Marek Stefański. .

News:

  • Andrzej Wodziński - Muzyczny Kraków

  • Mateusz Borkowski - Dziennik Polski

  • Anna Koniecka - Biznes i Styl

Older news:

  • Non Sola Scripta - the first concert

    18th International Organ Festival Non Sola Scripta was inaugurated by the performance of Marek Stefański – a distinguished organ player cooperating with St. Mary’s Basilica in Kraków, together with a German choir Domkantorei - Schleswig under the baton of Rainer Selle. (...) At the opening of the Wrocław Organ Summer we could listen to him performing a diverse repertoire. He played a fragment of Anton Dvořak’s Mass in D major (Kyrie and Gloria), with a German choir Domkantorei – Schleswig. Then he performed a work by Josef Rheinberger (instead of C minor Fugue by J.S. Bach) – a 19th century German composer and organist, known first of all for his works of religious character. The most thrilling part of the concert was the performance of Oratorium Quo vadis Op. 13, 2nd movement written by Feliks Nowowiejski, especially the player’s own arrangement, at times resembling a jazz improvisation. It was by far the best part of Marek Stefański’s performance, deservedly applauded with enthusiasm by the audience.

    translate by Natalia Szymaszek

    Barbara Lekarczyk-Cisek

  • Concert of Polish early music as part of Cracovia Sacra: Ave Maria at the St. Florian's basilica

    In spite of the rainy weather the church was full to the brim. Right after the last evening mass the sounds of organ could be heard. First presented works were a selection of Polish early music by Nicolaus Cracoviensis and Johannis de Lublin, two 16th century organists and composers.

    The audience could listen to 4 preludes (musical genres originally written for organ or lute that later became autonomous works), 2 ancient Polish church songs and 3 early Polish dances by Johannis de Lublin. After that, early Polish vocal music was presented in an interpretation of a soprano Elżbieta Towarnicka. The singer performed two soprano arias by Mikołaj Józef Rzegowski.

    The concert would be incomplete without the organ music of Johannes Sebastian Bach: an aria from the famous solemn "Magnificat", an emotional song "Bist du bei mir" and two songs from Schillerian Chorales.

    The culmination point and at the same its finale was the famous "Ave Maria". The melody was written by Charles Gounod in 1859. The material used came from Prelude in C major from the first book of Das Wohltemperierte Klavier by Bach. A unique performance of the song resulted in a thunderous ovation lasting for more than two minutes. There was one more organ work by Bach, which was again enthusiastically applauded so the artists performed another work.

    The answer to the questiont about the impression the concert gave was as follows – I really liked the concert, it was an interesting performance. Not everyone has such interesting interpretative ideas. I especially liked the songs of Johannis de Lublin – those were the words of an opera singer Alina Konarska. She was accompanied by a gentleman who also praised the concert – I liked the popular works better, such as "Ave Maria", because I am not an expert on classical music. In terms of a general impression – the entire concert was marvellous.

    The organ player was Marek Stefański – one of the most artistically active Polish organists, who also gives concerts abroad. Propagator of organ music, he also performs organ improvisations. Since 1999 he has been faculty member of the Chair of Organ at the Academy of Music in Kraków, teaching organ at the Church Music Institute. Recipient of several awards and distinctions.

    Soprano parts were sung by Elżbieta Towarnicka – an artist who performed in Greece, Germany, Spain, England, Russia, Lithuania, Ukraine, Argentina, the USA and Canada. She also sung in Krzysztof Kieślowski’s films: Three Colors: Blue and Decalogue, Veronica’s Double Life. She performs soprano parts from the works of: Puccini, Bizet, Verdi, Szymanowski, Weber. She specializes in oratorio performances.

    translate by Natalia Szymaszek

    Ewa Adamska

  • "Piano, harpsichord, organ"

    [...] Marek Stefański, the performer at Wednesday’s organ recital, constructed the program of works written in the 20th century. His own arrangements of a Symphonic Poem "Quo vadis" by Nowowiejski and "Bucoliques" by Lutosławski, as well as an improvised sonata in the style of Schumann proved the player’s great musical imagination and very good command of technique. An interesting interpretation of Stained Glass Windows by Tadeusz Machl and St. Mary’s Preludes by Juliusz Łuciuk shared the same characteristics [...]

