music draws from another existing music” Jarek Kostka reached into “Per Gynt” suite and songs, orchestral pieces and piano by Edvard Grieg. He made a selection, some musical pieces were deliberately shortened and he pulled out of them this “something special”, which is required for the impulse to jazz improvisation. And so it was created some musical material which became the base for further transformations and sound exploration.
All this is a tribute to the next, great Romantic from the North. “Nordic Jazz Project” is another, just the more mature and creative stage of the author of “Chopin Profanum.” Moderation and lyricism of Grieg deeply move musical sensitivity in many musicians and opens for them and for the listeners a wide range of artistic experiences.
The band consists of:
Jarek Kostka – piano
Jan Adamczewski – saxophones
Piotr Wiśniewski – bass
Waldemar Franczyk – drums
Edvard Grieg – Solveig’s Song / In the Hall of the Mountain King
Edvard Grieg – Anitra’s dance
Finlandia
Ievan Polkka
Jean Sibelius – Valse Triste
POLISH-FINNISH HOODMAN'S BLIND
This music project is a development of concept of the Nordic Jazz Project. This time the starting material is Finnish and Polish pieces of music- taken from both classical music (Sibelius, Chopin, Moniuszko) and folk music of both countries.
Jarek Kostka – pianist and arranger of this concert, invited to this cooperation saxophonist – Jan Adamczewski, bassist – Piotr Lewandowski and drummer – Waldemar Franczyk.
This time he also introduced a folk instrument and singing. The sounds of a nostalgic sounding cantele – a Finnish folk instrument, meet the sounds of a jazz quartet that provokes by rhythm, harmony, articulation… Barbara Wilinska – a cantelist and singer introduces listeners to the melancholic mood of Finnish songs, to provoke them in a moment using the vital lyrics of the songs from the region of Wielkopolska.
The music draws the listener in, surprises, sometimes introduces to a reverie saturated with the green landscapes of Finland.
POLISH-FINNISH HOODMAN'S BLIND
This music project is a development of concept of the Nordic Jazz Project. This time the starting material is Finnish and Polish pieces of music- taken from both classical music (Sibelius, Chopin, Moniuszko) and folk music of both countries.
Jarek Kostka – pianist and arranger of this concert, invited to this cooperation saxophonist – Jan Adamczewski, bassist – Piotr Lewandowski and drummer – Waldemar Franczyk.
This time he also introduced a folk instrument and singing. The sounds of a nostalgic sounding cantele – a Finnish folk instrument, meet the sounds of a jazz quartet that provokes by rhythm, harmony, articulation… Barbara Wilinska – a cantelist and singer introduces listeners to the melancholic mood of Finnish songs, to provoke them in a moment using the vital lyrics of the songs from the region of Wielkopolska.
The music draws the listener in, surprises, sometimes introduces to a reverie saturated with the green landscapes of Finland.
CHOPIN PROFANUM
After a few years spent on thinking about the compositions of Fryderyk Chopin, there emerged in us the temptation to come to grips with his works. The 200th anniversary of the composer’s birth was a good occasion and pretext to put the idea into life, although it was not the only reason since Chopin’s music was so inspiring and deeply rooted in us. Chopin is “sacrum” and hence we took it seriously and did our best in using all our knowledge, talent and experience.
The author of ”CHOPIN PROFANUM” is our pianist and leader Jarosław Kostka who arranged all the pieces on which we based and created some open forms without limiting free jazz narration. Though all rhythmical and melody details of Chopin’s compositions were defined, his music is still a “written improvisation”. This improvisation is rooted in Polish folk and XVIIth and XVIIIth century European music. Chopin frequently referred to both of these traditions. He is also commonly known to have been a very skillful improviser.
Can this freedom in creating musical matter, so natural for jazz, be a bridge connecting classical music and jazz? Isn’t it a good idea to play Chopin in a jazz style? Let our CD “CHOPIN PROFANUM” be the answer to the above question. While working on it we introduced some changes of rhythm, harmony and phrasing. The project is not only our tribute to the great Polish composer but also our wish for showing the fact that his music is timeless, supranational and thought-provoking.
