Press about Grzegorz Niemczuk
It's hard to find the right superlatives to describe a musician like Grzegorz Niemczuk. His eminent technique, his personal and deeply engaging interpretation, his charisma and the ability to communicate with the audience. At the same time, it is not his perfection that is in the center, but the music and what it conveys.
Kai Stoveland, Lindesnes Avis, 18 October 2017
What a Messenger from Chopin’s Country brought to us?
Started with a Mazurka Op.17 no.4, which sounded like a sigh, the pianist veiled us with the atmosphere of nostalgia and poem. A Messenger from Chopin’s country performed and talked about Chopin’s music expressing his love and respect for Chopin.
While playing Nocturne Op. 9 no. 1 Niemczuk fully conquered the piano and expressed a deep understanding of his country’s music and tradition by an excellent rubato. And the extremely famous Nocturne Op. 9 no. 2 was played nobly and beautifully.
Next he played Etude Op. 10 no. 1 with a deep and strong bass over which, as a beautiful rainbow, appeared splendid arpeggios. And through the Etude C minor Op.10 no. 12 "Revolutionary" we could understand Niemczuk’s love for his country expressed by passionate melody and waving bass. The next was a dramatic Nocturne Op.48 no. 1, not overemotional and controlled by the mature technique. He concluded the program of the first part with the Scherzo No.2 Op.31. That was a very persuasive interpretation: firm structure, and beautifully solid in expressing the essence of the story, virtuosity and agitation.
The second half of the recital started with 4 Mazurkas Op.30. Niemczuk explained that Mazurkas are so intimate that we can consider them as "Chopin’s diary". Then he performed them as if he was reading this diary for us through his interpretation. He was able to transmit the nuances of changing the light and shadow as well as the poetic tune of mind. Through his interpretation of the unique rhythm of Mazurkas he showed the warmth of the Polish land.
The true highlight of this evening was the Sonata No.3 Op. 58. The first movement, which by it’s length and deepness could easily stand as the whole sonata, was interpreted with a great sincerity. The second theme was immensely beautiful, full of elegance, performed with the greatest sensitivity in the sweet melody.
The second movement was glistering with the elegant leggiero shine and was filled with polyphony. In the third movement we could hear Chopin’s confession through an excellent expression given by Niemczuk. We felt like Chopin himself was present in the concert hall that night with Niemczuk…dreaming, wandering in his nostalgia. The 4th movement rushed with agitated feeling full of beautiful brilliant passages and demonic bass which let us feel the Chopin’s passion and consequently led us to the gorgeous and luxurious finish! Nobuko Fujimaki, Chopin Magazine, Tokyo, August 2017.
Started with a Mazurka Op.17 no.4, which sounded like a sigh, the pianist veiled us with the atmosphere of nostalgia and poem. A Messenger from Chopin’s country performed and talked about Chopin’s music expressing his love and respect for Chopin.
While playing Nocturne Op. 9 no. 1 Niemczuk fully conquered the piano and expressed a deep understanding of his country’s music and tradition by an excellent rubato. And the extremely famous Nocturne Op. 9 no. 2 was played nobly and beautifully.
Next he played Etude Op. 10 no. 1 with a deep and strong bass over which, as a beautiful rainbow, appeared splendid arpeggios. And through the Etude C minor Op.10 no. 12 "Revolutionary" we could understand Niemczuk’s love for his country expressed by passionate melody and waving bass. The next was a dramatic Nocturne Op.48 no. 1, not overemotional and controlled by the mature technique. He concluded the program of the first part with the Scherzo No.2 Op.31. That was a very persuasive interpretation: firm structure, and beautifully solid in expressing the essence of the story, virtuosity and agitation.
The second half of the recital started with 4 Mazurkas Op.30. Niemczuk explained that Mazurkas are so intimate that we can consider them as "Chopin’s diary". Then he performed them as if he was reading this diary for us through his interpretation. He was able to transmit the nuances of changing the light and shadow as well as the poetic tune of mind. Through his interpretation of the unique rhythm of Mazurkas he showed the warmth of the Polish land.
