• 4 Songs written to words by Kazimiera Iłłakowiczówna for soprano and piano (Aleksandra Żakiewicz / Tomasz Domański commission) [15′]

  • Vocalise, tribute to Witkacy’s landscapes for soprano, violin and piano [13′]

  • [in progress] new work for piano and orchestra


  • Out of the light of the two suns a phantasmagorical city appears for vocal sextet and audio playback (proMODERN commission) [14′]

  • Uśnijże mi, uśnij for soprano, percussion, piano and audio playback (ko-MAT commission) [8′]

  • Interweaving for wooden flute and piano from period (IMIT, commissioned by Anna Karpowicz) [16′]

  • Timelapse study for two violins and audio playback (commissioned by Oriana Masternak) [5′]

  • Viola Sonata (Mobilni w Kulturze grant) for viola and piano [15′]


  • Celestial delusion for piano trio or piano solo and electronics (2019/20) – commissioned by ppIANISSIMO Festival [33′]

  • Particulae lucis for string quartet – commissioned by Messages Quartet (IMIT – Zamówienia Kompozytorskie) [20′]

  • there are forgotten bells above the crawling cloud – for piano solo [7′]

  • Dunes for accordion, percussion and strings – commissioned by prof. Klaudiusz Baran [20′]


  • Veins for orchestra (dedicated to London Philharmonic Orchestra) [8′]

  • Florescence 02 – graphic score (Festival Dillo in Sintesi commission)

  • Purple sun on black canvas, painting – watercolor for piano quintet (Organ Conversatory in Legnica commission) in memory of prof. Stanisław Moryto [8′]

  • White Sphere, Navy-Blue Background for viola solo (+versions for violin and cello) (6’)

  • Blueprint #5 (collective open work: Rydzewska/Karałow) for clarinet and prepared piano (12′)


  • De invitatione mortis –  metaopera/mystery written to libretto by Maciej Papierski for three solo voices, instrumental octet, male choir, electronics and improvisation (2017/18) [90′]

  • Galilean moons – for saxophone quartet and audio playback (for Morpheus saxophone quartet) [12′]

  • Florescence – for viola, cello and piano (LABO Contemporary Music Lab, dedicated to Sarah de Niverville and Carol Tsai) [8-9′]


  • Imploded agglomeration – for cello, percussion and piano / amplified trio (dedicated to Interface Ensemble) [12′]

  • Sun-chants – for clarinet (B and bass) and accordion (dedicated to Dziołak/Stankiewicz Duo) [8′]

  • Sonata – for accordion solo (dedicated to Rafał Grząka) [15′]

  • Shakespeare’s Sonnets – for soprano and piano (dedicated to Olga Siemieńczuk and Karolina Tańska) [2016/17] [7′]

  • Blueprint #2 – for improvising flute, english horn and electronics (dedicated to Etymos Ensemble) [ca. 8′]

  • Blueprint #3 – for organ solo (dedicated to prof. Stanisław Moryto) [8-10′]

  • Blueprint #4 – for prepared piano & feedbacks (collective composition w/ Jurek Przeździecki) [ca. 10′]


  • through – for violin, bass clarinet (with percussion instruments), piano (dedicated to Plexus)

  • Fatal Mirrors – for harpsichord and percussion (dedicated to Katarzyna Kluczykowska)

  • Witkacy 622 – improvised monodrama – collective work – for soprano, electronics, harp, cello (in collaboration with soprano Aleksandra Klimczak)

  • Blueprint #1 – for improvising musicians (dedicated to Wroclaw Improvising Orchestra)


  • Multicolour Horizon for symphony orchestra

  • Notturno for violin and accordion (for Duo Karolina Mikołajczyk & Iwo Jedynecki)

  • ~Intro for baritone saxophone (for Paweł Gusnar)

  • Interrupted Dream for flute, clarinet, vibraphone (for Etymos Ensemble)

  • Śmierć (Death) – song to words written by Julian Tuwim for bas and organ (for Aleksandra Bartfeld)

  • Intermezzo for organ (for Mateusz Rzewuski)


  • Kepler opera written to libretto of Maciej Papierski for two solo voices and chamber orchestra

  • Geometry of Night for saxophone and piano (dedicated to Paweł Gusnar)

  • Piano Trio for violin, cello and piano (for Aurum Trio)

  • Lullaby to words of Maciej Papierski for mixed choir a capella (dedicated to VRC choir)

  • Ouverture for strings (dedicated to The Crew string ensemble)

