• Zamharīr: Frozen timelessness for flute, cello, piano and electronics (2019) 10’46” (listen)
– 1.10.2019, Unerhörte Musik, BKA Theater Berlin, Germany
Trio IAMA: Jannis Anissegos – flute, Maria Anissegou – violoncello
Antonis Anissegos – piano, Martyna Kosecka – electronics
– The extreme cold torn you apart. The cracking of the bones can be heard. Freezing hell-fire consumes what is lost in sin.
Zamharīr: Frozen timelessness is just a mere attempt of describing the sounds and atmosphere that can be heard at this level of hell.
Timelessness beyond.
• Concerto for clarinet, multipercussion and string orchestra (2019) 23’ (listen)
– 26.04.2019, 4th Tehran Contemporary Music Festival, Iran, Nilper Orchestra, Navid Gohari – conductor, Barbara Borowicz – clarinet, Bartosz Sałdan – percussion
– piece dedicated to its first performers;
– Innovative set of virtuoso instruments, expression beyond imagination and bold usage of harmonic solutions are just a few to mention in reference to Concerto for clarinet, multipercussion and string orchestra. Kosecka, by a swift manipulation of time and rhythmical structures, presents a unique soundscape in this two-movement Concerto, so important piece enlarging the repertoire for clarinet and percussion duo.
• Halos (2019) 7’
– for alto saxophone and tape
– dedicated to Idin Samimi Mofakham
– 7.03.2019, Baltic Cultural Centre, Gdańsk, Poland, Idin Samimi Mofakham – alto saxophone, Dariusz Mazurowski – tape realization
– Halos represents a play of reflexes, little nuances and repetitions that work in a constant dialogue between soloist and tape material.
• Enigma I (2019) 6’30’’ (listen)
– horn solo
– written and dedicated to Daniel Costello
– 20.03.2019, Brno Music Conservatoire, Czech Republic, Daniel Costello – horn
– Enigma is a cycle of works for brass and wind instruments, exploring the technical possibilities of each instrument in a virtuoso way. Each Enigma is a riddle. Enigma does not reveal its meaning easily – it is complex, unpredictable and full of contrasts.
Enigma I for horn solo focuses on the sound transitions between stopped/half stopped pitches combined into a long-breath phrases. Some might notice a traces of a certain Persian scale plotted gently into the narration, but…shh! It’s Enigma! I’m not allowed to say anything more!
• Āzar (2018) 8’
– for saxophone quartet
– dedicated to Stockholm Saxophone Quartet
– 6.12.2018, Stockholm Saxophone Quartet, Musikaliska, Stockholm, Sweden
– Āzar is a composition, which is inspired by the slightest nuances of saxophone possibilities, especially dynamic ranges, harmonic clusters and polimelodical integration within the group. The middle part of the composition introduces a modal material taken from Iranian modal system, transformed into a complicated net of relations and transitions between each other.
• Ourobóros (2018) 11’30’’
– for ensemble (1.1.1.1./1.1.1.0/1.1.1.1.1.)
– dedicated to David Danel and Prague Modern Ensemble
– to be performed in 2019/2020 season
• Charactiras (2018) 7’ –> BUY SCORE
– accordion solo
– 1.06.2019, Risuonanze Festival for New Music, Udine, Italy, Ghenadie Rotari – accordion
– The music of Charactiras explores the sound world and techniques for accordion writing, focusing on the melodical element of accordion, while keeping the modernity in harmonies, rhythms and textures for the instrument.
• Hypnos (2017) 8’
– tenor recorder & tape
– dedicated to Sylvia Hinz
– 30.04.2018, Tehran, III Tehran Contemporary Music Festival
– The piece is written in mahur Persian scale. It disputes on the concepts of time flow, sleepiness and focus on various presentations of same modal motive.
• Klothó – thread of the tales (2016-2017) 90’ (watch)
– magical opera in one act
– 5 voices (soprano, alto, contra-tenor, tenor, bas-baritone), narrator, 8-soloist choir, orchestra: 1(picc).1(c.i.).1(bcl).1 / 2.1.1.0. / 2(3)perc.arp.pf.synth.cel. / str.(1.2.2.2.1)
– 22.04.2017, Zagreb, Croatia, Rijeka Opera Company, Berislav Sipus – conductor; commission of 29th Music Biennale Zagreb
– libretto Martyna Kosecka; direction Krzysztof Cicheński, scenography and costumes Julia Kosek, projections and lights Bartłomiej Szlachcic
– Opera Klothó -Thread of the Tales by Martyna Kosecka is a magical one-act feast of fairytales and fables, linked altogether into a maze of stories from around the world, where none of them ever finds an ending. Two ordinary families, living in a night kingdom of vicious Shā, attempt to fulfill the task impossible to accomplish in order to finally live in happiness and wealth. Their actions lead to unforeseen and dramatic turns of events…
• 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.
– 1st prize at 5-Minute Opera Composition Competition at Music Biennale Zagreb, Croatia 2015,
– 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.
• Architectonica (2014) 5’ ~not performed
– clarinet quartet (Es cl., B cl., A cl., bcl.)
• Sial (2014) 7’
– fg./pf.
– 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.
• Orsi (2014) 9’ –> (BUY SCORE)
– string orchestra (5.4.3.3.1.)
– 2nd prize at IV National Krzysztof Penderecki Composition Competition, Sopot, Poland
– 2.08.2017, 7th Sopot Classic Festival, Polish Cameral Sopot Philharmonic, David Runz – conductor;
– Orsi is a piece inspired by the culture of orient, where all the colours and glimpses of Eastern life shine and create a complex net of connotations. The base for the compositional material of Orsi is a selection from Persian modal scales, rediscovered in a contemporary language narration.
• Psukhē (2013) 12’
– for prepared 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’ (listen)
– 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’ (listen – watch)
– chamber orchestra: 2.1.3(bcl).1 / 1.1.1.0. / 3perc.arp.pf. / str.(4.4.3.3.1)
– 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’
– solo vc. and quartet: acc., ob., alto sax., vln.
– award at 8th Zygmunt Mycielski National Composition Competition, Warsaw, Poland
– 19.09.2017, 60th International Contemporary Music Festival “Warsaw Autumn”, Fryderyk Chopin University of Music, Warsaw, Olga Chwaszczewska – solo cello part
• ImPulsus (2013) 10’
– for instrumental ensemble: 1.1.1.1. / 1.0.0.0. / perc. / str.(1.1.1.1.1.)
– 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.
• 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.
• Cogita! (2012, rev.2015) 7’ (watch) –> BUY SCORE
– 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.
• ENT1701 (2012) 9’ (play) –> BUY SCORE
– 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). / 4.3.3.1. / 4perc.arp.pf. / str.(14.12.10.8.6.)
– 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.
• 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.
• Fragments (2010) 5’ –> BUY SCORE
– cl./pf.
– 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.
• Znikomek (2010) 5’ (play) –> BUY SCORE
– 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)
– tape
– 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.
• 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.