The true highlight of this evening was the Sonata No.3 Op. 58. The first movement, which by it’s length and deepness could easily stand as the whole sonata, was interpreted with a great sincerity. The second theme was immensely beautiful, full of elegance, performed with the greatest sensitivity in the sweet melody.
The second movement was glistering with the elegant leggiero shine and was filled with polyphony. In the third movement we could hear Chopin’s confession through an excellent expression given by Niemczuk. We felt like Chopin himself was present in the concert hall that night with Niemczuk…dreaming, wandering in his nostalgia. The 4th movement rushed with agitated feeling full of beautiful brilliant passages and demonic bass which let us feel the Chopin’s passion and consequently led us to the gorgeous and luxurious finish! Nobuko Fujimaki, Chopin Magazine, Tokyo, August 2017.
Beautiful Grieg – but marvellous Chopin...
by Rolf Kristiansen, Akers Avis Wednesday, 15 February 2017
It must be stated once and for all: With his interpretations of Edvard Grieg and Frédéric Chopin in Stovner Church, the Polish piano virtuoso Grzegorz Niemczuk delivered a musical performance beyond compare.
An almost full audience enjoyed the master pianist performing To the Spring – Opus 43 No. 6 Lyrical pieces more tenderly, carefully and simply heavenly than most of us have ever experienced before. Moving on he commented on the various pieces, revealing a solid knowledge of Edvard Grieg both as a composer and as a human being. Respectfully he said that he in no way would try to teach Norwegians anything about Grieg’s intentions with his music.
"That would give me the same feeling as when people from abroad come to Poland to play Chopin", Grzegorz Niemczuk said with a warm smile.
He continued with Norwegian Bridal Procession in passing – Opus 19 No. 2, and in his interpretation the audience definitely could "see" both the wedding procession and the surrounding crowd!
After that came a festive Wedding Day at Troldhaugen – Opus 65 No. 6 before he delivered a sparkling finale with Peer Gynt suite – Opus 55 No. 2 – where the audience experienced Arabic Dance interpreted with full-blood temperament!
The master pianist then delivered an interpretation of Solveig’s Song which contained all the emotions that can be expressed by a longing love – and where the music touched the innermost strings of the audience’s hearts.
Niemczuk continued with Peer Gynt suite. First Opus 46 No. 11 – Morning Mood with an intonation equally cautious as the intensity of The Death of Åse was dramatic and powerful. In Anitra’s Dance the pianist and the audience almost danced along with the music. And when he played his final piece, In the Hall of the Mountain King, the Mountain King himself came to spend some time in Stovner Church!
Emotional
Poland’s history – with its faith of occupation, humiliation and suppression, not to mention its proud fight for freedom – is reflected in Chopin’s music. And when he plays some of Chopin’s most monumental pieces, Grzegorz Niemczuk’s interpretations fully reveal that he has in-depth knowledge of the relation between his country’s history and the music of Chopin.
In his introductions to the pieces he talked about the composer’s style of playing and thinking as if he had known Chopin in person. Without this insight it wouldn’t have been possible to present first Nocturne in E-flat major Opus 9 No. 2 with so much passion and pain, or two etudes from Opus 10, No. 1 in C major and No. 12 in C minor – the very Revolutionary Etude – which is so dramatic when Niemczuk slams his hand on the grand piano and the tones of the church organ are rolling in the background!
The piece is for instance played with the right hand over a technically demanding sixteenth note figure in the left hand. The audience was dragged into the history of Russian oppression and the Polish people’s never-ending struggle, and not at least the composer’s prayer: "God, if you exist, then why do you allow this happen to my country!".
Polish in his heart
There was room for some slightly lighter music as well: Grand Valses Brilliante Opus 34 No. 3 in F major gave humoristic glimpses of hope. Fantasy Impromptu in C minor Opus 66 followed along the same lines. Scherzo (which means joke in Italian) in B-flat minor Opus 31 No. 2 is not really that humoristic, but it changes from a gloomy and funeral-like atmosphere to be more love-filled and slightly dramatic.
