Professor Lilianna Stawarz, DMus Hab.

A harp­si­chordist and ped­a­gogue, born in Prze­myśl. In 1988 she grad­u­at­ed with hon­ours from the Fry­deryk Chopin Acad­e­my of Music in War­saw, harp­si­chord class of Władysław Kłosiewicz, and in 1990 she obtained a diplo­ma of Con­ser­va­toire Nation­al de Region de Rueil-Mal­mai­son, class of Huguette Drey­fus. She is a lau­re­ate of the first Wan­da Landows­ka All-Poland Harp­si­chord Com­pe­ti­tion in Cra­cow (2nd award), the Pol­ish Pianism Fes­ti­val in Słup­sk, and a final­ist of the Inter­na­tion­al Harp­si­chord Com­pe­ti­tion in Paris. She par­tic­i­pat­ed in many mas­ter cours­es devot­ed to per­for­mance prob­lems of baroque music, such as Accad­e­mia Musi­cale in Siena, Inns­bruck, Vil­le­croze and Cra­cow.

Since 2003 she has run Harp­si­chord, Fig­ured Bass and Impro­vi­sa­tion class­es, as well as class­es for vocal­ists – Study of Recita­tive and Baroque Arias at the Fry­deryk Chopin Uni­ver­si­ty of Music in War­saw and its Branch in Białys­tok.

In 2003 she obtained her doc­tor­al degree in the area of music art, artis­tic dis­ci­pline of instru­men­tal stud­ies, and in 2008, on the basis of her artis­tic achieve­ments and pre­sent­ed the­sis enti­tled Harp­si­chord Suites by G. F. Haen­del HWV 426–433 — per­for­mance prob­lems, she obtained a post-doc­tor­al degree (dok­tor habil­i­towany).

Lil­ian­na Stawarz also gives lec­tures at numer­ous cours­es and sem­i­nars devot­ed to inter­pre­ta­tion and per­for­mance issues of ear­ly music, e.g. at sum­mer cours­es called the Inter­na­tion­al Sum­mer Acad­e­my of Ear­ly Music in Wilanów (since 1993).

As a ped­a­gogue of the Fry­deryk Chopin Uni­ver­si­ty of Music she is active dur­ing numer­ous cours­es, class­es and sem­i­nars (Ear­ly Music Forum) devot­ed to baroque music inter­pre­ta­tions. She is espe­cial­ly con­nect­ed with the Depart­ment of Vocal Stud­ies, which annu­al­ly orga­nizes con­certs and per­for­mances, entrust­ing her with their artis­tic man­age­ment; she also coop­er­ates with the Inter­de­part­men­tal Ear­ly Music Course. Since 1991 she has been a mem­ber of an ear­ly music ensem­ble Il Tem­po, spe­cial­iz­ing in instru­men­tal and vocal and instru­men­tal music from ear­ly baroque to clas­si­cism. Togeth­er with the ensem­ble she has made numer­ous radio and CD record­ings, and par­tic­i­pat­ed in numer­ous con­certs and impor­tant ear­ly music fes­ti­vals in Poland and abroad, e.g. in Bruges, Brus­sels, Utrecht, Moscow, New York, New Brunswick, Rome and Berlin.

Lil­ian­na Stawarz’s favourite area of activ­i­ty is cham­ber music. She was record­ed on albums with some soloists, such as: Aga­ta Sapiecha, Simon Standage, Olga Pasiecznik, Mał­gorza­ta Woj­ciechows­ka, Arture Ste­fanow­icz, Jan Stanien­da, or Tytus Wojnow­icz.

At the moment she also coop­er­ates with the New Art Ensem­ble (Sebas­t­ian Wypych) and with a peri­od instru­ment ensem­ble called L’Ensemble Hyacinthus (Grze­gorz Lalek).

In 2003 her first solo album with works by Carl Phi­lippe Ema­nu­el Bach was released (by CD Accord), in Jan­u­ary 2007 — a dou­ble DC album with Harp­si­chord Suites HWV 426–433 by Georg Friedrich Haen­del was released by the Pro Musi­ca Cam­er­a­ta Foun­da­tion, and in 2012 her third solo album with The Inven­tions and Sin­fo­nias by Johann Seba­stian Bach was released by the Pol­ish Radio.

Since 1991 she has been con­nect­ed with the War­saw Cham­ber Opera, both as a harpsichordist/chamber musi­cian, and a con­duc­tor – she has con­duct­ed instru­men­tal, as well as vocal and instru­men­tal works (harp­si­chord and pos­i­tive), such as: St. Mark Pas­sion by Johann Sebas­t­ian Bach, a cycle of con­cer­tos Songs and Arias – works by 18th-cen­tu­ry Pol­ish Com­posers, pieces by Antoni Mil­wid and Marcin Żebrows­ki, Opera Omnia by Marcin Miel­czews­ki, and operas: Dido and Aeneas by Hen­ry Pur­cell, Tetide in Sciro by Domeni­co Scar­lat­ti (CD from the per­for­mance), Rinal­do by Georg Friedrich Haen­del, (as an assis­tant of Władysław Kłosiewicz). As Artis­tic Man­ag­er she also record­ed six CDs with instru­men­tal, and vocal and instru­men­tal music of the 17th cen­tu­ry – Opera Omnia by Miel­czews­ki, and a CD with works by Dami­an Sta­chow­icz, Pol­ish baroque com­pos­er. More­over, she par­tic­i­pat­ed in numer­ous con­certs and fes­ti­vals of the War­saw Cham­ber Opera, real­iz­ing bas­so con­tin­uo in such opera pieces as: Orfeo, Il Ritorno d‘Ulisse in Patria and L‘incoronazione di Pop­pea by Clau­dio Mon­tever­di, L‘Euridice by Jacopo Peri, Satiro e Corisca by Tar­quinio Meru­la, Ime­neo, Rinal­do and Giulio Cesare by Haen­del, Alces­te by Jean-Bap­tiste Lul­ly, Tan­crede by André Cam­pra and Jephte by Michel Mon­té­clair. Togeth­er with Jean-Claude Mal­goire she also par­tic­i­pat­ed in prepa­ra­tion and per­for­mance of the fol­low­ing operas: Catone in Uti­ca (Tour­co­ing) by Anto­nio Vival­di and Il Ritorno d‘Ulisse In Patria (Roy­au­mont) by Mon­tever­di.

For the peri­od of 2012–2016 she holds the func­tion of Deputy Dean of the Depart­ment of Ped­a­gog­i­cal and Instru­men­tal Stud­ies in Białys­tok.

In 2005 she was award­ed with the Brown Cross of Mer­it by Pres­i­dent of the Repub­lic of Poland Alek­sander Kwaśniews­ki. In 2012 she received the 1st degree award of Rec­tor of the FCUM in War­saw, Pro­fes­sor Stanisław Mory­to.

Inter­ests: lite­ra­ture, film, cui­sine.


last modified: 19/10/2017