PIANO

CONCERTS / POSITIONS

 

I engage in concert activities and performance projects as an international recitalist (concert pianist and concert organist). My piano repertoire is broad (spanning from Baroque through to the late - Romantic and contemporary periods), with a preoccupation for larger forms and demanding ‘virtuoso’ fare. I have a particular affinity for the works of the nineteenth-century virtuosos, the ‘Golden Age’ of pianism and historically informed performance.

 

My solo repertoire includes the major virtuoso works (even entire sets) of Bach, Beethoven, Schubert, Chopin, Liszt, Rachmaninov, Paderewski, Szymanowski, Prokofiev, Bach-Busoni, Rimsky-Korsakov, Stravinsky and many others. Since 2012, the major works of Liszt, transcriptions and virtuosic literature, occupy a central part of my performance output enriched by my expertise in the field of performance practice. Chopin has also been a crucial influence ever since I can remember. My concerto repertoire includes the major pianistic staples, with a perhaps predictable affinity for Chopin, Liszt and Rachmaninov.

 

Furthermore, I have completed performance practice fieldwork on historical keyboard instruments and have been involved in research output concerning piano and organ performance practice in the context of nineteenth-century ‘virtuosity’ since late 2012. This involves the analysis of performing practices such as virtuosity, transcription, improvisation, programming, artistic freedom, as well as practical implementation through various performance projects. My performance practice expertise has been disseminated through the presentation of guest lectures, lecture-recitals and papers (at prestigious international conferences in Europe, at national conferences and in tertiary institutions). Some examples of repertoire performed/presented from a performance practice perspective include Chopin’s Ballades, Scherzos, Bach-Busoni transcriptions and Liszt’s major works (Hungarian Rhapsodies, the piano version of the Fantasy and Fugue on ‘Ad nos ad salutarem undam', the piano version of the Prelude and Fugue on BACH as well as other transcriptions).

 

In 2014 in recognition of my concert work, I was invited to join Concert Artist Cooperative (a roster of soloists and ensembles from around the world) as a concert pianist and concert organist.

 

Since 2003 I have performed across a range of world-class venues in Australia, the USA and Europe such as Winthrop Hall and Burswood Theatre in Perth, Western Australia, as well as the Old Museum Concert Hall in Brisbane, Queensland. Piano performance has also taken me to Sydney, New York, Philadelphia, Ohio, USA and Poland. I repeatedly performed for various government dignitaries and honourable guests including the Consul of the Republic of Poland, Archbishop Szczepan Wesoly of Rome, the Archbishop of Perth, the Auxiliary Bishop of Brisbane as well as a number of local politicians, ministers and government department representatives.

 

My preoccupation with performance dates back as far back as I can remember. For example, during my high school years my output was already prolific. I frequently performed individual recitals ‘by invitation’ (at Perth Modern School and St Hilda’s Anglican School for Girls) including concerto performances with orchestra. I accompanied school ensembles in concert and extensively participated/contributed to the artistic development of the larger community through my input as a performer (i.e. through playing concerts for the Royal Schools Music Club and other musical communities).

 

I am the artistic director and curator of a number of performance projects. Highlights include 'Lisztomaria' - a twenty-first-century virtuoso's ode to the Golden Age of pianism (originally planned for a Melbourne Recital Centre launch), ‘Concerts with no audience’ (lockdown edition) and ‘Concerts with an Audience’. The latter has now evolved into a digital ‘residency’ reaching a further world-wide audience. 

 

My artistic activity has appeared in a broad range of local, state, national/international newspapers and other media outlets with interviews, performances and compositions also broadcast on local, state and national radio (ABC Classic FM's 'Musica Viva Festival' coverage, 4MBS Classic FM’s Music Lover’s Choice with Howard Ainsworth, SBS, Bay FM ‘Compact Classics’ etc). 

 

In 2003 I established the Chopin and Friends Recital Series and single-handedly organised, promoted and performed in the first recital of the series, which helped raise funds for the Children’s Leukaemia and Cancer Research Foundation. The set up of the recital series stemmed from my artistic vision of advocating quality classical music to large non-musical and musical audiences while at the same time striving to make the works and lives of the Great masters more accessible and appealing to the larger public. Chopin and Friends was preceded by a piano and voice recital organised in 2002 as part of a family PhD dissertation completion ceremony.

