Triple winner of the II International Music Eagles Award in the categories:

- soloist - solo concerts with orchestras	- phonographic album - "Quantum of Silence" (ODRADEK Records, USA)	- musical event - X EURO Chamber Music Festival Gdansk 2022

Bronze Medal for Merit to Culture – Gloria Artis

Oct 13 2022, The Royal Castle in Warsaw, Poland Source: https://www.gov.pl/web/kultura/medale-i-odznaczenia-z-okazji-dnia-edukacji-narodowej

Quantum of Silence CD - 6 nominacji do nagrody Opus Klassik 2022 w Niemczech w kategoriach:

- Instrumentalist of the Year
- Young Talent of the Year
- Solo Recording Instrument
- Classic without Limits
- World Premiere Recording
- New Classic


June 22, 2022 Berlin
Źródło: https://www.opusklassik.de/

"Quantum of Silence" album review

"I just finished listening to a wonderful recording “Quantum of Silence” made by Polish violist Krzysztof Komendarek-Tymendorf. The recording is a collection of solo viola pieces written by several contemporary Polish composers.  Not only is the music very attractive and interesting but it also requires tremendous know-how of the performer; both artistically and technically.  Mr. Komendarek’s rendition shows his great musicality, tremendous ease handling the challenging technical demands of various selections, and a very convincing style recognition."

Dr. Jerzy Kosmala
Viola professor at the University of California/Irvine
June 15, 2022

ReVIOLAtion oraz Quantum of Silence albums nominated by music critics for prestigious award - International Classical Music Awards 2022

Nov 16, 2021
International Classical Music Awards 2022

"I thoroughly enjoyed Krysztof Komendarek-Tymendorf's Naxos disc, ReVIOLAtion, a solo disc of music by Druzhinin, Weinberg, Vieuxremps, and Bacewicz (Fanfare 44:6). His second solo recording, Quantum of Silence, is if anything more wide-ranging.
The title itself, Quantum of Silence, refer to the idea of filling a space, a void, with sound. It alludes to the performer’s idea of “creating music through [his] individual experiences of time, that space between the notes”. Expressivity is the connecting thread, from Biber to composers who have written expressly for Komendarek-Tymendorf. The time in between notes (the very title and idea puts me in mind of the Abbado film, Hearing the Silence).
The Biber Passacaglia that opens the experience is played in C-Minor as opposed to the original G-Minor. This is a tremendous performance. And hearing it on viola seems to add to the gravitas of Biber’s 1676 masterpiece. The dialogue between technical challenge and timelessness is explored in this piece like few others; Komendarek-Tymendorf projects a real sense of dignity, his ornamentation perfectly judged.
The viola rumination that is Khachaturian’s Sonata-Song (1976) offers another step towards a renewed appreciation of this great Armenian composer. The lines sing, again timelessly. This Khachaturian is Komendarek-Tymendorf's bridge between the Baroque and the music of today; and it is amazing just how modern Khachaturian sounds in this piece, the composer’s final work (and a tribute to Shostakovich’s last work, his Viola Sonata). There is another tightrope here, that between Khachaturian’s own voice and that of the folk music that was so much a part of his output; again, Komendarek-Tymendorf finds just the right balance, the rhythms alive Gdansk-trained Tadusz Dixa (born 1983) offers an Elegy written in 2020; now, the ink is still wet (almost). Written for the present performer, the composer offers the choice of expression of the work’s melancholy as “dynamic dramaturgy” or with calmness and lyricism; there is sufficient energy here for me to suggest Komendarek-Tymendorf opted for the former. All credit to the performer, too, for the purity and control of harmonics and the projection of a perfectly smooth line, no easy feat. The stopping, too, is no mere effect here but carries music-dramatic weight. The piece Strange Waves (2020) by Maciej Zimka (born 1989) was inspired by the violent side of Nature and how these contrast with its inherent beauty. That dichotomy is reflected in the musical surface which often moves between extremes and the close recording certainly supports the visceral, elemental aspect. The composer utilizes the resonant lower end of the viola’s spectrum to fine effect. Dixa’s fellow student in Gdansk, Kamil Cieslik (born 1961) is represented by the 2020 piece Impression. A simple ternary structure, the central section is a march while the outer sections are written without barlines. Those long lines have something of the effect of a melancholy folksong to them; and Komendarek-Tymendorf plays them for all they are worth, his lower register again beautifully resonant.
Even more impressive is Magdalena Kuntziel’s Summer Evening. Born in 1996, this polymath composer was inspired by the paintings of American painter Edward Hopper. Again, melancholy is a prime ingredient, here a man talking to a woman who appears to be absent. Darkness surrounds them. Loneliness is the keyword here, and Komendarek-Tymendorf projects it perfectly, as always with faultless tuning and technique.
We move once more to a Gdansk-trained composer in Marek Czerniewicz (born 1974). His 2020 I play alone in the Gardens of the South is notable for the way lines (themselves implicit via pizzicato) are interrupted by shards of sound, sometimes violent. Inspired by a dream in which the composer walked in “a deserted, feral baroque garden” populated by bright palaces, the sound surface conveys that sense of other-worldliness while, somehow, retaining a bright sound. The piece is not the first to include a vocal part of r singing instrumentalist, but it is effectively done (and well sung by Komendarek-Tymendorf).
Great to see some Penderecki here, too, his Tanz (2010), a folkish encore piece, the Sarabanda (J. S. Bach In Memoriam, 2000/1), a reworking of a movement from his 1984 Divertimento for solo cello (and what beautifully glacial harmonics it has) and finally his 1984 Cadenza (a cadenza shorn of concerto but dazzling nonetheless), ruminatory, painful in its dissonance and extreme registral juxtapositions.
Finally, the four-movement Space by Anna Rocławska-Musiałczyk (born 1987). Written at the request of the present performer, this was the composer’s first work for solo viola. We are back now to the idea of space, here a musical stricture to be inhabited. The piece is a gradual crescendo, and Komendarek-Tymendorf traceing that increase in dynamic and virtuosity perfectly.
It is no surprise, given that this is released on Odradek, that he recording quality is beyond criticism. Komendarek-Tymendorf  is a fine violist, and his devotion to the music of our time, as well as himself increasing the repertoire for his chosen instrument, is to be admired. Recommended."

