LS Adam, describe how you saw the competition, what did you most like about it?

AW I saw it probably more as an opportunity to play music – that was the predominant attraction of the concert – and a chance to play pieces to an audience, a chance to play in front of my teacher, which I rarely get a chance. I guess also to be part of the Polish community, to play at the Polish Club and to have a chance to play in front of a different setting.

LS We don’t often get chances to hear classical music, of course. Were there large crowds? Did the people enjoy what they heard – indeed, were they there on both days?

Above: Adam with his Szymanowski Medal and diploma; performing on the Sunday.

AW I think the first day people weren’t there, but generally comparing this concert to the last, two years ago, I don’t think as many people came. Though on the final concert and from what I saw, they did enjoy it. People did enjoy seeing Polish people – working, cultivating their talent, performing works and enjoying themselves, and the audience got a little joy from seeing Polish people blossoming, trying very hard to play well. I think they did enjoy it. It was a very good opportunity for Polish people to showcase their talent.

LS Wonderful! And to what standard do you think the compositions were executed this year?

AW I think they were executed to a very good standard. I have trouble sometimes remembering the last two years, but I think the standard for this second competition, was equal to the last one – if not better. It is constantly better. Especially the final. The people who play at the final, all of them, are very well prepared and very involved in what they’re doing. You could see they really thought through the pieces they played and were very alive, so that was a very good thing to see. The standard was quite high.

LS And there were, of course, not only violin performances such as yours, there were numerous other musical instruments.

AW Yes, pianists that played beautifully, singers, and a girl played on the double bass and the cello. So there was a good variety of singers, violin string instruments, pianists, and a good variety of repertoires taken from a lot of Polish composers – some Winiawski, Szymanowski, Sarasate and Kull ... Chopin, of course. A lot of people who were well prepared and a good selection of repertoire to keep the audience interested.

LS A myriad of musical styles!

The Szymanowski Medal, presented by Professor Wanda Wi³komirska.

AW Yes, indeed.

LS Could you describe your performance, what you played and whose composition you played?

AW The first two performances I played on the Saturday were the first movement of the Szymanowksi sonata – D Minor, Opus 9 – and Bloch’s Nigun – the second movement from the Baal Shem suite and pictures from a Chassidic life. For the Sunday, for the final, I played just the Nigun, because the Szymanowski is quite long and involved at nine minutes. I really do love that piece – I love the connection to it, I find it’s a very, very deep, very beautifully written piece, which is probably why it’s one of the standard war horses of the violin repertoire – everyone has to really know the Nigun and it’s one of the standard pieces you should be able to pull out at any time and perform.

LS For those who may not be violin players, or may not have heard it on such a wide scale as others have, could you perhaps describe some of the timbres, cadences and flavours of these compositions. Is there a story to Bloch’s Nigun?

AW The Nigun, the whole suite, particularly the Baal Shem suite, is describing the various aspects of a Chassidic Jew’s life. There are three movements, the Vidui, which is the Contrition, repentance; the Nigun, which I did, which is the Chassidic improvisation, which is an integral part of the way of life; and the third one, the Astora, a celebration where they rejoice – a very happy occasion. So each of them, each of the three movements – have their own flavour. And the Nigun which I played is the most well known of the three, the most popular, and the most performed. It is basically a piece which allows the violinist to take upon the role of a Chassidic singer, with a great depth of devotion to God, a fiery passion. So anybody can play the Nigun with equal passion, and add their own colour to it, their own flavour ... It has a whole kaleidoscope of emotions – from very soft, very sad, to very impassioned and very fiery and determined, and I find that to be really appealing about it. Technically, it’s a tricky piece and it has tricky passages, but it’s a very satisfying one to play.

LS And your other composition?

AW The Szymanowski of course doesn’t really contrast as much to the Bloch Nigun but it was written when Szymanowki was quite young, so it’s Szymanowski still at his development – I don’t think he’s still at his full, prime stage of composing; the flavour of Szymanowksi – especially his violin concerto and his string quartets – later came out during his compositions. But the sonata is very well written, it’s very romantic, very emotional. I can see his influence in developing as a young man – the influence of Brahms, Wagner, experimenting with tonality, colour – he was very much interested in that, and for a first violin sonata (he didn’t write another one as far as I know) it’s a very, very beautiful sonata. It’s a shame he didn’t write more of them in later years, when he was very well acquainted with composition and the form, the genre - but it takes time, I guess, for a composer to really fall into the genre, to know how to write a sonata. It’s a difficult process, but for a first sonata it’s absolutely gorgeous, he was an absolute genius, there’s no doubt about that.

