discography
Slavic Sessions
Mateusz Kowalski & Mak Grgic
When two guitar virtuosos of Slavic heritage – Mak Grgić from Slovenia and Mateusz Kowalski from Poland – join forces, something far greater than an
ordinary duo emerges. „Slavic Sessions” is a conscious artistic project in which two musicians explore the richness of Slavic musical tradition through the prism of the guitar duo – a chamber ensemble of particular intimacy and expressive flexibility.
The woodland setting that frames this collaboration speaks to something deeper than aesthetic choice. The forest is the heart of Slavic mythology and culture – a place inhabited by rusalkas, woodland spirits, and deities like Leshy. It was here
that fairy tales and legends unfolded, which later found their way into folk music. Polish songs such as „W polu lipeńka” („The Lime Tree in the Field”) and „Gaik” (literally meaning „grove”) directly reference nature.
The album’s program spans three centuries of music, creating a panorama of Slavic sensibility from Romanticism to the contemporary era. Fryderyk Chopin’s Nocturne in B-flat minor Op. 9 No. 1, in Jerzy Koenig’s transcription, opens the
album with a poetic meditation on the universal power of melancholy. The piano’s intimacy gains a new dimension in the delicate texture of two guitars, emphasizing the contemplative character of this miniature gem of Romanticism.
Antonín Dvořák’s output is represented by two Slavonic Dances in an arrangement
by Duo Mirić. The orchestral richness of the Czech master, with its characteristic
rhythms and harmonic language, is here transposed to a chamber scale while
preserving the full essence of Slavic character and dance energy.
Contemporary compositional language is represented by Marek Pasieczny’s cycle „Polish Impressions” – a collection of twelve miniatures founded upon the most recognizable Polish folk melodies. The composer creates a fascinating synthesis of tradition and modernity, in which folk songs like „The Red Apple” and „In the Brick
Basement” gain the harmonic richness of 21st-century compositional techniques.
The album’s unique value lies in the world premiere recordings of works by Miroslav Tadić. „Stana’s Lament” is an emotionally intense lament, while „Walk Dance No. 2” reveals the wilder, more primal side of Balkan Slavic culture with its characteristic irregular meters.
The recording venue provides symbolic completion to the whole – the Koszalin Philharmonic in Mateusz Kowalski’s hometown, where these Slavic echoes find their most natural resonance.
Chopin concerto in F minor, arranged for guitar
Mateusz Kowalski & {OH!} Orkiestra
Chopin’s F minor Concerto is perhaps just as popular among listeners and performers as the E minor. That equality can be gauged by the fact that both works have been transcribed more than 120 times for various forces (if we include reworkings of individual movements). Yet thanks to this album, we are given here, for the first time in the history of these works’ reception, a transcription of one of Chopin’s concertos in a version for guitar and orchestra.
At first glance, the idea (also realised in the case of the Concerto in E minor), only brought to life in our times by Jerzy Koenig, may seem quite hair-raising. After all, even the most technically proficient guitarist — which Mateusz Kowalski most certainly is — will be unable to keep pace in the brilliant figurations with a pianist. What is more, given the quick fade of the guitar’s notes, no virtuoso of this instrument will fully obtain the effect of ‘instrumental singing’ which was so crucial to Chopin as a pianist and a composer.
Yet the recorded interpretation by the {oh!} Orchestra and Mateusz Kowalski offers us different qualities that normally escape our attention. First, in many lyrical passages, the guitar imparts a truly ballade-like colour to Chopin’s composition, spinning out a different story, more distant from Romantic times. And one thing it is impossible to overestimate: this version thanks to its far greater capacities for nuancing its timbre, often blends more vividly than the piano with the sound of the orchestra, which here comes to the fore more frequently than in the original with the more resonant piano. In Koenig’s transcription, Chopin’s F minor Concerto becomes a sort of symphonie concertante for guitar and orchestra. And the orchestra shows that the concept for the work’s instrumentation, for which the Polish Romantic has been so often criticised, was shaped better than it usually seems.
Mateusz Kowalski Classical Guitarist
Bach/ Tarrega/ Ponce/ Assad/ Piazzolla/ Giuliani/ Barrios/ Schubert
Mateusz Kowalski’s first album comprises a collection of pieces important for the artist, reimagined and interpreted anew. The tracklist features compositions by Bach, Giuliani, Tárrega, Barrios, Piazzolla, Ponce, Assad and Schubert.
“Youthful energy and virtuosity, a beautiful concert programme, noble sound.”
RYSZARD BAŁAUSZKO
“In his interpretations, Mateusz Kowalski displays unadorned simplicity, nobility of sound, a great variety of moods, emotions, dynamics, melodiousness and delightful phrasing. He handles the guitar with enormous freedom, full of boldness and brilliant virtuosity (...).”
MARCIN ZALEWSKI
“Thanks to his understanding of the significance of harmony and articulation in the interpretation of a musical work, the Artist presents a clear, natural expression; due to his effortless command of the instrument’s abilities and the knowledge of its language, he conveys the expression with concrete, skilfully selected technical means, with immense sense of style and culture. He is well versed in using time and dynamics – from the fully-fledged forte to exquisite, resounding and spacious piano and pianissimo.”
