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Krzysztof Komeda (born Krzysztof Trzciński 27 April 1931 – 23 April 1969) was a Polish film music composer and jazz pianist. Perhaps best known for his work in film scores, Komeda wrote the scores for Roman Polanski’s films ''Rosemary’s Baby'', ''The Fearless Vampire Killers'', ''Knife in the Water'' and ''Cul-de-sac''. Komeda's album ''Astigmatic'' (1965) is widely regarded as one of the most important European jazz albums; critic Stuart Nicholson〔http://www.jazz.com/music/2007/11/9/krzysztof-komeda-astigmatic〕 describes the album as "marking a shift away from the dominant American approach with the emergence of a specific European aesthetic." ==Life== Born Krzysztof Trzciński, he chose Komeda as his stage name only upon graduation from university as a means of distancing himself as musician from his daytime job in a medical clinic.〔Małgorzata Kosińska, (Krzysztof Komeda ) at Culture.pl website, Polish Music Information Center.〕 He grew up in Częstochowa and Ostrów Wielkopolski where in 1950 he graduated from the Gymnasium (high school) for Boys'. While at school, he participated in the Music and Poetry Club. After high school he entered the Medical Academy in Poznań to study medicine. He finished his six-year-long studies and obtained a medical doctor diploma in 1956. He chose to specialize as an otolaryngology physician. He took music lessons from early childhood; to become a renowned virtuoso was his dream. He became a member of the Poznań conservatorium at the age of eight, but World War II thwarted his plans. Komeda explored the theory of music, and learned to play piano, during this period and later, until 1950; however, he was aware of the loss of the past six years. Komeda was interested in light and dance music. He met Witold Kujawski, a graduate of the same school and already a well-known swinging bass player, at the gymnasium (high school) in Ostrów Wielkopolski. It was Kujawski who acquainted Komeda-Trzciński with jazz, and took him to Kraków. The romantic period of Polish jazz, called the catacombs, had its day in the spotlight. Concert publicity did not exist then. Jam sessions, which such famous musicians as Matuszkiewicz, Borowiec, Walasek and Kujawski himself participated in, took place in Witold’s legendary small apartment in Kraków. Some years later, it became clear why Komeda was fascinated with be-bop performed by Andrzej Trzaskowski. The fascination with jazz and the friendship with famous musicians strengthened his connections with music, even though he was a doctor by profession. He worked for some time with the first, postwar, pioneer Polish jazz band, a group called Melomani that was from Kraków and Łódź, whose mainstays were Matuszkiewicz, Trzaskowski and Kujawski. Later on, he played with various pop groups from Poznań. One of them was Jerzy Grzewiński’s group, which soon transformed itself into a dixieland band. Komeda appeared with Grzewiński on the I Jazz Festival in Sopot in August 1956, but he achieved success performing with saxophonist Jan Ptaszyn Wróblewski and vibraphonist Jerzy Milian. The reason for that was simple: dixieland did not meet Komeda’s expectations at the time. He was more fascinated with modern jazz. Thanks to this passion, the Komeda Sextet was created. Krzysztof Trzciński used the stage name 'Komeda' for the first time when he worked at a laryngological clinic, and wanted to conceal his interest in jazz from co-workers. Jazz was beginning its struggle for respectability with the communist authorities in the era of 'the thaw' and Polish society also; it was regarded as a cheap suspicious music from night clubs. The Komeda Sextet became the first Polish jazz group playing modern jazz, and its pioneering performances opened the way for jazz in Poland. He played jazz that related to European traditions and which was the synthesis of the two most popular groups at that time: The Modern Jazz Quartet and the Gerry Mulligan Quartet. In the thirteen years after the I Sopot Jazz Festival, the artistic personality of Krzysztof Trzciński became more mature, crystallized and lyrically poetic. Krzysztof was, above all, a constantly searching poet and he could find ways of individual expression of jazz inside himself, in Slavic lyricism, and in the traditions of Polish music. He excelled at creating a poetic atmosphere, and knew better than many others how to reach wide audiences. His music has an unmistakable style and its own, unique tone. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Krzysztof Komeda」の詳細全文を読む スポンサード リンク
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