The regular programme ended with an upper-class dance which was meant to make the Polish people proud: Polonaise in A-flat major Opus 53 No. 6 – Heroic. After a well-deserved standing applause Niemczuk gave his audience an encore – and the conclusion must be: Only a person thinking and feeling in the same way as Chopin can play Chopin in this way – this French-Polish piano artist whose body was buried in Paris, whereas his heart was buried in The Church of the Holy Cross in Warsaw. Review of Grzegorz Niemczuk’s recital in Stovner Church (Norway) Sunday 12 February 2017.
by Rolf Kristiansen, Akers Avis Wednesday, 15 February 2017
It must be stated once and for all: With his interpretations of Edvard Grieg and Frédéric Chopin in Stovner Church, the Polish piano virtuoso Grzegorz Niemczuk delivered a musical performance beyond compare.
An almost full audience enjoyed the master pianist performing To the Spring – Opus 43 No. 6 Lyrical pieces more tenderly, carefully and simply heavenly than most of us have ever experienced before. Moving on he commented on the various pieces, revealing a solid knowledge of Edvard Grieg both as a composer and as a human being. Respectfully he said that he in no way would try to teach Norwegians anything about Grieg’s intentions with his music.
"That would give me the same feeling as when people from abroad come to Poland to play Chopin", Grzegorz Niemczuk said with a warm smile.
He continued with Norwegian Bridal Procession in passing – Opus 19 No. 2, and in his interpretation the audience definitely could "see" both the wedding procession and the surrounding crowd!
After that came a festive Wedding Day at Troldhaugen – Opus 65 No. 6 before he delivered a sparkling finale with Peer Gynt suite – Opus 55 No. 2 – where the audience experienced Arabic Dance interpreted with full-blood temperament!
The master pianist then delivered an interpretation of Solveig’s Song which contained all the emotions that can be expressed by a longing love – and where the music touched the innermost strings of the audience’s hearts.
Niemczuk continued with Peer Gynt suite. First Opus 46 No. 11 – Morning Mood with an intonation equally cautious as the intensity of The Death of Åse was dramatic and powerful. In Anitra’s Dance the pianist and the audience almost danced along with the music. And when he played his final piece, In the Hall of the Mountain King, the Mountain King himself came to spend some time in Stovner Church!
Emotional
Poland’s history – with its faith of occupation, humiliation and suppression, not to mention its proud fight for freedom – is reflected in Chopin’s music. And when he plays some of Chopin’s most monumental pieces, Grzegorz Niemczuk’s interpretations fully reveal that he has in-depth knowledge of the relation between his country’s history and the music of Chopin.
In his introductions to the pieces he talked about the composer’s style of playing and thinking as if he had known Chopin in person. Without this insight it wouldn’t have been possible to present first Nocturne in E-flat major Opus 9 No. 2 with so much passion and pain, or two etudes from Opus 10, No. 1 in C major and No. 12 in C minor – the very Revolutionary Etude – which is so dramatic when Niemczuk slams his hand on the grand piano and the tones of the church organ are rolling in the background!
The piece is for instance played with the right hand over a technically demanding sixteenth note figure in the left hand. The audience was dragged into the history of Russian oppression and the Polish people’s never-ending struggle, and not at least the composer’s prayer: "God, if you exist, then why do you allow this happen to my country!".
Polish in his heart
There was room for some slightly lighter music as well: Grand Valses Brilliante Opus 34 No. 3 in F major gave humoristic glimpses of hope. Fantasy Impromptu in C minor Opus 66 followed along the same lines. Scherzo (which means joke in Italian) in B-flat minor Opus 31 No. 2 is not really that humoristic, but it changes from a gloomy and funeral-like atmosphere to be more love-filled and slightly dramatic.
The regular programme ended with an upper-class dance which was meant to make the Polish people proud: Polonaise in A-flat major Opus 53 No. 6 – Heroic. After a well-deserved standing applause Niemczuk gave his audience an encore – and the conclusion must be: Only a person thinking and feeling in the same way as Chopin can play Chopin in this way – this French-Polish piano artist whose body was buried in Paris, whereas his heart was buried in The Church of the Holy Cross in Warsaw. Review of Grzegorz Niemczuk’s recital in Stovner Church (Norway) Sunday 12 February 2017.