Colin Clarke
The above review will appear in the November/December issue of Fanfare Magazine.
Joel Flegler, editor, Fanfare Magazine.

Clouzine 9. International Music Award Fall 2021 - Best Classical Song - Polish Capriccio for Viola Solo (ReVIOLAtion CD)

Sep 27, 2021
Clouzine 9. International Music Award Fall 2021 - Best Classical Song - Polish Capriccio for Viola Solo (ReVIOLAtion CD)
Source: Clouzine International Music Award

Winner of the Music Eagle Award 2020 for the "ReVIOLAtion" album

29.08.2021
Source: http://muzyczneorly.pl/

Global Music Awards (USA)

Aug 7, 2021
Instrumentalist and Emerging artist
Silver Medal Winner
Źródło: http://www.globalmusicawards.com/

"Quantum of Silence" review - Magazine Presto

"On his second solo album, Tymendorf guides us through time and space in musical compositions from the baroque to the present day and once again he proves the viola to be a virtuoso and sensitive instrument. Finding a balance between sound and silence, the artist builds up a series of tensions fostered by the selected pieces permeated with extreme emotions that range from sadness, pain and longing to joy and happiness."

July 26, 2021
Maja Baczyńska, Anna Mielcarska, Kinga A. Wojciechowska
Translation: Dominika Pieczka
Source: Magazine Presto – Music-Movie-Art, issue number: 32/2021, p. 129

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"Quantum of Silence" selected by German classical music critics to the longlist 3/2021 - Preis der deutschen Schallplattenkritik

 

July 5, 2021
Longlist 3/2021 - Preis der deutschen Schallplattenkritik

Source: www.schallplattenkritik.de/bestenlisten/longlist/longlist-3-2021

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Gold Star Award - Best Instrumentalist CD

June 12, 2021
Music & Stars Awards - The World Shining Talent
Gold Star - Best Instrumentalist CD
Source: https://musicandstarsawards.com/best-cd-results-june-2021/

"Quantum of Silence" review - Ruch Muzyczny

"Quantum of Silence reflects upon on the question of time in music. The diverse repertoire – from Biber’s Passacaglia, through Penderecki’s works, to the latest pieces dedicated to the artist by Tricity composers – allows the performer to express himself in a whole range of manners. Among his most poignant renditions are the pieces by Marek Czerniewicz, Tadeusz Dixa, and Anna Rocławska-Musiałczyk. The turbulent emotions portray the soul of a man who has many a story to tell."

June 17, 2021
Sabrina Stachel
Translation: Dominika Pieczka
Source: Ruch Muzyczny, Issue Number: 12 /2021, p. 32

„ReVIOLAtion” review in Polska Płyta / Polska Muzyka

"With full conviction, one may conclude that Krzysztof Komendarek-Tymendorf is a world-class virtuoso violist, who pursues his own vision of music by presenting – this time – more diverse works. His interpretations of surprising compositions illustrated by the sound aesthetics of the viola have been released on his new album "Quantum of Silence."
Only a few months ago the excellent album ReVIOLAtion came out, and already we have got a new set of exquisite compositions saturated with even more color. The choice of repertoire for this new album seems extremely surprising, still it shows all the more versatility on the part of the artist, who is able to find his way in various musical spaces. The word “space” deserves special emphasis here, because in almost every track we can find the pure form of solo interpretations, arranged around the immediacy of the sound produced by a single instrument. On the album, the aforementioned space is plentiful, without any extraneous artificial elements. All of that means that the music is full of artistry, based solely on emotion, the sense of the moment, and the power of the instrument, which takes some astounding forms here. Its presence in the unlimited creative space can be truly poignant.
There are tension-building pauses, and even silence, which – against all odds – lends the renditions a vibrant element. This allows to grant appropriate depth, but also accessibility to such sublime compositions as "I Play Alone in the Garden" by Marek Czerniewicz.
Coming back to the variety of repertoire, it is worth mentioning that apart from Krzysztof Penderecki's works (which are a tribute to the artist) we will find here proposals composed by young artists too. Thus, next to Biber’s outstanding “Passacaglia” from 1676 (the oldest work on the record), there is “Impression” by Kamil Cieślik, a piece brimming with creative invention. The diversity of repertoire does not obscure Komendarek’s creative imagination, which easily finds its way in subsequent compositions. Each time he finds a manner to approach an unobvious form, sometimes reaching for pieces originally arranged for violin. This requires flexibility and the ability to present one's own ideas in a non-obvious musical profile.
What inspires admiration is the poise, the ability to maintain tension, the meticulous interweaving of emotion with professionalism that are able to bring to life the minutest elements of recorded compositions. The choice of repertoire also provides variety as it determines a certain energy which permeates them. All the little details on this album seem to coexist with one another according to a certain artistic strategy. The madness in “Strange Waves” is intertwined with a calibration of artistry in the somewhat unreal “Sarabande (J.S. Bach In Memoriam).”
On the album Quantum of Silence nuances are as important as various forms of expression, which Krzysztof Komendarek-Tymendorf is able to delineate with great virtuosity, flair, and proportion of sound. This album comprises an exquisitely beautiful set of several important compositions, which – due to the specificity of the instrument used here – acquire a new, unique, and even deeper meaning."

June 16, 2021
Łukasz Dębowski
Translation: Dominika Pieczka
Source: https://polskaplyta-polskamuzyka.pl/2021/06/14/krzysztof-komendarek-tymendorf-quantum-of-silence-recenzja/

4 nominations for Opus Klassik Award 2021 in Germany in the categories:

- Solo Recording - Instrument
- Instrumentalist of the Year
- Young Artist of the Year
- Classical music is without borders


Jun 6, 2021, Berlin
Translation: Dominika Pieczka
Source: https://www.opusklassik.de/

Review of „Quantum of Silence”

"Outstanding viola players are scarce. Listening to recordings by a young and ambitious violist Krzysztof KOMENDAREK-TYMENDORF was an exceptional discovery for me.
An overview of the young talented artist's creative output shows his remarkable achievements in both difficult and interesting repertoire, i.e., Khachaturian and Penderecki."

Recognition of Music Island

Quantum of Silence CD - recognition
 

Review of „Quantum of Silence”

"Bravo! First-class playing and a wonderfully varied solo viola album!"
 