    translate by Natalia Szymaszek

    Anna Woźniakowska, Dziennik Polski

  • Organ

    The evening was full of various atmospheres and unforgettable impressions. Marek Stefański had impressed music lovers from Myślenice with his bravura, brilliant technique, ease of performance, optimal usage of the instrument, moving interpretation and masterly performance. These are only a few characteristics of Cracow's organist musical talent, who had shown fullness of sound and subtlety of organ. Everybody liked his interpretations of Advent songs performed in classic, baroque and free style.

    Karol Gołąb, Gazeta Myślenicka, I 2009

  • Vocal and organ concert in the Mariacki Church

    There was an interesting vocal and organ concert in the Mariacki Church. We could confront different approaches of composers that had connections in Cracow-form Nowowiejski to Moszumańska-Nazar - to "king of instruments". Juliusz Łuciuk's "Three passion songs" and Jerzy Kaszycki's "Three soprano and organ psalms", performed by Elżbieta Towarnicka-soprano and Marek Stefański-organ, will certainly remain in listeners' memory. Towarnicka and Stefański had shown their artistry and musical sensitivity

    Anna Woźniakowska, Dziennik Polski, VI 2009

  • Organ festival in Sochi

    Marek Stefański truly amazed the audience of the organ festival in Sochi with his brilliant improvisations on theme of Mendelssohn and the Russian anthem...

    Marina Tretjakowa, "Kultura" nr 31, Moskwa, VIII 2009

  • The II Childrens Old Music Festival

    ...in lordly atmosphere of Bernardine Basilica in Leżajsk , we could hear J.S.Bach's and D.Bauextehude's baroque polyphonies and J.C.Bach's works which were performed by Marek Stefański. In reference to old polish music , works coming from John's from Lublin Tabulature, Nikolaus from Cracow Tabulature and Warsaw Organ Tabulature came to life under master's hand. Experiencing such magnificent concert was heightened by the beauty of the temple...

    www.diecezja.rzeszow.pl

  • Barbara Bator

  • Saratov organ festival

    This has been something new in the history of the Saratov organ festival. At the end of the concert a wonderful improvisation on the motifs of the Saratov song "So much brightness today in the streets of Saratov" sounded under Marek Stefanski's fingers.

    Panorama Saratowska, X. 2005

  • Deutscher Barok auf klangschoener Orgel

    Eine hochvirtuose Darbietung, die die stupende Spieltechnik des Interpreten deutlich werben lassem konnte (...) Orgelmusikfreunde, die nicht da waren, haben etwas versaeum.

    Translation:
    The trully masterly performance, which revealed amazing play technique of the interpreter (...) These organ music amateurs, who weren't present at the concert have missed a lot of the magnificent impressions.

    Detlef Ahlborn: Einbecker Morgenpost, 12. VII. 2005

  • Heitere, lustvolle Interpretation (The joyful, colourful interpretation)

    Organist trug sein Programm mit sicherem Gefuehl fuer den Charakter der einzelnen Werke vor und schoepfte - mit einer geradezu heiterern Spielfreunde - die Moeglichkeiten des Instrumenten aus.
    Neben Werken aus dem Frueh - und Hochbarock spielte der Organist zwei Kompositionen, die dieses Koncert zu einem Erlebnis machten: Zuerst eine eigene, meisterhafte Adaption des Concerto D-dur für Floete und Streicher von Johann Christian Bach (...) Das Concerto, das in seiner Einfuehlsamkeit an die Mannheimer Schule erinnert, entfaltete in diesem Arrangement fuer Orgel seinen reizvollen Charme - in einer farbenfroh registrierten, lustvollen Interpretation.
    Mit dem letzten Werk des Abends, der beruehmten Suite gotique von Léon Boëllmann, schwelgte der Organist in stuermischer, virtuoser Brillanz. Mit seiner Interpretation des letzten Satzes zeigte er sich als eigenwilliger Gestalter. Die so oft gehoerte, wuchtige Toccata klang nun ueberraschend weich. Die Zuhoerer erlebten sie neu, konnten in ihr schillernde Facetten entdecken, die in den herkoemmlichen Interpretation oft unterkannt bleiben. Ein beglueckender Orgelabend.
    Fuer den langangehaltenden Schlussapplauz bedankte sich der polnische Organist mit einer Zugabe.

