Born in Kołobrzeg, lived and moulded in Warsaw, Cracow, Paris and Rome.
1. A Polish artist
Drewnowski’s career is closely connected with the Polish music masters of the 20th century: from
Szymanowski to Kisielewski, from Lutosławski to Tansman and Palester,
Those eminent composers were true masters for the young pianist; except Szymanowski, he met them in person. It was not long before he began working on their compositions.
In 1974, Witold Lutosławski accompanies the pianist at a recording session of his own two Etudes [of 1941], recorded for the first time to be released, later on, on a CD by the Polish Radio. Following the recording, Lutosławski is generous with praise, expressing his gratitude to Tadeusz Kaczyński (a critic and Lutosławski’s biographer) for appointing the young performer.
In 1977, in Paris, Drewnowski works with Aleksander Tansman on the composer’s Piano Concerto No. 2, to be conducted by Pedro Ignazio Calderon and performed with the National Philharmonic Orchestra on 16 December, 1977. It is meant to be the Polish premiere of the concert.
Later on, after hearing the tape with the concert recording, at the site of the Association of Polish Composers, Transman, visiting Poland for the first time following his long-time absence, will express his opinion about the artist: “When listening to Drewnowski’s recording, I was amazed to have been able to perform that concert”
On the 23rd September of 1991, a few days preceding Kisielewski’s death, Drewnowski performs his piano concert with the Silesian Philharmonic Orchestra, conducted by Jerzy Swoboda, at the prestigious, world-renown festival – Warsaw Autumn and receives