Musicians:
Jarek Kostka
Jan Adamczewski
Jakub Olejnik
Przemysław Jarosz
Pieces on the CD:
Mazurek C-dur op.67 nr 3
Mazurek a-moll op. 17 nr 4
Preludium As-dur op.24 nr 17
Preludium e-moll op. 24 nr 4
Mazurek fis-moll op. 59 nr 3
Mazurek a-moll op.68 nr 2
Etiuda E-dur op. 10 nr 3
Fantaisie Impromptus cis-moll op. 66
Preludium Fis-dur op. 24 nr 13
Mazurek F-dur op. 68 nr 3
Mazurek a-moll op.17 nr 4
Preludium As-dur op.24 nr 17
Mazurek fis-moll op. 59 nr 3
If you are interested in buying the CD, please contact me.
CHOPIN PROFANUM
After a few years spent on thinking about the compositions of Fryderyk Chopin, there emerged in us the temptation to come to grips with his works. The 200th anniversary of the composer’s birth was a good occasion and pretext to put the idea into life, although it was not the only reason since Chopin’s music was so inspiring and deeply rooted in us. Chopin is “sacrum” and hence we took it seriously and did our best in using all our knowledge, talent and experience.
The author of ”CHOPIN PROFANUM” is our pianist and leader Jarosław Kostka who arranged all the pieces on which we based and created some open forms without limiting free jazz narration. Though all rhythmical and melody details of Chopin’s compositions were defined, his music is still a “written improvisation”. This improvisation is rooted in Polish folk and XVIIth and XVIIIth century European music. Chopin frequently referred to both of these traditions. He is also commonly known to have been a very skillful improviser.
Can this freedom in creating musical matter, so natural for jazz, be a bridge connecting classical music and jazz? Isn’t it a good idea to play Chopin in a jazz style? Let our CD “CHOPIN PROFANUM” be the answer to the above question. While working on it we introduced some changes of rhythm, harmony and phrasing. The project is not only our tribute to the great Polish composer but also our wish for showing the fact that his music is timeless, supranational and thought-provoking.
Musicians:
Jarek Kostka
Jan Adamczewski
Jakub Olejnik
Przemysław Jarosz
Pieces on the CD:
Mazurek C-dur op.67 nr 3
Mazurek a-moll op. 17 nr 4
Preludium As-dur op.24 nr 17
Preludium e-moll op. 24 nr 4
Mazurek fis-moll op. 59 nr 3
Mazurek a-moll op.68 nr 2
Etiuda E-dur op. 10 nr 3
Fantaisie Impromptus cis-moll op. 66
Preludium Fis-dur op. 24 nr 13
Mazurek F-dur op. 68 nr 3
Mazurek a-moll op.17 nr 4
Preludium As-dur op.24 nr 17
Mazurek fis-moll op. 59 nr 3
If you are interested in buying the CD, please contact me.
MAREK GRECHUTA
“Autumn Concert” under the motto: “Important are only those days we do not know yet”
Performers:
Jarosław Kostka – development, arrangement, piano
Leopold Twardowski – guitar, vocals
Pawel Glowacki – double bass
Anastasia Twardowska – violin
MAREK GRECHUTA
“Autumn Concert” under the motto: “Important are only those days we do not know yet”
Performers:
Jarosław Kostka – development, arrangement, piano
Leopold Twardowski – guitar, vocals
Pawel Glowacki – double bass
Anastasia Twardowska – violin
CHORAL MUSIC
The sense of choir structure is the result of many years of acquired experience, which originates in my childhood. As a student of the Poznan Choir School, I quickly came across a polyphonic texture. Singing in the choir helped me to get to know the specifics of the vocal apparatus and gave me later on the freedom and ease when writing for the choir.
Going through the stages of artistic education, for example, the organ class at the secondary school and the Faculty of Music Theory at the Music Academy in Poznan, I gained the knowledge and experience in arrangement and composition.
Choir music is still an artistic adventure and compositional activity for me. Over the years I was able to work out my own original and unmistakable style.
I was arranging for Affabre Concinui, Collegium Cantorum Chamber Choir (in which I also sang for many years), Chamber Choir of the University of A. Mickiewicz in Poznan.
