Sunday with Ravel
By Marcin Jaroszek
/ 2025-11-22
On 16 November 2025, Kraków's Florianka Hall became a vibrant home to the shimmering colours and refined elegance of Maurice...
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On 16 November 2025, Kraków’s Florianka Hall became a vibrant home to the shimmering colours and refined elegance of Maurice Ravel’s music. To mark the 150th anniversary of the composer’s birth, the Piano Department of Kraków’s Music Academy presented an ambitious, day-long musical marathon featuring all of Ravel’s piano works alongside selected chamber pieces. The event, coordinated by Professor Andrzej Pikul, brought together students and guest performers from Poland, Italy, Turkey, Georgia, China and Indonesia, each offering a unique artistic perspective on Ravel’s intricate sound world.
Among the many memorable interpretations of the evening, the performances by Anna Dębowska stood out for their artistry, sensitivity, and deep understanding of Ravel’s musical language.
Together with Professor Pikul, Anna presented a beautifully crafted performance of Ma mère l’Oye, capturing the magical, fairy-tale atmosphere that permeates this suite for piano four hands.
The audience responded with warm enthusiasm, drawn into the duo’s exceptional ability to create atmosphere and colour—qualities essential to Ravel’s musical world.
Anna’s playing was marked by clarity, technical assurance, and stylistic finesse—qualities that made this performance one of the artistic centrepieces of the entire marathon.
The event continued late into the evening, featuring monumental works such as Miroirs, Le tombeau de Couperin, and Gaspard de la nuit, performed by an international roster of pianists. The hall resounded with Ravel’s harmonies until nearly 8:30 PM, when the marathon reached its final climaxes with Valses nobles et sentimentales and La valse.
On 24 October, the intimate surroundings of Low Parks Museum in Hamilton became the setting for a unique narrative concert exploring the remarkable story of Jane Stirling — Chopin’s pupil, patron, and posthumous guardian.
The concert combined words and music, history and imagination, with Anna Dębowska at the piano and Marcin Jaroszek as narrator, guiding the audience through the intertwined fates of the Polish composer and his Scottish benefactress. Through images, letters, and anecdotes, the performance recreated Chopin’s 1848 journey to Scotland — a journey that began in the salons of London and ended among the misty landscapes of Dunblane and Stirling.
But at the heart of the evening was the world premiere of Jane Stirling Variations (2025), a new work by Philip Czaplowski, an Australian composer of Polish descent. Commissioned by Anna Dębowska, this contemporary homage transformed Chopin’s Nocturne in F minor, Op. 55 No. 1 into a sequence of nine imaginative variations that both respect and reinterpret the original.
In his programme note, Czaplowski writes that when Dębowska approached him to compose a piece honouring Jane Stirling, he was drawn immediately to her connection with Chopin’s Nocturnes, particularly Op. 55 No. 1 — a work whose opening melody seemed ideal as the basis for variation.
“Stylistically,” he explains, “I have chosen not to stray too far from the original, but I hope that I have added just enough contemporary traits to avoid any accusation that the pieces are simply ‘in the style of’ Chopin.”
Indeed, the Jane Stirling Variations expand the delicate lyricism of Chopin’s nocturne into a more exploratory, sometimes unsettling sound world. Czaplowski plays subtly with rhythm, harmony, and phrasing, introducing moments of dissonance and asymmetry that remind the listener that this is not nineteenth-century music, but a modern meditation upon it. Some variations end without a formal cadence, leaving the music suspended in air — “hanging,” as the composer puts it — a gesture that both echoes Chopin’s fragility and evokes the incompleteness of Jane Stirling’s own story.
Variation VIII, inspired by Chopin’s funeral as described in Benita Eisler’s Chopin’s Funeral, offers a moment of quiet reflection rather than elegy — a remembrance without lament. Variation IX then leads directly into the finale, gathering fragments of previous motifs in a luminous coda that briefly recalls the opening theme before fading into silence.
Czaplowski’s new composition was framed by Chopin’s own works — Nocturne No. 2 in E-flat major, Op. 55, and Mazurka No. 1 — interwoven with Jaroszek’s narrative drawn from letters, historical documents, and the fruits of nearly a decade of research. Together, these elements offered a portrait not only of Chopin but also of Jane Stirling: the woman who financed his final months, who sent his piano to Warsaw, who created the first informal Chopin museum at Keir House, and who, even after his death, preserved his memory with unwavering devotion.
