Kosecka, Martyna International Festival of Contemporary Music Warsaw Autumn

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Born in 1989 in Gdynia, composer, performer, conductor, and new music researcher. She obtained an MA from Krzysztof Meyer’s composition class at Cracow’s Academy of Music and an MA in orchestra and opera conducting from Szymon Bywalec’s class at the Katowice Academy of Music. She has been an artistic codirector at the Tehran Contemporary Music Festival since 2016. She currently lives and works in Norway, where she is involved in the activities of the VoxLAB organization, the Periferien contemporary music concert series, and the Norwegian Society of Composers (NKF). Since 2018 her compositions have been published by Donemus Holland. 

Her works have been performed at numerous festivals and concerts in Poland and abroad, including at Warsaw Autumn Festival, AudioArt Festival in Cracow, NeoArte Synthesiser of Arts Festival (Gdańsk), Rainy Days (Luxembourg), Ostrava Days of New and Experimental Music, Tehran Contemporary Music Festival, Intonal Festival (Sweden), IMPULS Festival (Austria), Music Biennale Zagreb, Armel Opera Festival (Austria/Hungary), and Risuonanze (Italy). 

In 2013, together with Iranian composer Idin Samimi Mofakham, she cofounded Spectro Centre for New Music, specialising in contemporary music workshops and organisation of concerts. Their intensive effort largely contributed to the launch of the International Contemporary Music Festival in Tehran, the largest festival focusing on contemporary music in the Middle East. Her music is rooted in the notion of time, existence, and processes, inextricably linked to sonoristic experimentation using a “timbral microperspectives” approach to sound which she has developed over the last several years. She works with narratives, microtonality, symbolism, and musical ritualism, frequently applying multidisciplinary solutions in her projects. 

Selected works: Topic: Music of Pressures for tape (2009), Znikomek for alto saxophone (2010), Nimbostratus for symphony orchestra (2011), The Length of the Hesitancy Moment. From ought to Creation, piano trio (2011), Love Scenes for flute, oboe, alto saxophone, accordion, violin and piano (2012), Cogita! for piano (2012–15), ENT1701 for flute, oboe, horn, violin, cello and piano (2012), Ábyssos for four clarinets (one performer) and live electronics (2013), ImPulsus for ensemble (2013), Ápeirosfor chamber orchestra (2013), Orsi for string orchestra (2014), Sial for bassoon and piano (2014), Passaggio I for female voice and cello (2014), Kochawaya, mini-opera for soprano, baritone and ensemble (2014), Passaggio II for double bass (2015), Akm, scene for female voice and double bass (2015),Umbra, musical theatre for three percussionists and electronics (2015), Nephélēsfor piano (2016), Klothó – read of the Tales, magic opera in one act (2016–17), Āzar for saxophone quartet (2018), Concerto for clarinet, multipercussion and string orchestra (2019), Zamharīr: Frozen Timelessness for flute, cello, piano and electronics (2019), Ruba’i for tape (2020), Passaggio III: Phantom for viola (2020), Isorropía. In Search of Balance for five instruments and electronics (2020), Split for soprano and quadraphonic setup (2021), Weightlessness for flute(s), bass clarinet, piano, violin and cello (2021), Arkh: Noise Maps for amplified string quartet, electronics and 3D mapping (2021), Ourobóros for ensemble (2018–22), Xénos for cello and piano (2022), éskhatos | at one end of a continuum for amplified harpsichord and multichannel electronics (2022).