• Nephélēs (2016) 5’ (Watch)
– piano solo
– dedicated to Dale Tsang
– 26.06.2016, Kraków, Poland, Ensemble for These Times
– The piece describes different fluctuations of time in space that is presented by means of music. The phenomenon, which inspired the creation of this piece, was a morning fog. It always glides in various tempos, uncontrolled, free and mysterious as always.
• Umbra (2015) 16’ (Watch)
– musical theatre for three percussionists with electronics (tape)
– 14.11.2015, Geneva, Switzerland, EKLEKTO Percussion Ensemble
– Umbra is a Latin word, describing shadow, darkness and different kind of shelters. This is how I imagine myself colors and atmosphere that comes along with the subject of sheltering, finding protection in modern world. It is always followed by insecurity, darkness and fear.
• Kaléō… (2015) 12’
– string quartet
– 23.09.2016, Warsaw, Poland, Ensemblage: Two plus 2 Quartet
– Kaléō… is a piece full of contrasts. It’s name comes from ancient Greek and means “to summon”. Very much connected to creation of magic and unknown worlds, Kaléō… focuses on the specific enchantment. It shows its awakening, raising and final calling phase. It’s a secret magic, whose little glimpses a listener can hear between the notes.
• Akmḗ – scene for female voice and double bass (2015) 8’
– soprano; cb.
– dedicated to Blanka Dembosz and Mateusz Loska
– 13.10.2015, ensemble sopranKONTRAbas
– Akmḗ is a word from ancient Greek, describing the ability of biggest mind powers of human being. Furthermore, from a medical terminology, it specifies the highest level of fever. Meaning of this word is tightly connected to the short poem by Iranian mystic Fayez Dashti, used in this composition.
• Passaggio II (2015) 7’ (Watch)
– cb. solo
– 26.03.2015, Poznań City Council, 44th International Festival of Contemporary Music
– Mateusz Loska (contrabass)
– Passaggio II for double bass solo belongs to the new cycle devoted to the issues of transition, change and metamorphosis. This short virtuoso form requires the performer’s skills in synchronic presentation of multiple musical elements – traditional play as well as singing, whistling or noise effects.
• Kochawaya (2014) 5’
– short opera for two voices and instrumental ensemble: soprano, baritone, clb., fg., tr., pf., vln, vla, vc, perc.
– dedicated to Idin Samimi Mofakham.
– 21.04.2015, Festival Ensemble of 28. International Music Biennale Zagreb, Croatia.
– The opera is based on a short Chinese fable, showing adventure of little puppy. Kochawaya (name given by the composer) heard from people from the village about a dangerous charm of mountains. It starts to think that people say scary things about mountains only to make puppy frightened, so it decides to see it on its own.
• Passaggio I (2014) 5’
– female voice, vc.
– 8.11.2015, Music Academy in Lodz, Poland, sopra(n)cello duet.
– Passaggio I for female voice and cello belongs to the new cycle devoted to the issues of transition, change and metamorphosis. This short virtuoso form requires the performer’s skills in synchronic presentation of multiple musical elements – traditional play as well as singing, whistling or noise effects.
• Transparenza (2014) 7’ ~not performed
– alto sax., vc., acc.
• Architectonica (2014) 5’ ~not performed
– clarinet quartet (Es cl., B cl., A cl., bcl.)
• The Necker Cube (2014) 7’ ~not performed
– alto sax., perc.
• Sial (2014) 7’
– 25.08.2015, Ostrava/Czech Republic, Ostrava Days Festival for New and Experimental Music 2013, Stephanie Liedtke – bassoon, Keiko Shichijo – piano
– The Sial refers to the composition of the upper layer of the Earth’s crust, namely rocks rich in silicates and aluminium minerals. My Sial is an attempt to transcribe the rock nature of the upper layer of the Earth’s crust into the musical feeling of its structure, solidity and firmness.
• Lamentation (2013) 6’ ~not performed
– soprano, pf.
– to poem by Anna Janko.
• Psukhē (2013) 12’
– for piano, tape and live electronics
– 12.11.2013, Yerevan, Armenia
– Martyna Kosecka – piano, Idin Samimi Mofakham – electronics
– Psukhē comes from ancient Greek word, describing an everlasting state of mind, where there is no border between birth, life and death, where everything becomes to be constantly continuous and peaceful.
