Elzbieta Wiedner-Zajac © Patrick Krakora

Wiedner-Zajac Elzbieta


# Title Year of Originsort icon Duration Instrumentation Category Sheet Music Shop
1 Fallende Blätter (Walzer) - Hommage à Leszetycki 2015 3m
2 Allegretto giocoso - for oboe solo 2014
3 Wiegenlied für Vincent - for 2 violoncellos 2014
4 Wiegenlied für Fabian - for violoncello solo 2014
5 Wiegenlied für Fabian 2013 2m
6 Tango appassionata 2013 4m
7 Cantabile 2013 1m 30s
8 Cantabile - for violin (or oboe) and piano 2013
9 Palmen im Wind 2012 ~ 4m
10 Wspieraj w kazdy czas - (Unterstütze zu jeder Zeit) 2011 ~ 3m
11 Co mi mówisz? - (Was sagst du mir?) 2011 ~ 3m
12 Masowische Weiden (!Chopin!) 2010 - 2011 3m
13 Temperamente 2009 - 2010 12m
14 Gemütsstimmungen - Drei Stücke für eine Singstimme (Vocalise) und Saxophonquartett 2009 - 2010 ~ 10m
15 Herbstlied - Nach dem Gedicht von Sarah Aurelia von Sachsen Coburg und Gotha 2009 ~ 4m
16 Präludium in Sol 2009 ~ 3m 30s
17 Ballade 2009 ~ 4m
18 Wiegenlied für Vincent 2009 ~ 1m
19 Der Fischer 2008 7m
20 Wedding Song - for Piano 2008 ~ 5m
21 Hochzeitslied 2007 ~ 5m 30s
22 "Oh ferner Vogel …" - Vocalise 2007 ~ 4m
23 Prelude in Re 2007 - 2008 ~ 3m
24 Präludium in La 2006 ~ 2m
25 Präludium in La 2006 - 2007 ~ 3m
26 Eine kleine Fantasie für Anna 2005 ~ 3m
27 Affaire compliquèe (Verwickelte Geschichte) - Canon - Arrangement für Oboe und Klavier des Klavierstückes von Theodor Leschetizky 2005
28 Nocturne - Arrangement für Oboe und Klavier des Klavierstückes von Theodor Leschetizky 2005
29 Seven Preludes in spectrals colours 2004 ~ 13m
30 Zwei poetische Etüden 2003 - 2004 ~ 3m 30s
31 Fünf Variationen über ein polnisches Weihnachtslied "Lulajże Jezuniu" - ("Schlaf, Jesulein, schlaf") 2003 - 2004 ~ 7m
32 Geburtstagslied - Jenö Takács zum 100. Geburtstag 2002 ~ 4m
33 Zwei Lieder zu Gedichten von Wisława Szymborska 2002 - 2003 ~ 5m
34 Phantasie über Themen von Chopin und Schumann 1999 ~ 7m

General Information

Place of Birth:  Bedzin
Country of Birth: 


The pianist and composer Elzbieta Wiedner-Zajac was born in Będzin, Poland. She has been living in Vienna since 1979. She studied in Poland at the University of Music in Katowice and in Gdansk (piano with Professor Zbigniew Śliwiński), in the USA at the University of Michgan, Ann Arbor (piano with Professor György Sándor), and in Austria at the University of Music and Performing Arts Vienna (piano with Professor Dieter Weber).


Numerous prizes at national and international competitions - including several first prizes – in Poland, the USA, Italy and Spain heralded the start of her busy concert schedule, which has taken her to many of the countries of continental Europe, to Great Britain, Iceland and the Faroe Islands, and to Turkey, as well as Hong Kong, Southeast Asia, Japan and the USA. Her performances at international festivals have taken the pianist to the Cardiff Festival of Music and the Ruhr Piano Festival, amongst others. She has appeared several times in the Golden Hall at Vienna’s Musikverein, performing works for piano and orchestra by Frédéric Chopin.


