Weill Recial Hall at Carnegie Hall (New York, March 10, 2013):

[...] He has excellent technical facility at his disposal, combined with a good stylistic sense and strong stage presence. [...] Though it is hard to add to the performance history of a piece like this, with Rubinstein, Argerich, and countless other greats (followed by Kissin, Yundi Li, and more), Mr. Domanowski undoubtedly has the potential to add his own special stamp. I look forward to hearing him again.
— New York Concert Review, Rorianne Schrade

Tadeusz Domanowski with EMI

The famous record label EMI which, among others, publishes the albums of the greatest pianists in the world, such as Claudio Arrau, Gyorgy Cziffra, Edwin Fischer, Dinu Lipatti, Witold Małcużyński, Sviatoslav Richter, Solomon, Artur Schnabel – to name just some of those who have passed away, one month ago published an album of a young Warsaw pianist, Tadeusz Domanowski. The company noticed the Pole’s talent, and organized his record debut – which is a dream of numerous artists.
[...] He plays the piano with technical ease like few people can. In his first album, he played the works from the repertoire of Vladimir Horowitz, some even authored by him.
The new one opens with variations on the “Carmen” opera by Bizet, composed by Horowitz. In terms of musicality and sensitivity of interpretation, Domanowski is even better than Horowitz. Then we have 3 sonatas by Scarlatti which caress listener’s ear with varied articulation and pleasant sound. Schumann’s Toccata in C-major is the best acid test of artistic and technical skills of any pianist. Sviatoslav Richter plays it as if he was driving a tank, destroying everything in his path, while Domanowski shows off and presents the piece from a romantic point of view, even with some reflection and distance.
The enthusiasts of Liszt will find several rewarding performances of his works, such as XV Hungarian Rhapsody, in which you can almost feel sparks flying off from under the pianist’s fingers, Petrarch Sonnet No. 104, and the poem Obermann Valley from the “Years of Pilgrimage.” Moreover, the album contains a Gavotte and a Waltz from Prokoviev’s “Cinderella” ballet, and ends with the famous Wedding March by Mendelssohn-Liszt, with Horowitz’s additions, a firework of piano art which can warm any listener up.
Whoever likes great piano music and virtuosity will not be disappointed after listening to Domanowski. A splendid debut!
— Stanisław Dybowski

Who would give them wings?

[...] Undoubtedly, Tadeusz Domanowski has the best piano, technical, and artistic skills of the four. His future career of a virtuoso is certain, the instrument sounds beautiful in his hands, in a rounded tone, the lightness and proficiency of difficult parts inspires jealousy, not only recognition.

Domanowski performs ‘Carmen’ Variations, ‘Wedding March’ Variations with stunning precision, but also extremely seriously. In ‘Rakoczi March’ he finds more drama than romantic flashiness — in the positive sense of this word.

The artistry of this pianist is manifested the most promisingly in ‘Petrarch’s Sonnet’ of Liszt and in Prokofiev’s Cinderella gavotte. [...]
— Ruch Muzyczny, Kacper Miklaszewski

Music weekend with Polish artists.

This concert was organised by New York University, and the pianist was invited as the winner of a Concerto Competition at NYU Steinhardt. At the end of this brilliant evening, he performed Piano Concerto No. 2 in C minor, op.18 by Sergei Rachmaninov.

I already wrote about this pianist when he performed at Carnegie Hall. I praised him as Chopin’s ‘Scherzo’ played by him sounded very fresh to me. This time as well, he confirmed both his technical skills and his great musicality. Excellent cooperation with a young orchestra and conductor, extremely logical phrasing and brilliant dynamics — all this made his interpretation of this difficult piece seem simple. [...] There is much going on in this concerto; themes pass from the orchestra to the piano, and then to individual instruments. I got the impression that Domanowski ‘divides and rules’. He isolated moments when he accompanied the orchestra with fast broken chords — part 1, then he brilliantly exchanged the leitmotif with other instruments in part 2, and presented the main theme dramatically and dynamically in part 3. The last part unfolds extremely impressively, suspense is rising and strengthening. Fast and virtuoso coda, i.e. ending once again exposes the great technical potential and musicality of Tadeusz Domanowski. The concerto, which has a sad C-minor key, ends in a joyful C-major key. This piece was led brilliantly from the conductor’s podium by Jens Georg Bachmann — very precise and allowing the soloist to express everything he wants.

Big applause. The audience at the bottom of the concert hall rose with a storm of applause, and was then followed by the guests sitting in the balconies, who also stood up applauding. A great evening. I must write again with huge satisfaction that Tadeusz Domanowski is one of the best Polish pianists and his young age gives hope that he will be famous. He is one of only few Polish pianists who recorded a CD in a famous EMI label.
— Polish Daily News, Jan Sporek