Mr. Niemczuk’s tour was a great success. The artist performed in Porto Alegre, Campos do Jordão, Curitiba, São Paolo and Florianópolis. His talent was rewarded by the audience with great applause and standing ovations. Niemczuk was extremely excited with such a warm and spontaneous reception during the first visit in Brazil. This made him want to come back here as soon as possible. And, as we are already making plans for 2015... Grzegorz Niemczuk's Tour, culturapolonesasp.com.br, 26.11.2014
On 14 November 2014 I had the honour of attending a brilliant concert given by a Polish pianist Grzegorz Niemczuk at the seat of the AMECampos Association. However, before I proceed to any comments concerning the performance itself, I would like to mention that according to the information contained in the agenda we were listening to a recital of the musician who had been repeatedly awarded over the several years of his career, which includes the award of the "International Carnegie Hall Concerto Debut Competition", never won before by any Polish pianist. And we can testify to all that was written about him: "Mr Niemczuk’s playing was notable for its fluidity, extremely wide dynamic range from resounding fortissimos to whisper-soft pianissimos, variety of tone colours, and dazzling virtuosity". The atmosphere of enchantment stayed with us throughout the entire concert; what was evident in the audience and what I could feel myself was the strength of our emotions when we were listening to the sublime interpretation of Chopin’s Scherzo in B flat minor Op. 31. That work, played as an opening of the recital, is characterized by great beauty of melody but requires from its performer truly outstanding piano skills, unbelievable precision, gigantic virtuoso technique, including the ability to cope with very difficult dynamics resulting from huge contrasts, from forte to pianissimo. Niemczuk attained all those things with ease. In the cosy atmosphere of the hall in which the recital was held, Grzegorz told us a little about the life and works of Chopin and other composers whose works were also played that evening. As for mazurkas, the pianist surprised us with the proposal to enter the history of those compositions as one gets into a vehicle when intending to travel. This was a very beautiful experience, quite unprecedented for me. The much-expected "icing on the cake" which closed the performance was the Minuet in G major Op. 14 no. 1 by Paderewski, a simple yet elegant piece of music composed under a heavy influence of Mozart and saturated with the beautiful elements taken from Polish folk dances, performed as splendidly as the rest of the programme. It would be wonderful if Grzegorz Niemczuk could visit us here in Campos do Jordão more often. Bravissimo, Grzegorz! Airton R. A. Silva, Young Talents – Grzegorz Niemczuk, Crítica Cultural – Magda Tagliaferro, 18.11.2014
Enchanting! This is the shortest review of the concert, which we had the opportunity to listen to on Tuesday in the Trzebnicki Palace on "Lesna" Street. "Sunny Boy" from Tychy - Grzegorz Niemczuk showed us all the colors of music. The sounds from the piano’s keyboard flowed directly into our hearts.
(...) His great desire and joy of playing fully confirmed that he is "the Wizard of Piano's smile". Wladysław Ruszkiewicz and Wojciech Kowalski, NOWa Gazeta Trzebnicka, No 40, 30.09-6.10.2014
(...) His great desire and joy of playing fully confirmed that he is "the Wizard of Piano's smile". Wladysław Ruszkiewicz and Wojciech Kowalski, NOWa Gazeta Trzebnicka, No 40, 30.09-6.10.2014
As can easily be guessed, the climax of the evening was the second part of the concert, when Grzegorz Niemczuk himself appeared on the stage to close the Festival with Tchaikovsky’s famous Piano Concerto No. 1.
Back in 2009, Grzegorz Niemczuk was himself the winner of the 'Young Artists’ Stage', yet did not play at the final concert, as unfortunately its date coincided with the pre-contracted recital in Australia, which simply rendered Niemczuk’s appearance in Poland impossible.
