Glos Pomorza, June 3-4, 1989
"... Piotr Borkowski's interpretation of Beethoven's Eight Symphony
had all the hallmarks of a conductor on the threshold of a major
career: restraint and expediency of gestures, excellent manual
technique, self-discipline, musicality and sensitivity, a thorough
knowledge of the score and musical styles. When it comes to young
musicians at the very start of an independent career these are
extremely rare features. Likewise, such an outstanding
interpretation of the Eight Symphony can be heard rarely in the
concert halls today ..."
Glos Pomorza, November 25-26, 1989
"... Piotr Borkowskis's second appearance in Koszalin in a few
months went a long way to confirm the astounding musicality,
refinement and an exceptional conducting talent of this year's
graduate of the Warsaw Music Academy. /.../ It was a performance
clearly in the realm of the true art..."
Nowiny Jeleniogorskie, February 7, 1990
"... The spontaneous and warm reception at tonight's concert should
be surely attributed to Piotr Borkowski, very young conductor from
Warsaw, whom the audience accepted almost without reservations.
Small wonder, considering that Borkowski was able to demonstrate
the full range of his talent. The fantastic memory, excellent
command of the conductor's craft and manual skills have made his
communication with the orchestra readable and highly suggestive..."
Gazeta Olsztynska, February 13, 1991
"... The Friday concert was a success. First and foremost it was the
conductor's success. For the young Piotr Borkowski it was the
second opportunity to display his musical skills in the town of
Olsztyn. The excellent technique, clear-cut gestures and the
interpretative concepts, full of life and yet meticulously thought-out,
make us believe that he has won a permanent place on the musical
Gazeta Olsztynska, May 12, 1992
"... The D-minor Symphony by Cesar Franck has electrified the
audience. Its mellow, "organ-like" sound, full of dynamic contrasts
and nuances had a sense of inevitable unfolding. /.../ It seemed to
me that all the atmospheric electricity on that rainy night in May
found an outlet for itself on the concert stage. It was a truly unique
experience. The concert was Borkowski's success. I do not really
know how he achieved it. And I do not want - this time at least - to
find it out. I trust in his talent!"
Gazeta Pomorska, November 11, 1992
"... On Friday evening a young conductor, the first one known this
season by Bydgoszcz audience, met with loud cheers. Conductor's
success generally comes together with musical and personal
maturity. Piotr Borkowski is 29-year old and yet he is general and
artistic director of the Olsztyn Philharmonic. Conducting the Friday
concert with Pomeranian Philharmonic Orchestra he presented
himself extremely well both visually - thanks to his elegant figure
and unpretentious plasticity of gesture - and musically; the
interpretation of each piece of music was clear, confident and vivid.
/.../ Piotr Borkowski has an important virtue: under his leadership
Tchaikovsky sounds like Tchaikovsky and Franck like Franck. He
knows draw out stylistic differences of harmony and expression and
to elicit from the orchestra as much latitude as discipline of
performance. Full of temperament, he does not let it carry him away.
/.../ Also in Variations the soloist was well supported by the
conductor performing a difficult art of conducting the orchestra.
The grateful orchestra sounded clearly, tuned and kept consonant
structures even in fortissimos. It was a vivid and mellow concert,
clear in forms and at the same time light and unconstrained. The
young public attending the event was leaving the concert hall very
much animated and satisfied."
Gazeta Olsztynska, July 1, 1992
"... It was a concert in an almost holiday mood; yet it gave much
food for thought as to the scope of progress the orchestra has made
since the start of the season. Piotr Borkowski deserves words of
praise for what he has done for this ensemble ...
In Beethoven's Fifth, as if running counter its drama and pathos, he
brought out the dance quality of the music. Add to it the conductor's
sensitivity to the shadings of dynamics and color, and his
meticulous attention to all the sound nuances of almost Romantic
nature - as if in a symphonic poem rather than a Beethoven
symphony. The result was an astonishingly fresh reading of the
piece, full of unique charm. I would have never expected such an
interpretation of the Fifth. Bravo!"
Przeglad Powszechny, October 1993
"... The festival was brought to a close with the first Polish
performance of Nowowiejski's oratorio "The Return of the Prodigal
Son", a work which in 1902 won the then 25-year old composer the
Meyerbeer Award. The Symphony Orchestra of Olsztyn Philharmonic
and the combined choruses of the College of Education and the
Olsztyn Diocese were conducted by Piotr Borkowski. He handled the
vast musical forces excellently, giving due attention to all the planes
of the work's rich texture and maintaining a sense of proportion
between the expressive and sound qualities of the oratorio. He also
drew out the fine musical outlines of the evangelical parable."
Gazeta Olsztynska, December 21, 1993
"... After the symphony concert last Friday, December 17, I was
leaving the Olsztyn Philharmonic Hall very much impressed by the
pianist Tatiana Szebanowa. And thought I do not want to deprive the
famous pianist of her well deserved splendors I was equally, if not
more, impressed by the performance of Piotr Borkowski, director of
the Olsztyn orchestra. /.../
It seems to me, however, that we still underestimate the presence of
Piotr Borkowski in Olsztyn. He is one of the most talented Polish
conductors of younger generation. /.../. I have had many
opportunities to admire his sensibility to the color of sound or his
rhythmic vigor. /.../.
Meanwhile last night /.../ I saw a fully mature musician who is
conscious of his own, consistent and well established artistic way.