• Ábyssos (2013) 12’ (Play)
– clarinets and live electronics. (lightening optional)
– one instrumentalist (Es cl., B cl., A cl., bcl.)
– 22.03.2013, Music Academy in Cracow, Poland
– Tomasz JanWilczyński (clarinets), Martyna Kosecka (electronics)
– From ancient Greek: abyssal, the unfinished, bottomless depth. A bathyscaphe goes more deeper, penetrates and wants the light unknown. Composition for four clarinets and live electronics (4-channel) tells the story of the journey in the sea depths.
• Ápeiros (2013) 9’ (Play – Watch)
– chamber orchestra: 2.1.3(bcl).1 / 18.104.22.168. / 3perc.arp.pf. / str.(22.214.171.124.1)
– dedicated to Idin Samimi Mofakham
– 13.12.2013 – Music Academy in Cracow, Poland.
– Lutosławski Orchestra Moderna, Błażej Wincenty Kozłowski – conductor.
– The word Ápeiros comes from an ancient greek and describes the infinity, everlasting of the events and stability of narration. The meaning of this word is rewritten in music for the eternal feeling of love.
• Mythos (2013) 9’ ~not performed
– solo vc. And quartet: acc., ob., alto sax., vln.
• ImPulsus (2013) 10’
– for instrumental ensemble: 126.96.36.199. / 188.8.131.52. / perc. / str.(184.108.40.206.1.)
– 21.09.2013, 56. International Festival for Contemporary Music Warsaw Autumn.
– Chamber Orchestra ENSEMBLAGE, Marcin Piotr Łopacki – conductor
– ImPulsus was inspired by the music of Giacinto Scelsi that brings a lot of thought on the inner pulse of phrases. Those explorations, along with researches on duration of music events in time, fill the narration of the piece.
• City of Illusion (2012-2013) 20’ ~not performed
– orchestra, choir and electronic media: 2picc.2.2es cl.2a.sax.2cfg. / 220.127.116.11. / 3perc.arp.pf. / str.(18.104.22.168.4.)
• Haiku (2012) 16’
– chamber ensemble: soprano/bcl/tbn/perc.
– 21.06.2013, Mazowia Culture Center, Warsaw, Poland.
– Łucja Szablewska – soprano, Oliwier Andruszczenko – bass clarinet,
Robert Żelazko – trombone, Leszek Lorent – percussion.
– Haiku is a piece inspired by the poem of Swedish writer and poet, Tomas Tranströmer, which explores the possibilities of the short Japanese poetry form.
• Numbers of reality (2012) 12’ ~not performed
– Female voice and chamber string orchestra (22.214.171.124.1.)
– To poem by Wisława Szymborska.
• Blizzard (2012) 8’ ~not performed
– two female voices, tubular bells and live electronics
– to poem by Joyce Carol Oates
• Cogita! (2012, rev.2015) 7’
– piano solo
– 1.05.2015, 2015 York Spring Festival of New Music, England.
– Geert Callaert – piano
– A piece written in order to experiment with durations, timings and harmonies that hang in the space constructed strictly by the will of performer, who follows the suggestions in proportional notation.
• A chat of Salvador Dali to very elegant woman with average beauty (2013) 5’
– written with composer Piotr Peszat
– 23.05.2013, Collegium Maius, Cracow/Poland, Tomasz Wilczyński – clarinet, Justyna Chmielek – trombone
– A piece treats with humor about the connections in art, being especially created for the art exhibition show called “What if…”.
• ENT1701 (2012) 9’ (Play)
– chamber ensemble: fl./ob./cr./vln./vc./pf
– 8.11.2012, Axes The New Music Triduum, Cracow, Poland; Ensemble Nostri Temporis, Grzegorz Wierus – conductor.
– ENT1701 is a postcard from a trip to my beloved country. The piece is filled with structures that musically illustrate all the wonders of fauna and flora that exist in this incredible climate. There are shapes of stalagmites, milliards of stars glittering in the sky, the sound of a bird singing at night-time or the overwhelmingly intense color of callistemon citrinus…
• Vaporiza (2012) 4’ (Watch)
– cl./alto sax./tenor sax./fg
– 22.11.2012, Music Academy in Poznan, Poland. Jakub Majda – clarinet, Ewa Firla, bassoon, Joanna Blejwas – alto sax., Rafał Rachwał – tenor sax.