This year’s festival marked Grzegorz Niemczuk’s return to Slupsk after five years of absence, and in a grand style, as becomes a pianist of his stature. After his recital in Norway earlier this year (where he is rumoured to be soon returning with what may eventually become a full concert tour) and after the pianist’s unforgettable concerts at the Gliwice Palm House and in Zelazowa Wola, we had the opportunity to listen again to his live performance in which he was accompanied by Sinfonia Baltica under Bohdan Jarmolowicz […].
I have already mentioned once that it is very hard to write about Grzegorz Niemczuk’s piano performance, as applying the "sight and lenses" of musicology one will not be able to explain or understand anything. It is much better to talk about expression and emotion, and even in this realm words such as "magic", "power", "energy" or "joy" barely approximate the pianist’s interpretation...
What is it that Niemczuk enchants his audience with? In what way does he manage to hypnotize, as soon as he touches the piano keys, the listeners and get their full, focused attention? One thing is sure: piano technique and virtuosity are not all that it takes to accomplish such a feat. Reducing the musical artistry of Grzegorz Niemczuk solely to his technical piano skills would in my opinion be a regrettable simplification. So the question naturally arises: what is it that makes us admire him and that makes him charm us beyond all other pianists? Charisma? Sensitivity to music? Openness towards the world around him? Towards the people? Expressiveness and lack of any false pose in revealing emotions in sounds (one is almost tempted to say „emotional exhibitionism")? Most probably all those combined, but even to say it all is to say too little to convey in words the extraordinary atmosphere that he creates during his performances […]
Some time ago at one of the popular social networking sites I came across a post in which Niemczuk mentioned his preparations for that performance. He wrote, among other things, that this was an exceptional and very moving "task" for him, as Tchaikovsky’s music had always appealed to him like no other since his childhood and no other composer had been so close to his heart.
The said post also sheds some light on the very process of Niemczuk’s getting ready for the performance. The pianist mentions that prior to musical preparations he made an attempt to get to know the composer as closely as possible – by not only asking the simple "what, who, when and where" questions but rather by trying to find out what Tchaikovsky actually felt, what sort of person he was and what emotional states he was going through (depression – sadness – hope - struggle)?... That is why the pianist began by reading the authors whom Tchaikovsky was fascinated with and studied the world of culture from Tchaikovsky’s times. Then he got himself familiar with musicological studies, and eventually worked to develop his own, individual, contemporary, fully personal interpretation.
Ireneusz Szczepaniak, PortalKatowicki.pl, Slupsk, Poland, 12 September 2014
Back in 2009, Grzegorz Niemczuk was himself the winner of the 'Young Artists’ Stage', yet did not play at the final concert, as unfortunately its date coincided with the pre-contracted recital in Australia, which simply rendered Niemczuk’s appearance in Poland impossible.
This year’s festival marked Grzegorz Niemczuk’s return to Slupsk after five years of absence, and in a grand style, as becomes a pianist of his stature. After his recital in Norway earlier this year (where he is rumoured to be soon returning with what may eventually become a full concert tour) and after the pianist’s unforgettable concerts at the Gliwice Palm House and in Zelazowa Wola, we had the opportunity to listen again to his live performance in which he was accompanied by Sinfonia Baltica under Bohdan Jarmolowicz […].
I have already mentioned once that it is very hard to write about Grzegorz Niemczuk’s piano performance, as applying the "sight and lenses" of musicology one will not be able to explain or understand anything. It is much better to talk about expression and emotion, and even in this realm words such as "magic", "power", "energy" or "joy" barely approximate the pianist’s interpretation...
What is it that Niemczuk enchants his audience with? In what way does he manage to hypnotize, as soon as he touches the piano keys, the listeners and get their full, focused attention? One thing is sure: piano technique and virtuosity are not all that it takes to accomplish such a feat. Reducing the musical artistry of Grzegorz Niemczuk solely to his technical piano skills would in my opinion be a regrettable simplification. So the question naturally arises: what is it that makes us admire him and that makes him charm us beyond all other pianists? Charisma? Sensitivity to music? Openness towards the world around him? Towards the people? Expressiveness and lack of any false pose in revealing emotions in sounds (one is almost tempted to say „emotional exhibitionism")? Most probably all those combined, but even to say it all is to say too little to convey in words the extraordinary atmosphere that he creates during his performances […]
Some time ago at one of the popular social networking sites I came across a post in which Niemczuk mentioned his preparations for that performance. He wrote, among other things, that this was an exceptional and very moving "task" for him, as Tchaikovsky’s music had always appealed to him like no other since his childhood and no other composer had been so close to his heart.
