Born in Canberra Stan started his violin studies at the age of nine with renowned French violinist Josette Esquidin-Morgan and Ernest Llewelyn at the Canberra School of Music, and continued at the Bydgoszcz Conservatorium of Music, the Academy of Music in Lodz (Poland).
At 12, Stan formed with his elder siblings the Kornel String Quartet, performing in Canberra and Sydney. He’s also formed a chamber orchestra performing prohibited works of Polish dissident composer -Sir Andrzej Panufnik, and formed string quartets who performed Vivaldi Concertos at the famous Vivaldi’s Church Della Pieta.
He has worked as assistant concertmaster of Pomeranian Philharmonic Orchestra, The Torun Chamber Orchestra as leader and soloist, associate concertmaster of the TV and Radio Symphony Orchestra in Lodz, and senior lecturer at the string department of the Torun Conservatorium of Music. In Italy he worked in Opera Theatres such as La Scala in Milan, Symphony and Opera Orchestra La Fenice in Venice with Eliahu Imbal and in Verona Amphitheatre during the famous Summer Festival. Currently Head of String at Australian International Conservatorium of Music, Sydney Conservatorium of Music, and International Grammar School in Ultimo.
Stan also recorded many tracks for movies, animation and educational films with numerous ensembles.
In Australia Stan performed with Sydney Bach Ensemble, Bicentenary Trio, Gallery Players Ensemble (mainly contemporary music), VI Brandenburg Concerto on viola with the Queensland Symphony Orchestra, gave a violin recital at the Canberra School of Music and Sydney Conservatorium of Music with works of K.Szymanowski and recently in the new Verbrugghen Hall Stan presented and promoted successfully Polish Chamber Music through the cycle titled “8 Centuries of Polish Music”, performed with baroque specialists and his colleagues from the SSO.
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Blog posts and interviews with Stan
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We asked Stan a few questions
- How old were you when you decided to be a musician and what led you the instrument(s) you now play? I was 12 when deciding that music was my future. I was already involved in a leading string quartet and loved to conduct various recordings. Today, I’m stuck with string instruments, especially the violin.
- When you’re not rehearsing/performing/teaching, where are you most likely to be? Outside- fishing and working in the garden. During longer breaks, traveling and sightseeing.
- After you finish a concert, what is the first drink you want to have in your hand? After the concert the first drink is definitely a cold bear. Later a nice red soothes his palate.
- If there weren’t external factors involved, how long do you think a concert should go for? It depends of the genre of the music performed. Jazz can go easily for 3 hours, a symphony concert probably 2 hours, and a recital/small ensemble performance for approximately 75 minutes. A concert with medieval music today, most probably no longer then an hour.
- When should we clap? As in a performance of baroque music, very often elements of virtuosic cadenzas, improvisations are taking place. If it were jazz, the audience would be right to clap straight after the musicians solo. Not in baroque. If the audience feels the need to show their emotional high and applaud after the end of a movement, I don’t think that that is wrong. Sometimes it can encourage the performers for a even larger display of musical emotions. I don’t always agree with traditions.
A member of
- The Sydney Consort
- The Sydney Symphony Orchestra