Edward Czerny

Edward Czerny, real name Eberhard Antonius Czerny, pseud. Edward Czerny, Edward Eberhard Czerny, La Strado, composer, conductor, multi-instrumentalist arranger, sound director; born June 11, 1917, Hindenburg (Zabrze); died February 16, 2003, Salzgitter (Lower Saxony). Before the war, he studied composition and theory at the Konservatorium der Reichshauptstadt Berlin with Kurt von Wolfurt and conducting with Arthur Rother. He led his own orchestra, engaged for concerts and revues in Silesia (Katowice, Gliwice, Wrocław). In Zabrze, he led entertainment orchestras “Haus Metropol” and “Admiralspalast.” He performed on the Wrocław and Gliwice radio stations. He was not mobilized due to disability caused by a car accident in Berlin. During the war, he stayed in Zabrze.

In 1945-46, he was a co-founder and member of the Zabrze Philharmonic Orchestra (now known as Filharmonia Zabrzańska) and the branch of the Musicians' Trade Union in Zabrze. Until 1947, he also worked as a conductor for an orchestra bearing his own name, for which he wrote entertainment, dance, and swing repertoire with jazz improvisations, performed at concerts and revue shows in southern Poland.

In 1948-81, he was engaged in composing and arranging for symphonic and entertainment orchestras of Polish Radio and Television in Warsaw, Kraków, Katowice, and Łódź, as well as for brass bands and big bands. From 1951-54, he was the musical director of the Dramatic Theatre in Jelenia Góra, and in 1957 – of Jan Walaszek's big band. In 1959, he signed a contract as the artistic coordinator of the Symphonic Orchestras and Brass Bands of the Railway Workers' Trade Union and began a permanent collaboration with the Representative Orchestra of the Polish Army and other leading brass bands in the country and abroad.

Since 1955, he lived in Warsaw. From 1955-58, he served as the second conductor, and from 1959 to 1974 – as the first conductor and artistic director of the popular big band operating under the name Orkiestra Taneczna Polskiego Radia, with which he recorded about two thousand works, performing concerts throughout Poland and neighboring countries (then GDR, USSR, Czechoslovakia, Romania, Hungary). Since 1959, he had regular radio broadcasts on Program I and II of Polish Radio, in which he promoted most of the hits recorded under his own direction from the second half of the 50s and 60s of the last century.
Since 1975, he devoted himself to composing, conducting guest performances with philharmonic concerts in Poland and Germany. In 1979, the Papal Committee commissioned Edward Czerny a monumental arrangement of the hymn 'Boże coś Polskę' on the occasion of Pope John Paul II's first pilgrimage to his homeland.

Since 1981, he lived abroad. He wrote for the NDR Sinfonieorchester and NDR Pops Orchestra as well as the Rundfunk-Tanzorchester Berlin and other German symphonic, brass, and entertainment orchestras.

In 1992, he was involved in a serious car accident in Salzgitter. He is buried in Berlin.

Edward Czerny received many awards, including from the Minister of Culture and Art (multiple times), an award at the Jazz Festival in New York for the composition 'Diabelski młyn' (1959), an award in the international competition for entertainment music in Munich for 'Wesoła wiadomość' (1964), awards in international competitions for works for brass orchestra: in London for 'Saksofony na huśtawce' (1971) and in Vienna for 'Parafrazę Perpetuum Mobile J.Straussa' (1975), a Gold Record from Polskie Nagrania for his overall contribution to creativity (1977). Edward Czerny was awarded the Knight's Cross of the Order of Polonia Restituta for his services to Polish culture (1976). Edward Czerny was one of the creators of the Festivals in Sopot, Opole, and Kołobrzeg as their long-term artistic supervisor, conductor, and arranger. He wrote and recorded theatrical and film music. He collaborated with the ensembles 'Śląsk' and 'Mazowsze' from their inception.