 

Since that time, four recitals followed organised in 2003, 2005, 2007 and 2008 respectively. The 2005 and 2007 recitals were joint piano and pipe organ concerts while the 2008 event entitled ‘Piano, Voice and Pipe Organ with Maria Welna’ showcased a unique blend of virtuoso works across three instruments that don’t often bask in the full glory of a recital stage. Today this ‘Piano, Voice and Pipe Organ’ artistic vision also continues in a digital format, through my recent Youtube Channel: Maria Welna (Virtuoso Piano, Voice and Pipe Organ). The first two recitals (2003, 2005) were recorded live and released as nationally and internationally selling CDs. What is more, the CD of the 2003 recital continued to raise funds for the Children’s Leukaemia and Cancer Research Foundation.

 

TEACHING / POSITIONS

 

A piano teacher since 2012, I am passionate about both teaching and performance. I am a specialist in virtuosic compositional and performing practices, with a particular interest in performance practice and the composer-virtuoso tradition. As an educator, performance practice specialist, experienced pedagogue, chamber musician, guest lecturer and adjudicator, I develop students’ skills and musical appreciation through individual piano, professional development lessons, chamber music/accompaniment, lecture/recitals, and masterclasses. 

 

European and Russian School trained, I have teaching qualifications (for teaching instrumental music in primary and secondary music schools), wide education experience and pedagogical knowledge. I taught advanced piano in selective music schools for gifted children in Europe, maintain a piano studio in Australia since 2012, taught voice and acted as a music director/répétiteur for many years, completed a postgraduate ‘Principles of Studio Pedagogy’ unit at the Sydney Conservatorium and have experience as a piano adjudicator/examiner within Sydney, NSW and ACT (at all levels i.e. from P Plate piano to 8th grade AMEB as well as Certificate of Performance). I teach piano at the Sydney Conservatorium Open Academy since 2014, am a member of the Accompanists’ Guild of NSW and have maintained membership of the Music Teachers’ Association of NSW for several years.

 

My more than twelve years of instrumental pedagogy experience (all as a tertiary degree qualified performer and teacher), professional industry experience and strong performance background ensures that I teach students excellent performance skills in an organised, reliable and enthusiastic manner. I am also well versed in delivering expert online piano tuition (particularly via Zoom), in addition to face-to-face methods of delivery.  Described as a "consummate professional", I am experienced with exam syllabuses such as AMEB, ABRSM, Trinity College London. I have given guest lectures at the tertiary level and lecture/recitals within my fields of expertise. I am familiar with the classroom music curriculum (particularly HSC Music 2/Extension and its performance component) as well as the Kodály method. 

 

As a performance specialist, I develop performance skills by helping students become more confident performers (whether this means overcoming performance anxiety or finding their own unique voice). I’ve had excellent results teaching students presenting with performance anxiety. My one-to-one professional development offering, which is individually tailored to each participant, has also helped solo piano and instrumental teachers in Australia further develop their solo piano and/or collaborative piano performance skills. My curriculum (whether for exams, diplomas, tertiary study, professional development or own betterment) is based on excellent performance practice standards. It develops quality skills, creativity, effective practice strategies and a growing sense of independent learning and learning with understanding (where relevant). This ensures superior student achievements not only for all forms of external assessment (eligible students demonstrate competition wins, fine HSC Music 1, 2, Extension and exam results) but as musical skills, which will be retained for life in a healthy manner.

 

EDUCATION / AWARDS 

 

I commenced piano tuition in 1995. Long-term studies were conducted with concert pianist Svetlana Zenkina, concert pianist Anna Sleptsova (originally from Kiev) and concert pianist Mark Coughlan (former Head of the School of Music at the University of Western Australia and Australian Music Examinations Board Federal Chairman). Between 2006-2009, I studied with Professor Hanna Kryjak, a concert pianist and professor at the K. Szymanowski Music Academy, as part of my Bachelor of Music degree in piano performance.