The concert’s closing words evoked Stirling’s quiet presence at the margins of history — “tender, introspective, and touched by the same devotion that once bound Jane Stirling to Frédéric Chopin.”
For a moment, past and present seemed to meet: Chopin’s voice, refracted through Czaplowski’s music and Dębowska’s interpretation, returned to the land where Jane Stirling once walked.
The concert forms part of Anna Dębowska’s ongoing exploration of Chopin’s legacy and his ties to Scotland.
Programme:
F. Chopin
P. Czapłowski
An unforgettable evening at Wishaw Golf Club on 23 October 2025, where the sound of Chopin’s music once again drifted across the grounds that were once part of Wishaw House — the very place where the composer stayed in 1848, cared for by Jane Stirling.
The occasion was the launch of Gerry Carr’s book “From Warsaw to Wishaw”, celebrating Chopin’s time in Scotland and the deep cultural ties between our two nations.
Polish pianist Anna Dębowska performed a selection of Chopin’s works, filling the hall with elegance and emotion. Her performance transformed the golf club — better known for sport than for music — into a space of reflection and beauty.
Adding a touch of symbolism, Lady Belhaven, wife of the last owner of Wishaw House, was among the guests — a living link to the estate’s remarkable history.
We were also delighted to be joined by some of our Scottish friends from Campfire History, whose enthusiasm and knowledge always adds warmth and spirit to our concerts.
The event also celebrated the continuing mission of the Jane Stirling Project to preserve and share the story of the woman who brought Chopin to Scotland and cared for him in his final months.
“It was a dream come true! Polish pianist Anna Debowska performed a Chopin recital on the grounds of Wishaw House for the first Polish Lady Belhaven. Her husband Robin was born at Wishaw House in 1927 and was the last member of the family to live there. She was there when the door was locked for the last time in 1952. Nicholas Shellenberg, the first cousin of the 13th Lord Belhaven was also in attendance.”
Gerry Carr
As the last notes of Chopin’s music faded into the autumn air, there was a feeling that something had come full circle — a return, both musical and emotional, from the heart of Poland to the heart of Scotland.
Program
We are pleased to announce that Anna Dębowska has been awarded the title of Professor of Musical Arts by the President of Poland. This honour recognises her exceptional contribution to Polish musical culture — as an interpreter of Chopin’s music, a researcher of 19th-century pianism, and a dedicated academic shaping the next generation of musicians.
Professor Dębowska is known for the clarity, balance, and emotional depth of her interpretations. Her artistic interests focus on the Romantic repertoire, particularly the piano works of Frédéric Chopin and their historical context. In recent years she has devoted special attention to Jane Stirling, Chopin’s Scottish pupil, patron, and lifelong friend — a figure whose influence and legacy she continues to explore through concerts, lectures, and scholarly publications.
Her academic and artistic pursuits reflect a consistent dialogue between performance and research. She is the author of the monograph Piano Chamber Music of Joseph Jongen: From the Evolution of Musical Language to Performance Issues, which examines interpretative perspectives and stylistic development in early 20th-century repertoire. Her ongoing research on Chopin and his circle combines historical insight with interpretative practice, deepening our understanding of the relationship between composer, performer, and patronage.
At the Krzysztof Penderecki Academy of Music in Kraków, Professor Dębowska has long been recognised as a leading pedagogue. Her teaching philosophy is grounded in respect for musical text, stylistic awareness, and the intellectual independence of the performer. She continues to inspire her students to seek artistic truth through sound, sensitivity, and thoughtful interpretation.
The conferment of the title of Professor marks an important milestone in her distinguished career and acknowledges her authority as both artist and scholar — a pianist whose work bridges performance, history, and artistic reflection.
This recording brings together a collection of Franz Schubert’s chamber and vocal masterpieces interpreted by an ensemble of distinguished Polish artists. At its centre stands the Fantasie in F minor, D 940, performed by Andrzej Pikul and Anna Dębowska-Jaroszek in a partnership that reveals the profound unity of Schubert’s music for piano four hands. Their interpretation balances precision and expressive freedom, highlighting the Fantasie’s dual nature — at once lyrical, intimate, and symphonic in scope.