/.../ As soon as I heard the Suite from "The Swan Lake" I pricked
my ears. Trivialized by various sentimental interpretations,
paraphrases, rearrangements the suite is not that much enjoyable
for music lovers any more. And suddenly I realized that the
instrumental solo parts and the sound of orchestral sections were
refined, rhythms accurate, facture treatment clear, everything far
from traditional drawn-out manner of Tch a ikovs ky ¯ work's
interpretation; on the contrary: restrained, composed and fresh.
And that was what really moved and impressed me so much: the
sound of certain concert parts for solo instruments of "The Swan
Lake" conducted by Piotr Borkowski made me think of ballets
composed by Igor Stravinsky 50 years later. Above all differences in
music matter, purely technical disparities, above "revolutions", you
could feel similar logic of shaping the course of music, continuity of
its historic evolvement. Time after time /.../ you could feel the
presence of timeless spirit of pure music. The spirit of mathematics,
geometry, harmonious form and beauty - romantic in a way but in
different manner."
<October 2018>

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Tchaikovsky: Symphony no 5 in E minor, Op. 64
Ryu: Violin Concerto no 1
Moniuszko: Halka
Yun: Chamber Symphony
Yun: Tapis
Yun: Gong-Hu for harp and strings
Baird: Canzona
Blazewicz: Concerto for Marimba no 2
Borkowski: Dies Irae
Borkowski: Hymnus
Borkowski: Dram
Borkowski: Pax in terra II
Borkowski: Variant
Borkowski: De profundis
Borkowski: Hosanna
Borkowski: Dies Irae
Lukaszewski: Gaudium et Spes
Bruzdowicz: Largo
Morgan: Three Vignettes for Saxophone and Orchestra
Raman: Aria for Saxophone and String Orchestra
Kilar: Vocalise
Villa-Lobos: Bachianas Brasileiras no 5 for Voice and 8 Cellos
Hovhaness: Concerto for Soprano Saxophone and String Orchestra, Op. 344
Leatherbarrow: "Don Quixote in Love" for Saxophone and Orchestra
Bozza: Aria for Saxophone and String Orchestra
Kang: Concerto for Cello and Orchestra "Berlin"
Kang: Mosaicum Visio for Chamber Orchestra
Kang: O Tell Me for Chamber Orchestra
Choe: Das Lied der Unfruchtbaren for Flute and 13 Strings
Cho: Soft and Cold for Chamber Orchestra
Kang: Mosaicum Visio for Chamber Orchestra
Krauze: Rhapsod for String Orchestra
Borkowski: Variant
Lukaszewski: Winterreise for String Orchestra
Tchaikovsky: Symphony no 4 in F minor, Op. 36
Dvorak: Symphony no 9 in E minor, Op. 95/B 178 "From the New World"
Lutoslawski: Symphony no 4
Lukaszewski: Symphony no 2
Dubois: Concerto for Saxophone
Mozart: Sinfonia concertante for Winds in E flat major, K 297b (K Anh 9)
Ryu: Il Nome della Rosa
Beethoven: Symphony no 7 in A major, Op. 92
Beethoven: Symphony no 7 in A major, Op. 92
Parker: "Bird" revisited
Chopin: Concerto for Piano no 1 in E minor, B 53/Op. 11
Tchaikovsky: Concerto for Violin in D major, Op. 35
Sibelius: Concerto for Violin in D minor, Op. 47
Borkowski: Variant
Borkowski: Visions II
Borkowski: Dram
Lukaszewski: Gaudium et Spes
Lukaszewski: Sinfonietta per archi
Lukaszewski: Trinity concerto for alto saxophone and string orchestra
Lukaszewski: Adagietto for Strings
Lukaszewski: Symphony no 2
Morgan: Reflections nd Medititions
Honegger: Concerto da Camera for Flute, Alto Saxophone and String Orchestra
Lukaszewski: Trinity concerto for alto saxophone and string orchestra
Raman: A Song Not Sung
Peterson: Concerto for Flute, Alto Saxophone and String Orchestra
Borkowski: Pax in terra II
Borkowski: Hosanna
Borkowski: Dram
Borkowski: De profundis
Borkowski: Hymnus
Borkowski: Pax in terra II
Borkowski: Hosanna
Borkowski: Dies Irae
Borkowski: Limits
Borkowski: Limits
Borkowski: De profundis
Borkowski: Pax in terra II
Borkowski: Visions II
Borkowski: Dram
Borkowski: Hymnus
Borkowski: Variant
Borkowski: Dies Irae
Tchaikovsky: Romeo and Juliet Fantasy-Overture
Beethoven: Symphony no 7 in A major, Op. 92
Sibelius: Concerto for Violin in D minor, Op. 47
Tchaikovsky: Concerto for Violin in D major, Op. 35
Chopin: Concerto for Piano no 1 in E minor, B 53/Op. 11
Borkowski: Limits
Lutoslawski: Symphony no 4
Wagner: Prelude to Die Meistersinger von Nürnberg
Orff: O Fortuna from Carmina Burana
Strauss II: Mein Herr Marquis
Mascagni: Ah! Gli Aranci Olezzano from Cavalleria Rusticana
Gounod: “Je veux vivre” from Roméo and Juliet
Puccini: "Nessun Dorma" from Turandot
Verdi: Brindisi from La Traviata
Barber: Adagio for Strings, Op. 11

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