Royal Castle in Warsaw
JAZZ WITH MACV
FILIP WOJCIECHOWSKI
Filip Wojciechowski | Pianoforte / Musical Director
Program:
Wolfgang Amadeus Mozart
Concert in F major, KV 413
Concert in D minor, KV 466
Period Instrument Orchestra of the Warsaw Chamber Opera
Musicae Antiquae Collegium Varsoviense (MACV)
Duration | 55 min.
Concerto in F major, KV 413 is one of the first piano concertos written by Mozart in Vienna in the autumn of 1782.
In the three-movement form, the composer maintains classical restraint (with the finale in Tempo di Menuetto), as if preparing to take a leap into deep waters. Mozart claimed that in the concertos from this period he found the golden mean between “what is too easy” and “what is too difficult.” These are works “very brilliant, pleasing to the ear, and natural, but not bland.”The D minor Concerto, KV 466 is of a completely different caliber—a jewel of piano music.
Performed on February 11, 1785, in Vienna, it is one of only two Mozart piano concertos in a minor key (the other being the C minor Concerto, KV 491). The key of D minor introduced a new context—drama, dark and rich colors. It evokes… the Requiem. The work, with its drama—built from the first orchestral notes, through the inspired Romance, to the virtuosic rondo—brings a sense of fulfillment.In the music of the Viennese classic, we find beauty, clarity of form, and profound expression.
“For a pianist, this is a unique test. Roentgen—nothing can be hidden,” comments Filip Wojciechowski. “Brilliance, a carousel of moods, a volcano of emotions—all dressed in impeccable proportions.”As a jazz musician, Wojciechowski improvises the cadenzas (notably, cadenzas for KV 466 were written by Beethoven, Brahms, and Hummel, among others).
“I improvised during the recording, but I had the structure planned. I also organized the openings and harmonies. After that, I allowed myself to follow what played in my soul,” he explains.Is Mozart forgiving when it comes to improvisation?
“You have to be careful not to overdo it. You must maintain moderation and the aura of the period style, without venturing into dangerous territories. And never lose good taste.”Mozart’s music played on period instruments reveals additional qualities and transports us to another world. The pianist plays on a modern copy of an 1830 Pleyel made by Paul McNulty.
For a jazz musician accustomed to modern instruments, touching a historical instrument was a new experience.
“You have to make friends with such a companion.”What was the most difficult part? “A trivial thing—the width of the keys. The whole keyboard is narrower,” explains the pianist. “For trills and ornaments, I had to use a different technique. Moving around on this instrument was a challenge. Finger technique is very important; you can’t play with weight like Brahms or Rachmaninoff.”
The old Pleyel offers the artist a different palette of possibilities.
“I love Mozart, and I would gladly return to other concertos,” the musician declares. “Because Mozart is hygiene for a pianist. No unnecessary measures, no excessive chatter, no meaningless passages.”Period instruments naturally shape interpretation—they don’t allow extravagance, focusing attention on the sounds themselves, even those played with delicacy and taste by the soloist.
Mozart would not have minded.
Filip Wojciechowski belongs to the small group of pianists who combine classical and jazz music with equal mastery in their artistic careers. He graduated from the Fryderyk Chopin University of Music in Warsaw, studying piano under Prof. Bronisława Kawalla.
A laureate of numerous piano competitions, he won, among others, 3rd prize at the Claude Kahn Competition in Paris and an award for the best performance of a Chopin nocturne at the European Chopin Competition in Darmstadt. He was also recognized during the National Auditions for the 13th International Fryderyk Chopin Competition in Warsaw, receiving a special prize.
As a soloist, he has performed in the world’s most prestigious halls, including the Berlin Philharmonie, Monte Carlo Opera House, and Tokyo International Forum. He has played under distinguished conductors such as Cord Garben, Tadeusz Wojciechowski, Łukasz Borowicz, Szymon Kawalla, Bohdan Jarmołowicz, and Michał Klauza.
His artistic achievements have been repeatedly recognized with scholarships from the Ministry of Culture and Art, the Fryderyk Chopin Society in Warsaw, Yamaha, and the “Young Art Medal” in Poznań. His discography includes numerous recordings for Polish Radio and renowned labels, including Japan’s Denon and Poland’s DUX.
Filip Wojciechowski is also an accomplished jazz pianist. He first gained significant success with the Central Heating Trio, winning awards in national and international competitions, including 1st prize at the Jazz Juniors festival in Kraków and the Key to Career distinction at the Pomeranian Autumn of Jazz. The trio was also a finalist in the 9th European Jazz Competition in Leverkusen and in Hoeilaart, Belgium, where it received a special award. He has collaborated with prominent artists such as Zbigniew Namysłowski, David Friedman, Gary Guthman, Richard Galliano, and Krzesimir Dębski.
In 2000, he founded the Filip Wojciechowski Trio, comprising Paweł Pańta and Cezary Konrad alongside the leader. The group recorded several albums, including Romantic Meets Jazz (DUX), featuring jazz transcriptions of classical works with Robert Majewski. For the Chopin Year, they released Chopin (Polskie Radio), presenting Chopin’s works in innovative jazz arrangements.
Albums Inny Chopin and Impressions for Orchestra and Jazz Quartet, recorded with the Polish Sinfonia Baltica Philharmonic under Bohdan Jarmołowicz and featuring Henryk Miśkiewicz, confirmed the originality and significance of Wojciechowski’s artistic explorations. His discography also includes his solo album Moments, released by Polskie Radio and Licomp Empik Multimedia.
His latest album, recorded with the orchestra of the Warsaw Chamber Opera MACV, is Jazz from MACV: Filip Wojciechowski: