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“[…] whether he releases on the keyboard the enchantments of a Chopinian nocturnal or penetrates the broad structure of the Lisztian Sonata or reunites on the stage the grassroots of “The New World” Symphony of Dvorák, it can be individualized the first purpose of his doing music which is not to arise perfect and pleasant sound architecture but, above all, to animate a type of eloquence entirely musical”.
(G.P. Minardi – La Gazzetta di Parma)

“But the experiment of performing the concert in E minor of Chopin in the double role as pianist and director it was completely successful thanks to the extraordinary musicality and permanent communication, tensed at the maximum level by Kazimierz Morski: his pianism, lastly, is of high class for the technical perfection fully fused with a profusion of tones and colours, heritage only of the greatest performers. His touch is one of those that can give the shivers even to the listener less sensible”.

Morski returned to Parma, performing the 3rd Concert for piano and orchestra of Rachmaninov:
“The ones that had the possibility of listening an old recording with Rachmaninov at piano could understand the musical quality of this interpretation”
  For the two Concerts of F. Liszt performed by Morski in the double role:
“[…] the musicality of Morski could expand with the same communicative force that always defined him, without that the not so comfortable situation in the double role – maybe it was the first time in the history that the Concerts of Liszt were presented in this way –to seem acting as a limit; it could even be said that the convergence between the director and the soloist in an unique person gave more prominence to the formal idea that marks these Concerts with a touch of novelty […]; nevertheless a way of listening these creations not only from the part of the pianist […] in that symphonic vision that belongs to Liszt more lighted and new”.
(G.P. Minardi)

“With Morski it was the real approach to the Chopin’s world…for the fulminate adhesion of the pianist to the page, the focus of an instinct that, in this case, becomes infallible. Is the same way that, if we want to find roots in an interpretative past, distinguishes in other lines the great Sofroniski”.
(S. Garbato)

  “Morski: a leader of the Polish pianism. […] The illuminating performance of the pianist found, yet, exciting moments in the ecstasy and the pride of the four Mazurkas and in a memorable interpretation of the Sonata op. 35”.
(E. Valente – L’Unità, Roma)

“From the times of Sztompka and Benedetti Michelangeli we didn’t have the opportunity of listening Mazurkas so clear nevertheless so complex […]. Similar remark should be done for the three Studies op. 25 and for the Sonata in B flat minor in which Morski created sounds of a melancholy so true but still so controlled to leave bewilder the audience. We leave out, obviously, the reference to the technique, brilliant and precise, because the technical problems, in the case of the one who faces consciously and communicates other material, is taken for granted”.
(M. Zurletti – La Repubblica, Roma)  

“The pianism of Morski is exhilarating: the technique is precise, the sound intense, capable of different nuance, from the most dreaming pianissimo until the almost aggressive sforzato. […] It results a vigorous interpretation but clear, “symphonic” and in the same time analytical, almost in the manner of Boulez: Beethoven and Chopin seem so strict in the total form, but with moments of emotion and of abandonment in the slow movements”.
(G. La Face Bianconi - Amadeus, Milano)