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Absolutnie uwielbiam Krzysztofa. Rozmawiacie po polsku czy po angielsku?

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Teraz koncertujesz z Australian Youth Orchestra. Text: Jansson J. Today I have no intention of doing any work or practising. During this tour, a regular performance day would see me get up at 6am, have a quick breakfast and then take a taxi, go by train for 4 hours, rehearse for two, give an interview and then perform at the concert at 8pm.

It was like that for the last few dates of the tour before arriving in China. We performed in Amsterdam at the Concertgebouw; then in Wiesbaden at the Kurhaus where we recorded the concert for audio and video release; and then in Kassel at the Kongress Palais. I was 13 or 14 at the time. The prize was the opportunity to perform at the Manchester Cathedral, which was the whole reason I entered the competition. Howard liked the way I played the Chopin concerto and he thought it would be perfect to perform at the Chopin Festival in Warsaw.

My responsibility is to represent it in the best possible light. This year you worked with the Orpheus Chamber Orchestra and recorded an album of Mendelssohn. At the time you talked about what an incredible and unique experience it was to work without a conductor, whereby all the musicians took direction from each other.

Having performed with the Orpheus Chamber Orchestra on an extensive tour after the recording, and after all those interviews, I came to realise why I really like working with them so much. Putting that aside, there is a completely different dimension to working with or without a conductor. It felt so close and intimate with the Orpheus Chamber Orchestra — so few words needed to be spoken. You certainly lose some freedom when you work with a conductor, but sometimes you have to question if those freedoms are that important.

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I absolutely adore Krzysztof. It goes without saying that he is a great musician and a great technician, but he is also a kind person both on and off stage. That makes a big difference to me, because I like well-rounded human beings. Krzysztof is not just a great conductor, but also a lovely person I like spending time with. Do you speak Polish or English together? We speak Polish. In Amsterdam, we were asked if that played a role in our friendship.

I struggle to believe that blood or DNA somehow influences the way you play music. I simply work a little bit on a piece to become re-inspired and I rediscover the root of my inspiration. Another reason I never get bored is that my interpretation is constantly changing. I like exploring new possibilities.

You are now touring with the Australian Youth Orchestra. How important is music education for young people? Incredibly important. Classical music is not something that can just be picked up and understood in one day. I mean, having a day off like today is a luxury and a huge expense on a typical orchestral tour. Nevertheless, the musicians get a taste of what it is like to tour with an orchestra and, for some of them, I see that it is already quite challenging. It gives them an opportunity to find out for themselves whether they can handle this type of schedule, before they decide to pursue a life of constant auditions, expanding repertoires and a career on the road.

The experience of being together and performing on tour is something that cannot be explained by any other means. Look at me! What motivated you and Krzysztof to join the Australian Youth Orchestra on this tour?

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Krzysztof and I have worked with many orchestras of the highest calibre. For example, the Schleswig-Holstein Music Festival has a similar youth orchestra and we had a great experience with them.

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In fact, we like rehearsing. The atmosphere can be, at times, very relaxed and enjoyable, as is the case with the Australian Youth Orchestra. Warsaw: Wydawnictwo Naukowe Sub Lupa. In: J. Pranke A. Szwagrzyk P. Kultura rocka. Pranke P. Kultura rocka 2. In: D. Skotarczak K. Bittner Eds. Muzyka [ Culture in Communist Poland ]. Adama Mickiewicza w Poznaniu.

Przerembski Z. Bogucki M. Warsaw: Institute of Musicology University of Warsaw. Chibowski M. Damentko J. Dubrawska J. Gmitrzuk K. Hejwowski Cz. Klonowska N. Kowalewska J. Muzyka w telewizji. Preliminary Analysis and Classification ] supervisor: I. Kulaszewicz K. Milewska A.

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Comparison of Music and Comprehensive Schools ] supervisor: A. Niakrasava A. Nowak A. Obertyn T. Olenderek M. Peryt M. Rymsza P. Ryzel K. Intelligent Dance Music. Saciuk J.

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Sym P. Szarek M. Tomaszewska J. Urbanowska K. Warakomska A. Wolicka D. Barszczewicz P. Jazz w Polsce. Borowiec M. Godlewska J. Nejbauer M. Elektroniczna muzyka taneczna. Nikolov W. Panek W. Selected Historical and Theoretical Issues ] supervisor: Z. Psikuta P. Puacz-Markowska A. Rodkiewicz M.

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Sienkiewicz M. Sobczak M. Inspirations Contexts Styles ] supervisor: P. Wokalistyka jazzowa w Polsce. Historia asymilacji i style indywidualne [ Jazz Vocalism in Poland.