– A piece describes the vapours, fleeing moments and delicate movements of air.
• Love Scenes (2012) 13’ (Play – Watch)
– Chamber ensemble: fl./ob./alto sax./acc./pf./vln.
– 31.05.2012, Music Academy in Cracow, Poland, Glyptos Ensemble.
– Love Scenes is a composition written especially for Glyptos Ensemble. A piece presents relationship between two people. You can notice the whole game of shades that show in behavior and everyday reactions of human beings.
• Nimbostratus (2011) 13’ (Play)
– Orchestra: 3(picc).3(ca).3(bcl).3(cfg). / 126.96.36.199. / 4perc.arp.pf. / str.(188.8.131.52.6.)
– 28.08.2013, Ostrava/Czech Republic, Ostrava Days Festival for New and Experimental Music 2013, Janáček Philharmonic Orchestra, Ondřej Vrabec – conductor.
– The phenomenon of rain transition inside the cloud.
• Unlocking the air (2010-2011) 45’
– Piece for instrumental ensemble, dancers and electro-acoustic layer.
– Instrumentation: 1(picc.).0.1.1. / 184.108.40.206. / s.sax / pf.cel.2perc. / str.(220.127.116.11.0.)
– 1.06.2011, Music Academy in Cracow, Poland.
– Concert Ensemble, Martyna Kosecka – conductor
– A piece inspired by the short novel by Ursula K. le Guin by the same title.
• Piano Trio. A length of the hesitancy moment. From thought to creation (2011) 17’
– 31.03.2012, Music Academy in Gdansk, Poland. Natalia Szmydt – violin,
Iza Burda – cello, Paweł Zając – piano.
– The piece analyses the time procedures through different harmonies, connected to microtonal system. It is like an inevitable counting of life.
• In the center of my hometown I’ve been standing lone and crying (2011) 8’
– 4 perc.
• Zadrwoga (2011) 8’ ~not performed
– vln., pf.
• Dark sunset. The hour of threat (2010) 10’
– chamber ensemble: tr./tbn./pf./vla/cb.
– 1.03.2012, Music Academy in Cracow, Poland.
– Concert Ensemble, Martyna Kosecka – conducting.
– The impression on one moment that creates goosebumps and keeps time in tension.
• Fragments (2010) 5’
– 15.04.2011, Music Academy in Cracow, Poland.
– Arnold Dubanik – clarinet, Piotr Kowal – piano.
– Fragments is a short composition for clarinet and piano, focusing on different ways of dividing the musical material, from rough thoughts to calm and melodic contrasts.
• Crystal balls of fate (2010) 15’ ~not performed
– orchestra: 2.2(ca).2(bcl).2(cfg). / 18.104.22.168. / 2perc. / str.(22.214.171.124.4)
• Fascination.Desire.Lust. (2009-2010) 15’ ~not performed
– orchestra: 2(picc./alto).2.2(bcl).2. / 126.96.36.199. / 3perc.arp. / str.(188.8.131.52.4)
• Znikomek (2010) 5’ (Play)
– alto sax.
– 3.12.2010, Music Academy in Cracow/Poland, Dawid Pliskowski – alto saxophone
– Znikomek tells the story of a small magical creature that tends to disappear from time to time. Although being rather tiny, it can have a huge temper and quickly scream it’s statement, before suddenly… disappears.
• Topic: music of pressure (2009) 4’ (Play)
– 26.09.2009, 52. Warsaw Autumn Festival for Contemporary Music
– A piece is a tribute to the work of famous polish avant-garde composer and theoretician, Bogusław Schaeffer.
• Awakening (2008) 9’ ~not performed
– pf., alto sax., chromatic kalimba (or celesta), 1 batt.
• Starry Night (2007) 8’ (Watch)
– pf./cb./cl.in Si/alto sax.
– 2.06.2010, Music Academy in Cracow, Poland. Chamber Academy Ensemble.
– Starry Night is a piece inspired by the painting of Vincent van Gogh by the same title. It describes the atmosphere on the canvas, referring to slightest details of the colours, shades and densities.
• Dumka (2006) 5’ (Watch)
– piano solo
– 18.09.2008, Music School in Gdynia/Poland, Tomasz Zając – piano
– One of the first successful pieces of Martyna Kosecka, although written in rather old stylistic, proves how her music path has evolved through the years, at the same time reminding of the past sound-world, she had in her mind.