For me the stage is the best teacher. It's a confrontation of our imagination and the pure life. We learn how to deal with the sound and pieces, reacting on the feedback which comes from the audience. There are no two same concerts, no two same people or water drops... - Katarzyna

Featured Artist: Katarzyna Mycka

Katarzyna and Maia had a chance to e-chat before Katarzyna's recent US tour:

Maia: Can you talk about your inspiration for your International Marimba Academy (IKMMA)?

Katarzyna: In traveling around the world in the last 10 years, I have recognized how quickly people are impressed by the marimba, and how many students want to learn more about its music and sound.

In '95/96, the first marimba competitions were founded, and marimba became an issue. In recent years, competition between players became out of balance - too much competition kept many players busy, instead of improving the literature and their playing abilities and musical understanding.

It's hard to understand, but with marimba being a new instrument on the classical stage, marimbists often forget general musical rules. That's why I wanted to make it possible to bring young, motivated students and the best teachers together to spend time making music and friends, to find again the features which are important for music, and adapt them to marimba. Thus, 2003 IKMMA was founded.

During IKMMA we have daily concerts - internal, and also for the public.
In general, I wish to keep the warmly accepted event open to answer important questions, avoid the unhealthy competition between musicians, and support IKMMA students in the future.

IKMMA 2009, the 4th edition, will be a premiere in Germany, at the Music Academy in Frankfurt. But I'm already very happy and satisfied with the cooperation of Professor Rainer Roemer, who teaches at the Academy, as well as performing many concerts as a soloist and principal percussionist of the world famous Ensemble Modern.
Besides Rainer Roemer and myself, I'm happy to host Robert van Sice and Eric Sammut as main teachers, Shoko Sakai as IKMMA assistant, and Ney Rosauro as guest composer.
Maia: You teach in a wide range of master class environments - from the IKMMA to the I. Paderewski Music Academy in Poland and Musik-Kurswochen in the Alps. Can you share with us a little about the different opportunities available in each of these marimba-focused environments, and a bit about your approach to teaching marimba?
Katarzyna: In general, I teach master classes all over the world with the same feeling. I meet young motivated people, who are excited about the quick development of marimba - who are looking for advice, but also confirmation of their own ways. It's nice to teach in different countries; I learn a lot myself about different points of view and history, make up my mind, and try to select really important things for - not only my musical - life.
But teaching marimba is not much different for me than for other musicians teaching other instruments - piano, cello or guitar. Just look for music, sound, ideas and this little something incredible that makes the world a better place!
Maia: Are there elements of your own playing that feel distinctly Polish, or otherwise regional, to you? Are there musical expressions in marimba performance or composition that you feel are unique to Poland or to Europe?
Katarzyna: That's a very interesting subject. Yes, I think there are some specific features that make the difference between players from different continents, countries. Poland in this case is pretty specific - very patriotic, proud, but also kind of revolutionary. The geographical position of my country is possibly uncomfortable - between two big and strong nations, Russia and Germany - but we've never given up the independence.
What makes Chopin's music sound so "Polish"? Are these motifs of the folk music, or maybe romanticism or desire? It is difficult to describe it, but many pianists come to Poland for months just to get the feeling for the country and play Chopin's music "right." Other important names in our musical history are Szymanowski, Karlowicz, Penderecki, Lutoslawski and Kilar.
For marimba music with Polish feeling, I was looking for somebody who understands the sound and features of marimba, and I'm so happy to have found the person. Her name is Anna Ignatowicz and her compositions definitely sound "Polish" and touch my national soul.

Maia: You are one of the first marimba players to build a strongly successful career as a marimbist, rather than a percussionist who plays marimba. How did this evolve for you?

Katarzyna: At the beginning - by coincidence. At the age of six, I started to play piano, which worked out for 10 years, but not one day longer. I was thinking about studying biology, since I really disliked sitting on the chair to practice... then I heard a vibraphone in the school concert, and suddenly it became my desire to play percussion instruments. Honestly - I loved every single percussion instrument and enjoyed every minute of practice.