  • Doppelgänger for clarinet and accordion (dedicated to Dziołak/Stankiewicz Duo)

  • Will-o’-the-Whisp for accordion solo (dedicated to Maciej Frąckiewicz)

  • Visionary Landscape for two accordions and organ

  • Fallout dance for saxophone, electric guitar, piano and percussion


  • Distant Dream for saxophone (soprano or tenor) and organ (dedicated to Aleksandra Bartfeld)

  • String Quartet

  • Meltemi for multipercussion solo

  • 2 Melodies for violin and piano

  • Reminiscence for cello solo

  • Preludium and Hymn piano solo

  • Psalm 16 for two choirs a capella

2012 / older

  • Uran’s Flower for bass guitar and strings

  • Sonata for violin and piano

  • Meeting in the Dark Chamber for bass guitar and harpsichord

  • Red Moon for trumpet and string orchestra (2009)

  • Demons’ Forest for accordion and cello

  • Urban Ghost’s Small Wish for symphonic orchestra

photos by Andrzej Karałow

Viola Sonata (2021)

cascadas, bosques, silencio

The Viola Sonata is divided into 4 connected movements which are independently exploring possibilities of color and each instrument’s connections. The time and celebration of color  are very important in terms of shaping the Sonata’s form and the whole work’s narration. The fourth movement title is: cascadas, bosques, silencio and is a kind of summary of the overall composition’s atmosphere. Atmosphere of nature mystical places: forests, waterfalls, calm and untouched by human’s hand, endless and “pulsating with peace” places.
Dedicated to Agnieszka Podłucka
Inspired by phenomenon of landscapes, I am trying to discover my own musical language through penetration and fathoming visual, multilayered sceneries. Conneting music with synaesthesia, I want to reach unique connection of sound, its colour and time. The best link-symbol to observe the paradox of variability and permanency of landscapes is journey. Earth, physical land, tectonic layers, colours – all these elements connect with spiritual aspect of steadiness and unpredictability. Improvisation, as musical element and technique, symbolizes in my music a wandering through the internal sound landscapes, merging everything into a single, organic whole.


written to libretto by Maciej Papierski.
Premiered at FCUM in Warsaw 4.04.2014 by Ensemblage under direction of Marcin Łopacki
Aleksandra Klimczak – soprano (Eve),
Dawid Dubec – baritone (Adam)

Lingering in its dreamy overtones, the “Kepler” Opera, is a metaphorical tale of the illusive nature of utopian intentions –
a tale of the escape from the burden of memory and the desire for new beginnings. Drawing vastly from the impressionist genre, this game of lights and colours, takes on the form of fleeting, musical vision. The storyline is based on the biblical description of the paradise serenity of the first people, and as such it is meant to reflect on our dormant desires to form the world according to our own plans, and our responsibility against nature and the past.
Scene 1
Adam and Eve land on Kepler. Miring at the mysterious beauty of the planet, they reminisce over the Earth in its demise – the Earth from which they have fled. Their old world has perished, and the new one seems to be a reward. They gaze enthusiastically at the mystical extraordinariness of nature, comparing it with the hardships of earthly life. Kepler seems to be a paradise, governed by the laws of a dream, and where the man is free from any worries. The protagonists wish to shape their new reality according to their own imagination, which is buzzing with creative hopes, leaving their earthly identity completely behind.

Scene 2
Looking for a place to rest, they come across a mysterious cave. The spirit of this place inspires Eve to reminisce over the past; suddenly, all the surroundings seem to be speaking of what they have left on Earth. The shadows on the walls and the brook flowing through the cave grow murky with disturbing visions. Eve begins to understand that even the most beautiful of all lands cannot offer up shelter from one mighty power – the power of memory. Adam is trying to console and appease her, speaking to her of the prospects of happiness and joy derived from the shaping of the world they would both pursue.. However, Eve can see with increasing clarity that she will never be happy in this open, empty land – and more importantly, that she will never be free from what has already happened. Yearning for the past and sorrow overpower her.

Scene 3
This scene constitutes a deconstruction of the constructed image, while providing a summary of the message that the opera
hopes to convey. Dark clouds gather above Adam and Eve. The ensuing rain causes a breakdown of this ephemeral world, which turns out to be but a dream and a utopian desire. It is a metaphorical confrontation with the man’s lack of self-sufficiency, as well as with the illusory nature of certain aspirations, but, perhaps above all, with the necessity of taking care of this one and only, real world, which is given to us. Awoken from the deceptive reality of their dream, Adam and Eve enter the state of waking, with which they ultimately reconcile themselves.