Born in 1988 in Warsaw, Poland she begun conducting after 12 years of musical training. Having received a Bachelor of Arts degree in Orchestral & Opera Conducting from the Fryderyk Chopin University of Music in Warsaw, she relocated to Vienna to pursue her Master studies in Orchestral & Choral Conducting with Professors Mark Stringer, Yuji Yuhasa and Erwin Ortner




at the University of Music and Performing Arts. She has been a participant in master classes by Bertrand de Billy, Simone Young, Clark Rundell, Gustav Meier and James Ross and festivals Cabrillo Festival of Contemporary Music, European Academy for Choral Conductors, Pierre Monteux School for Conductors and Orchestra Musicians and Die Internationale Sommerakademie P-W-B




Mrs. Gardolinska has appeared as conductor with the Polish Baltic Chopin Philharmonik i Gdansk , the Spirit of Europe Orchestra and the Symphony Orchestra of Filharmonia Podkarpacka A. Malawskiego in Rzeszów, Poland. Some of the stages where she has performed include the Baltic Philharmonic Hall in Gdansk and the Wiener Konzerthaus, where she led the debut of the Valsassina Ensemble.


Tell us about the V E.

V E. is a one of a kind music ensemble. Started by a singer striving for musical independence it gathers musicians from all over the world. Our common goal is to make music the way we feel in an atmosphere of respect and intellectual exchange. All of the members being young and  having strong musical personalities along with high level musical training makes our collaboration be a really exciting experience.



Tell us about your collaboration with the V E.

I have started working with V E. in Spring of 2013. I was invited to record two Schubert songs arranged for voice and string ensemble in the beautiful Eroica-saal of the Palais Lobkovitz in Vienna. My first task was to fill repertoire of the recording with some light and cheery piece in the style of wiener Klassik. I chose a Haydn Divertimento - working on this piece in a hall like this was so inspiring! For my next project I had a chance to lead the V E. in their debut concert in Konzerthaus in Vienna. We had a beautiful program of Mexican music - it was all new to me and I'm very thankful that I could get to know it. It was also a debut in Konzerthaus for me - a very special date.



What does the "city of Vienna" mean for you?

The city of Vienna for me is the city of classical music at its best and purest quality. There's something about this place that a musician can feel all those centuries of tradition, style, history. There's no better place to fall in love in classical music or to train your sensitivity and sharpen musical instincts. On the other hand, for me personally it's a city that I will never understand. Mentality of people, the speed of life which seems to be taken from the nineteenth century - it definately is something unique. I like to focus here on the musical life and that's where I feel good.



Does one always have to perform Mozart, Schubert and Brahms in Vienna?

Not at all. If we even want to stay within repertoire of great composers that lived in Vienna, the choices we have are endless! We've got the late romanticism with Mahler and Strauss, we've got 20th centuries break with Schoenberg and so on. Also for now - there's a pretty big and lively modern music scene in Vienna.


How is life as a young successful musician?

Busy. I'm writing these very lines on my smartphone in a hotel room in Germany and I am in quite a rush, because in 30 min I have to be in a bus taking me to next hotel in another city where I'll conduct another performance of Der Vogelhaendler by Carl Zeller. On my way I'll be writing my Diplomarbeit for the university, as I am graduating in June. This is a time for me where I cannot stop. Having lots of things to do is a blessing and hope for a good future and I try to not let myself remember that I get very tired sometimes. No time for that now!



Do you play an instrument?

Yes, I play the flute and piano. Piano was for a long time just an annoying part of my studies, but now I start to enjoy playing it more and more and search ways to make chamber music with other instrumentalists. My big love is also singing. I take individual lessons and work in several choirs in Vienna.


With which composer would you like to go for a coffee?/ Which

composer would you have liked to go for a coffee with?

Haydn - he seems like a very funny guy and I love laughing, Debussy - magnificent composer who put focus on pure, beautiful sound, Ravel and Rimski-Korsakov together because of their orchestral imagination.





Where would you most like to perform?

La Scala, Berlin Philharmonic Hall... I don't know. Of course all of those great halls with big history, but I have to say, that after having already performed in the viennese Konzerthaus, Salzburger Festspielhaus, Moscow Conservatory - one gets a bit calmer about those things. It's not about the name of the place but about the music you make and musicians you're there with







With whom would you ideally like to collaborate?

With professional musicians that make music with passion, are open minded, collaborative, honest and responsible. That opens a possibility of endless musical pleasure








Which work would you like to conduct?

Mahler 2nd Symphony, Debussy La Mer, Panufnik Sinfonia Sacra, Szymanowski Stabat Mater, the Rite of Spring ;)






What was your finest moment on stage?

As conductor - Rachmaninov 2nd piano concerto. It wasn't really even on stage but in a rehearsal room during a conducting lesson. We did 2nd movement, I had a fantastic pianist (also a conductor) Dan Zhou. Making music together seemed so obvious, beautiful and was very powerful. I couldn't sleep that night.






Can music change the world?

In a sense, yes. In my opinion, what is most important for creating a shape of our world are mass media. Stuff that a common man hears after turning on the radio, TV or searching randomly through youtube. If you ask me what classical music could bring to the world, it is for sure sensitivity, compassion, reflection. I think we all need that.






Marta Gardolinska - Interview - January 2014