Raoul Armand Jerzy (von) Koczalski (3 January 1884 – 24 November 1948) was a Polish pianist and composer. He also used the pseudonym Georg Armand(o) Koczalski. Career Born in Warsaw, Koczalski was taught first by his mother, then by Julian Gadomski (1888–1890). Having made his first public appearance in 1888 (aged 4), his parents took him to play for Anton Rubinstein, who foresaw the possibility of a performing career. He never studied at a conservatory but had further private lesson on the piano and in composition with Ludwig Marek (1891–1892), Karol Mikuli (1893–1895) (Chopin's favorite Polish student and assistant) and instrumentation with Henryk Jarecki (1893–1894). At the age of 7 he gave concerts, and at 9 he was playing in major European cities as a virtuoso. His thousandth concert was given in Leipzig in 1896, and by the age of 12 he had received awards such as the Order of the Lion and Sun (from the Shah of Persia), the title of Court Pianist (from the King of Spain), and a medal from the Turkish Sultan. Already as a child he had a very extensive repertoire. During World War I he was interned in Bad Nauheim, Germany. Koczalski was highly esteemed as a performer of Chopin in Germany, where he lived during the 1920s and 1930s. During these years he also wrote many reviews, using his pseudonym, founded a music school that went bankrupt, and reestablished himself as a concert pianist by 1934. He toured in France, Italy and Poland, but (despite many invitations) not in the United States for reasons of health. During World War II he was again interned (in Berlin), and in 1945 he went to live in Poznań, accepting a post as professor in the State Higher School of Music. As a performer, the complete works of Chopin and the complete Beethoven sonatas lay at the core of a very extensive repertoire from the classical and romantic genres. He was considered one of the greatest interpreters of Chopin's music and one of the greatest pianists of his time, with a very liquid technique, smooth balance and interpretations that did not take the liberties of many of his contemporaries, remaining closer to the written score. According to Seidle (2003), "(h)is playing avoids extremes, is clear, colourful, with flowing, subtle phrasing and broad dynamics". ("Sein Spiel meidet Extreme, ist klar, farbig, mit fließender, subtiler Phrasierung und breiter Dynamik.")