Przybieżeli do Betlejem pasterze – Collegium Cantorum
Pójdźmy wszyscy do stajenki – Collegium Cantorum
Mizerna cicha – Collegium Cantorum
White Christmas – Collegium Cantorum
CHORAL MUSIC
The sense of choir structure is the result of many years of acquired experience, which originates in my childhood. As a student of the Poznan Choir School, I quickly came across a polyphonic texture. Singing in the choir helped me to get to know the specifics of the vocal apparatus and gave me later on the freedom and ease when writing for the choir.
Going through the stages of artistic education, for example, the organ class at the secondary school and the Faculty of Music Theory at the Music Academy in Poznan, I gained the knowledge and experience in arrangement and composition.
Choir music is still an artistic adventure and compositional activity for me. Over the years I was able to work out my own original and unmistakable style.
I was arranging for Affabre Concinui, Collegium Cantorum Chamber Choir (in which I also sang for many years), Chamber Choir of the University of A. Mickiewicz in Poznan.
Collegium Cantorum
Przybieżeli do Betlejem pasterze
Pójdźmy wszyscy do stajenki
Mizerna cicha
White Christmas
COMBO LATINO
The band was formed in 2000 based on the fascination with Latin music, in particular the Caribbean. Combo Latino creates a replica of the instrumental groups of salsa and merengue from Cuba and Puerto Rico. The beauty of rhythms, original percussion instruments (congas, bongos, maracas, timbales, etc.) and its fascinating dancing rhythm creates a real unique value of the Combo Latino on the Polish market.
Musicians – band members draw inspiration from the tradition of Afro-Cuban music experienced during numerous tours through Central America. The band ambition is reaching into the roots of folklore, at the same time abandoning its commercial interpretation.
The band performs on various jazz and entertainment stages. In addition, it is engaged in integration projects for companies. It is open to cooperation with Cuban and Latin musicians.
The band wants to reach into the roots of folklore, which does not exclude the creative use of musical themes from other areas. An example of such artistic experiments are arrangements of well known Polish hits with a distinctive Cuban groove, which creates an interesting and also humorous symbiosis.
The founder, arranger, and leader of the band is the pianist Jarosław Kostka.
Oye como va
Tequila
COMBO LATINO
The band was formed in 2000 based on the fascination with Latin music, in particular the Caribbean. Combo Latino creates a replica of the instrumental groups of salsa and merengue from Cuba and Puerto Rico. The beauty of rhythms, original percussion instruments (congas, bongos, maracas, timbales, etc.) and its fascinating dancing rhythm creates a real unique value of the Combo Latino on the Polish market.
Musicians – band members draw inspiration from the tradition of Afro-Cuban music experienced during numerous tours through Central America. The band ambition is reaching into the roots of folklore, at the same time abandoning its commercial interpretation.
The band performs on various jazz and entertainment stages. In addition, it is engaged in integration projects for companies. It is open to cooperation with Cuban and Latin musicians.
The band wants to reach into the roots of folklore, which does not exclude the creative use of musical themes from other areas. An example of such artistic experiments are arrangements of well known Polish hits with a distinctive Cuban groove, which creates an interesting and also humorous symbiosis.
The founder, arranger, and leader of the band is the pianist Jarosław Kostka.
Oye como va
Tequila
SACRUM SONGS
Please visit www.wielbienie.pl
In November there will be another Jazz All Souls Church in the church of OO. Dominikanów (Dominican Order) in Poznan. This year I will also play in the intention of the great dead jazz musicians…
I am also taking part in various projects of the Christian mainstream musicians – with Poldek Twardowski, Kinga Kielich, Julia Kopala. In April 2016 we created a musical background of a big celebration of the 1050th anniversary of Christianity in Poland.
Sacrum songs
Sacrum songs
Sacrum songs
SACRUM SONGS
In November there will be another Jazz All Souls Church in the church of OO. Dominikanów (Dominican Order) in Poznan. This year I will also play in the intention of the great dead jazz musicians… I am also taking part in various projects of the Christian mainstream musicians – with Poldek Twardowski, Kinga Kielich, Julia Kopala. In April 2016 we created a musical background of a big celebration of the 1050th anniversary of Christianity in Poland.
Sacrum songs
Sacrum songs
Sacrum songs