In the Archives of Polish Radio in Warsaw, Łódź, Katowice, and Kraków, he left over 3000 recordings of radio orchestras under his own direction and H. Debich, R. Dudek, J. Gert, J. Harald, St. Has, S. Rachonia, A. Rezler, S. Strahl, B. Szuli, and others, containing compositions, creative arrangements of classical, entertainment, and jazz music, as well as brass orchestras. He created repertoire for the most outstanding opera and operetta soloists, including E. Ignatowicz, A. Kossakowska, I. Nawe, B. Nieman, B. Sokorska, T. Żylis-Gary, A. Hiolskiego, B. Ładysza, W. Ochman, B. Paprocki, K. Pustelak, P. Raptis, R. Tarasewicz, M. Wojnicki, A. Zwierza. He recorded hundreds of hits with stars of Polish song: H. Bielicka, R. Bielska, K. Bowery, U. Dudziak, A. German, L. Jakubczak, K. Jedrusik, H. Kunicka, M. Mirska, K. Konarska, M. Koterbska, Z. Kucówna, J. Prolińska, K. Prońko, Ł. Prus, S. Przybylska, J. Rawik, H. Rek, D. Rinn, R. Rolska, I. Santor, V. Villas, M. Wróblewska, N. Zylska, A. Bogucki, O. Buczek, A. Dąbrowski, E. Dziewońska, C. Fabiński, M. Foggi, J. Gniatkowski, L. Jakubowski, M. Koleśnik, M. Kossowski, Z. Kutrycz, J. Michotek, W. Młynarski, B. Niewinowski, J. Pożłomski, A. Rosiewicz, J. Stępowski, J. Sztatler, Z. Wodecki, T. Wołaniakowski, with the band Skaldowie, with vocal ensembles Alibabki, Beltono, Chór Czejanda, Novi Singers, Partita, and with jazz instrumentalists: B. Czerny, J. Delong, P. Figiel, F. Górkiewicz, W. Karolak, F. Kowalski, L. Kozłowski, J. Milian, S. Mizeracki, J. Mizerą, H. Miśkiewicz, J. Matuszkiewicz, J. Muniak, W. Nahorny, Z. Namysłowski, J. Skowroński, M. Urbaniak, J. Walaszek, J. Ptaszyn Wróblewski, P. Zdzitowiecki, and many other performers.

He recorded over 300 records for Polskie Nagrania, Muzy and other record labels, as well as for the Polish community in the United States, which have seen many reissues. Radio and record recordings of entertainment music constitute an important position in the artist's output. In 2004, the Edward Eberhard Czerny Foundation was established, which is dedicated to publishing the works of its patron, organizing monographic concerts, archiving, and disseminating and popularizing the artistic output of the artist. Since 2005, the Zabrzański Festival of Orchestras named after Edward Eberhard Czerny has been held. In 2007, Edward Czerny was awarded the title of Outstanding Zabrzanin.

Scientific works: doctoral dissertation 'Edward Czerny as a precursor of Polish jazz orchestral music in the second half of the 20th century,' Feliks Nowowiejski Academy of Music in Bydgoszcz (2016); diploma works: 'The musical language of Edward Czerny as a creator of Polish post-war entertainment music,' Karol Szymanowski Academy of Music in Katowice (2010), 'Edward Czerny as a creator of entertainment music in post-war Poland,' Institute of Jazz and Stage Music PWSZ in Nysa (2017).

This year marks the 100th anniversary of the artist's birth. On the occasion of this jubilee, concerts of Edward Czerny's music are taking place throughout the year 2017 in philharmonics, music academies, radio studios, and other cultural institutions. The Nowy Theatre in Zabrze will present the premiere of the only musical fairy tale by the composer 'O krasnoludkach i sierotce Marysi' based on M. Konopnicka (dir. Henryk Adamek). Exhibitions, lectures, radio and television broadcasts related to the personality of Edward Czerny, as well as reminiscence meetings with the family within the framework of the Society of Friends of Edward Czerny's Music, have been prepared. A characteristic feature of Edward Czerny's creativity is the combination of the symphonic orchestra and big band, which, treated equally, serve to realize the metric rhythmic flow characteristic of swing. The recognizable sound created by the composer in his own orchestra and the individual style of arranging for symphonic, brass, big band, and their various combinations influenced the development of Polish entertainment music in the 1970s and 1980s and the direction of its further transformations.

Concerts from the series 'W hołdzie Edwardowi Czernemu,' referring to the tradition of New Year's Eve concerts from the second half of the 1970s, initiated by Edward Czerny at the National Philharmonic, where Polish concert entertainment music held a permanent place. Edward Czerny conducted the symphonic orchestra and his own big band with original compositions and paraphrases, with inseparable elements of swing and jazz improvisations, thus introducing Polish symphonic entertainment and jazz music into philharmonic halls.

The idea of the series 'W hołdzie Edwardowi Czernemu,' started in 2004, is the participation of the best orchestras and outstanding soloists performing works by Edward Eberhard Czerny created for the biggest stars of the Polish operatic, operetta, and jazz scene.

The selection of titles in this repertoire, as well as the stylistic form in his own compositions and creative arrangements, written over four decades of the last century for symphonic radio orchestras and philharmonics, brass bands, and big bands, shaped Edward Eberhard Czerny in the post-war period.
Popular music concerts, in which the music of Edward Eberhard Czerny is performed, have held a permanent place in the repertoires of philharmonics and other cultural institutions in the country and abroad for over half a century.