 

Over the years I have had the opportunity of working (either as part of master-classes/festivals or other forms of collaboration) with a plethora of fine concert pianists, and professors from countries such as the USA, Australia, Ukraine, Poland, Finland, Switzerland, Iceland and Germany. Examples include Daniel Spiegelberg, Monique Duphil, Robert Weirich, Beata Bilinska, Andrzej Jasinski, Jerzy Tosik-Warszawiak and Maria Szwajger-Kulakowska.

 

Additionally, for most of my high school years, I was part of the selective music scholarship program at Perth Modern School. As a young girl, I also spent a year abroad studying in the piano performance class at the selective Wladyslaw Zelenski Music High School in Krakow.

 

I have accumulated a vast array of awards and other notable achievements at Australian state, national and international levels. These have included first and second place wins in the under 18 and open age limit sections of the Fremantle Eisteddfod, Joondalup Eisteddfod and West Australian Pianists Competition (2003/2004), first place in the Inaugural Dorothy Watts Chopin Competition open to pianists under the age of 21 (2003), semi-finalist in the Oberlin International Piano Competition and Festival in Ohio, USA (2004), and second place in STAR SEARCH 2005 at the Burswood Theatre (Western Australian Young Performer of the Year Award-instrumental solo category) where I made it through the finals and became the runner up (i.e. won second place).

PIPE ORGAN

EDUCATION

 

I commenced pipe organ study with pipe organist Martin Rein of Germany/Australia. As part of my Bachelor’s degree in Katowice, I additionally worked with concert organist and professor Julian Gembalski (former rector and current head of the pipe organ and harpsichord department at the K. Szymanowski Music Academy). At the Sydney Conservatorium, I worked with Philip Swanton as part of my Master’s degree (in organ performance).

 

CONCERTS / POSITIONS

 

I engage in concert activities as an international recitalist (concert organist and concert pianist). My solo organ repertoire is broad ranging from the North German, Baroque through to Romantic, French Romantic and contemporary periods. Examples include significant works (and sets) by J.S. Bach, Buxtehude, Bruhns, Böhm, Mozart, Liszt, Mendelssohn, Franck, Saint-Saëns, Guilmant, Boëllmann, Widor, Gigout, as well as transcriptions. I have a particular affinity for the Golden Age of pianism, its ‘concert organ’ counterpart and historically informed performance. I have been involved in the performance and analysis of Liszt’s major organ works (among others). I have conducted fieldwork on historical organs, and my expertise in performance practice has been disseminated internationally and nationally. In addition to my ‘Chopin and Friends’ recitals, this penchant for programming practices has resulted in performances for the ‘Bach’ series and the ‘Organ Recitativo in the Style of Liszt and Moscheles’.

 

I have performed/played on many remarkable pipe organs in cathedrals and concert halls across Australia and the world. For example Winthrop Hall, St Mary’s Cathedral, St George’s Cathedral, St. Thomas the Apostle Church, St John’s Lutheran Church, St Brigid’s Church in Perth, St Steven’s Cathedral, St Andrew’s Uniting Church, St John’s Cathedral, the Queensland Performing Arts Centre, Old Museum Concert Hall and Cleveland Uniting Church in Brisbane, St Mary's Cathedral, Verbrugghen Hall, Great Hall and Town Hall in Sydney, as well as cathedrals in Philadelphia (the Cathedral Basilica of Saints Peter and Paul, the Wanamaker organ located in a department store), Ohio, USA, Kraków (Saint Mary's Basilica - Kościół Mariacki, St Nicholas’ Church, Church of the Discalced Carmelites) and Gdańsk (St. Mary's Church – Bazylika Mariacka, Oliwa Cathedral).

 

My 2005 and 2007 Chopin and Friends concerts played on the unique concept of merging a solo piano recital with an organ recital thus enabling a large audience of people to discover the majestically powerful beauty of the ‘King of all Instruments’, which still remains an unknown and mysterious entity outside classical music circles in Australia. In 2008 ‘Piano, Voice and Pipe Organ with Maria Welna’ carried out all of the previous goals of the Chopin and Friends series whilst also incorporating a third instrument into a solo, one-performer recital setting. This ensured an evening of three distinct sections across three instruments filled with virtuoso works from several musical genres, four musical eras and five languages.

