Marcin Świątkiewicz
One of the most recognisable Polish harpsichordists, winner of the “Polityka” weekly’s Passport Award. He performs on different types of historical keyboard instruments and specialises in improvisation. He regularly collaborates with such leading international and Polish ensembles as Brecon Baroque, Arte dei Suonatori, Capella Cracoviensis. He has recorded for such labels as BIS, Channel Classics, Accent, Alpha, Decca, Linn Records, Rubicon, and DUX, as well as for radio and television broadcasters throughout Europe. 2015 saw the release of his album featuring harpsichord concertos by the late Baroque composer Johann Gottfried Müthel (awarded a Diapason d'Or), and in 2017 – the multi-award-winning CD Cromatica. The recording of Biber’s Rosenkranzsonaten with Rachel Podger and David Miller won the Gramophone Award in 2016. His last CD recording is a Bach’s Goldberg Variations released by Rubicon. Marcin teaches at the Academy of Music in Katowice, Poland.
INTERVIEW:
Who are You and what are Your main activities at the moment (professionally and/or free time)?
My name is Marcin Świątkiewicz (and I do not mind if you’d rather omit the chance to pronounce my last name :), I am and early keyboard specialist, mostly harpsichordist, and a conductor. I am busy working as freelance soloist and leader, trying to find some time in-between for chamber music. I am also teaching harpsichord at the Academy of Music in Katowice, Poland. All of that is put into perspective once at home in Krakow with my 2 wonderful little sons (3 and 6) who know much better then me what is their dad for.
Is there some especially important moment or occasion that has been pivotal to Your career or life in general? What happened and what was the meaning of that?
Almost 20 years ago my teacher in The Hague, Jacques Ogg, gave me a score of JG Müthel harpsichord concertos, few years later, I found myself recording them with Arte dei Suonatori. It was a long journey full of episodes like the accident on a scooter on the slippery road in Lisbon with my wife-to-be sitting behind holding the bulky score. It started the long and fruitful collaboration with AdS and gave me entirely new perspective on the music from the 2nd half of the 18th century. Around the time I was spending hours practicing the extremely virtuoso passages from these concertos I met the violinist Rachel Podger and that musical partnership became definitely one of the most satisfying in my musical career.
What is the importance of collaborating internationally amongst arts or other fields - or is it important?
Building bridges, learning that there are so many ways to interpret good art. Finding inspirations, friendships, understanding yourself and others. It is simply needed, like fresh air. I love working in opera productions where music, poetry, acting, often dancing and visual arts meet together. As artist we inevitably share our personalities with our audience. The more inspiration, the more experience we have, the more we can give.
Do You have a role in the collaboration project in 2023 together with Helsinki Early Music Festival, Oslo Early, All’Improvviso, Nordic Lights and Freiburger Barockorchester, Finnish Baroque Orchestra, Barokkanerne, Concerto Copenhagen, Drottningholm Baroque Ensemble? What is Your role?
I am delighted and eagerly looking forward to be part of the ensemble consisting of musicians from Barokkanerne, Finnish Baroque Orchestra, and Freiburger Barockorchester in the X Crossroads project. On top of having the pleasure of playing with the amazing colleagues I will get to play JS Bach concerto and co-lead the band.
