I am a pianist and teacher who performs on the international stage. My concerts and master classes over the past 30 years have taken me to Asia, Europe, South America, and Central America. I spent my early childhood in Katowice and Krakow, Poland, and my childhood and youth in Maracaibo, Venezuela, where I emigrated with my parents. As a result, I feel a sense of belonging to both countries and embody many characteristics of both Polish and Venezuelan culture. I am also a citizen of both countries.

My life path then took me to the US (Indiana University) as a young man and subsequently to Germany, where I trained as a pianist and teacher in Detmold, Munich, and Halle/Saale. As a pianist, I love traveling and getting to know foreign countries and people. Most recently, I have been to El Salvador, Havana, Macau, Hong Kong and Chengdu.

My greatest ideal when performing is to move my audience emotionally through music. That is why my repertoire consists of works that do not primarily impress us outwardly with their virtuosity, but rather move us deeply inwardly, in a language that needs no words and yet can sometimes express more than words, as emphasized by the famous saying of V. Hugo: “Music expresses what cannot be said and on which it is impossible to be silent,” and also by H.C. Andersen: “Music speaks where words fail.” Of course, F. Chopin is one of the central composers for me, but I also have a great affection for J. S. Bach, L. v. Beethoven, F. Schubert, and J. Brahms. The music of the 20th century, and here especially the music of Latin American composers such as H. Villa-Lobos and A. Ginastera, also complement my repertoire.

As a teacher, I see myself as very close to the ideas and concepts of F. Chopin, who always emphasized a piano methodology characterized by flexibility (souplesse), ease, and coordination of body use when playing the piano. His pianistic ideal was later deepened by the German methodologist Ludwig Deppe and the Dutch pianist Elisabeth Caland and verbalized in various treatises. Ultimately, I owe my knowledge of these teachings and this methodology, which always combines good use of the body when playing the piano with artistic sound and expression, to my studies at Martin Luther University from 1997 to 2000 in the class of Prof. Marco Antonio de Almeida and Prof. Elgin Roth.

I currently head the Institute for Young Students at the Detmold University of Music (DJI) and also teach piano in all degree programs. My main goal here is to help develop an ideal methodology for piano instruction that leads purposefully and seamlessly from kindergarten to university studies and enables the excellent promotion of talented children and young people in our modern times.

我是一位活躍於國際舞台的鋼琴家和教師。過去三十年間，我的音樂會和大師班足跡遍佈亞洲、歐洲、南美洲和中美洲。我的童年早期在波蘭的卡托維茲和克拉科夫度過，之後隨父母移民委內瑞拉，在馬拉開波度過了我的童年和青年時期。因此，我對這兩個國家都懷抱著強烈的歸屬感，並融合了波蘭和委內瑞拉文化的許多特質。我同時擁有波蘭和委內瑞拉的國籍。

年輕時，我前往美國（印第安納大學），之後又來到德國，在代特莫爾德、慕尼黑和哈雷/薩勒接受鋼琴演奏和教學方面的專業訓練。身為鋼琴家，我熱愛旅行，渴望了解不同的國家和人民。最近，我曾造訪薩爾瓦多、哈瓦那、澳門、香港和成都。

我演奏時的最大願望是透過音樂觸動聽眾的心靈。因此，我的曲目並非主要以炫技取勝，而是以無需言語卻能超越言語、觸動我們內心深處的作品來構成，正如弗朗西斯·雨果的名言：“音樂表達了無法言說之事，以及我們無法保持沉默之事”，還有安徒生的名言：“音樂訴說著言語無法表達之事”。當然，弗雷德里克·蕭邦是我最喜愛的作曲家之一，但我同樣鍾情於約翰·塞巴斯蒂安·巴赫、路德維希·馮·貝多芬、弗雷德里克·舒伯特和約瑟夫·布拉姆斯。二十世紀的音樂，尤其是拉丁美洲作曲家如亨利·維拉-洛博斯和安德烈·希納斯特拉的作品，也豐富了我的曲目。

作為一名教師，我與弗雷德里克·蕭邦的理念和概念非常契合。蕭邦始終強調鋼琴演奏方法的靈活性（souplesse）、輕鬆性和身體協調性。他的鋼琴演奏理想後來被德國方法論家路德維希·德佩和荷蘭鋼琴家伊麗莎白·卡蘭德進一步發展，並在多部論著中得到闡述。最終，我之所以能夠掌握這些理論和方法，並將演奏時良好的身體運用與藝術性的音色和表現力相結合，要歸功於我在1997年至2000年間於馬丁·路德大學師從馬可·安東尼奧·德·阿爾梅達教授和埃爾金·羅斯教授的學習經歷。

目前，我擔任代特莫爾德音樂學院（DJI）青少年學生學院院長，並在所有學位課程中教授鋼琴。我的主要目標是幫助發展一種理想的鋼琴教學方法，該方法能夠有目的地、無縫地從幼兒園過渡到大學學習，並能夠在我們這個時代出色地培養有才華的兒童和青少年。