其實Jarzebski的音樂當時在我心中有留下一定的印象。只是，這個現代樂器版本實在太詭異了，聽起來甚至像是Vaughan-Williams或是Ernest Bloch在二十世紀為絃樂團寫的Concerto Grosso。所幸，近來發現Pierre Verany後來有出過古樂版的錄音。儘管是一張只收錄其中十五首的CD精選集，但逮到機會也是毫不猶豫地就將它給買下來了。
Adam Jarzebski出生於靠近波蘭華沙(Warsaw)的Warka，但在大約1610年左右的時候，他到了選帝候(Elector，當時掌有可以選神聖羅馬帝國皇帝大權的諸候)Johann Siegmund Hohenzollern布蘭登堡宮裡當小提琴家。Hohenzollern的宮廷樂團陣容相當大，而且網羅了各地的音樂家。布蘭登保宮廷音樂受到法國，荷蘭，英國，以及鄰近波蘭的影響，也使得Jarzebski在這兒可以吸收許多不同的風格。
Jarzebski於1615獲得Hohenzollern的許可，到義大利深造，在當時音樂中心好好學習。不過Jarzebski後來沒有回德國，反而是回到自己家鄉華沙的皇家禮拜教堂(royal chapel)當音樂家，後來又順利成為宮廷音樂家，渡過下半輩子。Jarzebski除了是一位優秀的作曲家，他還是個全才，不僅有寫詩，而且還是個建築師，是當初建Ujazdów宮大工程的負責人。
Ujazdów Castle
Jarzebski今天流傳下來的作品，為1627所寫的Canzoni e Concerti，共有28首曲子。這份手稿，不幸在第二次世界大戰中遺失，但還好波蘭音樂學家Maria Szcepanska有抄一份留著。這其中，有13首是給二聲部，10首給三聲部，以及5首給四聲部，並都採用了當時剛流行的數字低音伴奏。Jarzebski二聲部曲的主題，大多來自義大利作曲家先前寫過的聲樂曲，其中有Palestrina，Giovanni Gabrieli，Merulo等。Jarzebski的改編，不是單單將聲樂換成器樂，而是將曲子大幅整修過，用了對位和變奏的成份，或是加入了新的主題。因此可說是完全變成了新的作品。
Jarzebski的二聲部作品是文藝復興舊式的調式(modal)音樂，而三聲部和四聲部音樂的創作手法，則是使用當時先進的調性(tonal)音樂。三聲部的concerto作品，每一首都有很特別的標題，像Corona Aurea(金王冠)，Nova Casa(新居)等。而Spandesa一曲形容戰爭場面，向來是不少巴洛克作曲家喜愛用的題材。最後，Jarzebski也融合了祖國波蘭民謠特有的節奏和旋律。
熟悉早期義大利巴洛克音樂的朋友們，會在Jarzebski的身上聽到Castello，Fontana，或是Farina的影子。但Jarzebski許多曲子慣用的一個四音主題，又很難不讓我聯想到二十世紀美國作曲家Samuel Barber那首有名的Adagio for Strings。這應該是純屬巧合，因為Barber的年代，音樂學對Jarzebski都一知半解吧。
Ensemble Mensa Sonora是由Jean Maillet領軍的法國古樂團。古樂同好會知道他們的團名取自Biber的同名創作。Ensemble Mensa Sonora的小編制採取一人一聲部的作法，製造出一種私人空間。巴洛克小提琴的穿透力，搭配大鍵琴和theorbo的撥絃，營造出輕盈的音色。而教堂足夠的回響，也使得聲音不立刻衰弱。Mensa Sonora風格上不刻意去誇飾，但拉法精確，簡捷，有力。四聲部的canzona裡，各聲部表現也相當清楚。如果錄音無法一次認真聽完，多半是曲子間相似度高的原故，絕不是樂團的演奏方式。
在義大利主導音樂發展的興盛時期，不要忘了有Jarzebski這號人物。他當時最新潮的音樂形式引進東歐，貢獻非常大。更可從他的曲子，好好了解十七世紀東歐音樂的發展史。如想體驗一下來自其歐洲他偏遠國家的早期巴洛克音樂，那Jarzebski的音樂以及這張專輯，是值得考慮收藏的。
Many years ago, I purchased a 2CD set on Olympia titled "Adam Jarzebski complete works." The fact that he was a Polish Baroque composer utterly captured my attention; the rest didn't matter. Turned out, the recording orchestra was a full-scale modern string orchestra (with occasional wind instruments), with constant vibrato and hardly any period phrasing. They employed a very clanky harpsichord as well, but it could might as well be due to the fact that they recorded it in a modern concert hall, and it was less than ideal. Point is, the recording was so anachronistic, it could be likened to Shakespeare writing plays on an Ipad, or Napoleon carrying an AK-47.