The said post also sheds some light on the very process of Niemczuk’s getting ready for the performance. The pianist mentions that prior to musical preparations he made an attempt to get to know the composer as closely as possible – by not only asking the simple "what, who, when and where" questions but rather by trying to find out what Tchaikovsky actually felt, what sort of person he was and what emotional states he was going through (depression – sadness – hope - struggle)?... That is why the pianist began by reading the authors whom Tchaikovsky was fascinated with and studied the world of culture from Tchaikovsky’s times. Then he got himself familiar with musicological studies, and eventually worked to develop his own, individual, contemporary, fully personal interpretation.
Ireneusz Szczepaniak, PortalKatowicki.pl, Slupsk, Poland, 12 September 2014
The almost two-hour recital of the charismatic Grzegorz Niemczuk was received – as always – with much enthusiasm. That evening's programme was a very interesting and ingenious one, confronting the works of Chopin with those of other composers who got inspired by the music of the great Pole.
The young artist, invariably enchanting the audience with his technical perfection, vivacious style and incredible musical sensitivity, also performed the role of his own MC commenting on the performed works. Beata Buła, The Saturn Museum, 28 April 2014
The young artist, invariably enchanting the audience with his technical perfection, vivacious style and incredible musical sensitivity, also performed the role of his own MC commenting on the performed works. Beata Buła, The Saturn Museum, 28 April 2014
It is difficult to describe the listeners’ feelings during that evening, as it is hard to find the right words for the refined interpretations of the pianist that evade all attempts of classification. Under the artist’s fingers the instrument produced magic and compelling sounds, from the softest, lyrical, delicate, subtle and sweetly murmuring piano (with which Niemczuk makes his audiences spell-bound) to dynamic and agitated, even tragic notes. And the latter did not lose for a split second, despite all their dynamism, their noble beauty and brilliance.
The incredible musical sensitivity combined with virtuoso piano technique is obviously what puts Niemczuk’s interpretations high above those of many other, even famous, pianists. Pianists whom we should not hesitate to perceive as skilled "craftsmen", for whom music is the occasion to show off their purely virtuosic skills and who are able to convey "emotions" only through carefully studied poses. Fortunately, they are forgotten by the audience as soon as they leave the concert hall, while the music of the artists such as Grzegorz Niemczuk stays with the listeners forever...
(...) And so, hypnotized, still under the spell of today’s performance, I respectfully take my hat off to the Great Artist....Ireneusz Szczepaniak, PortalKatowicki.pl, Lørenskog, Norway, 1 March 2014
The incredible musical sensitivity combined with virtuoso piano technique is obviously what puts Niemczuk’s interpretations high above those of many other, even famous, pianists. Pianists whom we should not hesitate to perceive as skilled "craftsmen", for whom music is the occasion to show off their purely virtuosic skills and who are able to convey "emotions" only through carefully studied poses. Fortunately, they are forgotten by the audience as soon as they leave the concert hall, while the music of the artists such as Grzegorz Niemczuk stays with the listeners forever...
(...) And so, hypnotized, still under the spell of today’s performance, I respectfully take my hat off to the Great Artist....Ireneusz Szczepaniak, PortalKatowicki.pl, Lørenskog, Norway, 1 March 2014
As First Prize winner of the 2013 International Concerto Competition at Carnegie Hall, Mr. Niemczuk gave a highly accomplished and artistically distinguished interpretation of the Chopin Piano Concerto No. 2 in F minor, Op. 21.