 

Apart from featuring in the second Chopin and Friend’s CD, my performances of several organ pieces (mostly by J.S. Bach) were recorded and compiled, as a soundtrack for plays performed by Scene 98 in Western Australia. I used selections from the soundtrack at the 2007 and 2008 Chopin and Friends recitals to highlight a dramatic act featuring the world-renowned piano virtuoso, composer and politician Ignacy Jan Paderewski.

 

I have held seven years worth of Director of Music/Organist positions in Perth, Krakow and Sydney (Vaucluse, Cremorne). I have directed musical programs, organised concerts, put together repertoire and programs for all occasions, played solo organ (both in performances and liturgical services), accompanied and directed soloists and a choir. Concert activity included routine postludes/improvisation through to concerts involving guest artists and recital performance. The Director’s Series, an example of the latter, was a new initiative showcasing the concept of the ‘Organ Recitativo’ and the Director in solo performance. I also played at special liturgical events. Throughout my studies in Europe I maintained a close musical relationship with several churches, for example, that of the Discalced Carmelites and St Nicholas' Church in Krakow. I was interim Director of Music, Organist and Cantor at the latter church in 2009, enabling frequent access to the fine historical pipe organ (mechanical action) that it housed. I was the Director of Music, Organist and Cantor at St Brigid’s Church in Perth since January 2002. For four fruitful years, the position enabled me to contribute to the larger community by utilizing my organ and vocal skills combined with musical directorship qualities. A deep desire to share my passion for organ music with the general public resulted in the initiation and organization of the Bach at St Brigid’s Recital Series (a recital was held in 2004) where I was the solo performer. Short recitals before and after each mass also proved to be a frequent and eagerly awaited occurrence. In 2004 a recital from the ‘Bach’ series also took place at the St Hilda’s Anglican Chapel, where I was the recipient of a pipe organ scholarship funded by St Hilda’s Anglican School for Girls.

COMPOSITION

 

My compositions have been performed nationally (Perth, Brisbane, Sydney), internationally (Europe, USA) and were broadcast by 4MBS Classic FM, Bay FM and SBS via radio and online.

 

The Cadenza in the style of Liszt (originating from my performance practice research) was premiered in Sydney, presented in Europe and also recorded. The ‘Introit’ from the Requiem for pipe organ and soprano (a non-liturgical ‘concert’ work) was also premiered in various Sydney venues (instrumental part only). My other works comprise a ‘concert etude’ for piano (in the style of Liszt and Rachmaninov), a piano sonata (Sonata in G minor), a programmatic nocturne (Nocturne in E minor) as well as a couple of pipe organ pieces (Passacaglia in F minor) and songs (One Day).

 

My talents in composition were recognized from an early age. I was awarded at every composition competition that I entered. Specifically, I was awarded first and second place respectively in the original composition section of the Fremantle Eisteddfod (open category in 2004 and 2005).  I was the runner up (Instrumental Solo Category) of Star Search 2005 (otherwise known as the West Australian Young Performer of the Year Award) held at Burswood Theatre, in which I performed my Sonata in G minor and Nocturne in G minor. Prior to the final award, the competition included a state-wide selection process of preliminary rounds and finals.

 

I attribute my interest in composition to the selective music program I was part of at Perth Modern School (one of two specialist music schools in the state) from 2001. As part of my music education at the school, I received theoretical instruction in subjects such as theory, aural music, harmony, composition, music history and literature for a total of eight hours a week. Frequent composition assignments led to the creation of a duet for piano and violin (Theme and Variations in A minor) and a song for voice, piano, French horn and trumpet (Why do they do this to us?). I received top marks for these compositions and performed them at the school. In 2005 I was offered a piano, pipe organ, violin and composition scholarship to St Hilda’s Anglican School for Girls.

