Passer au contenu principal
beksinski.gallery

beksinski.gallery

7,1K objets vendus
31 abonnés
Contacter

Tous les objets

Objets par page
Tout afficher

À propos

Our mission is to inspire and connect all art lovers with artwork from unique artists. We are especially devoted to the legacy of Polish painter Zdzisław Beksiński, and we strive to spread his artistic achievements to the public worldwide.
Lieu : États-UnisMembre depuis : 26 mars 2002

Notes d'évaluations

12 derniers mois

Positives21-  évaluations positives au cours des 12 derniers mois
Neutres0-  évaluations neutres au cours des 12 derniers mois
Négative1-  évaluations négatives au cours des 12 derniers mois

Évaluations détaillées du vendeur

Moyenne au cours des 12 derniers mois

Qualité de la description
4.8
Justesse des frais d'expédition
4.9
Rapidité de l'expédition
5.0
Communication
5.0

Toutes les évaluations (5 408)

3***g (4)- Évaluation laissée par l'acheteur.
Dernier mois
Achat vérifié
Perfect condition and quick shipping! I'd order from them again!
o***k (138)- Évaluation laissée par l'acheteur.
Dernier mois
Achat vérifié
Incredible deal and lightning fast shipping. Thank you so much!
1***5 (241)- Évaluation laissée par l'acheteur.
Six derniers mois
Achat vérifié
Amazingly fast, very nice print, exceptional quality, thank you!
6***m (4479)- Évaluation laissée par l'acheteur.
Six derniers mois
Achat vérifié
Great item! Thanks! 😊
t***t (2271)- Évaluation laissée par l'acheteur.
Six derniers mois
Achat vérifié
Wonderfull seller. The gave me a discount and communicated through the entire process. A+++++
5***6 (11)- Évaluation laissée par l'acheteur.
Six derniers mois
Achat vérifié
Perfect condition, fast shipping, thank you!!!
Afficher toutes les évaluations
Avis (23)
30 mars 2009
Polish Jazz Masterpiece
Back in 1970, when this disc was recorded, Tomasz Stanko, by now an internationally established and admired jazz personality, was already known as one of the very few convincing free-jazzmen. In his bold endeavours he was lucky to enjoy some understanding and sensitive partners. Earlier, in the sixties Stanko's experiences were both as a sideman and a leader. He cooperated with such greats as Krzysztof Komeda, Wlodzimierz Nahorny, Zbigniew Namyslowski, Andrzej Trzaskowski, Don Cherry and Albert Mangelsdorff, but his favourite partners were Janusz Muniak, Janusz Stefanski, Zbig Seifert and - a bit later - Bronislaw Suchanek. Tomasz Stanko Quintet flourished without personal changes for five years (1969-1973), scoring a big success during 1970 Jazz Jamboree. Around that time, a year after untimely death of Krzysztof Komeda (1939-1969), the quintet recorded four pieces by Stanko, naming the LP after the main composition :Music for K", thus paying homage to the memory of deceased friend and expressing his emotional attitude toward his premature death. However, Stanko didn't attempt to relate here to Komeda's sound or style and remains very much himself presenting his peculiar, personal way of shaping music, remote, on the surface only, from the structural clarity. His predilection toward spontaneous development of music, based on very few indispensable determinants, surprisingly dovetails here with the emotional content of such deeply felt numbers like "Cry" and "Music for K". It seems obvious that Stanko's free stems rather from Coltrane's last work and his shades of expression are rich and many. "The Ambusher" is charged with mystery and suppressed feelings/ It is bracketed by the nervous, aggressive bop phrase, that serves also later as a closing sequence at the end of this disc. Stanko's soloing (there are even lyrical passages in the "Infinitely Small"), as well as the solos by Muniak and Seifert and their twin, simultaneous blazes are ingeniously supported by Suchanek and Stefanski. Their playing supplies impetus ans mystery, abandon and motion, making various moods meaningful. In the middle between them and Stanko's trumpet both saxophones prowl, similar in sound and attack. Their dissonant, double-concord pulsation appear twice in "Cry"-kind of obsessive, frozen riff under the fiery trumpet lamentations. Zbigniew Seifert (1946-1979) who was soon to switch back to the violin, his previous instrument from the conservatory years, plays here alto side by side with more experienced partners, Muniak and Stanko. Note their joint sequence in "Cry", just before the saxophone wailing calms down leading to a dirge - chorale which concludes this number. The last and more extended piece "Music for K" is very diversified in moods and tempi. The brooding , painful passages intertwine with a wailing trumpet exhortations. Then Suchanek plays a clear sounding solo, pregnant with wonderful ideas, after, interrupted by calmer chant-like passages. Stefanski's drums supporting trumpet cone gradually to the fore, to tell us of things inevitable. Once again, from the piercing cries a song of resentment takes off to the sky and ends abruptly, and then from the bottom of silence an uproar of a four notes, repeated and growing in volume motif starts and stops on the note B. Silence again. The sound of bass bring back the initial phrase from "The Ambusher" to end this music definitely.
