Kazimierz machala biography of martin

Just about everyone calls him Kaz. He has both a name and a life story that is different from everyone else, and one that is replete with both traditional horn playing as well as creative music. He came from a rural background in post-war Communist Poland but went to be a professional horn player, competition winner (third place, 1974 Prague Competition), the first DMA horn graduate from Juilliard, chamber musician, soloist, recording artist, and a university horn professor (University of Georgia, 1986-89, University of Illinois at Urbana-Champaign 1989-2009). As if that weren't enough, he also (finally) became a published and performed composer and arranger.

The story of his accomplishments should inspire the rest of us to make the most of our own time and potential. Kaz Machala--an international musician if there ever was one--has lived and worked in a number of countries, including Poland, the Czech Republic, Australia, and the US. His life has come full circle--after retiring from his position as professor of horn at the University of Illinois at Urbana-Champaign, he is back in Poland as Professor of Horn at the Chopin University in Warsaw, Poland.

Jeffrey Agrell: Tell us about where you grew up.

Kaz Machala: I grew up in a rural central Poland in a peasant family. From the age of six I was helping my father in the farm. I especially enjoyed working with horses.

JA: How did you start playing music?

KM: Although my parents had no musical education, both of them displayed an interest in music making. My father was a self-taught ocarina and mandolin player, performing occasionally with the local village band, while my mother sang in a church choir. For me music was the only exciting thing in the village. My uncle made me a little drum (stretched cowskin over a metal ring) with a triangle. Then I played the mandolin, two-string folk bass, and finally the accordion depending of the needs of the local band.

JA: When you were a boy, is it true you rode your bicycle through snow and mud in rural Poland with your accordion strapped to your back to get to your music lessons? Why?

KM: Yes, my parents secured biweekly accordion lessons with a lady who lived quite a distance from my village. She played the fiddle only but we both tried to figure out what to do from an old accordion book. I rode my bicycle through a forest and often the travel was hazardous depending on the weather (I got in the middle of blizzards and storms with the accordion on my back). Gradually my music making was changing into a passion.

JA: Why accordion?

KM: The accordion was the most complete instrument at the time. I could play the melody and chords and it was also the most favorite among neighbors. During my last year in elementary school I got invited to play in a few weddings.

JA: When did you start on horn?

KM: In high school, it was recommended to me by an ethnomusicology professor who heard me play the accordion at a folklore festival competition. I remember to this day the conversation with him about the horn. He described it as the most noble instrument in the entire orchestra and he was very passionate about it. As an obedient boy from a small village I took his recommendation very seriously. Once in high school at the beginning I was progressing very slowly. My first instructor taught mainly by rote. Students were expected to figure out many things intuitively. For some students that worked okay but for others not so well. Gradually I understood the potential and unique qualities of the horn, and that mobilized me to work harder.

JA: What other instruments did you take up?

KM: I needed money to support myself so I started playing the piano (mostly in dance bands), then the guitar and the banjo. I realized that guys who could play more than one instrument had more gigs.

JA: Banjo?!

KM: The gigs helped me financially, but then I did something that was very gratifying musically--I joined a Dixieland band playing banjo and piano. During the cold war, playing any kind of jazz was not appreciated. To many young musicians jazz was the "forbidden fruit." But it tasted better all the time. Kirk Douglas got to play on my banjo while visiting the National Higher Film School in Lodz. That acquaintance with him motivated me to learn English.

JA: Did you compose in your school days? Improvise?

KM: My first attempts to compose were for the Dixieland band. The curiosity to hear my first musical ideas was overwhelming. Later on I realized that I did something natural which many composers were doing for years especially during the court music orchestras established by rich nobility dukes, kings etc. Composers of that era were surrounded with musicians all the time and they could hear the results of their writing instantly, not a bad way to learn what works and what doesn't. I also started to improvise mainly on the piano.

JA: Why?

KM: I think most musicians have an internal need for musical fulfillment, we get very passionate about any unique experience. Improvising is like composing on the spot, and to some musicians this is vital in their musical fulfillment. For me, the main thrill in it is the spontaneity, which often is fueled by other players in a group. It doesn't have to be jazz improvisation. One of the most exhilarating moments in my music making career was playing with a gypsy band.

JA: Why did you study at the Janacek Academy [1968-73] instead of in Poland?

KM: The Czech Republic had a long tradition of fine horn playing. Probably the most distinctive aspect of that tradition to this day is the unique warm sound. It was a strong incentive to study there.

JA: What was your first job after the Academy?

KM: It was first horn with the Cracow Radio Symphony [1973-74].

