| Andrzej Korzyński — Man of Marble (2014) |
Andrzej Korzyński — Man of Marble
¬ (CZŁOWIEK Z MARMURU)
¬ Polski kompozytor, aranżer, organista i pianista. Cult Polish composer who provided the soundtracks to the films of Andrzej Zulawski.
Zobacz też:
¬ Człowiek z żelaza (1981) — kontynuacja filmu Człowiek z marmuru
Dodatkowe informacje:
¬ Twórca scenariusza "Człowieka z marmuru" Aleksander Ścibor-Rylski wykorzystał fakty z życia murarza rekordzisty Piotra Ożańskiego.
¬ Pierwszą próbę realizacji filmu podjęto na początku lat 60. XX w., jednak została ona wówczas zablokowana przez władze. Do pomysłu wrócono dziesięć lat później, zmieniając i aktualizując scenariusz. Pierwsza wersja scenariusza w 1963 roku wydrukowana została w Kulturze.
¬ Scena poszukiwania grobu Mateusza Birkuta, którą na polecenie władz usunięto z filmu, wykorzystano kilka lat później w Człowieku z żelaza.
Born: on March 20, 1940 in Warsaw, Poland
Aliases: Andrzej Spol
Location: Warszawa, Polska
Data premiery: 25 lutego 1977
Album release: April 2014
Record Label: Finders Keepers Records
Duration:
Tracks:
01. Man Of Marble (Baby Bump) 4:36
02. The Port 1:31
03. Saved From Oblivion 3:30
04. Figures Of Marble 2:16
05. A Witness 3:13
06. In The Shipyard 2:56
07. The Katowice Ironworks 3:11
08. The Striptease (Kung Fu) 3:38
09. Jane Wisniewski (Man Of Iron) 2:01
10. Poem By Milosz (Man Of Iron) 0:58
11. Truncheon Man (Man Of Iron) 3:04
12. You Are My Hope (Man Of Iron) 2:34
¬ Arranged By — Andrzej Korzyński
¬ Liner Notes — Andy Votel, Daniel Bird
¬ Written By — Andrzej Korzyński
LP:
Notes
¬ Tracks A1 to B2: Taken from the soundtrack master tapes for the 1977 film 'Man Of Marble/Człowiek z murmur'.
Tracks B2 to B6: Taken from the soundtrack master tapes for the 1981 film 'Man Of Iron/Człowiek z żelaza'.
¬ Track A1 also appears on the LP 'Jumbo-Jet' by Arp-Life (Polskie Nagrania, SX1509) under the name 'Baby Bump'.
Biografia:
¬ W 1964 ukończył Społeczną Państwową Wyższą Szkołę Muzyczną w Warszawie. Był uczniem prof. Kazimierza Sikorskiego. Studiował kompozycję i dyrygenturę. W 1965 wspólnie z Mateuszem Święcickim i Witoldem Pogranicznym założył Radiowe Studio "Rytm".
¬ Andrzej Korzyński jest twórcą postaci Franka Kimono. Jest również autorem słów przeboju disco polo "Mydełko Fa".
¬ Jego syn, Mikołaj Korzyński, jest scenarzystą filmów Chłopaki nie płaczą i Poranek kojota.