Over the course of many years, the pianist has made many solo recordings for radio and television, including the television programme "The artistry of Elzbieta Zajac" which was broadcast in ten states in the USA. Her records have received rave reviews in the trade press.
Elzbieta Wiedner-Zajac has been regularly writing her own compositions since 1999. Her debut concert as a composer was given at Vienna's Alte Schmiede venue in 2004. Since then, her works have been performed regularly in concerts around the world. In 2007 she received honourable mention in the Jenö Takács composition competition for her piece "Oh ferner Vogel ...", a vocalise for voice and piano (left hand).


The artist is a member of the Austrian Composers' Society, is on the board of the International Chopin Society in Vienna, is chair of the Club of Professors at the Research Centre of the Polish Academy of Sciences in Vienna, and she is on the board of the Leschetizky Association in Bad Ischl. The Republic of Poland awarded Elzbieta Wiedner-Zajac the medal "For Services to Polish Culture" and the Officer's Cross "Polonia Restituta". The Republic of Austria awarded her the "Austrian Cross of Honour for Science and the Arts".


PeriodEducationInstrumentTeacherEducation OrganisationLocation
1963 - 1965

studies with Zbigniew Śliwiński

1965 - 1969

diploma with honors; academic title of "Master of Arts" (Zbigniew Śliwiński)

1969 - 1971

Michigan University - School of Music, Ann Arbor (USA): final degree in her studies, academic title of "Master of Music" (György Sándor)

1975 - 1976


1970 - 1971

Michigan University - School of Music: teaching fellow in piano

1971 - 1976

teaching activities in piano

1976 - 1978

teaching activities in piano

1982 - 1986

lecturer in preparation courses for piano

1986 - 1995

lecturer, compulsory subject piano in the Departments of string and wind instruments, for a short time also teacher of piano to organists at the Department of keyboard instruments

1995 - 2004

contract teacher in piano at the Departments of string and wind instruments

2004 - 2009

ao. Univ.-Prof. in the piano-subject


master classes on the Faroe Islands (Tórshavnar Musikkskúli)


ever since instructor (piano)

2009 - 2013

Research Centre of the Polish Academy of Sciences (PAW): chair of the Club of Professors, since 2013 only member


master classes and jury member at the Youth Music Tour - Courses & Competitions for young chinese pianists


master classes and jury member at the Youth Music Tour - Courses & Competitions for young chinese pianists


master classes and jury member at the Youth Music Tour - Courses & Competitions for young chinese pianists


master classes on the Faroe Islands (Tórshavnar Musikkskúli)

member of the German Leschetizky Society

member of the Leschetizky Association

Commissions (Selection)

PeriodCommissionCompositionCommissioner (Organisation)Commissioner (Person)

a piece of 3 minutes length for the 8 year old violonist Anna-Luisa Mahaffy; for the Vienna Competition "Prima la musica 2006"


a song for one student of Claudia Visca - for a performance in concert


a composition for a CD-production by Bock Productions Vienna


PeriodAwardCompositionAwarding Organisation

honourable mention in the Jenö Takács composition competition


Club of Polish Intellectuals in Vienna: Golden Owl for services to culture


8th Harmonia Classica international composition competition: award for the cycle "Temperamente" (Temperaments) for flute and piano


2nd Prize at the IV. International Composition Competition "Antonio Smareglia" in Italy

Republic of Poland: Officer's Cross "Polonia Restituta"

Republic of Poland: Medal "For Services to Polish Culture"

Austrian Cross of Honour for Science and the Arts

Description of Style

I compose at the piano, but the general concept and the framework of my plays mostly come about earlier, and then in my imagination. In all my compositions, the piano "feels" to be visible. My fingers often "think of" their own techniques, only controlled by intellectual and musical ideas. Isolated experiments and being modern at any price does not appeal to me. As well as to use music to provoke and irritate, this is not me. With my music, I want to communicate with the audience as well as to touch them in a sophisticated way.