The collaboration between Dębowska-Jaroszek and Pikul, refined through years of shared artistic work, finds here one of its most eloquent expressions. Their performance breathes with natural dialogue and interpretive insight, capturing Schubert’s seamless transitions between tenderness and drama.
The album also features Auf dem Strom D 943, Sonata in A minor “Arpeggione” D 821, Allegretto in C minor D 915, and Der Hirt auf dem Felsen D 965, forming a panorama of Schubert’s lyrical imagination. Released by DUX (DUX 2183), this recording stands as a testament to Anna Dębowska-Jaroszek’s collaboration with Andrzej Pikul — a meeting of two artistic sensibilities united by their shared devotion to Schubert’s art.
DUX 2183 | Total time: 70:01
Andrzej Pikul – piano
Anna Dębowska-Jaroszek – piano
with: Krzysztof Komendarek-Tymendorf – viola; Sylwia Olszyńska – soprano; Adrian Domarecki – tenor; Oleh Malovichko – clarinet; Paweł Cal – horn
As part of the 9th International Piano Duo Festival “Duettissimo” — a celebration of artistry and partnership in piano performance — Anna Dębowska-Jaroszek appeared in concert with Ewelina Panocha on 11 April 2025 in Aula Florianka, Kraków, performing Edvard Grieg’s Symphonische Stücke, Op. 14.
This year’s edition of the festival — held from 4 to 17 April 2025 in Kraków’s leading concert venues, including the Krzysztof Penderecki Academy of Music, the Kraków Philharmonic, and the Ballroom of the Hotel Saski — featured an impressive roster of international artists such as Marie Jacquot, Marcus Schirmer, Giuliano Adorno, Jatekok Piano Duo, Duo Mediceo, Aleami Piano Duo, and Chopin Piano Duo.
Organised by the Krzysztof Penderecki Academy of Music Foundation in cooperation with the Krzysztof Penderecki Academy of Music in Kraków, Duettissimo has become one of Europe’s most dynamic festivals devoted to the art of piano duo performance, combining concerts, masterclasses, and scholarly sessions.
Under the evocative title “Grieg-o-Mania”, Anna Dębowska and Ewelina Panocha explored the Nordic lyricism and symphonic pathos of Grieg’s Symphonische Stücke, Op. 14:
Their performance revealed the full scope of Grieg’s expressive imagination — from the introspective tenderness of the opening movement to the vibrant energy of the finale. Rich in colour and emotional contrast, the interpretation reflected both pianists’ deep sensitivity to Grieg’s Romantic idiom and their artistic unity as a duo.
The VI edition of Schubert Days in Tarnów continued on January 31st with a captivating piano recital featuring Anna Dębowska-Jaroszek and Ewelina Panocha. Held in the elegant ballroom of the Sanguszko Palace, the evening was a perfect blend of Schubert’s romantic lyricism and the brilliance of Polish composer Maurycy Moszkowski.
From the very first notes of Schubert’s Rondo A-Dur D 951, Dębowska-Jaroszek and Panocha demonstrated exquisite musical chemistry, seamlessly intertwining their parts with precision and expressive depth. The piece’s lively yet refined character was beautifully conveyed, with crisp articulation and expressive phrasing highlighting Schubert’s signature melodic fluidity.
The recital continued with Schubert’s Divertissement à la Hongroise, D 818, a piece infused with Hungarian folk motifs and rhythmic vitality. Dębowska-Jaroszek and Panocha captured the essence of its contrasting sections with remarkable sensitivity. The duo skillfully emphasized the piece’s Hungarian character, highlighting its rhythmic drive and expressive flair. Their interpretation balanced elegance with spontaneity, resulting in a performance that was both refined and full of character.
The program then transitioned to Moszkowski’s Polish Dances, Op. 55, a work full of rhythmic vitality and nostalgic introspection. The duo brought out the folkloric spirit of these dances with skillful technique and a rich, warm tone. Their interpretation was both nuanced and full of energy, capturing the essence of Moszkowski’s dynamic and colorful style. The first two dances radiated liveliness and rhythmic drive, bursting with playful energy, while the third took on a more reflective, wistful character. Here, Dębowska-Jaroszek and Panocha allowed the melody to unfold with sensitivity and grace, drawing out its nostalgic essence. The set concluded with another lively and spirited dance, bringing the performance to an energetic close.
