Chór FK, Capella Cracoviensis
Irmina Obońska, Marek Toporowski
Chór FK, Capella Cracoviensis
J. Haydn - Canzonetty, kantaty, sonaty. Dorota Szczepańska, Marek Toporowski (pianoforte)
Studenci klasy klawesynu AM w Krakowie
K. Vaiginis, D.Klišys …
Kantaty i koncerty. Capella Cracoviensis
Górecki - Koncert klawesynowy
Adrianna Kafel, Victoria Lerche, Anna Guja. Marek Toporowski
Agata Kielar-Długosz, Łukasz Długosz, Marek Toporowski
Capella Cracoviensis (Paulina Woś, Aleksandra Owczarek, Aleksandra Buczyńska, Marek Toporowski)
Capella Cracoviensis dyr. Marek Toporowski
org. Capella Cracoviensis. Krzysztof Firlus - viola da gamba, Katarzyna Czubek - flet prosty,...
Muzyka baroku i współczesności, Łukasz Długosz, Agata Kielar-Długosz (flety), Marek Toporowski
He performs as a harpsichordist, organist, fortepianist and conductor.
Marek Toporowski was born in Warsaw in 1964. He teaches harpsichord at the Academies of Music in Cracow and Katowice, as well as harpsichord and organ at the Warsaw Chopin Conservatory of Music. He studied with Leszek Kędracki, Aline Zylberajch and Bob van Asperen (harpsichord), Martin Gester (basso continuo and chamber music) and Józef Serafin and Daniel Roth (organ).
He won first prize in the 1st Wanda Landowska National Harpsichord Competition, and was also a finalist of the 1st Wanda Landowska International Competition in 1994.
In 1991, he formed his own chamber ensemble Concerto Polacco—one of the pioneering ensembles of baroque music in Poland. The group very soon became the leading orchestra which was joined by the chamber choir Sine Nomine specializing in performing baroque cantatas and oratorios. With those two ensembles, Marek Toporowski made numerous recordings of early Polish music, including such works as the opera Agatka by Johann David Holland, the oratorio Christiani poenitentes ad sepulchrum Domini by Jan Tomasz Żebrowski, and sacred music by Grzegorz Gerwazy Gorczycki, Amando Ivančič Józef Zeidler, and Marcin Józef Żebrowski.
As harpsichordist, he made the first-ever recording of Charles Noblet’s Livre de clavecin. As an organist, he records extensively on historical organs. His participation in the documentary project Orgeln in der Niederlausitz, or the first recording on the Silbermann organ in Oederan are well worth mentioning.
His latest recording—Bach’s organ trio sonatas BWV 525-530 on the historical Joachim Wagner Organ in Siedlce (a version with added continuo instruments) received the prestigious prize of the Polish recording industry—Fryderyk (the fifth time in his career).
Marek Toporowski is the chamber partner of many renowned soloists. He’s also very active in the field of preservation of national heritage. In 2012, he founded Fortepianarium—a unique collection where his own instruments are exhibited and used for concert and teaching purposes.
Files to downloadBIO + photos [54 MB]
Die schöne Müllerin in Lublin (Trybunał Koronny). Next Sunday, July 4th, 6pm. I've been always dreaming of playing this wonderful cycle of songs. And I'm so happy to do it with Piotr Olech whom I know ever since ...
I'm very proud of this arrangement published by the edition of the Akademia Muzyczna Krzysztofa Pendereckiego. My intention was to enrich the repertoire of classical / early romantic Polish piano duo music. We have quite few compositions for four-hands piano (or two pianos) from this period. I hope you will enjoy the playful crossings of both players' neighbouring hands which I borrowed from Mozart's sonatas and somewhat richer palette of accompanying formulas than in the original version. The dedicatee of my arrangement is Myroslav Korchynsky - great musician living in today's L'viv. To be purchased from: http://sklep.amuz.krakow.pl/index.php?id_product=194&controller=product
Ernst Köhler's music s rather unknown. The composer who served as organist of the St. Elisabeth's church in Breslau was, however, one of the leading figures of Breslau's musical life during the 1st half of the 19th c. His music embracing both Bach tradition and new romantic features seems at the first sight conventional but once you start to play it reveals its power. For this recording I've chosen the organ of the Church of Peace in Jawor - a reconstruction of the early romantic instrument by Lummert. I hope this recording will be an important contribution to our understanding of 19th c. music tradition in Breslau and Low Silesia.