    Translation:
    The organist used the abilities of the instrument with a ground intuition of the character of the particular compositions and nearly joyfull satisfaction of the play. Except the pieces from the eaarly and late barok, the organist performed two compositions, thanks to which the concert became an exceptional experience: the first work was his own, masterly adaptation of the Johann Christian's Bach Concerto D-dur, for flute and strings (...) Concerto, which reveals the influence of the Mannheim School, profited in the arrangement for organ with charm and elegance, beeing registered in the bright tone qualities and joyfull interpreted.
    The secondo work one, played as the last one during that evening, Suite gotique of Léon Boellmann, the organist abandon hisself to the masterly bravando. In his interpretation of that piece he disclosed hisself as an independent, autonomous artist: beeing so many times performed, ponderous Toccata, sounded in his interpretation surprisingly softly. The listeners could live through it on the new way and find out its flats, which cannot be perceived by the traditional, common performence.
    For the ceaseless applause, the polish organist reciprocated by doing play en encore.

    Francisco Pujiula, Nordhessische Kultursommer Zeitung, 07. VII. 2005

  • Rauschende Klaenge (Dizzing sounds)

    Marek Stefański, Organista an der Marien-Basilika im polnischen Kraku und Dozent fuer Orgel an der Musikhochschule in Krakau, begeisterte das Publikum mit seinem virtuosen, musikalischen Spiel, in dem technische Brillanz und inhaltliche Tiefsinnigkeit perfekt miteinander harmonierten. Mit feiner Agogik praesentierte er durchsichtige polyphone Strukturen, ging mit großen Klaengen ebenso sicher um wie mit feinen Tonlinien oder virtuos ausgespieleten Verzierungen.

    Translation:
    Marek Stefański, the organist at the St Mary's Basilica and the teacher at the Music Acedemy in Cracow, enchanted the audience with his masterly, musical play, in which the brilliant technique harmonizes with a deep thought. He presented, keeping very precize tempos, the transparent polyphonic structures, free both in the great sound and the separate lines of the voices, as well as in the masterly executed ornaments.
    Agnes Duerr: "Die Rotenburge Zeitung

    Agnes Duerr: Die Rotenburge Zeitung, VII. 2005

  • "Baroque and the Contemporaneousness - the "Music in Old Cracow" International Festival."

    Besides delighting in the magnificent music, we could trace the development of the music in the for her most interesting period, within which she reached her perfection, her ideal, which is for all, who are engaged in the organ music, the music of Johann Sebastian Bach. All this has been fulfiled by Marek Stefański, for everyday an organist at the St. Mary's Church in Cracow, who controls the instrument, which is in the Church excellently. He has overcome guest performers on a number of occasions.

    Dziennik Polski 2001r. Anna Woźniakowska

  • "Erhebendes Orgelkonzert (Magnificent organ concert)"

    Passend zu der kleinen Orgel hatte Marek Stefański ein ansprechendes Programm zusammen-gestellt mit, in chronologischer Reihenfolge Werken von Fruhbarock bis zu Romantik, Musik so richtig zum "Seele banmeln lessen", meisterlich und mit ruhiger Hand interpretiert und mit delikaten Klagenfarben registiert-die Moglichkeiten der Orgel optimal ausschopfend.