I write primarily tonal, thereby not excluding innovative ways for composing. I am not necessarily making use of major or minor keys, but rather use harmonious "landscapes", developed by anticipated listening and emotions. Human inspiration is very important to me - I refer to this in my dedications.


I try to transmit my deepest feelings on the musical note paper - on real music paper. Pencils are  familiar and personal tools to me, they are much more familiar than computer keyboards and a mouse. Only lateron everything will translated into Sibelius notation. In my pieces of chamber music the piano part usually tends to be equal to the solo, but often it is of much higher degree of difficulty. Some of my piano compositions are written only for the left or for the right hand. Of course the sostenuto pedal plays an important role. But in general, the pedal technique is of great importance to me: when executing the legati of the Cantabile, when in search for specific dynamic nuances, and of course when creating different sounds. My ears and my instinct often lead me through difficult keys (often with many accidentals). At most times I record the fingerings accurately - as they are of great importance for correct musical performances.


As for the form, I'm quite traditional: preludes, etudes, variations, ballad, fantasy, song form, as well as character pieces in the form of cycles. Melody is very important to me; as well as - the Cantabile.


Which composers did influence me? There are several: Scriabin, Ravel, Szymanowski, Bartok, Rachmaninov, but above all - Chopin.
All my compositions have been created in Vienna.

Press Reviews


An evening with piano by Elzbieta Wiedner-Zajac: In the Bösendorfersaal of the Mozart House at Wiener Domgasse on 22 November 2011 Elzbieta Wiedner-Zajac performed at a piano evening, playing works by Liszt, Chopin, Mozart and some of her own compositions [...] She also played a very beautiful composition of her own being a  mazurka "Masovian willows" - in memory of her former piano teachers and professors, Maria and Zbigniew Sliwinski. The grateful audience gave a lot of sympathetic applause to the artist.

Prof. Dr. Theodor Kanitzer; Österreich - Polen Zeitschrift für Kultur und Wirtschaft (Attachment: Wiener Chopin-Blätter)



"Unforgettable concert - Anyone who was not present at this cultural event – even though it all took place on 13 March 2004 at Vienna's renowned "Alte Schmiede" venue – missed an artistic enjoyment of the highest order, as the composer, pianist and teacher Elzbieta Wiedner-Zajac presented her virtuoso, proverbial "wild talon" to her guests on that evening […] The creativity, spirit and huge talent of the artist created a truly unforgettable atmosphere. The audience was as captivated by Wiedner-Zajac's own compositions (Fantasia on Chopin and Schumann, songs with texts by Wislawa Szymborska, two poetic Etudes and a number of preludes) as they were by her naturalness and modesty, attributes seldom found these days [...] Those present at this meeting with Elzbieta Wiedner-Zajac also learned a little about her life, which the artist talked about invitingly, simply and modestly; it was absolutely fascinating. The pianist enchanted her audience especially with her preludes, composed under the influence of colours, showing that one can give also give haunting expression to colours with harmonious, colourful sounds."

Prof. Dr. Adam Zieli?ski (Wien), Austriapol Web-Reportage



Brand new to the market, there is a recording of Elzbieta Wiedner-Zajac. Here is the guide "Jeno Takacs, and the Austrian and Hungarian piano music tradition", which connects the key works of Takács' concert pieces (in addition to the work group op. 43, the Tombeau de Franz Liszt op. 100) with Austrian and Hungarian dance like tunes (Polka o. op., Pester Walzer o. op.). This in turn is associated with works by Liszt, Leschetizky, Strauß/Schulhof and put togehter by the pianist to a lovingly-appealing "birthday song" for Jeno Takacs (EX 583-2).

Klangpunkte (Nr. 15), Wien - Doblinger Verlagsnachrichten

Teacher of (Person)

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