The historic setting of the Sanguszko Palace added an extra dimension to the evening, with its acoustics enhancing the nuances of the pianists’ performance. The audience responded with enthusiasm, clearly captivated by the expressive contrasts and technical finesse of both artists.
This concert reaffirmed the Schubert Days Festival as a cultural highlight in Tarnów, offering a night of both elegance and musical depth. Anna Dębowska-Jaroszek and Ewelina Panocha delivered a recital that was not only technically masterful but also deeply expressive, leaving the audience with a profound appreciation for both Schubert and Moszkowski’s compositions.
On 21 January 2025, the concert hall of the Józef Świder State Music School in Jastrzębie-Zdrój resonated with the rhythms and colours of world dance music. The piano duo Anna Dębowska and Andrzej Pikul presented a vivid programme titled “Dances of Many Nations”, taking the audience on a journey across Europe and beyond — from the elegance of the Viennese salons to the vitality of Slavic, Nordic, and Hispanic traditions.
The programme embraced a wealth of national styles: Schubert’s Military March in G major, Moszkowski’s Polonaise and Krakowiak, and a set of Polish dances by Zygmunt Noskowski revealed the energy and charm of nineteenth-century salon virtuosity. From the heart of Central Europe came Dvořák’s Slavonic Dance in C major and Brahms’s Hungarian Dances, while Grieg’s Norwegian Dance and Anitra’s Dance from Peer Gynt added Nordic brightness and lyricism.
American and Spanish flavours concluded the evening with Samuel Barber’s Pas de deux and Scottish Dance, followed by the spirited Spanish Dances from The Wedding of Luis Alonso by Gerónimo Giménez.
A special moment of the concert featured young pianist Oliwier Godlewicz, whose participation symbolised the educational mission and artistic openness of the event.
Performed with characteristic elegance and precision, Anna Dębowska and Andrzej Pikul’s interpretations united stylistic diversity under the universal language of rhythm and movement — a celebration of dance as one of music’s most joyful forms of expression.
Franz Schubert (1797–1828)
Military March in G major, D 733
Moritz Moszkowski (1854–1925)
Polonaise in B minor
Krakowiak in G major
Zygmunt Noskowski (1846–1909)
Kujawiak in B minor
Mazur in F major
Antonín Dvořák (1841–1904)
Slavonic Dance in C major
Johannes Brahms (1833–1897)
Hungarian Dances – in G minor, D minor, F minor, F-sharp minor, and D-flat major
Edvard Grieg (1843–1907)
Norwegian Dance in A major, Op. 35
Anitra’s Dance from Peer Gynt
Samuel Barber (1910–1981)
Pas de deux
Scottish Dance
Gerónimo Giménez (1854–1923)
Dances from The Wedding of Luis Alonso (Bodas de Luis Alonso)
In a remarkable tribute to the distinguished pianist and pedagogue, Prof. Andrzej Pikul, two concerts were held on April 26 and 27, 2024, showcasing the talent and dedication of his students and colleagues, including Anna Dębowska. These events highlighted both the pedagogical legacy and the artistic prowess of Prof. Pikul, who is a revered figure at the Academy of Music in Kraków.
The first concert on April 26 featured, inter allia, Franz Schubert’s Marche Militaire in G major D. 733 No. 3, Johannes Brahms’s Hungarian Dances WoO 1 No. 4 & 6 as well as Samuel Barber’s Pas de deux (Souvenirs op. 28) and Schottische (Souvenirs op. 28) as performed by a piano duo performance – Prof. Andrzej Pikul and his former student, now accomplished pianist, Anna Dębowska. Their synergy on stage was palpable, and the interplay between the two pianists was a testament to the profound influence of teacher on student.
Prof. Pikul’s words resonated deeply with those in attendance: „The successes of my graduates, among whom there are now two professors, are what bring me the greatest joy.” This sentiment was evident in the performances, as the evening served not only as a celebration of his career but also of the thriving musical community he has nurtured.