Review in Pizzicato Magazine (Luxembourg)

"The title Quantum of Silence refers to statements of famous musicians like Casals, Couperin, Mahler or Mozart to find the meaning and content of music beyond the written notes in the soul, the text between the notes or even beyond the notes in silence. Komendarek-Tymendorf spans an arc with works from the 17th, the 20th as well as the 21st century, the latter represented by works written for him, to provide sights into different periods of music, which should also open the ear to the silence between the notes.
With the Passacaglia by Biber, which opens the CD, he has recorded a work otherwise played by violinists, while the other works, such as the Sonata-Song by Khachaturian and the more recent compositions, were created for the viola. The pieces by Polish composers, with the exception of the works by Penderecki, are works composed for him, which he has also recorded for the first time.
Now on a new label, Komendarek-Tymendorf has recaptured his second series of soloistic recordings with a full rich sound that is, however, not fat or obtrusive. He devotes himself to this compendium with a recent master instrument by a compatriot. In doing so, he succeeds impressively in symbolizing the elegy musically inherent in the sound of the instrument, but also in some of the works, as well as in bringing the forces of nature to life in Strange Waves, for example. And he also knows how to elicit pensive moods from his instrument, as in Czerniewicz’s work, and joyful ones, as in the dance characters."

May 27, 2021
Uwe Krusch
Review CD rating: 
Translation: Dominika Pieczka
Source: https://www.pizzicato.lu/reise-fur-viola-mit-schwerpunkt-im-heute/

A review of the album “Quantum of Silence” on the blog titled “Kronika Ludwika”

"After yesterday’s performance given by the violist Krzysztof Komendarek-Tymendorf, I could not help wondering about the role of virtuosos in lending character to the music they perform.
Hundreds of times have I heard about the astonishment composers feel when they did not anticipate how their music would sound in the hands of outstanding soloists, orchestras or conductors. It has happened many a time that compositions interpreted by the great ones seemed foreign to their creators...
The power of diverse musical imagination, emotional diversity, subtle perception of barely perceptible nuances in the mood of the moment, creative reading of scores according to the alphabet known only to themselves – all of this has made and will always render outstanding musicians co-creators of the masterpieces they perform.
On rare occasions, composers consciously create in such a simple way that virtuoso tricks become unnecessary ballast for their music.
The simplest and most sincere emotions, thoughts devoid of irony, sarcasm or falsehood, true and direct words, which are so obvious to children, acquire various, not always positive overtones along with the process of growing up. (...)
So when Mietek Weinberg asked me over dinner last night if I would like to listen to a brand-new album by Komendarek-Tymendorf – his new favourite violist – at first I said no, but when I caught a glimpse of the record’s title out of the corner of my eye, i.e., “Quantum of Silence,” I immediately knew that this could not have been a coincidence.
Remembering the previous album of this young Pole, I almost snatched the box with the recording from Weinberg’s hands and set off to my place, surprisingly excited (...)
Still, I made friends with the music slowly, as it was becoming increasingly intriguing with every moment I tamed it more and more. Finally, I got so engrossed in the music that I would not notice the knock on my door for a long time. It was only when the knock turned into a thud that I got up from my chair and, without turning off the record, went to the door where I found Johann Sebastian with a dozen or so renditions of his Christmas Oratorio in one hand, and in the other... the record by Komendarek-Tymendorf (...)
“There’s a wonderful piece by Czerniewicz coming up,” he said, breaking his tongue on the Polish name.
“Let’s listen together. Really worth it. Anyhow, we both know the Oratorio by heart. Besides, in a moment there will be this Sarabande in my honour...”
During a short intermission between the pieces, we heard a gentle knocking. Standing in the doorway was Penderecki. The new Komendarek-Tymendorf CD in hand...
“This is my Cadenza. It’s gonna be beautiful in just a second,” he declared. Then, without a word, he sat down next to Bach.
The album ended with a wonderful four-part piece called Space by Anna Rocławska-Musiałczyk, and as the last sounds of silence from her Largo misterioso subsided, I walked over to the table, took a fold of paper with my notes on the Christmas Oratorio that I had prepared for my meeting with Bach, and began leafing through them, waiting for Johann Sebastian’s questions.
“Let me be, Ludwik. On account of this Pole, I’m in an entirely different world today,” he said, carefully observing the unconcealable pride raising shades of red and white in Penderecki’s face (...)
“I’ll leave a dozen selected performances or so of this Oratorio of mine, but please don’t make me think back to Leipzig today. I’d much rather get to know this violist better. What’s his name?”
“Same as mine,” muttered Penderecki, noticeably satisfied."