CHAMBER MUSIC

 

Although primarily a soloist, I have maintained a wide involvement (piano trio, quartet, two-piano, violin/viola, piano and voice, piano and organ, piano and voice/wind/brass) with chamber music. I have performed notable two piano pieces, collaborative piano work (instrumental, lieder, opera repertoire), as well as a couple of recording projects/collaborations (including but not limited to works by Liszt, Ravel, Bartok, Schoenberg). I also directed, performed and transcribed concert mass settings for chamber instrumentation (arranged for a quartet of opera singers and organ in lieu of the orchestra. My transcription and rendition of the organ part was in the style of ‘Golden age’ concert organists). Some of the works performed included Haydn's Missa Sancti Nicolai, Mozart’s ‘Coronation’ Mass in C major, Bach's St Matthew Passion, Fauré’s Requiem as well as numerous concert arias.

 

During my high school years, I was regularly invited for collaborative piano and ensemble work playing for choral, vocal and instrumental performances. From a formal perspective, I then worked with renowned chamber music professor and concert pianist Maria Szwajger-Kulakowska, Teresa Baczewska (chamber music and collaborative piano professor) and Urszula Stanczyk (chamber music professor specialising in 'vocal' accompaniment) during my degree at the K. Szymanowski Music Academy in Katowice. I performed with and accompanied undergraduate and postgraduate students within concert settings, seminars. The pieces played included standard vocal repertoire (bel-canto Italian arias, Mozart, Verdi, Lieder), primo parts in two-piano works (i.e. Rachmaninov's Suite No 1 Fantaisie-tabeaux, Lutoslawski's Variations on a Theme by Paganini), accompaniment for violin (Vivaldi, Brahms, Szymanowski, a number of concertos), viola (pieces by Bruch).

 

As part of my Master’s degree in Sydney I worked with Gerard Willems, Natalia Ricci and Alexa Still (for chamber music tutorials) and was involved with extra ensemble commitments performing/premiering rare repertoire such as Dupré's Sinfonia Op. 42 for piano and organ, Flor Peeters' Concerto for piano and organ, Op. 74 and selected trio settings by J. Krebs (which I arranged for pipe organ and flute.) I also played John Gardner's Sonata da Chiesa sopra un tema di Claudio Monteverdi with faculty members: Bruce Hellmers (first trumpet) and Leanne Sullivan (second trumpet) in one of the 'Con' showcase concerts for the 2011 'Musica Viva Festival' (broadcast on ABC Classic FM).

 

Within the capacity of my roles as Director of Music/Organist, I frequently worked with professional soloists (opera singers and instrumentalists). Examples of concerts include the aforementioned performances of transcribed concert mass settings and separate concerts where I delivered both solo organ and ensemble performances (organ/trumpet, organ/soprano, organ/tenor, organ/trumpet/soprano).

VOICE 

SOLO

 

My preoccupation with singing was brought about by performing an anonymous composer’s ‘Agnus Dei’ in 1997, which resulted in audience members coming forth with spirited pleas and hopes that I would develop this area of my art. Thus I entered into studies with opera singer and teacher Gosia Slawomirski and gained entry to John Curtin College of the Arts on a musical theatre scholarship in 2000 (after an extremely selective audition process drawing applicants from the entire state of Western Australia.) Although I did not continue in the program for long, and eventually shifted focus to music instead of drama, that intense theatrical stage of my life laid the foundation for future performance and arts endeavours. Throughout the years I intensely pursued the dramatic world often finding myself cast in major roles with large solo singing components (i.e. A Christmas Carol by Charles Dickens put on by the theatre group Scene-98, Little Prince by de Saint Exupery, A Midsummer Night’s Dream by W. Shakespeare).

 

I studied voice (I am a coloratura soprano) with, senior lecturer and opera singer, Krystyna Swider at the K. Szymanowski Music Academy in Katowice up until June 2009. I have also worked with Kornelia Perchy, soprano and former 'principal artist' of the Hungarian State Opera (focusing on opera, oratorio and lieder).

 

In 1998 I received awards such as 1st and 3rd prize in the under 12 and 13 categories of the Fremantle and Kalamunda Eisteddfods, as well as placing second in the 1997 ‘Song Festival’. As a singer, I regularly performed in concerts, sang sacred solo repertoire as part of ceremonious occasions in the presence of noted religious leaders and routinely sang (solo) in plays. My first position as Director of Music at St Brigid’s Church in Perth provided countless solo singing opportunities. As Director of Music in Sydney, I also carried out plenty of cantoring duties. To this day my fondest memory remains singing (solo repertoire) at the Jasna Gora Basilica in Czestochowa, Poland to an audience of several hundred pilgrims. Over the years, I was also soloist with the choirs I belonged to.