On the lawns of the Conservatorium.

LS And, of course, you came equally third, congratulations ...

AW Thank you.

LS ... How did that feel, winning?

AW It was very gratifying to be able to come third, but even more gratifying was just to play and get a chance to perform, because more often than not, we as violinists, find it difficult to get a chance to perform – so when you do get a chance, you treasure it. But the main thing is that you get incredible satisfaction from playing the works, from performing them – the experience that comes from that and you grow from that. And the chance to perform Szymanowski after studying his first movement of the sonata, and being able to perform it, going through it, is itself a very gratifying experience – and of, course, the Nigun as well. It makes you very happy and humble to be able to perform pieces in front of an audience.

LS Now, of course, you’ve just finished your first year of studies at the Sydney Conservatorium of Music. Did you always want to study music after high school?

AW Yes … I saw it as my road that I wanted to go down, ever since my admittance to Conservatorium High School from Year 11 onwards. Being in that environment set me to keep pursuing my studies in the institution with Professor Wi³komirska.

LS And how do you find your lessons with Professor Wi³komirska?

AW Very interesting! I enjoy them and treasure each one. The lessons are conducted in Polish, as I understand polish, as does Profesor Wi³komirska of course – that’s her strongest language and most natural tongue. Lessons normally go for more than an hour (lessons at the Conservatorium are usually only one hour,) though Professor Wi³komirska is incredibly generous with her time to all of her students, and every one of those minutes is utilised to its most.

LS Every lesson is precious.

AW Every lesson is precious! Every lesson is seen as a chance to improve oneself and she’s always very open to provide better ideas. She allows the student to develop themselves, and she always fosters an increased knowledge of how to play a certain phrase, get a feel of the piece; she has excellent fingerings, bowings; different ideas of colour, strings, of how to perform. Very practical advice, very imaginative. Technically – she’s well acquainted with all the technical aspects as well, and how to improve the students. And so she’s an incredibly precious teacher for the Conservatorium, she’s one of the gems of the Conservatorium.

View toward the general entrance.

LS A gem for the Conservatorium as well as for the Polish community, of course!

AW Of course! And they take enormous pride in her as one of their main virtuoso violinists of their era, and she is of course acquainted with the great violinists, being one herself. Her performances were amazing, she’s well known throughout the world. I often talk to people in America who tell me that I’m very luck to study with her – and luckily she came to Australia after over a decade in Germany. And I think we should count ourselves very lucky to have her as a person to inspire us and to cultivate art in Australia.

LS And what other lessons do you have at the Conservatorium, aside from your lessons with Professor Wi³komirska?

AW Well, we have of course other musical aspects. This year, I had several subjects, the majority of them associated with music, but there is the occasional subject which is more historically based. This semester I also studied violin pedagogy, with Profesor Richter and I also studied harmony, aural analysis, historical and cultural studies, music history and orchestral studies. Next year, I do chamber music, which I’m looking forward to.

LS Do you intend to see your studies right through? Would you like to perhaps complete Honours some day?

AW I was thinking about doing Honours. I’d very much like to. But I was also thinking in third or fourth year, to apply for certain scholarships – the Conservatorium funding a trip to another conservatorium in another country, expenses paid, and you get to study with another person.

LS And of which Conservatorium do you dream?

Adam's treasured violin, resting upon his Szymanowski score.

AW I don’t really think about the conservatoriums, I really look at who is teaching. Some of the teachers unfortunately are still concertising – a lot of them are very busy, still very active. When you look at the great violinists – with a great knowledge of performing –they’re hard to get lessons from, for example - Ivry Gitlis, as I understand, still travels extensively, as well Ruggiero Ricci.

LS And following the Conservatorium? Where do you see yourself – concertising, writing a Doctorate, teaching others ...?

AW Of course I’ll be teaching. I’ll start teaching soon, and teach beginners. I think pedagogy gave me a good, solid grounding in how to teach young people. The basics are the things every violinist needs, and these fundamentals are not cultivated often – technical problems I myself had in my early teens. I’d love to do chamber music, apply for orchestras in Australia and overseas, recitals, international competitions – which are all the key to starting on the road to being a great performer, so all of those avenues I’d like to pursue. The thing is just to constantly put effort in, and with time, the rest will come.

LS Practice makes perfect.

AW Pretty much. Though the way to practice is not itself trained as much, particularly practice habits – studying the score, leaning away from the violin – often are not done enough. It’s always about improving one’s efficiency, about learning more in a shorter amount of time.