A review of the album "ReVIOLAtion" on El Eniversal (Mexico)

"The play on words in the title of the debut album by a young Polish violist Krzysztof Komendarek-Tymendorf (1988) seems to offer the most pertinent punchline I have encountered in quite a long time: ReVIOLAtion (Naxos, 2020).
Not only does the album present a coherent repertoire for solo viola, which in itself is a revelation, but also – my personal interests aside – it focuses on a composer who only a few years ago was completely forgotten or unknown to most, i.e. Mieczysław Weinberg (1919-1996).
Not that everything here concentrates on him alone, but he certainly occupies a central position (and it is his work that fills half of the album's total running time), while the program as a concept forms a perfect circle around the axis he creates and closes from the perspective either of a Pole or an observer of a fragment of viola history. Or from the perspective of what needs to be re-evaluated, re-considered, re-examined. To do justice.
Besides Weinberg, present on the album thanks to his Sonata for Viola Solo No. 3 op. 135, to whom Shostakovich gave artistic, friendly and political support in his busy life, is Fyodor Druzhinin (1932-2007), better known as a violist than as a composer, to whom both Weinberg and Shostakovich dedicated their works (among them especially Shostakovich’s last work, Sonata for Viola and Piano, op. 147); from among his works, we can hear Sonata for Viola Solo from 1959 on the album.
After these two strong, deep, and heartrending pieces, the program closes with two works of virtuoso panache: the obligatory Capriccio in C minor op. 55 “Hommage à Paganini” by Henri Vieuxtamps (1820-1881), and – from among Polish oeuvre – Polish Capriccio by the eminent composer Grażyna Bacewicz (1909-1969), originally for violin and here in Jerzy Kosmala's version for viola.
In the hands of the Polish violist, this repertoire reveals the versatile sound capabilities of an instrument that someone once described as ideally suited to play with the vigorous virtuosity of the violin and the emotional acoustic weight of the cello. But above all, the musician shows the deep and concentrated expression of the aforementioned composers, sometimes full of resignation and pain, but always energetic and vibrant.
As indeed rumored for some time now, Weinberg has been enjoying a period of splendor since the centennial of his birthday was celebrated a few years ago, and various performers, such as violinists Linus Roth and Gidon Kremer and conductor Mirga Gražinytė-Tyla, have become indefatigable promoters of his work.
Also for some time now, though most intensely in the 2020s since the rise of Black Lives Matter movement in the United States, artists of African descent – past and present – have been experiencing a kind of revaluation that should be welcomed and embraced with interest. It manifests itself through the creation of new institutions dedicated to ensuring racial diversity in opera and ballet companies, through ongoing public discussions about including such diversity in early education, through commissions and programs planned for the near future, and through record productions in which such revaluation is also taking place."

„ReVIOLAtion” album of the day on Czech Radio

"This is a debut in the discography of this violist. The English title of his album, “ReVIOLAtion” (with a graphic emphasis inside it on the letters of the word “viola”), there is a play on words between two other terms besides the aforementioned “viola,” namely “revolution” and “revelation.” It is no accident that Krzysztof Komendarek-Tymendorf explicitly declares an intention to present his own instrument in new, creative, interesting, and even revolutionary a manner. Understandably, he also tries to convince his listeners that underestimating the viola serves no purpose... Listening to the pieces on the album, one can admit that in all likelihood the musician is perfectly capable of achieving this goal. Apart from the sonata by Fyodor Druzhinin, he also recorded the third one out of four sonatas written for viola solo by Mieczysław Weinberg, a somewhat forgotten but remarkably interesting Soviet composer. (...) As we learn from the record, Krzysztof Komendarek-Tymendorf (apart from his dramaturgical flair) really has the ability to play the viola in such a way that he clearly illuminates and emphasizes its unique role among the string instruments: in it, we discern both the virtuosity typical of the violin and the sonorous, deeper timbre reminiscent of the cello. (...)"