Later on, in Germany, I decided to take a part in all of the competitions available during my study. There were two competitions for marimba, in Luxembourg and Stuttgart. I was awarded the first prize at both of them and thought - well, maybe this is a sign from somebody far upstairs to concentrate on marimba? At that time I had purchased my first 5 octave marimba, from Marimba One, and fallen in love with this instrument. I didn't know at that time if it were smart to decide it, but I just couldn't think about doing anything else but being a marimbist.

For several years I played percussion in orchestras and musical theater, which was very important for my musical education - every time I get in touch with orchestral music I learn a lot. I still do it sometimes and enjoy it very much. Marimba is a lonely instrument, it does not belong to any musical formations like symphonic orchestra or brass band, so it's important to find opportunities to connect with other musicians.

Maia: Do you have any particular advice for young percussionists who think they would like to focus primarily on classical marimba?

Katarzyna: Like any other instrumentalists - learn as much about music in general and express your feelings through the instrument. Practice until your possible perfection. We all want to be good, but it's also important to find your individual music language to be interesting for the audience.

Maia: I understand you just finished a new recording this July?

Katarzyna: This cd is very important for me - it happened in a special moment of my private life, when after some turbulences, I felt happy to be back on my way. There are some popular solo works, including Ilijas and Libertango, and also duos recorded with my partner Franz Bach: Sejourne's Departures and Passacaglia for vibes and marimba by Anna Ignatowicz. As on my previous cd's, there are some premiere recordings. I'm very satisfied with this production.

Maia: You regularly perform solo, as a marimba duo, and in orchestral environments - even cruise ships! How does this frequently changing ensemble dynamic impact your continued development as a musician and performer?

Katarzyna: For me the stage is the best teacher. It's a confrontation of our imagination and the pure life. We learn how to deal with the sound and pieces, reacting on the feedback which comes from the audience. There are no two same concerts, no two same people or water drops... But honestly - I love working with conductors and orchestras, getting their ideas, learning where to wait, where to lead, how to express and create together. Also, playing chamber music means being open for the exchange and cooperation. Like a marriage!

Maia: You've written elsewhere about the importance of composers developing a sensitive understanding of the marimba. Are there elements of composition that you would like to see more thoroughly explored, that you feel are unique to the instrument?

Katarzyna: Well, some specifics -

How strong does the marimba sound in different registers? Which effects can you bring together with other orchestral instruments? Which of them will cover the sound, and which will support it?

How do intervals sound in different octaves? Some intervals need time to sound right, and some chords, especially in the low register and with a fast tempo, will sound confusing.

I can easily say which composers wrote having a 5 octave "piano" in their mind and whom really learned the marimba's features.

Maia: Have there been projects or concerts this year that held particular significance to you? Are you looking forward to any special projects for the winter, or for 2009?

Katarzyna: I was happy finally to start performing Passacaglia by Anna Ignatowicz with Franz Bach. We both adore the piece and every time I play it I feel the catharsis - washing my soul.

Also, including Emmanuel Sejourne's Concerto for Marimba in my repertoire, and performing it with the WKO Heilbronn chamber orchestra and its conductor, Ruben Gazarian, who is a fantastic musician.

Maia: If I were to turn on your cd (or mp3) player today, what might I hear?

Katarzyna: Holst's Planets, CHICAGO, Bach/Gould's Goldberg Variations, Hindemith Metamorphosen, and my new cd...

LINKS

Katarzyna's Bio at M1

Katarzyna's Mallet Line

Katarzyna's Website

IKMMA 2009

The International Katarzyna Mycka Marimba Academy will meet September 18th-27th, 2009 in Frankfurt/Main in Germany.

Active Participants - the number of active participants in the Academy is limited to 32; registration deadline is June 30th, 2009.

Note: Active participants are welcome to bring your own marimba to the Academy. Contact us at Marimba One if you would like to purchase a marimba on special, to be delivered to this event!

Passive Participants - are welcome to observe any lessons and rehearsals, as well as the evening concerts.

Daily visitors are also welcome!