    Translation:
    Suitably to the abilities of the small organ Marek Stefański arranged the programme in the chronological order, from the works from the early barock up to romanticism. He has interpreted the music, genuine to "soothe the soul", with masterly hand, optimal exploiting the abilities of the organ, which he had registered in the very fine tune

    Francisco Pujiula: Hessische Allgemeine Zeitung, 2001

  • Gespur fur Klangfarben - Marek Stefański (Krakau) Gestaltete Orgelmatinee im Fuldaer Dom (A sence of timbre - Marek Stefański (Cracow) led the organ matinee at Fulda Cathedral)

    Als stilsicherer, technisch uberlegener Organist stellte sich Marek Stefański bei der ersten Orgelmatinee dieses Jahres im Fuldaer Dom.

    Translation:
    During the first organ matinee at Fulda Cathedral this year Marek Stefanski presented himself as an organist distinguishing himself by a exceptional sence of the specific style features of the compositions and the great, masterly technique

    Reiner Uhl, Fuldaer Zeitung, 2001

  • "Prachtige Hommage an Bach (Splendid Homage to Bach)"

    Prachig war diese Hommage durch die Schonheit der aufgfuhrten Werke und nicht zletzt durch die Gute der Interpretationem des jungen polnischen Musikers Marek Stefański. Der Lehrer an der Kakauer Musikakademie, Organist an der St. Marien-Basilika, Preistrager bei bedeutenden Musikwettbewerben, hat Konzertpraxis in ganz Europa gesammelt-und hier zeigte er sich als souveraner Interpret, der mit Musikalitat, Geschmack, einer fantasiereichen Klangfarben-Palette glanzte. Und durch die Auswahl der Werke zeigte er Aspekte des Bachschen Orgelstils.

    Translation:
    Splendid was this tribute, not only thanks to the beauty of the performed pieces but the quality of the interpretation of the jung organist Marek Stefański as well. The teacher at the Music Acedemy in Cracow, the organist at the St Mary's Basilica, the winner of many important music competitions, gained experience in whole Europe, where he has been estemmed as an independent interpretator, distinguishing hisself by his musicality, artistic taste, and original approach to the selection of the sound - palette. Tanks to the skilful choice of the pieces the different aspects of the Bach's organ style has been presented by him to the audience

    Francisco Pujiula: Hessische Allgemeine Zeitung, 2000

  • "Polish organist in the lithuanian temple - the Polish Culture Days in Lithuania"

    Yesterday, in the most important temple of the city, inhabitants of Wilno had an opportunity to admire the artistic craft of the polish musician. His performance of the works of classical masters, as well as of the contemporary composers has left unforgettable impressions.

    Star: Gazeta Wileńska, 1999

  • "August in Kamień Pomorski - the International Organ and Chamber Music Festival"

    Susan Landale has given her interpretation of the works of Buxtehude, Bach and Mozart a limpid charakter. We have been missing the same in the performances of the other organists (with the exception of Marek Stefański, who played during one of the evenings of the "Concerto Avenna").

    Witold Paprock, Ruch Muzyczny, 1998

  • "The Third Edition of the "Bach - Days" Festival in Cracow"

    The festival ended with a great concert in the evangelical-augsburg church. Especially the organist Marek Stefański and the bass - Jacek Ozimkowski especially deserved notice. Stefański, who preformed the cycle of a dozen or so Bach choral elaborations on the passion themes and the Fantasy and Fugue in C minor, enchanted listeners with the extraordinary musicality, matching the timbres of the particular compositions in a superb way and creating mystical atmosphere of the passion concentration.

    Ruch Muzyczny 1998r., Andrzej Zwoliński

  • "Stefański and Towarnicka at St. Anna church. The Organ Festival in Warsaw."

    As a soloist, his interpretations appeared as full of interesting ideas; they were without restraints, rich in ornaments, abounded with improvised passages and the diversified articulation. They were marked by colourful registration, often using the tongue- and aliquot - voices. Great temperament, hovewer at times going out of control, manifested itself in the exceptionally bold scheme of the cyclic composition and in the choice of the extreme fast tempos.
    The third concert performed at St. Anna's church undoubtely afforded listeners a lot of positive impressions. And it is certain, that we will hear about Marek Stefański very soon again.

    Ruch Muzyczny nr 17/97 Karol Bracki

Copyright © 2003-2010 Marek Stefański | Webdesign: SiGSOFT.pl