Apr 11, 2021
Petr Veber
Translation: Dominika Pieczka
Source: Český rozhlas, Prague, Czech Republic; https://vltava.rozhlas.cz/reviolation-8487444

Rating of „ReVIOLAtion” in Diapason Magazine (France)

   

Review CD rating: 5 Diapasons
Apr 1, 2021
Translation: Dominika Pieczka
Source: Diapason Magazine (France), Issue nr 699

„ReVIOLAtion” review -  American Record Guide

"…Fine, and the sound is excellent. I look forward to hearing more from Mr Komendarek-Tymendorf."

© 2021 American Record Guide
Read complete review on American Record Guide

March, 2021
Michelle Thomson
Translation: Dominika Pieczka
Source: American Record Guide

Review of „ReVIOLAtion” in Radio Signals

"Ostensibly, classical music is a relic, a thing of the past, associated more with the late 19th century and the Parisian parlors than with the present. Nothing can be further from the truth. Classical music is still alive and well, and its performers keep winning prestigious awards.
ReVIOLAtion is a debut album by a young violist Krzysztof Komendarek-Tymendorf. Albeit his first one, the record has already gained recognition from reviewers of the serious classical music media Pizzicato in Luxembourg on receiving the Supersonic Award for Outstanding Album. The title itself is not accidental and can be interpreted in two ways. It is close to the word revolution, i.e. revolution in the reading of musical works, in the way they are played, but it can also be derived from the word revelation, i.e. something astonishing and new, especially in the interpretation of classical works. The viola, i.e. Krzysztof Komendarek-Tymendorf’s instrument, is also intricately woven into the title.
Despite his young age, Krzysztof Komendarek-Tymendorf is undeniably a mature artist, who fully deserves to be called a virtuoso. From the very first note in his Viola Sonata: I. Largamente, the musician demonstrates his excellent technique and incredible ease with which he plays works that actually pose many technical difficulties. Krzysztof Komendarek-Tymendorf plays with the air of refinement characteristic of a classical musician. The grace and elegance do not falter even when he performs the most difficult passages. His interpretation of sonatas by Fyodor Druzhinin and Mieczysław Weinberg combines respect for tradition with a touch of modernity, although it is noticeable that the artist was trying to avoid excessive modernization in his renditions. The album also contains a Polish accent. The musician presents Grażyna Bacewicz’s Polish Capriccio, which was transcribed for the viola by Jerzy Kosmala, thus proving that this unpopular string instrument has extraordinary potential.
In each of the pieces everything – the dynamics, articulation, agogics, and harmony of double stops – is in its right place. As Professor Piotr Reichert noted, the timbre of highest tones played by the artist resemble that of a violin, whereas the low ones resound like a cello’s, which only goes to show how much Krzysztof Komendarek-Tymendorf is able to extract from his instrument and how versatile the viola can be. Light yet piercing, the sonatas urge those who listen to venture an interpretation without getting bored. The violist’s album allows its listener to indulge in immeasurable tranquility and let their mind wander unrestrainedly. The fact that music has no lyrics is just an advantage, as it will forever remain timeless and accessible, irrespective of any language barriers.
The title of the album, which can also be translated as “viola revolution,” seems to be a perfect choice and Krzysztof Komendarek-Tymendorf proves the viola to be not a mere addition to a string quintet, but also an instrument which can perfectly cope solo."

March 13, 2021
Julia Borkowska
Translation: Dominika Pieczka
Source: Radio Signals, http://www.radiosygnaly.pl/reviolation-krzysztofa-komendarka-tymendorfa/

"Viola Coming Out. So it is not easy music, but what comes out of the speakers hits the spot."
„ReVIOLAtion” review - Gazeta Wyborcza

