studied composition with Krzysztof Knittel and Zygmunt Krauze  at the Bacewicz University of Music in Łódź as well as with Mark  Andre and Manos Tsangaris at the High School of Music in Dresden and with Yannis Kyriakides at the Royal Conservatoire in  The Hague. He also attended numerous masterclasses.  

His works revolve around the question of touch as a source of  sound, a way of its perception, the vehicle of the performer– instrument relation, and a medium of social communication. By using performance tools, multimedia, and tactile references,  Krzewiński proposes new forms of contact with music and with  corporality. In 2018 the website Culture.pl hailed him as one of  the ten most promising composers of the young generation in  Poland.  

His works have been commissioned and performed by ensembles  such as Musikfabrik, Garage, Kompopolex, NEMØ, Ensemble  Royal, the Kwiatkowska/Pałosz duo, and others. His compositions and installations have been presented at festivals in Poland,  Belgium, the Netherlands, Germany, Portugal, and China. Recipient of the Saxon Government’s award Förderpreis für Junge  Komponisten in 2019, he was artist-in-residence at the Binaural  Nodar SOCCOS Residency in Vouzela (2016), LABO in Antwerp  (2017), and PointX with NEMØ Ensemble in Ghent (2018). In  2019 Bôłt Records released the DVD Incorporate, featuring his  chamber music.

With audiovisual artist Aleksandra Chciuk, he has notably created the concert/installation Black of Granule for two performers, piano and one listener, presented at the Musica Privata in  Łódź (2016) and the Instalakcje festival in Warsaw (2018), as  well as the audio performance Weave-Machine commissioned  for the opening of the International Triennial of Tapestry at  the Central Museum of Textiles in Łódź. Krzewiński has also  created a series of objects known as Ameublement de musique,  presented so far as an installation and in concerts in Poland, Belgium, the Netherlands, and Germany, including a piece commissioned by Ensemble Musikfabrik.

Selected works: Glass Wood Plastic for violin and marimba  (2015), I | 0 for six singers, viola and cello (2015), Mille-feuille for  dancer and electronics (2015), Contre no. 1 for violin and cello  (2016), Black of Granule, installation/concert (with Aleksandra  Chciuk, 2016), Edging for flute, clarinet, trombone, percussion,  violin, cello, double bass and seven dancers (2016), Another Air  for flute, accordion, percussion, electronics and 20 fans (2017),  Inside for Musikfabrik with Harry Partch instruments and ameublement de musique sound objects (2018), Entre for bass clarinet,  percussion, e-piano, violin, double bass and media (2018), Incorporate for violin, electronics and video (with Aleksandra Chciuk,  2018), Ep for double bass and deaf poet (2018), Weave-Machine,  audio performance (with Aleksandra Chciuk, 2019), AdM Room,  installation-like piece for two marimbas and ameublement de  musique sound objects (2019), Contre no. 2 for piano, percussion  and electronics(2019), Modern Romance for ensemble (2020),  Urschrei / Primal Scream for ensemble (2020), Chopinwalk &  Chopinvortex, sonic walk (with Aleksandra Chciuk, 2020), Incorporate no. 3 for ensemble (2021), Phantom for accordion, viola  and media (2021), Still Point, installation (with Karol Tymiński)  (2021), Dance ex machina for piano and dancer (2022), Etude for  Grand Piano and Touch (2022), String Quartet no. 1 (2022), Etude for piano and touch (2022), Grand Reality for piano and dancer  (2022), Touch me, sound installation (2023), Phantom for accordion, viola and media (2023), Apollo, music to a play by Tobiasz  Berg (2023), Ep, play at TR Warszawa theatre (codirected with  Agnieszka Jakimiak, 2024), Listen with Your Skin for four performers (2025), Trigger Warning for Neuevocalsolisten (2025),  Tactile Sketches for string quartet (2026).