¬ Composer Andrzej Korzynski, providing fans of abstract/suspense cinema with a potent creative fusion to match those of Polanski/Komeda, Fellini/Rota and Argento/Goblin, amongst others. Quite simply one of the heaviest psych rock film soundtracks of all time Andrzej Korzynski's short and unreleased score matched the blueprint that adorned the drawing boards of conceptual French jazz orch rock composers like Jean-Claude Vannier, Francois De Roubaix and Alain Gourageur, creating a soundtrack that unknowingly begs comparison to Masahiko Satô's Belladonna Of Sadness and Billy Green's Stone. As one of the first progressive pop writers to come out of the vibrant (but carefully scrutinised) Polish beat scene with his bands Ricecar and later Arplife (and composing for national heroes such as Czeslaw Niemen, Niebiesko-Czarni and Test) Korzynski's growing passion for conceptual rock and jazz music soon lead to instrumental composition and soundtrack scores. His cinematic debuts scoring two consecutive transitional new wave films for Andrzej Wajda (in collaboration with the radical Polski pop groups Trubadurzy and Grupa ABC) also provided Korzynski with another significant cinematic muse in that of the stunning actress Malgorzata Braunek with whom they would both eventually achieve their finest performances under the direction of the ravenous first timer Zulawski. Third Part Of The Night (1971) perhaps epitomises that triangular on-screen unison in its vibrant youth and feeds it through a hallucinogenic mangle finding astonishing beauty (within a repulsive synopsis) against a bleak and shattered backdrop and accompanied by progressive, psychedelic orchestral rock music — elements which would intensify for all three creatives with the next film, Diabel, which was banned by the Polish government the following year until 1988. Third Part Of The Night also marks the public unison of Zulawski and Braunek whose later private romantic relationship is said to form the basis for another defining Zulawski/Korzynski defining endeavour with the 1981 film Possession exactly a decade later, encapsulating a period that bequeaths a previously unopened vault of some of the composers finest and most inspired sonic adventures." (http://www.jazzmusicarchives.com/)
Also:
Jon Behm
:: http://www.reviler.org/2012/11/16/flashback-friday-andrzej-korzynski/
Description:
•¬ Opening further doors in the sprawling labyrinth of unreleased music by Polish composer Andrzej Korzyński, Finders Keepers Records present the soundtrack to the 1977 Polish film Man Of Marble by ‘national filmmaker’ and long-term collaborator Andrzej Wajda. Presented for the first time ever on vinyl (featuring exclusive unreleased bonus tracks) this synthesiser fuelled soundtrack marks a distinct stylistic manoeuvre towards a unique brand of Polish cosmic disco, celebrating the cinematic debut of Korzyński’s Arp-Life project — widely respected as Poland’s first “synthesiser orchestra.”
•¬ Begging direct comparison to Russia’s Zodiac and sharing an uncanny resemblance to other 1970s European post rock cinematic disco bands like France’s Arpadys (formerly Jean-Claude Vannier’s Insolitudes) or the later projects of Italy’s Goblin (such as Discocross) this soundtrack witnesses Korzyński and Arp-Life at their halcyon; making fantastical and experimental musical approximations of the burgeoning synth funk disco boom which had erupted on the other side of the Iron Curtain.
•¬ Man Of Marble unearths Korzyński’s first steps into electronic dance music, and with the addition of bonus tracks from the 1981 sequel Man Of Iron, provides the perfect companion piece to his recently liberated score to Possession (directed by Andrzej Żuławski) which blends the same ingredients through another darker corridor of this versatile composer’s creative mind.
•¬ Having given Korzyński his first big domestic theatrical break with the soundtrack to the 1969 Fellini-esque film Everything For Sale (with the Łódź based beat group Trubadurzy), Man Of Marble marked the composer’s fourth collaboration with Andrzej Wajda, a partnership which spanned an eventful eight year pop cultural climate change and bridged the composer’s journey from orch/psych/rock to synthesised Polish cosmic disco — climaxing with the big screen debut of Poland’s first-ever dedicated synthesiser ensemble collectively known as Arp-Life, deriving their name from the first synth to arrive in Poland which hit Warsaw like a meteorite from another planet.
•¬ Initially assembled as a one-stop music machine to make library themes and inexpensive TV scores, the “group” (consisting of members from Korzyński’s previous beat combo, Ricercar 62, alongside the female choir known as Ali-Babki) would quickly gain critical acclaim in their own right — leading to a well respected, but slightly ahead of its time, moderately distributed LP (within communist territories) entitled Jumbo Jet.
•¬ Experimental and fantastique by definition and taking creative gambles as a necessity, these over-the-top synth-heavy techniques were deployed in filmic form for Man Of Marble to depict a stark, ultramodern contrast, accentuating a plot that switches between past and present tense, illustrating a 1970s researcher who retraces spurious political events that occurred forty years earlier. As with most communist stateowned record labels, Polskie Nagrania rarely encouraged the commercial promotion of film composers. Although Korzyński was an occasional exception to this rule (due to his previous career as a radio programmer, pop musician and writer), Man Of Marble would never be commercially released outside of the context of the film, rendering this Finders Keepers release as another vinyl milestone and providing new context for these latter-day misunderstood instrumentals which have arguably never sounded as relevant as they do in today’s climate.
•¬ Alongside Andrzej Żuławski (Possession and Third Part Of The Night), Wajda was one of Korzyński’s two consistent returning collaborators when it came to composing for film, providing a yin and yang for Korzyński’s musical multiple personalities. Where Żuławski (as a former schoolmate) would link Korzyński to controversy with his consistently banned domestic films, it was Wajda who would be the first to put Korzyński’s name on the colourful film posters that adorned Polish streets.
