Zych, Wojciech Ziemowit

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born in 1976 in Warsaw, he studied composition with Marek Stachowski at the Academy of Music in Cracow, graduating with distinction in 2001. In 20012 he continued his studies with Peter-Jan Wagemans at Codarts Rotterdam. Since 2002 he has been a lecturer at the Academy of Music in Cracow. In 2006 he obtained his DMA degree, and in 2016, a postdoctoral degree. In 2006–8 he was a member of the Repertoire Committee of the Warsaw Autumn Festival. His compositions have been performed at Warsaw Autumn, Ultraschall Festival Berlin, Musikhøst Festival in Odense, Schleswig-Holstein Festival, London Sinfonietta’s experimental music festival, Focus!Festival in New York, and the ISCM World Music Days in Slovakia in 2013. Since 2009, he has worked with PWM Edition music publishers and DUX Records, including an album dedicated to his orchestral pieces (DUX 0722). He has been commissioned to compose music for festivals such as Warsaw Autumn, Wratislavia Cantans, and Sacrum–Profanum. In the 201213 season, he was a composer-in-residence at the Cracow Philharmonic. In 2017 he was awarded the Polish Composers’ Union’s Annual Prize, and in 2018, the Gloria Artis of Merit for Culture Bronze Medal and the special prize of the Polish Minister of Culture and National Heritage for his activity as a composer and educator. Since 2019 he has taught composition classes at Cracow’s Academy of Music. 

Selected works (since 2005): Symphony no. 2 (2004–5), Inquietude for bass clarinet (2005), Cooperative no. 1 for alto saxophone and accordion (2005), Always Present Longing for bass clarinet, percussion, piano and violin (2005), Hommage à Győrgy Kurtág for violin and bass clarinet (2005–6), Quivering for two pianos (2006), Stirrings of the Will for orchestra (2005–6), Differance for two pianos and percussion (2007–10), Cooperative no. 2 for cello and accordion (2010), Gesture and Pulse for violin with spatial amplification (2010), Postgrammar by Miłosz “...Look for him now in dictionary groves and forests” for 15 instruments (2011), Symphony no. 3 for soprano, baritone, piano four hands and small spatially arranged orchestra, to words by Emmanuel Lévinas in Małgorzata Kowalska’s translation (2011–13), (Tenderly) Applied Micrology for cello (2013), Roundflow/Throughflow/Outflow for eight spatially amplified cellos (2014), The Volatile for piano and percussion (2015), The Derivative for flute and piano with spatial amplification (2016), Air Paths. Entangled Echoes for contrabass flute, contrabass clarinet and chamber orchestra (2016–17), Halfsparkling – Halfdreaming for percussion and piano with spatial amplification (2017), Flarea for flute and harp (2017–18), A Ray of Panwhite for accordion duo and string quartet (2018), Upwind Upstreaming for two flutes and orchestra (2018–19), Affective Trajectory for bass saxophone and piano (2019), Cooperative no. 3. Square of Vibrant Non-Presence for bass clarinet and accordion (2019–20), Over Empty Chairs (after Egon Schiele) for piccolo trumpet and trumpet (2021), Tract-Act, topody for contrabass flute, contrabass clarinet, bass saxophone and spatially arranged orchestra (2021).