JA: Why did you leave the Cracow Radio Symphony after a year? Why go back to school to learn more about orchestral playing when you were playing professionally in an orchestra?

KM: Some friends in the orchestra asked me the same question. At the time in Poland the socialist system provided job guarantees which did not work too well for reaching and maintaining high artistic standard (there were exceptions). After being accepted to Juilliard a new window to the world opened for me. New York City--with daily concerts of the best orchestras in the world, frequent master classes with renowned artists, a new environment in which people were expressing their artistic views openly and many other factors were sufficient enough to throw myself into a "lion's den" to experience it.

JA: When did you go to Juilliard? How was that experience?

KM: In 1974 I went to Juilliard with one basic desire in mind--to learn more about orchestral playing. For years I was captivated with the horn sound in American movies. At the time European horn players were focusing more on solo literature. The need to find out how horn sections in the best American orchestras played was too important to ignore. Juilliard's environment and its orchestral repertory class opened my eyes and ears to many issues related to ensemble playing. Also an important role in Juilliard's approach was the reliance on reasoning (quick processing of given information and correct application in practice).

JA: What about Australia?

KM: In 1979 I won the principal horn position with the Sydney Symphony Orchestra. The orchestra had a heavy schedule performing major repertoire and the experience became very useful in my teaching career. Sydney is a beautiful city with rich cultural activities and it had calming effect on me. During my stay there, I also played with several chamber ensembles including the Australian Wind Virtuosi.

JA: Why did you leave Australia (in 1986) for the U.S.?

KM: In spite of the numerous attractions which Sydney had to offer (pleasant climate, great beaches, gourmet restaurants, etc.) I wanted to be closer to my family members so I could visit them more frequently. Also I liked the idea of being in a challenging environment. During the Juilliard studies, I already played on many jobs, and these contacts were very useful after my return from Sydney.

JA: Tell us about your approach to teaching.

KM: During the first lessons with a student I evaluate their physical predispositions, ability to cope with stress, musical sensitivity, strengths, and weaknesses. Since healthy approach to playing is quintessential, I also examine the student's way of thinking and reacting to his own inadequacies. This is important to developing good habits. It's not unusual to observe some very intelligent students who at some point reach a level of frustration, often struggling with inability to play certain things. At that point one needs to separate the intelligence from the emotions during recommended exercises to address specific problems. The confidence of playing is gained by accumulating positive habits over period of time. Simply we need to know what we want and how to get it, and how to keep everything in a healthy balance. Over the years I learned that students who deal with these issues early in the learning process make a faster progress and are less susceptible to major crisis in their careers. The well-balanced playing efficiency is vital because we play more concerts with fewer rehearsals. The less strenuous our playing, the more energy we retain for musicianship, and performing is more enjoyable.

JA: When did you start arranging and transcribing?

KM: Transcribing for horn and piano and arranging for chamber ensembles started when I got my first teaching job. Faculty members are expected to conduct research during the tenure at learning institutions. I chose to transcribe mainly music of composers who didn't write any solo works for horn like Dvorak, Chopin, Granados, etc.

JA: When did you start composing?

KM: I started writing for the Dixieland band, then in the Czech Republic I wrote some songs for a rock band, and it continued in Australia. A student from the Sydney Film and Television School needed a score for her graduating project and I agreed to do it. While I was teaching, I wanted to write exercises for my students to emphasize the fundamentals in ensemble playing--inner rhythmic pulsation, unity in articulation, balance, synchronization etc. So I wrote a horn quartet. A year later I gave it to the American Horn Quartet at a workshop. Some months later to my surprise I was informed that they decided to include the piece in their concert repertoire. It boosted my confidence and they encouraged me to write more.

JA: How would you characterize your style?

KM: I have no aspirations to create new trends in composition. One can find traces of neo-romantic style in my music, but above all, I am much more interested in providing "freshness" to my works utilizing shades of jazz, some ingredients of ethnic folklore, and exquisite orchestration.

JA: What have been your biggest influences?

KM: Probably Ravel and Bernstein.

JA: Did you/do you have your students try creative music projects (composition, improvisation)?

KM: I have done some projects with my students but not on a regular basis. I think every college and university should offer such courses. It's good for the courage of a player. Trying something new doesn't give us any guarantee of success. But these creative activities have a major impact on our artistic perception, They stimulate imagination and ultimately enrich our musical understanding. I highly recommend it.

JA: You've lived and played in a lot of countries. Can you characterize the difference in music-making and teaching in the different places? Do you have a favorite?