LS And you mentioned the Polish community in Australia. What about Australian society in general? What is the musical ‘scene’ like – particularly orchestral and classical – how do Australians view these?

AW Australia doesn’t have a musical department developed to the extent of other countries – particularly Europe. People from overseas describe Australia as a place where musical culture is not developed. One of the problems is that ticket prices are very high, while overseas, people can afford to go to concerts, playing is much more regular, the standard is higher, there is more experience and exposure. Australia has really only had 100 years! But it’s going to get better and I think that needs to be cultured. There are people here who view classical music in a favourable light and support it … though you really can’t compare places like Australia to Europe or the US. But the thing I think is beautiful about Australia is that it’s not very fast paced, and not as pushy, that’s good for musical development. I think generally Australia has a very, very good future.

LS Absolutely. And you’ll be in the front line yourself, no doubt!

The Conservatorium of Sydney, illuminated by night. Photo: The University of Sydney, the Conservatorium of Music.

AW I hope so.

LS I’m sure of it. What performances or pieces do you like to play yourself? What’s your favourite kind of music?

AW I adore a variety of sounds – the Romantics, Baroques, Classical as well as Contemporary. Major compositions ... I adore Ernest Bloch’s pieces, Bach, Brahms – but every composer has their own little world they like to enter. There is one composer I have yet to really appreciate – which I’m ashamed to say is Wagner ... I’d love to listen to more of his pieces, though I’m yet to appreciate him.

LS And Wagner probably requires some sort of advanced training?

AW Yes, yes – training in harmony, to really understand the way he bent harmony, the way he pushed it and revolutionised it, and I still have a lot of time and a lot to learn – so many complexities, so many mature plots. One’s whole life is spent really trying to understand all of these experiences.

LS Ah, experiences – have you been able to compose many pieces yourself, perhaps? Inhabit your own worlds?

Above: Adam leaning upon an orb in the Royal Botannical Gardens.

AW I’ve written several pieces – one for the HSC, a variation on a polish folk-dance for violin and piano. I’ve also written a trio, for two violins and a cello. I find composition is more difficult than performing and requires not only an understanding of emotion, but also its portrayal – you have to create the notes from scratch. So, I like to dabble in it, but it’s difficult and tiresome, and you need to have training to compose large-scale works.

LS And do you find you’re able to balance music as well as your other commitments?

AW I think so. But most are musical commitments. I used to have subjects like maths and English in high school, which drew me away, so now I’m able to devote myself to music more fully.

LS And now you’re able to devote more time?

AW Definitely.

LS Well then, if we were, say, to walk into your room now and look at your music stand, what would we find you practicing before you go to bed?

AW You’d probably find the rest of the Szymanowski sonata, and the rest of the Balshem suite, Bach, Ravel – typical classical composers, a lot of romantics.

Adam enjoying coffee with his mentor, Professor Wi³komirska.

LS And the rest of your family – do they share this love of music, as well?

AW I think they do – they’ve embraced it, been there with me; as I developed, they’ve developed. They’ve been through the struggles and embraced them too, gaining knowledge with me. At the start, none of us really knew how it worked, but now we’re acquainted with it, and supporters of it. They give me positive criticism, always my supporters and always encouraging me.

LS Supporters and devotes?

AW Yeah, I think they are, though definitely supporters. I once practiced at 2am in the morning, and that was still allowed (unless my sister was objecting!) That environment – of being able to play and practice – that helps cultivate a love of music in general.

LS Finally, for anyone who has ever aspired to playing violin, or desired to nurture their ambitions and musical talent, or to study at the Conservatorium with such excellent teachers as yours – what advice would you give them?

Today, the Conservatorium ... Tomorrow, the Opera House!

AW You’d have to find a teacher to teach the fundamentals – there’s a difference between a beginner and an advanced student, but beginners require more skill. It’s easier said than done to find a violin teacher – there are more piano teachers in Australia. They should by all means contact a teacher – there are lists on the Internet where teachers can be found, one who is well versed and knows what they’re doing, and then meet for a preliminary discussion. It requires a consistent financial attitude, too, as well as a lot of work. The parents really have to support the child, and the child will inevitably make good progress and learn to love their instrument. Hopefully, I’ll start teaching, and would love to teach violin, myself – to make it fun and to make myself expendable as a teacher. It can’t be an activity or a chore – it has to be something rewarding, something that they’d love to do.

LS And to aspire to play one day as well as you have been.

AW Oh! Well, inspire to play and express oneself, I think ... To gain that incredible satisfaction, as well.

LS Well, congratulations, once again ...

AW Thanks a lot.

LS ... And thank you very much.