So far, over 120 monographic concerts from the series 'W hołdzie Edwardowi Czernemu' have been realized in almost all Polish philharmonics, music academies, and other cultural institutions, as well as in the Witold Lutosławski Concert Studio of Polish Radio in Warsaw, utilizing the artistic output left by Edward Czerny (divided according to instrumental composition):

- classical and entertainment music for symphonic orchestra

- classical and entertainment music for symphonic orchestra and brass orchestra

- entertainment music for symphonic orchestra and big band

- entertainment and jazz music for big band and string orchestra

- entertainment music for big band

- jazz music for big band

Performers of concerts from the series 'W hołdzie Edwardowi Czernemu':

- Symphonic orchestras of Polish philharmonics, Concert Orchestra of the Polish Army named after Stanisław Moniuszko, Representative Ensemble of the Polish Army, Elbląg Chamber Orchestra, Big Band of the Music University in Warsaw, Big Band of the Music Academy in Bydgoszcz, Big Band of the Music Academy in Łódź, Big Band of the Music Academy in Katowice, Big Band Warsaw Pops, Big Band Z. Namysłowski, Eljazz Big Band, and others.

Conductors: M.J. Błaszczyk, T. Chmiel, S. Chrzanowski, K. Dębski, J. Deląg, Cz. Grabowski, J. Jarosik, A. Klocek, J. Kosek, M. Moś, M. Niesiołowski, M. Nałęcz Niesiołowski, S. Perłowski, W. Rodek, P. Sułkowski, J. Swoboda, P. Wajrak, T. Wicherek, P. Wijatkowski, J.M. Zarzycki, A. Zubek, and others. Soloists: K. Bednarczyk, J. Bothur, D. Czernik, J. Delong, M. Dudek, G. Hordyjewicz, P. Juryś, W. Lichtański, R. Pujanek, A. Makowicz, H. Miśkiewicz, J. Muniak, G. Nagórski, Z. Namysłowski, Ł. Poprawski, J. Sikala, M. Urbaniak, A. Zalewski, E. Zebro, and others. Vocal soloists: O. Bończak, G. Brodzińska, U. Dudziak, I. Hossa, A. Kubas, A. Serafińska, E. Uryga, R. Bartmiński, D. Stachura, L. Świdziński, A. Zdunikowski, and others.
Dancers: First Soloists of the Grand Theatre in Warsaw - E. Milewska, S. Basalaew, M. Woitiul, and others, Soloists of the Musical Theatre in Lublin – B. Kamińska and M. Marzec. Choreography: E. Głowacka, Z. Rudnicka

Major compositions and creative arrangements

Valse – Impromptu No. 1 for string sextet (1931)

Valse - Impromptu No. 2 for string quintet (1931)

Heimatkundliche Ouvertüre for symphonic orchestra (1932)

Suite No. 2 for ten brass instruments (1933)

Tanz der Wellen - Sinfonisches Bild No. 1 (1933)

Walzer – Idyll for tenor saxophone and piano (1934)

Walzer – Episode for tenor saxophone and piano (1934)

Zigeuner Werbung - Czárdás for two violins and piano (1934)

Schneeflocken foxtrot - intermezzo for jazz orchestra and string quintet (1936)

Ein bunter Abend overture for symphonic orchestra (1938)

Tippmamsell musical in three acts to the text of Wilhelm Trzeji (1938)

Englischer Walzer for symphonic orchestra (1945)

Solo for five saxophones for jazz orchestra (1945)

Polka for four clarinets and instrumental ensemble (1946)

Trzej weseli bracia solo for three trombones and instrumental ensemble (1946)

Fantazja na temat 'Traviaty' G. Verdi for symphonic orchestra (1947)

Kantylena na temat 'Melodii' A. Rubinstein for symphonic orchestra (1947)

Lisi bieg polka for four clarinets and symphonic orchestra (1948)

Suita Śląska for symphonic orchestra (1949)

Suita Śląska for brass orchestra (1949)

Na trasie W-Z foxtrot – fast for big band (1949)

Tempo, tempo galop for symphonic orchestra (1951)

O krasnoludkach i sierotce Marysi musical fairy tale based on Maria Konopnicka (1953)

Wesoła wiadomość foxtrot for symphonic orchestra and big band (1954)

Emanuela for alto saxophone and jazz ensemble (1954)

Diabelski młyn bebop for big band (1955)

Groteska z fugą na temat 'La Cumparsity' G.M. Rodrigueza for symphonic orchestra (1957)

Molo boogie swing-boogie for big band (1957)

Siup na księżnicę musical comedy in 3 acts, libretto by Józef Prutkowski (1957)