KM: Traditions play an important role in performance and teaching. I think during the past fifty years performing went through major changes around the globe mainly because of advanced technology and easier documentation process--CD recordings, DVDs of live performances by top symphonic ensembles, master classes with renowned artists, etc., that gave us an opportunity to compare and learn. I think the changes in teaching, however, are evolving in a slower pace. In addition to traditions, the mental inclination to do certain things in a different way have their own logic and background. To me this is the most striking difference in music making during my playing on three continents. In other words, the approach to playing, although it differs from country to country, seems to be sensible from the point of view of a player of that country. During the past half-century many performing traditions vanished and we seem to getting closer to the center. I am not so sure if this is a good thing.

JA: Do you notice any trends in your composing? What direction does it seem to be taking for the future?

KM: For me composing started as a hobby and I am still searching and exploring different avenues to express more adequately my emotional thoughts. I try to write music that is appreciated above all by performers. I think a performance of a work is enhanced if musicians relate to it. I am continuously observing listeners' reaction to works by various composers. The search for that proper captivating musical conglomeration seems to be infinite.

JA: Do you recommend that young serious horn players learn to compose and/or improvise?

KM: Absolutely, especially if we aim to reach a fuller musical maturity. Composing/improvising help us to understand the intentions of other composers. Comprehending creativity should be easier if we try to do it ourselves.

JA: Do you have any particular advice for horn students of today?

KM: I am interested in the welfare of hundreds of horn players who will not get the dream job in a professional orchestra. If playing the horn is your passion, then you need to look after the gratification that initially pushed you to the horn. What I mean is to find activities that will provide you with joy of playing. I know satisfaction alone doesn't pay the bills but it gives you good feeling and optimism for further ventures. Examine the efficiency of your embouchure (you need to cover the entire range with flexibility). Is your pitch accuracy good enough? In most cases ear-training is not being taught for our practical needs. So practice it both ways--singing from a solfege book and then try to write down tunes that you already know, gradually you'll build point of reference. Play "Yankee Doodle" and other tunes in all keys. You need to understand intonation, develop solid rhythm with correct anticipation/ synchronization in ensemble playing. Have someone to check all these things for you.

Be creative, use available resources around you, go for a lesson to a successful professional to work on your weaknesses, not your strengths. Form a chamber ensemble with equally determined people. Look for guidance of teachers who can recommend specific exercises and determine the length of practicing for adequate improvement. Attend concerts, listen regularly to recordings--creating a subconscious concept about your favorite player will magnify your awareness of what needs to be improved. Read new music (sight reading), listen to recordings and live performances with scores. Stay calm and focused. The green light in a tunnel may flash sooner than you think.

Published Compositions by Kazimierz Machala

Intuitions for Horn Quartet, Phoenix Music Publications, Holland 1997

Elegy for Five Horns, Capo Tasto Music 2005

Concerto for Horn Winds and Percussion; Capo Tasto Music 2007

Sunset Rag for Brass Quintet, Capo Tasto Music 2008

Celtic Scents for Woodwind Quintet, Guitar and Double Bass (Suite No. 1 and No. 2), Capo Tasto Music 2012

Transcriptions for Horn and Piano

Frederic Chopin--Polonaise Brilliante Opus 3, International Music Company 1990

Robert Schumann--Fantasy Pieces Opus 73, International Music Company 1991

Antonin Dvorak--Slavonic Dance No. 3 Opus 46, International Music Company 1992

Antonin Dvorak--Slavonic Dance No. 8 Opus 46, International Music Company 1992

Antonin Dvorak--Romantic Pieces Opus 75, International Music Company 1992

Ludwig van Beethoven--Twelve Variations on a theme from Handel's Judas Maccabeus WoO 45, International Music Company 1993

Enrique Granados--The Essential Horn: Orientale and Madrigal, G. Schirmer/Hal Leonard 1994

Claude Debussy--The Essential Horn: Les Cloches, Beau Soir, Romance, Golliwog's Cakewalk, G. Schirmer / Hal Leonard 1994

Gabriel Faure--Elegie Op 24, International Music Diffusion, Paris, France 1995

Gabriel Faure--Sicillienne, International Music Diffusion, Paris, France 1995

Franz Schubert--Twenty-One Lieder for Horn and Piano (Vol. 1 and Vol. 2) Capo Tasto Music 2006

Arrangements

American Folk Suite for Woodwind Quintet, Concert Works Unlimited, Shawnee Press 1989

Norwegian Folk Songs for Brass Quintet, Masters Music Publications 2001

J. S. Bach--Air on the G String arranged for Horn Quartet, Capo Tasto Music 2007

Vitaly Buyanovsky--Espana arranged for Horn, Guitar and Double Bass, Capo Tasto Music 2007

by Jeffrey Agrell, Series Editor