•¬ Accompanying Finders Keepers’ first anthology of rare Korzyński archive material Tajemnica Enigmy/Secret Enigma (FKR055), the aforementioned Possession (FKR062) and Third Part Of The Night (FKR063) soundtracks, Man Of Marble provides further glimpses into a deeper archive of electronic pop. This release captures prime-era Korzyński as a forward — thinking keyboard artist and experimentalist who managed to move with global musical and technological trends under the stifling communist regime while still displaying compositional versatility polarised by Poland’s most famous and infamous national directors. (http://www.finderskeepersrecords.com/)
Muzyka filmowa:
•¬ Wszystko na sprzedaż
•¬ Człowiek z marmuru — reż. Andrzej Wajda
•¬ Człowiek z żelaza — reż. Andrzej Wajda
•¬ Polowanie na muchy — reż. Andrzej Wajda
•¬ Brzezina — reż. Andrzej Wajda
•¬ Panna Nikt — reż. Andrzej Wajda
•¬ Trzecia część nocy — reż. Andrzej Żuławski
•¬ Na srebrnym globie — reż. Andrzej Żuławski
•¬ Agent nr 1
•¬ Diabeł — reż. Andrzej Żuławski
•¬ Opętanie — 1981 reż. Andrzej Żuławski
•¬ Szamanka — 1995, reż. Andrzej Żuławski
•¬ Wierność — 2000, reż. Andrzej Żuławski
•¬ W pustyni i w puszczy — reż. Władysław Ślesicki
•¬ Tulipan
•¬ Akademia Pana Kleksa
•¬ Podróże Pana Kleksa
•¬ Pan Kleks w kosmosie
•¬ Oko proroka
•¬ Przeklęte oko proroka
•¬ Pierścień i róża
•¬ Nie ma mocnych
•¬ Kochaj albo rzuć
•¬ Wielki Szu
•¬ Ostatnie takie trio
•¬ Tygrysy Europy
•¬ Zapamiętaj imię swoje — 1974
•¬ S.O.S. — 1974, reż. Janusz Morgenstern
Website: http://korzynski.soundtracks.pl/
_______________________________________________________________
| Andrzej Korzyński — Man of Marble (2014) |
¬ (CZŁOWIEK Z MARMURU)
¬ Polski kompozytor, aranżer, organista i pianista. Cult Polish composer who provided the soundtracks to the films of Andrzej Zulawski.
Zobacz też:
¬ Człowiek z żelaza (1981) — kontynuacja filmu Człowiek z marmuru
Dodatkowe informacje:
¬ Twórca scenariusza "Człowieka z marmuru" Aleksander Ścibor-Rylski wykorzystał fakty z życia murarza rekordzisty Piotra Ożańskiego.
¬ Pierwszą próbę realizacji filmu podjęto na początku lat 60. XX w., jednak została ona wówczas zablokowana przez władze. Do pomysłu wrócono dziesięć lat później, zmieniając i aktualizując scenariusz. Pierwsza wersja scenariusza w 1963 roku wydrukowana została w Kulturze.
¬ Scena poszukiwania grobu Mateusza Birkuta, którą na polecenie władz usunięto z filmu, wykorzystano kilka lat później w Człowieku z żelaza.
Born: on March 20, 1940 in Warsaw, Poland
Aliases: Andrzej Spol
Location: Warszawa, Polska
Data premiery: 25 lutego 1977
Album release: April 2014
Record Label: Finders Keepers Records
Duration:
Tracks:
01. Man Of Marble (Baby Bump) 4:36
02. The Port 1:31
03. Saved From Oblivion 3:30
04. Figures Of Marble 2:16
05. A Witness 3:13
06. In The Shipyard 2:56
07. The Katowice Ironworks 3:11
08. The Striptease (Kung Fu) 3:38
09. Jane Wisniewski (Man Of Iron) 2:01
10. Poem By Milosz (Man Of Iron) 0:58
11. Truncheon Man (Man Of Iron) 3:04
12. You Are My Hope (Man Of Iron) 2:34
¬ Arranged By — Andrzej Korzyński
¬ Liner Notes — Andy Votel, Daniel Bird
¬ Written By — Andrzej Korzyński
LP:
Notes
¬ Tracks A1 to B2: Taken from the soundtrack master tapes for the 1977 film 'Man Of Marble/Człowiek z murmur'.