AGATA SAPIECHA
Polish Romantic Guitar
Chopin/ Bobrowicz/ Horecki/ Szczepanowski/ Sokołowski
It is not popular knowledge that these were the Poles who contributed significantly to the fame and popularity of the guitar in its capacity of a virtuoso instrument holding an important place in the art of music. Masters of interpretation, improvisation, and composition captivated the highest echelons of the crème de la crème, connoisseurs of all things beautiful, and broad audiences. Hailed the king of the guitar, Stanisław Szczepanowski used to play for the British Queen Victoria, Marek Konrad Sokołowski enjoyed the moniker of “the Byron of guitar” and Jan Nepomucen Bobrowicz was recognised by his contemporaries as, believe it or not, “the Chopin of the guitar”.
The CD released by the Institute contains Chopin’s Mazurkas transcribed for the guitar by Jan Nepomucen Bobrowicz, and the great Pole’s Variations on a theme from Mozart’s Don Giovanni (Là ci darem la mano), Marek Sokołowski’s and Felix Horecki’s miniatures, and Stanisław Szczepanowski’s Variations on the theme of the Polish anthem, whose concept must have been born while the composer was improvising at a Polish émigré reunion in Paris, whose main hero was Adam Mickiewicz himself.
The album is a rare gem not only for the contemporary aficionados of the guitar. It is another memorable recording in the Institute’s catalogue, important for the extremely valuable Polish music it contains: an opening of another approach to Chopin legacy in an extensive cultural context. This is also an exceptional recording by an outstanding Polish guitarist of the young generation. All things told: here comes the pure joy of listening.
Kowalski & Radziszewski
Delicious
Rodrigo / Carulli / Chopin / Magnien / Franck / Méhul
Cuasine like music is for everybody. First one is food to the body and the second feeds and inspires the soul which can not be fed by the most tasty meal.
But eventually everything depends on the liking. For ones the dish will be gentle and pleasant, for others - not salty enough. For ones too spicy, while for others passionate and energetic. However we composed the album in the way so everybody can choose the favourite moment, most accurate dish to own style and enjoy the music. We encourage you to relish the contrasting artpieces of great masters full of various characters and styles. Enjoy!
Ex nihilo (nihil fit)
Pasieczny feat. Mateusz Kowalski & large guitar ensemble conducted by Ryszard Bałauszko
Few compositions push the boundaries of guitar music quite like *Ex Nihilo (Nihil Fit) II* by Marek Pasieczny. Written for two solo guitars and a large guitar ensemble, this remarkable piece showcases the modern capabilities of the instrument in a fresh and dynamic way. Featuring soloists Mateusz Kowalski and Marek Pasieczny himself, the work is brought to life by an ensemble of seven guitar sections under the skilled direction of conductor Ryszard Bałauszko.
The ensemble, consisting of outstanding guitarists from various parts of Europe and Asia, adds a rich, multi-layered sound to the composition. Arranged from left to right, it includes Irmina Brudny, Tomasz Dziubiński (guitar 1), Andrzej Powała, Shuchang Zhang (guitar 2), Danuta Kasperczyk, Sofiia Bohoslavets (guitar 3), Adrian Biernacki, Eliza Strzępek (guitar 4), Karolina Kantorova, Mikołaj Szenfeld (guitar 5), Konstanty Małecki, Martyna Nowak (guitar 6), and Mariusz Pabjasz, Jakub Chachura (guitar 7).
Recorded live at The Chopin University of Music in Warsaw during the inaugural Warsaw Guitar Conference, the album captures the intensity and technical expertise of the performers. The intricate dialogue between the soloists and the ensemble, conducted with precision and feeling, highlights the diverse textures and emotions embedded in Pasieczny’s composition.
This recording is a standout for its exploration of the guitar’s orchestral potential. It introduces listeners to the profound interplay between solo and ensemble parts, all while blending modern compositional techniques with the instrument’s classical roots. The result is a listening experience that is as innovative as it is captivating.
In essence: a striking and multifaceted work, this album will undoubtedly appeal to both seasoned guitar enthusiasts and those new to the genre.
Pasieczny / Kowalski (The Warsaw Session)
The album „Pasieczny / Kowalski (The Warsaw Session)” showcases the exceptional collaboration between guitarist-composer Marek Pasieczny and virtuoso Mateusz Kowalski, recorded live at The Chopin University of Music during the 1st Warsaw Guitar Conference. This release features two remarkable compositions by Pasieczny, offering a blend of modernity and deep respect for classical tradition.
The centerpiece of the album is (SZOPEN) RE:MEMBERING II, a three-movement work (NO:CTURNE, PRE:LUDE, and MA:ZURKA (OBERTAS) that reimagines Chopin’s music through a contemporary guitar lens. Each movement highlights the emotional depth and technical skill of both performers, from the introspective nocturne to the lively mazurka.
Complementing this is DODECAPHONIC PRELUDE & FUGUE III, a bold exploration of twelve-tone technique. The contrast between the intricate Prelude and the structured, complex Fugue demonstrates Pasieczny’s mastery of both modern and classical forms, while showcasing the duo's ability to navigate these demanding compositions with precision and sensitivity.
With expert sound engineering by Daniela Rippel-Markiewicz, Marcin Pękala, and Wiktor Szymański, and post-production by Pasieczny himself, *The Warsaw Session* captures the essence of contemporary guitar artistry at its finest.
In short: an album of striking innovation and technical brilliance, perfect for both modern music enthusiasts and classical guitar connoisseurs.