We sat down with MozART Group ahead of their upcoming concerts.
• What inspired you to add a comedic twist to the traditionally formal genre of classical music?
Each of us completed our music studies in Poland. Inspiration came in stages, shaped by our somewhat rebellious natures. The first ideas for stage humour emerged back in secondary school, then developed further at university, until finally, the concept of a string quartet with cabaret ambitions was born. At the time, we never imagined that thirty years later, we would be answering such questions from the world’s media…
Our Patron, Wolfgang Amadeus, was certainly an inspiration, as were other composers who, in more or less subtle ways, gave a knowing wink to their listeners through their works. And, of course, our own contrariness played a role. In Polish – perhaps uniquely in the world – classical music is colloquially called “serious music.” We simply couldn’t let that go unanswered.
• How do you collaborate as a group to create your humorous interpretations of classical pieces?
We need four chairs, a table, paper or music notation software, coffee, tea, and – most importantly – apple pie or cheesecake. These are the essential ingredients for creating our pieces.
We work together, complementing one another: one drinks more tea, another shares a slice of apple pie, and – out of nowhere – another joke is born.
• Have you noticed any differences in audience reactions across various countries and cultures?
Of course! At first, we thought that audiences in different countries reacted according to their cultural backgrounds. However, over time, we realised that many more factors influence audience reactions.
For example, timing matters – after lunch, the audience tends to be less lively because they’re digesting, whereas in the evening, minds are more open to abstraction. In autumn and winter, people are more eager to attend concerts, enjoying a good laugh in a warm concert hall, while in summer, they’re more likely to choose a trip to the seaside instead.
Geography also plays a role: in Europe, audiences quickly pick up on jokes based on classical music; Americans start having fun from the very first note; the Chinese respond to situational humour; and the Japanese, despite thoroughly enjoying themselves, try to remain composed so as not to disturb others.
Yet, after decades of performing, we’ve learned that an audience is like a box of chocolates – to paraphrase the famous words of Forrest Gump.
• Was it challenging to transition from traditional classical training to creating a musical cabaret style?
When we began creating our first pieces in 1995, we didn’t give it much thought. It felt natural and incredibly exciting.
It was much more challenging for our Bolek Błaszczyk, who in 2000 decided to step in and replace our first cellist, Artur Renion, who had tragically passed away. It was like jumping onto a moving train.
However, Bolek was quickly captivated by this way of looking at music as well.
• What has been one of your most unforgettable performances or experiences since 1995?
When we thought about this question, we realised that our worst performances happen in our dreams.
We hear the announcer introducing us while we stand completely undressed in the dressing room. We frantically search for sheet music during a concert, feeling the audience’s growing impatience. We see our colleagues walking onto the stage while we desperately try to find our instrument. Or, mid-performance, the concert hall wall suddenly collapses…
In real life, we’ve had a few unexpected mishaps, but mostly through no fault of our own.
For example, we once played at a grand gala where we were a surprise for the audience. We were supposed to perform one of our pieces while dramatically rising from beneath the stage on the orchestra lift. Unfortunately, our piece had two parts. As you might guess, the lift operator, unaware of this, activated the platform after the first part, and we started descending. The movement couldn’t be reversed or stopped.
Though the lift moved slowly and we played as fast as we could, we performed the final chords completely out of sight—vanishing into the depths of the orchestra pit, leaving the audience staring in bewilderment…
• What creative ideas or collaborations do you have planned for the future of the MozART Group?
It just so happens that our dreams seem to be one step ahead of us. Before we even have time to think, we’re already playing at Jazz Jamboree with Bobby McFerrin, receiving an offer to appear in a film that later becomes a cult Polish comedy, performing in a theatre production alongside outstanding Polish actors, or travelling the world, having fun with people through music.
At this pace of surprising events, it’s hard to plan anything…
One thing’s for sure—we plan to keep playing, because the older we get, the funnier what we do will become!
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