Tracks B2 to B6: Taken from the soundtrack master tapes for the 1981 film 'Man Of Iron/Człowiek z żelaza'.
¬ Track A1 also appears on the LP 'Jumbo-Jet' by Arp-Life (Polskie Nagrania, SX1509) under the name 'Baby Bump'.
Biografia:
¬ W 1964 ukończył Społeczną Państwową Wyższą Szkołę Muzyczną w Warszawie. Był uczniem prof. Kazimierza Sikorskiego. Studiował kompozycję i dyrygenturę. W 1965 wspólnie z Mateuszem Święcickim i Witoldem Pogranicznym założył Radiowe Studio "Rytm".
¬ Andrzej Korzyński jest twórcą postaci Franka Kimono. Jest również autorem słów przeboju disco polo "Mydełko Fa".
¬ Jego syn, Mikołaj Korzyński, jest scenarzystą filmów Chłopaki nie płaczą i Poranek kojota.
¬ Composer Andrzej Korzynski, providing fans of abstract/suspense cinema with a potent creative fusion to match those of Polanski/Komeda, Fellini/Rota and Argento/Goblin, amongst others. Quite simply one of the heaviest psych rock film soundtracks of all time Andrzej Korzynski's short and unreleased score matched the blueprint that adorned the drawing boards of conceptual French jazz orch rock composers like Jean-Claude Vannier, Francois De Roubaix and Alain Gourageur, creating a soundtrack that unknowingly begs comparison to Masahiko Satô's Belladonna Of Sadness and Billy Green's Stone. As one of the first progressive pop writers to come out of the vibrant (but carefully scrutinised) Polish beat scene with his bands Ricecar and later Arplife (and composing for national heroes such as Czeslaw Niemen, Niebiesko-Czarni and Test) Korzynski's growing passion for conceptual rock and jazz music soon lead to instrumental composition and soundtrack scores. His cinematic debuts scoring two consecutive transitional new wave films for Andrzej Wajda (in collaboration with the radical Polski pop groups Trubadurzy and Grupa ABC) also provided Korzynski with another significant cinematic muse in that of the stunning actress Malgorzata Braunek with whom they would both eventually achieve their finest performances under the direction of the ravenous first timer Zulawski. Third Part Of The Night (1971) perhaps epitomises that triangular on-screen unison in its vibrant youth and feeds it through a hallucinogenic mangle finding astonishing beauty (within a repulsive synopsis) against a bleak and shattered backdrop and accompanied by progressive, psychedelic orchestral rock music — elements which would intensify for all three creatives with the next film, Diabel, which was banned by the Polish government the following year until 1988. Third Part Of The Night also marks the public unison of Zulawski and Braunek whose later private romantic relationship is said to form the basis for another defining Zulawski/Korzynski defining endeavour with the 1981 film Possession exactly a decade later, encapsulating a period that bequeaths a previously unopened vault of some of the composers finest and most inspired sonic adventures." (http://www.jazzmusicarchives.com/)
Also:
Jon Behm
:: http://www.reviler.org/2012/11/16/flashback-friday-andrzej-korzynski/
Description:
•¬ Opening further doors in the sprawling labyrinth of unreleased music by Polish composer Andrzej Korzyński, Finders Keepers Records present the soundtrack to the 1977 Polish film Man Of Marble by ‘national filmmaker’ and long-term collaborator Andrzej Wajda. Presented for the first time ever on vinyl (featuring exclusive unreleased bonus tracks) this synthesiser fuelled soundtrack marks a distinct stylistic manoeuvre towards a unique brand of Polish cosmic disco, celebrating the cinematic debut of Korzyński’s Arp-Life project — widely respected as Poland’s first “synthesiser orchestra.”
•¬ Begging direct comparison to Russia’s Zodiac and sharing an uncanny resemblance to other 1970s European post rock cinematic disco bands like France’s Arpadys (formerly Jean-Claude Vannier’s Insolitudes) or the later projects of Italy’s Goblin (such as Discocross) this soundtrack witnesses Korzyński and Arp-Life at their halcyon; making fantastical and experimental musical approximations of the burgeoning synth funk disco boom which had erupted on the other side of the Iron Curtain.
•¬ Man Of Marble unearths Korzyński’s first steps into electronic dance music, and with the addition of bonus tracks from the 1981 sequel Man Of Iron, provides the perfect companion piece to his recently liberated score to Possession (directed by Andrzej Żuławski) which blends the same ingredients through another darker corridor of this versatile composer’s creative mind.