The overall sound was closer to Ernest Bloch or Vaughan-Williams's 20th century concerto grosso, but Jarzebski's music did make an impression on me, but not quite as lasting, as I couldn't bare listening to the modern string orchestra's particular interpretation for extended periods of time. And then just recently I managed to get my hands on the period instrument recording on Pierre Verany; I jumped at it the first instance I got. Unlike the Olympia recording, this disc only contains 15 of his 28 known written instrumental works, but it already provides a chunk of his music.
The dates of Adam Jarzebski's birth and death are not known, but he might be born around 1590, near Warsaw, Poland. In around 1610, he was employed as a violinist at the court of Johann Siegmund Hohenzollern, Elector of Brandenburg. Hohenzollern court musicians were very international, and music here had influences from England, the Netherlands, France, and of course, neighboring Poland. It was here that Jarzebski soaked up the many different styles of music.
In 1615, he was granted permission to make a trip to Italy to study the latest music trends, then the center of the latest musical developments. He did not return to Germany, but instead went back to his homeland, where he became a musician at the royal chapel and later at the Warsaw court, where he would remain for the rest of his life. Not only was he a good composer, he was also a fine architect, as he was given the great responsibility of designing and constructing the Ujazdów Castle, as shown in the picture above.
Jarzebski's entire music is contained in a set of 28 pieces "Canzoni e Concerti," written in 1627. It contains 13 pieces for 2 voices, 10 for 3 voices, and 5 for 4 voices. Many of the "concerto a due voci" are arrangements of previous written polyphonic vocal works of Italian composers, such as Giovanni Gabrieli, Palestrina, and Merulo. These arrangements are quite extensive, not merely just simple transcriptions. It could be argued the Jarzebski merely borrowed from them the initial theme, but the rest is such a big reworking that it is in nature a new piece of music.
The pieces for 2 voices are written in an older Renaissance fashion of modal music. However, the pieces for 3 and 4 voices are more forward-looking, favoring the tonal music of the early Baroque. Many of these pieces have quite descriptive titles, such as Corona Aurea (golden crown), Nova Casa (new house), or Berlinesa (Berlin). The piece Spandesa takes its inspiration from the battleground, a common source for many composers, such as Biber. Those familiar with the early Italian Baroque composers will hear hints of Castello, Fontana, or Farina in Jarzebski's music. Another thing I could not get rid of, was a four-note motif that also appears in passages from Samuel Barber's Adagio for Strings. It's safe to say that it is likely to be a fine coincidence, as I doubt Jarzebski was even a household name among musicologists in Barber's days.
Ensemble Mensa Sonora is a French period ensemble led by Jean Maillet, which takes its name from one of Biber's works. Fans of Biber (like me) cannot possibly miss it. They play the Jarzebski pieces as one should: one player per part, with a continuo team of theorbo and harpsichord/positive organ. The piercingly clear sound of the Baroque violins/cellos coupled with the crisp continuo, especially the occasional strumming of the theorbo, creates a lighter and vibrant sound. Mensa Sonora is never extreme, but their playing is sharp, accurate, and cohesive. If it fail to finish the recording in one complete hearing, it's mainly because of the high similarities between the pieces, and less because of how the musicians' interpretation.
Jarzebski was definitely one of the important composers who brought the latest musical trends from Italy over to central Europe. His music gives us an interesting window to the development of 17th century music of central Europe. This recording is overall well-played and worthy of anyone's Baroque collection who wish to expand their repertoire out to the lesser well-known.
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