 

CHORAL

 

I was a member of the Perth Children's Choir in 1997, and of the Western Australian Children's Choir from February 1998 to May 2000, a selective choir of the best young singers in the state. The choir performed a string of concerts in prestigious state venues (Winthrop Hall, Perth Concert Hall, His Majesty’s Theatre etc), had frequent television appearances and also performed for Her Majesty Queen Elizabeth II as part of an Anzac Commemoration Ceremony in King’s Park, Perth. In 1999 I was chosen to be part of the Western Australian Children's Honour Choir, an even more selective group of singers auditioned from the larger choir, and run by conductor Dr Margaret Pride. In 1998 I achieved the National Choral Singing Award 1998 - Gondwana Voices - High Distinction.

 

In 2000/2001 I was a member of the ‘Pro Musica’ Choir at the W. Zelenski Secondary Music School in Krakow run by conductor Boguslaw Grzybek and took part in a number of concerts in venues such as the Krakow Philharmonic Concert Hall and city cathedrals. From 2001 and 2002, I was a member of the Junior and Senior Chorale at Perth Modern School with performances at the Perth Concert Hall. More recently I worked with the ‘Organum’ choir run by Boguslaw Grzybek, a choir comprised of academic musicians and professional singers in Krakow, Poland (based around Mariacki Cathedral, Krakow Philharmonic Concert Hall and with significant national/international touring activity). From 2010-2012, I sang with the Sydney Conservatorium 'Chamber Choir' (frequently broadcast on ABC Classic FM and also with significant national and international touring activity over the years) conducted by Dr Neil McEwan - AM.

VIOLIN

 

In 2000 I started violin studies with Anna Chomicka-Gorecka, a first violinist with the West Australian Symphony Orchestra. A year later I commenced tuition at Perth Modern School on a violin scholarship as part of the Specialist Music Program learning with violinists Gunther Frey and Tzvi Friedl (a piano scholarship was not possible because only orchestral instruments were on offer). The program was extremely selective, based on the Kodaly method and attracted applicants from all over the state. Initially, I was part of the Junior Strings Orchestra and advanced to the Senior Symphony Orchestra (conducted by Lawrence Jacks - principal violist of the West Australian Symphony Orchestra) after a successful audition in 2003. The latter orchestra held concerts in venues such as Perth Concert Hall and the Quarry Amphitheatre. In 2002 I performed and recorded as part of a quartet for Father Irek Czech’s ‘Otherwise’ CD.

MEDIA APPEARANCES AND SELECTED CONCERT REVIEWS

 

My artistic activity has appeared in a broad range of local, state, national and international newspapers/other media outlets with interviews, performances and compositions also broadcast on local, state and national radio (ABC Classic FM's 'Musica Viva Festival' coverage, 4MBS Classic FM’s Music Lover’s Choice with Howard Ainsworth, SBS, Bay FM ‘Compact Classics’ etc.). The Bay FM’ ‘Compact Classics’ program (a two hour live interview and musical broadcast) and 4MBS Classic FM’s ‘Music Lover’s Choice with Howard Ainsworth’ consisted of a two-hour live interview interspersed with my personal selections from classical music literature as well as other observations. It was broadcast live via radio to the entire state of Queensland and parts of New South Wales and to the world via a live feed on the web.

 

SELECTED REVIEWS

 

“This born performer has tackled many of the hardest … works, composed neo-classical pieces”

“ ... a chance to showcase this young woman’s irrepressible style”

Anna King Murdoch, The Courier-Mail

 

“Maria plays the masters”

“… virtuoso Maria Welna … an enthralling journey through the works of some of the great masters of classical music…”

“… some of the world’s most stunning repertoire”

“Gifted soprano and composer”

The Bayside Bulletin

 

“Maria is a …  concert pianist and pipe organist with an amazing talent”

“Piano perfection”

“Gifted soprano and composer”

The Redland Times

 

“She’s the picture of confidence. Her hands glide over the keys with [a] speed and sureness that defy her young age. She makes it look so easy.”