"Krzysztof Komendarek-Tymendorf is a rising star of Polish viola music. There is not even an ounce of exaggeration in this description. To justify it though, it is enough to reach for his debut album ReVIOLAtion, released by a phonographic label – Naxos Records. The album brings works for viola solo by contemporary composers: Druzhinin, Weinberg, Vieuxtemps and Grażyna Bacewicz. So it is not easy music, but what comes out of the speakers hits the spot.
At first, I had some serious reservations about this record. After all, the viola is no “queen of all instruments” and works composed for it fail to enter the canon. Besides, this particular soloist still has – as I wrongly thought to myself – a long way to go before he reaches the level of performance that would in any way correspond to Professor Piotr Reichert’s claim that “what distinguishes an excellent viola player is their dexterity and the depth of tone they draw from the cello.” It turned out that my concerns were unfounded. Krzysztof Komendarek-Tymendorf is a magnificent instrumentalist, with a rare sense of music and extraordinary level of virtuosity.
In the beginning the title of the album, i.e. ReVIOLAtion, also seemed to me a bit contrived and pretentious. And again, unnecessarily. The play on words is supposed to suggest a “viola revolution,” and the recording is indeed just that. Not only does Komendarek-Tymendorf interpret each composition in revolutionary – though at times controversial – a manner, but also the repertoire chosen by the artist provides an opportunity to showcase the underestimated sound palette and technical capabilities of the instrument. Juxtaposed together, the sonatas by Druzhinin and Weinberg not only show the musical spirit akin to that of Shostakovich, but also demonstrate the esteem in which the viola was held by both composers.
The album concludes with two short pieces by Henri Vieuxtemps and Grażyna Bacewicz. Both composed with a virtuoso in mind. However, the presentation of instrumentalist capabilities is not the performer’s main purpose. Of course, in his renditions of these pieces Komendarek-Tymendorf demonstrates his skills, but not just for their sake. He underpins them with musicality, opulent sound, and a wide range of dynamics.

Review of „ReVIOLAtion” in Polish Albums / Polish Music Portal

"Krzysztof Komendarek-Tymendorf is a young violist whose CV is filled with many outstanding projects and accolades gained as a musician of the highest rank. ReVIOLAtion is a daring project, because – first and foremost – we are exclusively dealing with the sound of an instrument that so far has not been immensely popular in solo projects, namely the viola. On this album however  this very instrument turns not only into the carrier of music, but also the reflection of virtuosity and the whole gamut of emotions.
The artist's professionalism is unquestionable, but presenting this interesting string instrument from the purely technical perspective, showing its multidimensionality and “soul,” is not that simple. All the more so if there is a message behind it, or an inner dictate to tell a story. It is not easy as the artist chose not to resign from the classical approach to the form itself and – instead – to breathe into it the freshness that befits the contemporary musical reality. The very term “classical” may occasionally evoke associations with something that has no right to exist in our times. Admittedly, this album requires our involvement and openness, but by no means is it  detached from the universal values that are dear to every human being. Because of that, though far from being modern in any way, it forms an essential part of culture.
Thanks to his panache and imagination, Krzysztof has managed to lend all his works a distinctly contemporary feel. However, the artist always refers to such a significant oeuvre with incredible respect and delicacy. Especially since we are dealing with outstanding works (sonatas) by Fyodor Druzhinin and Mieczysław Weinberg.
What turns out to be a real treat on the record is the rendition of Capriccio “Hommage à Paganini op. 55 and an extremely important Polish accent in the form of one of the most popular violin pieces by Grażyna Bacewicz (Polish Caprice, whose viola version was transcribed by Jerzy Kosmala). Its top-class performance shows an approach to a complicated musical matter which – even if we only consider the technical perspective – contains several degrees of difficulty. Besides, presenting it in such a pure form, and at the same time finding a melodic and rhythmic consensus, must without doubt inspire admiration.
As a result the musician managed to create a space in which artistry and precision of performance perfectly combine into one whole (e.g. chords, dynamic range). At the same time he is emphasizing his own individualism in the compositions. The artist skillfully reveals his technique, paying attention to the smallest details, but what becomes more important is to create a moving vision that goes beyond any expectations. It is also worth noting the expression that does not overshadow other elements of the work's detailing (Viola Sonata: II. Vivace, Viola Sonata: IV. Maestoso. Allegro risoluto).
The eponymous ReVIOLAtion should be understood as a “viola revolution,” which in this case can also be construed as a broadening of horizons related to classical music, which thanks to such projects holds an eminent place in contemporary times. The educational aspect provides an added value to this album, although it should be noted that the chosen repertoire is not an obvious one. The promotion of such compositions is of vital importance, all the more so since we are dealing with outstanding works which, performed by Krzysztof Komendarek-Tymendorf, will forever constitute an excellent “compendium” of knowledge. ReVIOLAtion will also inevitably deliver the best aesthetic experience, which is of paramount importance when it comes to such music."