Anna performed also during the second concert on April 27 with Chopim’s Nocturne in f sharp minor op 48 No 2. The evening also showcased a range of other talented and acknowledged musicians: tenor Zdzisław Madej, soprano Katarzyna Oleś-Blacha, horn player Paweł Cal, sopranos Sylwia Olszyńska and Wiktoria Zawistowska, mezzosopranos Katarzyna Suska-Zagórska, pianists Piotr Kowal, Radosław Goździkowski, and Mateusz Zubik. Each performer brought their own unique artistry to the stage, contributing to a rich and varied musical experience.
The two concerts in honor of Prof. Andrzej Pikul were not just a celebration of his illustrious career, but also a reflection of his lasting impact on the musical world. The performances by his students and colleagues demonstrated the high level of artistry and dedication that he has inspired. These events were a fitting tribute to a remarkable educator and musician, whose legacy continues to enrich the cultural landscape of Kraków and beyond.
On 12 May 2024 in Drummohr House, Scotland, Anna Dębowska and Poland’s soprano Katarzyna Oleś-Blacha restaged the concert F. Chopin originally gave on 7 July 1848 at the residence of Lord Falmouth, London. The audience at Drummohr House more than appreciated the performance, rewarding the musicians with a deafening standing ovation. Thus, Anna, as part of the Jane Stirling Project, has restaged all the public concerts Chopin gave in the UK in 1848.
Spoken word on the history of Drummohr House was given by the owner of the house Finlay M. Lockie and on the background of the concert by Marcin Jaroszek.
On 7 July 1848 Chopin was accompanied by his friend Pauline Viardot and her cousin Antonia de Medni, with whom he had performed in the Pleyel Salon in Paris. As usuall, preparations for the concert were not easy. It was difficult to obtain from Chopin precise information regarding what he was going to play, which is the reason why parts of the programme were vague with just suggestions of the compositions to be performed. Other compositions performed inclided Pauline Viardot’s arrangements of several mazourkas by F. Chopin as well as a number of songs by her father.
Program
ANDANTE SOSTENUTO ET SCHERZO (Op. 31) ……………………… Chopin
MAZOURKAS DE CHOPIN, arrangees par Madame Viardot Garcia
Madame VIARDOT GARCIA et Mlle, DE MENDI
ETUDES (19,13, et 14) …………………………………………………… Chopin
AIR, “Ich denke dein” ………………………………………………. Beethoven
Madame VIARDOT GARCIA
NOCTURNE ET BERCEUSE ………………………………………………. Chopin
RONDO, “Non Piu mesta” …….(Cenerentola)………….. Rossini
Madame VIARDOT GARCIA
PRELUDES, MAZOURKAS, BALLADE, VALSES …………………….. Chopin
AIRS ESPAGNOLES, Madame VIARDOT GARCIA
et Mlle, DE MENDI
On May 28, 2023, the enchanting larch wood church of St. Sebastian in Wieliczka was the venue for a mesmerizing concert titled „MUZYKA W POLICHROMIACH I SŁOWIE ZAMKNIĘTA.” The event featured a stellar lineup of performers, including the renowned soprano Katarzyna Oleś-Blacha, Anna Dębowska-Jaroszek, and other musicians including pianist Marta Mołodyńska-Wheeler, mezzo-soprano Monika Korybalska, tenor Karol Ciszek, and the expressive narrator Agnieszka Draus.
Anna’s interpretations of the compositions by F. Maklakiewicz, M. Karłowicz, S. Bereza, F. Chopin, K. Szymanowski, and L. Różycki were both profound and captivating, weaving seamlessly with the other elements of the concert.
The evening was further enhanced by the inclusion of poetry from Kazimierz Przerwa-Tetmajer and Stanisław Wyspiański. These literary pieces were not only recited but also beautifully sung, adding depth and texture to the musical experience. The combination of music and spoken word created a powerful synergy, bringing the polychromatic artwork of Włodzimierz Przerwa-Tetmajer to life in a unique and compelling way.
The concert was organized by the City and Municipality of Wieliczka, in collaboration with the parish priest of St. Sebastian, Fr. Mateusz Rys, and under the esteemed patronage of Artur Kozioł, the Mayor of the City and Municipality of Wieliczka. This collaboration ensured that the event was not only a celebration of music and art but also a testament to the community’s dedication to cultural enrichment.
