KRYSTOF WITEK is active as a performer, arranger and
musical coordinator. Currently he holds a violin chair in
the Broadway production of The Lion King. Beginning
2003-04 season, he has been appointed
concertmaster of the Greenwich Symphony. In January,
2005 he performed with the Greenwich Symphony as
soloist in the Bruch Violin Concerto No.1. The winner of
the 1992 Artists International Auditions in New York, he
appeared in sold-out Recital Debut and Alumni
Concert Series at Carnegie's Weill Hall.
Born in Poland, he began to study violin at the age of
six. In 1987, he came to the US to study at the Juilliard
School in New York with Joseph Fuchs, where he
received his Bachelor, Master and Doctoral Degrees.
Mr.Witek has appeared in solo and chamber music
concerts in Europe, Canada, Japan and US.
He has performed with the Met Opera Orchestra under
James Levine, Mostly Mozart Orchestra in New York
and Japan, and with the New York Pops led by Skitch
. He was a member of the New York
Chamber Symphony under Gerard Schwarz.
Selected discography
Audio clips from  the New Choral Society albums
Order arrangements
"First chair man: Role as concertmaster is but one note
in virtuoso's busy score." Article by Mary Jo Heath,
Greenwich Time, 1/09/2005
As the founding member of the Halcyon String Quartet, Mr. Witek won the 1993 Artists International Chamber Music
Auditions and appeared in their debut recital at Carnegie's Weill Hall. His solo
CD on the Sanibel label features works of
Beethoven, Brahms and Lutoslawski.
He has performed in the Broadway productions of Sunset Boulevard, Beauty and the Beast, Candide, Swan Lake, Sound of
Music, Phantom of the Opera and Music Man.
He has toured with Andrea Bocelli on his 2002 US Sentimento Tour as principal second violin of the World Festival
Symphony led by Steven Mercurio. He has also recorded and performed with many popular artists including Dixie Chicks,
Sheryl Crow (2002 MTV Awards at Radio City), Diana Krall (2001 Carnegie Hall JVC Jazz Festival), Abbey Lincoln, Bjork,
Natalie Merchant, They Might Be Giants, Michael Bolton, Smokey Robinson and Dionne Warwick.
Mr. Witek has appeared as concertmaster of the Greenwich Symphony, Stamford Symphony,  New Choral Society of
Westchester, Oratorio Society of New Jersey, Greenwich Choral Society, Jupiter Symphony, Manchester Festival Orchestra,
Bachanalia Chamber Orchestra, Juilliard School Orchestra and as principal player of the Westfield Symphony and
Riverside Symphony.
As chamber musician Mr. Witek has performed in concerts presented by the Lincoln Center Institute, Nashville Institute,
Greenwich Symphony Chamber Players, Goliard Chamber Ensemble, Szymanowski Foundation, Kosciuszko Foundation,
Juilliard School and Sanibel Music. He is a founding member of the
Forest Hills Chamber Players (formed in 2004).
Since 1995, Mr. Witek has been touring Japan annually as concertmaster and soloist of the New York Symphonic
He is married to
Tanya Dusevic Witek, flutist. His hobbies include gardening and home improvements. Mr. & Mrs. Witek
reside in Tappan, New York.
Sanibel Music Home

The Greenwich Citizen, March 16, 2011. Greenwich Chamber Players concert review by Linda Phillips (full review):
Witek's technique was notable /.../, performed the difficult grace notes with ease /.../, excellent bowing technique /.../."

The Greenwich Citizen, April 23, 2010. Solo Performance of Vaughn Williams' "The Lark Ascending" with the Greenwich
Symphony, review by Linda Phillips (
full review):
"Exceptional, especially in the high notes, Mr. Witek's performance was tender and controlled, his technique excellent."


The Greenwich Time, November 27, 2005. Greenwich Symphony concert review by Mary Jo Heath:
On Rimsky-Korsakov's Sheherazade: "
The bulk of the solo work came from concertmaster Krystof Witek. His confident playing of
those luscious solo lines was captivating, particularly in the final moments."


The Greenwich Citizen, November 25, 2005. Greenwich Symphony concert review by Linda Phillips:
On Rimsky-Korsakov's Sheherazade: "C
oncertmaster Krystof Witek played solo passages expertly."


The Greenwich Time, January 21, 2005. The Arts section, review by Mary Jo Heath. "Going Solo. GSO concertmaster makes
the grade in solo performance (of Max Bruch's Violin Concerto No.1)":
"/.../ played with an admirably clean technique /.../ in a sparkling fashion."


The Greenwich Time, June 2, 2003. The Arts section "GSO appoints Witek as concertmaster":
"I am personally delighted at the appointment of Krystof Witek at the Greenwich Symphony's new concertmaster. Such an
important position requires not only professional qualifications but also the kind of personality needed to serve as mentor to
the entire string section. Krystof has both. A superb violinist with extensive concertmaster experience, his delightful
personality has won hearts as well as respect. I welcome him enthusiastically."
David Gilbert, the Greenwich Symphony conductor and artistic director


The Strings Magazine, Mary VanClay, Editor, ISSN 0888-3106, San Anselmo California; September/October 1993, Number
38. Edith Eisler "The Spice of the Seasons. A Guide to New York Performances" (page 74):
"It is worth mentioning some of the better performances of the season:/.../ Krzysztof Witek from Poland displayed great care
and seriousness and a splendid staccato before a sold-out house."


The Greenwich Time, September 28, 1994. Concert review by John S. Sweeney:
"Witek brought far more than expert skill to his performance. /.../ He played the gypsy obligato with flexible and supple
abandon. /.../ Witek brought a distincive use of glissandos to both Mozart and Haydn /.../ and this listener found it refreshing."


The Greenwich Time, February 5, 2003. Greenwich Symphony concert review by John S. Sweeney:
"Several of the solo moments were terrific. Concertmaster Krystof Witek played with fluid grace in Strauss' Don Juan."


"I just wanted to tell you how much I appreciate all your efforts and your assistance in working out all the details, not to
mention getting such wonderful performers together, and for taking care of all the bowings and copying all the parts. It made
things so much easier, and we saved quite a bit of time thanks to all your care. It was a first for me, and a very positive and
memorable experience."

Philippe Bigar, composer of Printemps Perdu c2003
Mirror Image Studio, NYC, Recording Session, February, 2004
Twenty one musicians chamber orchestra
Brahms - Sonata No.1 in G, Op. 78
I. Vivace ma non troppo
Krystof Witek, violin
Piotr Folkert, piano