Born in 1989 in Gdynia; composer, conductor, performance artist, experimentalist, and new music researcher. She graduated in composition from Cracow’s Academy of Music (Krzysztof Meyer’s class) and in orchestra and opera conducting from the Karol Szymanowski Academy of Music in Katowice (class of Szymon Bywalec). She is active as a composer, conductor, and author of texts on contemporary music. Since 2016 she has been one of the artistic directors of the Tehran International Contemporary Music Festival (TCMF).
Her accolades include the 1st Prize of the 5-Minute Opera International Competition held as part of the 28th Music Biennale in Zagreb (2015). Her award was a commission to compose an opera, Klothó – read of the Tales, which opened the 29th Music Biennale in Zagreb in 2017. Jan Topolski wrote in dwutygodnik.com: “Kosecka’s music is intense and full of tension throughout. She loves to employ dense textures, sharp harmonies, and garish colours. Her music is a highly original version of postsonorism.” Martyna Kosecka’s instrumental theatre Umbra for three percussionists and electronics won the Swiss EKLEKTO Ensemble’s competition for composer commissions (2015). Kosecka also received the 2nd Prize in the 4th biennial Krzysztof Penderecki Composers’ Competition held during the 7th Sopot Classic Festival in 2017 (for Orsi for string orchestra) and a prize of the CECIA (Collaborative Electroacoustic Composition with Intelligent Agents) project implemented by the ZKM|Center for Art and Media in Karlsruhe (2019). Since 2019 her music has been published by Donemus Holland.
Her works have been performed both in Poland and abroad, during festivals such as Warsaw Autumn, Cracow’s Audio Art, Ostrava Days Festival of New and Experimental Music, IMPULS, Music Biennale Zagreb, Armel Opera Festival, and Risuonanze – incontri di nuove musiche.
In 2013 she founded (with the Iranian composer Idin Samimi Mofakham) the Spectro Centre for New Music, which organises workshops and concerts of contemporary music. Their intense activity largely contributed to the establishment of the Tehran International Contemporary Music Festival, which is now the largest festival of contemporary music in the Near East.
In her music Kosecka applies spectral techniques as well as experimenting with scales, temperament, microintervals, and the perception of time. She frequently applies elements of performance art, combining instrumental theatre with improvisation. She does not mind being called a postspectralist or a neosonorist.
Selected works: Dumka for piano (2006), Starry Night for piano, double bass, clarinet and alto saxophone (2007), Topic: Music of Pressure for tape (2009), Znikomek [Nearunbeen] for alto saxophone (2010), Fragments for clarinet and piano (2010), Nimbostratus for symphony orchestra (2011), The Length of the Hesitancy Moment. From ought to Creation, piano trio (2011), Love Scenes for flute, oboe, saxophone, accordion, piano and violin (2012), Cogita! for piano (2012–15), Vaporiza for clarinet, alto saxophone, tenor saxophone and bassoon (2012), ENT1701 for flute, oboe, horn, violin, cello and piano (2012), Haiku for soprano, bass clarinet, bass trombone and percussion (2012), Ábyssos for four clarinets and live electronics (2013), Mythos for cello and four instruments (2013), ImPulsus for instrumental ensemble (2013), Ápeiros for chamber orchestra (2013), Orsi for string orchestra (2014), Sial for bassoon and piano (2014), Passaggio I for female voice and cello (2014), Kochawaya, miniopera for soprano, baritone and 8-piece ensemble (2014), Passaggio II for double bass (2015), Akmḗ, scene for female voice and double bass (2015), Umbra, music theatre for three percussionists with electronic media (2015), Nephélēs for piano (2016), Klothó – read of the Tales, magic opera in one act (2016–17), Charaktíras for accordion (2018), Ourobóros for instrumental ensemble (2018), Āzar for saxophone quartet (2018), Enigma I for horn (2019), Concerto for clarinet, multi-percussion and string orchestra (2019), Zamharīr: Frozen Timelessness for flute, cello, piano and electronics (2019), Isorropía. In Search of Balance for amplified quintet and electroacoustic layer (2020).