28 mars 2009
Review by Zofia Komeda (Krzysztof Komeda's wife)
We present you with a CD with two motion picture soundtracks by Krzysztof Komeda from his later period. Within merely several years as he was gaining experience and knowledge as a composer his method of composing was changing and developing. The music for the film "Fearless Vampires’ Killers" was created in 1966 in London, that’s 10 years after the first score. This time the composer extended the line-up to include a clarinet, a trombone, two harpsichords, a piano, a guitar with an amplicator, a bass, percussion, a marimba, a cello, bongos, a flute, an oboe, a horn, bells, kettledrums, an alt saxophone, a violin and a seven-piece choir. As we can see from the set I have just described apart from the typical musical instruments and jazz specific instruments he extended the line-up by adding a beat rhythm section. He also surprised the studio technicians when he used folk during the recording: by rubbing the piano’s cords with his fingers he could bring out sounds similar to the string effects. The latter activity usually required negotiations with a representative of trade unions who was always present during the recording. In the times before Mrs Thatcher trade unions in England would go to absurd lengths in their activity. A composer from Poland could not be both a pianist and a composer at the same time because he would deprive English musicians of their pay. Unfortunately Komeda was not able to bring from Warsaw a renowned vocal group "Novi Singers", the watchful trade unions made it impossible for him to engage the singers. The film with a Hollywood producer was made entirely in Europe. The main actress was a pretty American called Sharon Tate, a subsequent Roman Polanski’s wife who died tragically. The other soundtrack included on this CD is a score for the film "Rosemary’s Baby". The film locations were created partly in New York – a famous house in which John Lennon lived and in front of which he was murdered. The other pictures were shot in California. Krzysztof Komeda had to be present in the cutting room when the film was edited. It was demanded by Polanski and Komeda had to leave Warsaw a month earlier than it was previously arranged. The music was recorded in 1968 in Los Angeles with Don Ellis band. The famous lullaby is hummed by the nervous main character Mia Farrow on the composer’s request because the singer who Komeda had offered this recording to – it was with lyrics then – demanded a sum almost the same as the pay of Krzysztof Komeda the composer, the arranger and the conductor of the whole film music. Poland was then a completely unknown country in the States and so were Polish talented artists. Surprisingly though, before the first night, when the lullaby was played for commercial purposes in radio broadcasts, the so-called "Pop Twenty", it became so popular that it kept topping the charts. Going down the streets of LA one could hear it all the time coming from passing convertibles with their radios on. It was recorded, as far as I could count, on seventeen singles – by different bands and singers.
28 mars 2009
Review by Zofia Komeda (Krzysztof Komeda's wife)
REPETITION Christopher Komeda composed this composition in 1964. The recording included on this CD was recorded in Jazz Club "Montmarte" in Copenhagen in 1965. In 1967 Christopher Komeda enclosed that composition on the record entitled "Meine Susse Europaische Heimat". That record was made in cooperation with Joachim Berendt in Cologne,Germany. It consisted of poems of Polish poets translated by Karl Dedecius and illustrated by music of Christopher Komeda. SVANTETIC It was 1965.When Svante Forster was sitting among the audience during another Warsaw jazz festival "Jazz Jamboree",he suddenly heard from Andrzej Jaroszewski who was the master of ceremony, that the next composition which would be performed by Komeda's group was dedicated to him. It was the first-night performance of that composition and Svante Forster was deeply moved. SOPHIA'S TUNE When Chris was working at that composition I was often repeating him that I liked that composition very much. Finally, though I didn't ask him about it, Chris dedicated that composition to me. "Sophia's Tune" was composed in 1964 but the recording included on this CD was made in Jazz Club "Montmarte" in 1965.
Afficher tous les avis