February 12, 2021
Łukasz Dębowski
Translation: Dominika Pieczka
Source: https://polskaplyta-polskamuzyka.pl/2021/02/12/krzysztof-komendarek-tymendorf-reviolation-recenzja

„ReVIOLAtion” review -  Ruch Muzyczny

"A whole album recorded on a string instrument solo poses quite a challenge. In his virtuoso form, Komendarek differentiates long monologues with sensitivity. The instrument sounds mellow and vibrant with colour. At first you listen to it with due attention, as the musician plays brilliantly, but our vigilance easily falls prey to the sound of both sonatas by Druzhinin and Weinberg, so similar in character."

February 11, 2021
Adam Suprynowicz
Translation: Dominika Pieczka
Source: Ruch Muzyczny, Numer wydania: 3 /2021 str. 29

„ReVIOLAtion” review - Magazine Presto

„ReVIOLAtion” review - pizzicato.lu | Pizzicato Supersonic Award

ReVIOLAtion; Fyodor Druzhinin: Sonate für Viola solo; Mieczyslaw Weinberg: Sonate für Viola solo Nr. 3; Henry Vieuxtemps: Capriccio Hommage a Paganini für Viola solo op. 55; Grazyna Bacewicz: Polish Capriccio für Viola solo; Krzysztof Komendarek-Tymendorf, Viola; 1 CD Naxos

January 4, 2021
Uwe Krusch
Translation: Dominika Pieczka
Source: https://www.pizzicato.lu/volltonende-viola/

Mieczysław Weinberg (1919-1996) *Sonata na altówkę solo nr 3 op.135 (1982)* – Muzyka Współczesna odc.75

The mastery of performance allowing to achieve this wonderful sound of the viola made me happy.
‘You have no idea how important it is to me that my music was played so beautifully by a Pole. And when I heard Grażyna Bacewicz’s beautiful caprice at the end of the album, my longing for my homeland and the beauty of the performance prompted me to lock myself in the library alone with my music and memories.’
‘Don't delude yourself, please, that my sonata is a piece for just anyone. But if you love the viola, remember this name – Krzysztof Komendarek-Tymendorf – and closely follow every new recording he releases.’
I wanted to put away the record by this new viola genius, but Weinberg held my hand and said:
‘I can lend it to you. Listen to it, please, a few times. In solitude, that’s a must. And if you want to keep it permanently, I will be extremely happy. I have one more favor to ask of you – if we ever meet again, please call me by my Polish name. It’s Mietek...’

January 1, 2021

„ReVIOLAtion” review - MusicWeb International

„ReVIOLAtion” - Album of the Month, Turkish Viola Society

 

December 9, 2020

Source: https://turkishviolasociety.com

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"A Polish rising viola star of the new generation! Krzysztof Komendarek-Tymendorf is a truly charismatic
and unique viola player of his generation. Fully mature as an artist, he demonstrates excellent technique
of both the right and the left hand; he has mastered uniform sound throughout the scale and can
modulate it at will thus differentiating its timbre depending on the narrative of a given piece. His
performance is characterized by great expression, musicality, very good technique, rich sound, great
range of dynamics and articulation. When played by him, music acquires softness and character through
excellent intonation, which is rhythmically perfect. He delivers his renditions consciously and gives individual meanings to each performed piece.
To undertake the recording of solo sonatas by Fyodor Druzhinin and Mieczysław Weinberg, one must have a very good double-stop, chord-playing technique. These works demand the highest level of performance and the execution of these sonatas meets the very standard. Polish Capriccio by Grażyna Bacewicz and Capriccio by Henri Vieuxtemps are short pieces in which Krzysztof Komendarek-Tymendorf presented great sense of music and rich volume of sound."

November 27, 2020
Prof. Irena Albrecht
Translation: Dominika Pieczka

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Concert of Duo del Gesù

"The first festival concert is already behind us! Duo del Gesù delivered an excellent performance which – when it comes to beautiful subtleties or luscious sound – lacked for nothing. The ensemble took us on an extraordinary journey through a repertoire that even seasoned listeners could find refreshing. A wonderful world premiere of an extremely interesting piece by Kamil Cieślik, most intriguing arrangements of Hungarian Dances, and a beautiful rendition of The King of Alders which the delighted audience had demanded as an encore. But what perhaps turned out to be especially moving were the duets by Mozart and Haydn. It felt like visiting