The slow movement wove a spell like a Chopin Nocturne, with expressive phrasing and perfectly gauged rubato. This was Chopin playing of the highest order, refined and subtle, inspired by bel canto singing. His elegant performance of the mazurka-based finale captured its dance-like essence.
Mr. Niemczuk’s playing was notable for its fluidity, extremely wide dynamic range—from resounding fortissimos to whisper-soft pianissimos, variety of tone colors, and dazzling virtuosity.Michael Sherwin, The Epoch Times, New York, 5 March 2013
The slow movement wove a spell like a Chopin Nocturne, with expressive phrasing and perfectly gauged rubato. This was Chopin playing of the highest order, refined and subtle, inspired by bel canto singing. His elegant performance of the mazurka-based finale captured its dance-like essence.
Mr. Niemczuk’s playing was notable for its fluidity, extremely wide dynamic range—from resounding fortissimos to whisper-soft pianissimos, variety of tone colors, and dazzling virtuosity.Michael Sherwin, The Epoch Times, New York, 5 March 2013
The first artist to perform was the pianist Grzegorz Niemczuk, graduate of the Katowice Academy of Music from the class of Professor Józef Stompel, recently scoring many successes (one of them being the 1st Prize at the Polish Chopin Piano Competition in February this year). Niemczuk presented the piece which he had prepared for his piano diploma exam last year, the Fantasie in C major Op. 17, one of Schumann’s most astonishing works (...) Grzegorz Niemczuk did full justice to that extraordinary composition. He played it ravishingly, which not only means mastering all its specific technical difficulties but above all being capable of emotional involvement of sometimes extreme intensity. Particularly noteworthy was the transition from the flowing march in the second part, with its almost bursting energy, to the heavenly lyrical finale (rarely do we have a nocturnal finale in the 19th century music), as it must have been extremely difficult from the purely psychological side. Aleksandra Konieczna, Gazeta – Silesia, no. 73, June-July 2010
On behalf of the organizers and all the music lovers of Słupsk I would like to thank you for your recital, the magnificent music feast that captivated the large audience gathered at the Knights Hall of the Pomeranian Dukes’ Castle in Słupsk on the 16 June 2010 right from the first notes. The concert attracted much attention, as it promised a beautiful evening with the last year’s winner of the 'Young Artists’ Stage' 43th Festival of Polish Pianists in Słupsk. Standing ovations are infrequent at concerts from our Słupsk Chamber Concerts cycle (the performers being usually young artists), but your recital did win such an applause. Let me quote some of the listeners’ spontaneous comments right after the concert: “he engages the audience’s attention from the first moments, he has this joy of playing, he plays ravishingly, emotionally, he looks splendid on the stage and on top of everything he can talk interestingly about music, so many talents meeting in one artist”. We wish you many, many successes on your artistic path and all the best in your private life. Stanisław Turczyk – Chairman of the Słupsk Social and Cultural Association, 21 June 2010
Grzegorz Niemczuk enchants his listeners with his modesty and sensitivity - qualities he displays not only in art - and also with his spontaneous wit in providing commentaries for the performed pieces, which he often does during his recitals. It is a rare gift among musicians. Modest, subtle, hard-working, precise and concentrated. Wiesława Konopelska, "Śląsk" no. 3 (173), March 2010
The inauguration of the Silesian "Sundays with Chopin”, which took place on the 10th of January at the Archdiocese Museum in Katowice, was entrusted – and rightly so – to a Polish pianist Grzegorz Niemczuk, the recent graduate of the Katowice Academy of Music and a likely candidate for participation at the ninth international competition of Chopin’s music to be held in Warsaw this autumn. I had heard a lot of praise about him before, and now I could hear for myself his interpretations, fully worthy of their fame and strongly confirming the dispositions and nature of the talent of this very young artist at the onset of a great career. Since 2001 Niemczuk has been working with Maestro Jozef Stompel and that distinguished piano master has been his teacher, artistic guide and promoter of Niemczuk’s excellent future prospects.