"... seemingly-effortless performance” 

The Chronicle-Telegram

ACADEMIC QUALIFICATIONS / RESEARCH

 

I completed performance practice fieldwork on historical keyboard instruments and have been involved with researching piano and organ performance practice since 2012. My particular research interests deal with the phenomenon of the “‘Concert Virtuoso’ Then and Now - From Nineteenth-Century Virtuosity to Modernity” in specific relation to the performing practices of selected pianists and organists. I have also implemented and utilised my research concerning nineteenth-century historically informed performance, in my artistic practice. I have presented different papers at international (UK, Italy) and national conferences (see the list of publications for further details). I have also had the opportunity to give guest lectures within my areas of performance practice expertise.

 

I completed postgraduate studies at the Sydney Conservatorium of Music (Master of Music Studies in organ performance) in November 2011. In addition to the predominance of ‘performance’ requirements (spanning solo and chamber music), the degree also included some research units (‘Historical Performance Practice’, ‘Principles of Studio Pedagogy’ and ‘Research Skills for Music Performance’).

 

In June 2009, I completed my degree at the K. Szymanowski Music Academy in Katowice, Poland receiving the title of Bachelor of Music across piano performance (with additional emphasis on pipe organ and voice performance). It was the second consecutive year in which I was awarded an ‘individual’ mode of studies due to practical (instrumental) and academic achievements. Graduation requirements culminated with the successful performance of a recital and presentation/defence of a research thesis. My thesis entitled: “The genesis and development of the solo piano recital as exemplified by the practices of selected virtuoso pianists of the nineteenth and twentieth centuries” (subtitled ‘The Piano Recital - An Opera in 3 Acts’), was warmly received by the adjudicating panel (keyboard department). In her review of the thesis, professor Monika Sikorska-Wojtacha (then Dean of the Piano Department at the Academy) writes: “The thesis is written with a significant dose of literary imagination and is based on a rich bibliography. Its construction and … presentation of particular parts in the allegoric format of opera acts is an unconventional idea displaying the literary talent of its author. Descriptive and historical parts of the thesis lead to the author’s conclusions referring to the status of the form of the piano recital in contemporary times. … [It] can be recommended for publishing in book form.”

 

I possess teaching qualifications that are recognized and required from teachers across artistic schools and educational institutions within the European Union. The acquisition of instrumental teaching qualifications was part of my performance degree. I successfully completed 182 hours worth of practical placements at the primary and secondary music school level. At the primary school level, my placement students were comparable to at least 7th grade AMEB, and were either preparing for competitions, or for competitive entrance examinations to secondary music schools. At the secondary music school level, my placement instruments consisted of piano and organ (up to a level comparable to the LMusA) although the latter instrument only played a minor role. My pedagogical training was also strengthened by courses such as methodology of main instrument teaching, psychology and pedagogy (all components of my degree), for which I consistently achieved the highest marks. I expanded my experience/knowledge through the 'Principles of Studio Pedagogy' postgraduate course (involving both practical and research components) at the Sydney Conservatorium.

 

In November 2005, I obtained the Western Australian Certificate of Education for satisfying secondary graduation requirements. I also sat the Tertiary Entrance Examinations, obtaining a score allowing entry to all universities in the state (The University of Western Australia, Murdoch University, Curtin University of Technology, Edith Cowan University) as well as national universities if desired. In the two years preceding the TEE I chose (students are presented with a subject choice, and must complete at least 5 per year) to study some of the most demanding academic subjects available. For example: Chemistry, Introductory Calculus, Physics, Applicable Mathematics, English Literature, History and Music. The music TEE exam consisted of the following separate categories: theory, music history/literature and performance. I completed the latter category in piano and received top marks for all three categories.

 

Before the TEE I was part of the Academic Extension program at Perth Modern School in all four areas (English, Society and Environment, Mathematics and Science), and I was often a recipient of many awards and honour certificates. I was the top student for English in year nine and ten. In year eleven, I achieved the top mark in the English literature examination for the two consecutive semesters of the year and was selected to take part in the Smarts research program run by the University of Western Australia. As part of the contribution to my group’s project I sent in a significant diary dealing with ‘boundaries’ and breaking them in the musical world.

