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The majority of the piano compositions recorded by Elzbieta Wiedner-Zajac on CD (see “CDs” on the home page) are further on in her concert repertoire.

She puts her recital programmes together with great care. They are almost choreographed, and the dramaturgy of their design is an important feature of the concert. Below is an example of a programme she has often performed in concert:



F. Chopin

I.J. Paderewski

Deux Nocturnes, op. 48

       No. 2  in F sharp minor
       No. 1  C minor

Sonata in E flat minor, op. 21
        Allegro con fuoco
        Andante ma non troppo
        Allegro vivace

 I n t e r v a l

 F. Schubert

J. Zarębski

F. Chopin
Variations in B flat major, op. 142
Impromptu in E flat major, op. 90

Grande Polonaise in F sharp major, op. 6

Polonaise in F sharp minor, op. 44

The programme is choreographed in a very particular way. This programme assembles a number of pieces of music with considerable dramatic strength in the key of F sharp. Each of these works could really bear the name “Fantasia”, based on their form and content. In particular Zarebski (2nd half of the 19th century) “fantasizes” at times in his Polonaise, in part with Impressionist tendencies. The two Chopin Nocturnes lead, with intensifying drama, to the major Paderewski Sonata: at the same time, they are the link to the Schubert pieces in the second half of the programme. Interestingly, the small, essentially lyric form of the Nocturne is often to be found in Schubert's compositions (especially in Impromptus). The Paderewski Sonata is in turn closely linked to the two Polonaises. And so in the last number on the programme, Chopin's F sharp minor Polonaise, the musical circle is closed.


Elzbieta Wiedner-Zajac’s performances are very varied: monographic recitals such as a Chopin recital, Liszt recital, Mozart recital, Brahms recital … interspersed with piano recitals of Polish and Austrian music, recitals of her own compositions and combined with chamber music (with singers, various instrumentalists, actors) – highly diverse programmes, however always with a theme running through them. (Naturally these are not always evening recitals, matinées are also included.)

Elzbieta Wiedner-Zajac’s repertoire encompasses numerous compositions for piano and orchestra, such as:

W. A. Mozart         – Concerto in A major, KV 488
                            – Concerto in B flat major, KV 595
L. van Beethoven   – Concerto in G major, op.58
F. Chopin              – Krakowiak – Grand Rondeau de Concert, op. 14
                            – Grande Polonaise brillante précédée d’un Andante  spianato,op. 22 
                            – Concerto in E minor, op. 11

F. Liszt                  – Concerto no. 1 in E flat major
R. Schumann         – Concerto in A minor, op. 54
I. J. Paderewski     – Fantaisie polonaise sur des thémes originaux pour piano et orchestre, op. 19

S. Rachmaninov     – Rhapsody on a theme of Paganini, op. 43
B. Bartok               – Concerto no. 3
K. Szymanowski     – Symphony No. 4, Op. 60 "Symphonie concertante" for piano and orchestra


The pianist has never planned to record the complete works of any particular composer or even to perform them in a concert cycle. In the booklet for the CD “Masques” she writes: “I generally incorporate works in my concert repertoire that resonate with me, whose musical expression generates an affinity in me, regardless of the style they represent.

"This is the reason why I have never set myself the goal of performing complete works (for example of Chopin or Mozart). Even with the greatest composers, there are compositions that have little or no appeal for me.
I believe that this kind of resonating sense allows me to interpret the music as if improvizationally: not changing the notes, but rather playing ‘between the notes’".