•¬ Having given Korzyński his first big domestic theatrical break with the soundtrack to the 1969 Fellini-esque film Everything For Sale (with the Łódź based beat group Trubadurzy), Man Of Marble marked the composer’s fourth collaboration with Andrzej Wajda, a partnership which spanned an eventful eight year pop cultural climate change and bridged the composer’s journey from orch/psych/rock to synthesised Polish cosmic disco — climaxing with the big screen debut of Poland’s first-ever dedicated synthesiser ensemble collectively known as Arp-Life, deriving their name from the first synth to arrive in Poland which hit Warsaw like a meteorite from another planet.
•¬ Initially assembled as a one-stop music machine to make library themes and inexpensive TV scores, the “group” (consisting of members from Korzyński’s previous beat combo, Ricercar 62, alongside the female choir known as Ali-Babki) would quickly gain critical acclaim in their own right — leading to a well respected, but slightly ahead of its time, moderately distributed LP (within communist territories) entitled Jumbo Jet.
•¬ Experimental and fantastique by definition and taking creative gambles as a necessity, these over-the-top synth-heavy techniques were deployed in filmic form for Man Of Marble to depict a stark, ultramodern contrast, accentuating a plot that switches between past and present tense, illustrating a 1970s researcher who retraces spurious political events that occurred forty years earlier. As with most communist stateowned record labels, Polskie Nagrania rarely encouraged the commercial promotion of film composers. Although Korzyński was an occasional exception to this rule (due to his previous career as a radio programmer, pop musician and writer), Man Of Marble would never be commercially released outside of the context of the film, rendering this Finders Keepers release as another vinyl milestone and providing new context for these latter-day misunderstood instrumentals which have arguably never sounded as relevant as they do in today’s climate.
•¬ Alongside Andrzej Żuławski (Possession and Third Part Of The Night), Wajda was one of Korzyński’s two consistent returning collaborators when it came to composing for film, providing a yin and yang for Korzyński’s musical multiple personalities. Where Żuławski (as a former schoolmate) would link Korzyński to controversy with his consistently banned domestic films, it was Wajda who would be the first to put Korzyński’s name on the colourful film posters that adorned Polish streets.
•¬ Accompanying Finders Keepers’ first anthology of rare Korzyński archive material Tajemnica Enigmy/Secret Enigma (FKR055), the aforementioned Possession (FKR062) and Third Part Of The Night (FKR063) soundtracks, Man Of Marble provides further glimpses into a deeper archive of electronic pop. This release captures prime-era Korzyński as a forward — thinking keyboard artist and experimentalist who managed to move with global musical and technological trends under the stifling communist regime while still displaying compositional versatility polarised by Poland’s most famous and infamous national directors. (http://www.finderskeepersrecords.com/)
Muzyka filmowa:
•¬ Wszystko na sprzedaż
•¬ Człowiek z marmuru — reż. Andrzej Wajda
•¬ Człowiek z żelaza — reż. Andrzej Wajda
•¬ Polowanie na muchy — reż. Andrzej Wajda
•¬ Brzezina — reż. Andrzej Wajda
•¬ Panna Nikt — reż. Andrzej Wajda
•¬ Trzecia część nocy — reż. Andrzej Żuławski
•¬ Na srebrnym globie — reż. Andrzej Żuławski
•¬ Agent nr 1
•¬ Diabeł — reż. Andrzej Żuławski
•¬ Opętanie — 1981 reż. Andrzej Żuławski
•¬ Szamanka — 1995, reż. Andrzej Żuławski
•¬ Wierność — 2000, reż. Andrzej Żuławski
•¬ W pustyni i w puszczy — reż. Władysław Ślesicki
•¬ Tulipan
•¬ Akademia Pana Kleksa
•¬ Podróże Pana Kleksa
•¬ Pan Kleks w kosmosie
•¬ Oko proroka
•¬ Przeklęte oko proroka
•¬ Pierścień i róża
•¬ Nie ma mocnych
•¬ Kochaj albo rzuć
•¬ Wielki Szu
•¬ Ostatnie takie trio
•¬ Tygrysy Europy
•¬ Zapamiętaj imię swoje — 1974
•¬ S.O.S. — 1974, reż. Janusz Morgenstern
Website: http://korzynski.soundtracks.pl/
_______________________________________________________________