Anna Dębowska graduated with honors from Kraków Music Academy in the piano class of prof. Andrzej Pikul in 1997 and then in 2005 earned the degree of Doctor of Musical Arts and her post-doctoral degree in Musical Arts in 2013. In 1996 and 1997, she won the Tadeusz Żmudziński piano competition (first prize and special prize for the performace of Mazurkas by Karol Szymanowski).

She has given performances in Poland, Germany, the Netherlands, Sweden, the UK, and the USA,  including appearances with the Radio Symphonic Orchestra in Kraków and the Tarnów Chamber Music Orchestra. As an accompanist, she has worked with a number of reputable pedagogists in their master classes, e.g. prof. Alison Pearce (London), prof. Christian Elßner (Drezden), prof. Charlote Lehmann (Hannover), prof. Ryszard Karczykowski, and prof. Helmuth Rilling (in Internationale Bachakademie Stuttgart). 

Anna's repertoire includes compositions from Baroque to contemporary music, both solo and chamber music works, including compositions for violin, viola or cello, vocal works, piano trios, and a selection of opera arias and oratorial works. She successfully combines her artistic activity with the position of Assistant Professor at the Chamber Music Faculty of Kraków Music Academy. Her latest albums include piano chamber music by a Belgian composer - Joseph Jongen - one of those individuals that have so undeservedly drifted into oblivion and Chopin the Undgrateful - a tribute to Jane Stirling, as part of the Jane Stirling Project. 

In the last three years she has been involved in the Jane Stirling Project to commemorate Chopin's great Scottish benefactress by giving piano recitals in smaller and larger venues, both in Poland and in Scotland. She is also artisic director of the Jane Stirling Festival organized anually in Poland and Scotland.

Anna has also enjoyed performing Chopin's music on a number of remarkable period grand pianos, including the Pleyel No 13823, which used to belong to Jane Stirling herself and on which Chopin played in Scotland in 1848, as well as the Broadwood Grand Pianoforte on which Chopin played in Gargunnock, Scotland, still in the drawing room of Gargunnock House, all of this to seek proximity to the authentic sound of the original Romantic compositions. 


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