is a composer with a postdoctoral qualification in musical arts.  She studied composition at the Chopin University of Music in  Warsaw with Włodzimierz Kotoński and completed her doctorate under Stanisław Moryto; she also studied piano improvisation  with Szabolcs Esztényi. An assistant professor at the Chopin University of Music in Warsaw, she also introduces secondary-school  pupils to the art of composition. A recipient of numerous awards  and distinctions, she regularly serves on juries for composition  and performance competitions and is active within the Polish  Composers’ Union and the Society of Authors ZAiKS.

She writes for a wide range of forces, with chamber music predominating. Particularly prominent in her catalogue are works  for percussion and for voices with instruments, some setting her  own texts. Her music is heard at concerts and festivals, issued  on recordings, and published in score by Norsk Musikforlag  in Oslo and Chopin University Press. Many of her works have  been written for distinguished performers with whom she has  forged close artistic relationships, including marimbist Katarzyna  Myćka; the percussion duo of Magdalena Kordylasińska-Pękala  and Miłosz Pękala; the sopranos Joanna Freszel and Aleksandra  Resztik; the duo of saxophonist Paweł Gusnar and harpsichordist  Alina Ratkowska; and Agata Sapiecha, both as a violinist and with  her early-music ensemble. Ignatowicz-Glińska has also written  and cowritten symphonic arrangements for projects by Warsaw  Village Band, of which her husband, Piotr Gliński, is a member.

Selected works: Sonnet 116 for vocal sextet, to words by William Shakespeare (2015), 1 of 70 for 70 Years of the Polish Composers’ Union for two percussionists and two pianos (2015), Male  and Female Fashion Store – To Warsaw That Is No More and to  Its Inhabitants Who Live in My Memory for three percussionists, string quartet and double bass (2015), Beyond Silence for  harpsichord, in memory of Paweł Buczyński (2015), Postlude  for marimba (2015), Reflections for marimba, violin, cello, double  bass and piano (2015–16), Stone Mosaic for vibraphone (2016),  MarganA for percussion (2016), Hard Questions for soprano and  piano, to the composer’s own words (2016), …et non est pacis for  two pianos and two percussionists (2017), Procession for organ  four hands (2017), Thrice… for soprano saxophone and harpsichord (2017), Double Concerto for two marimbas and string  orchestra (2017), St John, on Thy Feast Day, arrangement of a traditional song from Podlasie for four-part mixed choir and chamber orchestra (2017), Svyaty Yure, Ryhore, arrangement of a traditional song from Podlasie for two white-voice singers and six-part  mixed choir (2019), Agnus Dei – Tribute to Krzysztof Komeda for  vocal ensemble or chamber choir (2019), Polish Suite for marimba  (2019), Sound of Shining for brass quintet (2019, also version rev.  for marimba and cello, 2022), Lux aeterna for ten-part mixed choir  and marimba (2019), Water Will Come and Go…, arrangements  of pieces by Warsaw Village Band for symphony orchestra (2021),  Prolegomena to Lem, trio for alto saxophone, accordion and piano  (2021), Three Songs for soprano and piano, to words by Zuzanna  Ginczanka (2021), Polish Flowers – Cantata da camera for soprano,  mezzo-soprano, tenor, violin, cello and piano, to words by Julian  Tuwim (2021), Apotropeion, trio for flute, viola and piano (2022),  FlaMar for flute and marimba (2022), Near-Sonata for soprano  saxophone and harpsichord (2022), The Five Glorious Mysteries  of the Rosary for Baroque violin and early music ensemble (2022),  Thoughttrack I alto saxophone, violin, and piano (2022), 4 Novellasfor clarinet quintet (2023), Five Dance Sketches for marimba,  timpani and chamber orchestra (2023), Three Songs for soprano,  flute, and piano, to the composer’s own texts (2024), Waiting for  the Northern Lights for alto saxophone and organ (2024).