 

In 2000 I spent a year at the W. Zelenski Secondary Music School in Krakow, Poland studying piano performance.

 

LIST OF PUBLICATIONS & RESEARCH

• Guest lecturer - delivered lecture and detailed performance demonstration entitled: "The Concert Virtuoso and a Lost Performance Tradition - A study of virtuosity through the lens of nineteenth-century composer-performer practices", Historical Performance Practice course (postgraduate level unit of study), Sydney Conservatorium of Music, 23 September 2014

• "Elements of Pianistic and Interpretative Metamorphosis in Liszt’s Organ Works"  (paper presented at the Music and Metamorphosis Conference organised by the MSA-NZMS as part of the 5th IMC World Forum on Music, 18-21 November 2013, Queensland Conservatorium, Griffith University, Brisbane)

• "The Solo Recital – A Lost Performance Tradition"  (paper presented at the Recital and Urban Setting in the Nineteenth Century International Conference, 11-13 July 2013, La Spezia, Italy hosted by CAMEC (Centro di Arte Moderna e Contemporanea) organized by Società dei Concerti, La Spezia Centro Studi Opera Omnia Luigi Boccherini, Lucca in collaboration with Palazzetto Bru Zane – Centre de musique romantique française, Venezia)

• "Mechanical Virtuosity: Automatic Genius and The Dreaded Realm of The Mechanical. A Study of Mozart's Fantasia in F minor K. 608 and selected nineteenth-century composer-performer practices" (paper presented at the the Mechanical Musical Instruments and Historical Performance Conference, 7 - 8 July 2013, organised by the Guildhall School of Music and Drama, ResearchWorks and National Early Music Association) 

• "The Composer-Virtuoso: Lost Nineteenth-Century Performing Practices (paper presented at the Musicological Society of Australia, Sydney Chapter Annual Student Symposium, 22 September 2012, University of New South Wales)

• "From Bach Revival to Lisztomania" (program notes for final Master's organ recital performed in Verbrugghen Hall - 8 November 2011)

• "Liszt's Fantasy and Fugue on Ad nos, ad salutarem undam - A Window into the Nineteenth Century Performance Scene" (seminar and paper for 'Historical Performance Practice' course - 25 October 2011)

• "The Collective Genius of Bach, Mozart and Mendelssohn" (program notes for organ recital performed in Verbrugghen Hall - 7 June 2011)

• "Buxtehude, Bohm, Bruhns - Representatives of the North German School and J.S. Bach" (an analysis based on repertoire performed in Verbrugghen Hall recital - 9 November 2010)

• "Memorisation in Music " (literature review and oral presentation/seminar delivered as part of the 'Principles of Studio Pedagogy' course - May 2011)

• "The Piano and Organ Connection - Organists, who were also virtuoso pianists, and the influence of pianistic technique on the quality of their organ playing" (oral presentation and annotated biography work for 'Research Skills for Music Performance' course at the Sydney Conservatorium of Music - September 2010)

• "The phenomenon of the 'concert organist' or gender discrimination amongst professional organists and how it paradoxically helped break the stereotypical perception of the organist" (oral presentation/lecture and essay for 'Research Skills for Music Performance' course at the Sydney Conservatorium of Music - November 2010)

• The genesis and development of the solo piano recital as exemplified by the practices of selected virtuoso pianists of the nineteenth and twentieth centuries (The Piano Recital - 'An Opera in 3 Acts') (20 000 word Bachelor's degree thesis from the K. Szymanowski Music Academy in Poland, 2009)

• Program notes and speeches/reflections on composers and pieces featured in concerts (Chopin and Friends recital series - 2003, 2005, 2007, 2008, The Bach recital series 2004, The Director's Series : An Organ Recitativo 2011, The Proms 2011)

• CD liner notes (Chopin and Friends 2003, Chopin and Friends 2005)

• Articles, reviews, blogs (published under the 'Writer's Corner' section of my professional website)

• "Memories from a journey through time and boundaries", Kurier Zachodni, 2005, 2 (167)

• "Boundaries and breaking them in the musical world" (paper presented as part of the Smarts Research Program, University of Western Australia, 2004)