An interesting and well-devised programme, featuring ingenious dramatic tension and also interesting tonal correlations, allowed Niemczuk to display a wide array of pianistic abilities and gave us an insight into his artistic imagination. From the first lyrical touches of the accompaniment and the manner of unfolding the nocturnal melos, the pianist won the trust and inspired friendly feelings in his audience, endearing himself to us with his communicativeness, his serious approach to playing, his beautiful care for the Chopin-like variety of sound and colour, and the effectiveness of articulation nuances of expression, be it secco, con pedale, or quasi campane read more... Ryszard Gabrys, Silesia Newsletter, February 2010
An interesting and well-devised programme, featuring ingenious dramatic tension and also interesting tonal correlations, allowed Niemczuk to display a wide array of pianistic abilities and gave us an insight into his artistic imagination. From the first lyrical touches of the accompaniment and the manner of unfolding the nocturnal melos, the pianist won the trust and inspired friendly feelings in his audience, endearing himself to us with his communicativeness, his serious approach to playing, his beautiful care for the Chopin-like variety of sound and colour, and the effectiveness of articulation nuances of expression, be it secco, con pedale, or quasi campane read more... Ryszard Gabrys, Silesia Newsletter, February 2010
His performances can attract attention of every listener. His interpretations are characterized by fine virtuosity, controlled spontaneity, youthful freshness. Grazyna Brewinska, Silesia Newsletter, 8-12 November 2009
On the last Friday of February the sounds of the grand piano could be heard again at the Pod Filarami Palace. The music lovers of Czeladź attended in great numbers the concert commemorating the 199th anniversary of the birth of Fryderyk Chopin. That evening’s inspiring piano recital of the works by the “most Polish of all the Polish composers” was given by Grzegorz Niemczuk, a talented young pianist who had already made himself known from the best side to the Palace audience. The young virtuoso played nocturnes, mazurkas, ballads, a waltz and a polonaise, juxtaposing dynamic pieces with lyrical and tranquil compositions. The audience, among them Anna Ślagórska - Deputy Mayor of the Town of Czeladz, lauded the musical mastery of Grzegorz Niemczuk with a standing ovation. Closing the evening, the artist conquered our hearts with the dazzling performance of the Revolutionary Étude played as an encore. www.starostwo.bedzin.pl, 3 March 2009
The artist did not confine itself only to play Chopin's works. Both parts of his performance began with a brief introduction. He talked about what he would play. He cited several anecdotes related of course to the theme of the concert. His performance provided the audience an unforgettable experience. The artist presented a diverse repertoire, playing both in perception more difficult pieces for piano, as well as on the lighter, dance like the polonaise, waltz and mazurkas. Grzegorz Niemczuk, who played for the third time for the audience from Czeladz is not only a sensitive and gifted pianist, but also pleasant, courteous and modest man. Apolonia, 1 March 2009
Grzegorz Niemczuk, a highly gifted pianist,a prizewinner of many piano competitions in Poland and Europe, gave a recital on the 29th of February in Czeladz. He performed pieces by Scarlatti, Liszt and Chopin. It was an unusual evening, since Grzegorz Niemczuk not only was a performer, but he was also entertainingly talking to the audience about composers and the music he played. The audience loved such kind of recital and also the artist himself felt comfortably in his double role: the performer and 'the MC'. The coping stone of the recital was an encore - Polonaise A-flat major Op. 53, played by the artist with amazing bravado. WK - "Echo Czeladzi" - March 2008
22-year-old pianist from Poland - Grzegorz Niemczuk - is a winner of the 11th Edition of International Piano Competition "Stefano Marizza" in Trieste. The Jury (Lorenzo Baldini, Igor Cognolato, Massimo Gon, Guliana Gulli Agostini and Gabriele Vianello) awarded the prize for his refined kind of piano playing and for the expressive nobility which shine through his interpretations. Trieste.rvnet.eu - 26 October 2007
The young Grzegorz Niemczuk, still a student of the secondary school of music in Katowice, impressed us with his very cautious but wise and balanced playing and considerable pianistic skills. He won over the audience particularly with his subtle and delicate interpretation of the Etude in F minor. Kazimierz Kościukiewicz, "Gazeta Wrocławska", 27 August 2002