Parafraza 'Lekkiej kawalerii' F. Suppé for symphonic orchestra and big band (1957)

Parafraza 'Marsza florentyńskiego' J. Fucika for big band (1958)

Suita polskich krakowiaków for symphonic orchestra (1959)

Appassionata 'Oczy czarne' for symphonic orchestra and big band (1960)

Parafraza na tematy góralskie for symphonic orchestra (1960)

Parafraza na własny temat for symphonic orchestra (1961)

Frasquita paraphrase according to F. Lehár for symphonic orchestra and big band (1962)

Koncertowa parafraza 'François' according to A. Karasiński for symphonic orchestra and big band (1965) Kolorowa karuzela foxtrot for big band (1966)

Wariacje na temat 'Mein Hut, der hat drei Ecken' for trumpet and symphonic orchestra (1967)

Gershwin paraphrase parts I and II for symphonic orchestra (1967)

Melodie Świata paraphrase parts I, II, and III for symphonic orchestra (1969)

Melodie, których chętnie słuchamy paraphrase for symphonic orchestra (1969)

Taneczna igraszka 'Hora staccato' for symphonic orchestra and brass orchestra (1971)

Saksofony na huśtawce solo for five saxophones and brass orchestra (1971)

Fantazja na tematy góralskie for piano and symphonic orchestra (1972)

Isabella passodoble Z. Kotila, arrangement for brass orchestra (1972)

Parafraza na temat 'Perpetuum Mobile' J. Straussa for large brass orchestra (1975)

Kálmán paraphrase parts I and II for symphonic orchestra (1978)

Boże coś Polskę Suite for John Paul II for symphonic orchestra, brass orchestra, and three choirs (1979) Enkelin-Suite (Suite for granddaughter) for symphonic orchestra (1984)

Englischer Walzer (English Waltz) for symphonic orchestra and big band (1991)

Sinfonische Erzählung (Symphonic Tale) (1998)

Arrangements of arias and songs for symphonic orchestra

Collection of songs by E. de Curtis for voice and symphonic orchestra (Do not forget me, For you Mario, Sing to me, Return to Sorrento, I love so much, and others) Two songs by C.A. Brixio for voice and symphonic orchestra (Desiderio, For you Lucia) Collection of operetta songs for voice and symphonic orchestra (Song of Tasilla from the operetta 'Hrabina Marica' E. Kalmana, Song of Armand from the operetta 'Błękitna maska' F. Reymonda, Song of Juan from the operetta 'Clivia' N. Dostala, and others), Arias and songs selected from operettas by F. Lehár for voice and symphonic orchestra (Land of Smiles, Merry Widow, Paganini) and many others (among them: Ave Maria Ch. Gounod, O sole mio E. Capua, Valencia J. Padilla) and others.

Theatrical and film music

Maż pognębiony (Molière), Dom otwarty (M. Balucki), Wesele Figara (Beaumarchais), Igraszki z diabłem (J. Drda), Nie trzeba się zarzekać (A. Musset), Panna bez posagu (A. N. Ostrowski), Bajka muzyczna O krasnoludkach i sierotce Marysi (M. Konopnicka, dir. Z. Łozińska), Kiss me Kate (S. Spewack, music Cole Porter, dir. Jerzy Rakowiecki), Cień (W. Młynarski, dir. K. Dejmek), Między brzegami (dir. W. Lesiewicz), Dzień wielkiej ryby (dir. A. Barański) and others.

Songs

Boję się twojej miłości (J. Kondratowicz, Z. Zapert), Brazylio, Brazylio (A. Tylczyński), Coś się zaczyna (J. Dumnicka), Gdy ty się śmiejesz (T. Sliwiak), Graj, Sabałło (J. Dumnicka), Jak przyjemnie maszerować (Em. Czerny), Już północ (A. Tylczyński), Meine Puppe heißt Marie-Luise (B. Czerny), Moja lala ma na imię Kasia (A. Tylczyński), Moja miłość to Warszawa (J. Dumnicka), Motyle w sweterkach (J. Dumnicka), Nasza miłość ma kolor jesieni (A. Tylczyński, Z. Zapert), Nietrudno zerwać kwiat (W. Skrzypiński), Marzenia dziewcząt (Z. Kaszkur, Z. Zapert), Pójdę wszędzie z tobą (A. Tylczyński), Uczucie stare jak świat (Em. Czerny), Nie trzeba marzeń (W. Skrzypiński), Tango pełne słońca (Em. Czerny) and others.

Signals

Signal of the International Song Festival in Sopot,

Signal of Edward Czerny's Orchestra,

Signal of the Dance Orchestra of Polish Radio,

Signal of the Railway Workers' Trade Union