Born in 1974 in Siemianowice Śląskie (Poland). A composer and double-bass player, he is a graduate of the Karol Szymanowski Music Academy in Katowice (1998). He also completed postgraduate studies at the Musik-Akademie in Basle (1999-2002). He has perfected his skills in the performance of contemporary music under the guidance of O. Badila and W. Güttler. He has attended numerous master classes. He studied composition with his father Ryszard Gabryś, T. Kessler, and had consultation with the late Witold Szalonek.
He is a prizewinner of numerous competitions for composers and performers, including those dedicated to A. Krzanowski, A. B. Ciechański, K. Penderecki and T. Baird, as well as the Andrzej Panufnik 'Patri Patriae' Competition. He has held grants from the Arts Institute in Cracow, the Brandenburg Land Government, the 'Lyra' Foundation of Zurich and the 'Thyll-Dürr' Foundation of Basel.
He has performed as a soloist and in chamber music since his teens. For the past few years he has also been a member of the 'Proporzioni' Oboe Trio of Kazimierz Dawidek. He has participated in the Silesian Composers' Tribunes, the Silesian Days of Contemporary Music, the Days of Karol Szymanowski's Music in Zakopane, the Mikołów Music Days, 'Das Theatralische in der Musik' in Davos, 'Buckower Begegnungen', the 'Unerhörte Musik' in Berlin, 'Hudobn... Salony' in Banska Bistrica (Slovakia), and 'Melos-Ethos' in Bratislava. He has given over 30 recitals in Poland, Switzerland, Germany and Holland. His pieces for tape have been featured in Bourges. He has taken part in performances of Alberto Ginastera's Glosses as a member of the soloists' quintet with Gidon Kremer.
He was the first musician in Poland to play Gubaidulina's Sonata for Double-bass as well as works by Scelsi, Lombardi, Zeljenka's Concertino and the double-bass version of Szalonek's 1+1+1+1. He has made numerous recordings for Polish Radio and Silesian tv. Many composers, such as T. Kessler, J. Iršai, E. Bogus¸awski, D. Jack, R. Klisowski, P. Radko, R. Gabryś have dedicated to him their works for double-bass.

Selected works: Miniatures for double-bass and tape (1990), Lux in tenebris for tape (1992), Voak gefeustich, instrumental theatre for five musicians-actors (1992), Holy God for soprano, piano strings, tapes and light (1993), The Garden of God's Games for strings and computer sounds (1994), Quadrofonietta for string instrument and live electronics (1996), Printemps Mandale for tape (the composer's own poem in his own interpretation, 1997), Actus contra Naturam for tape (1997, for dancer), Eco-Ethno-Polish-Mountains-Spheroid for tape (1998), Abraxas for string orchestra and tape (1998), Man in Fish for double-bass and tape (1999), Bas-el-Karneval for string instrument and live electronics (2000), L'ultima volta con de-cadenza for tape (2000), Folklorietta for tape (2001, computer music employing authentic folk music recordings from the Silesian Beskid range; 2001), Patrix for double-bass and tape (2001), Deus Irae for violin/viola, cello/percussion instruments, accordion/piano, double-bass/gd'ulka (2002).

Deus Irae, a poly-version chamber piece with obbligato double-bass part, was written in 2002 as a trace and musical continuum of the expressive features contained in the prose of Ph. K. Dick. Labelled as science fiction, it is in fact oriented towards a theological discourse, profusely inlaid with musical allusions (in good taste!). This is not surprising in view of the fact that this California-based writer ran a record shop for some time. The parallel worlds of instrumental parts and the sui generis beyond-the-world are symbolised by the acoustics of the tape which I realised in Marian Czarnecki's Computer Studio in Katowice. Experiencing the flexibility of time and its phantoms, and the various degrees of aleatoric option, which is checked by the ballast of the sound objects existing 'here and now' (and perhaps also existing there and once upon a time?) - all this is to serve the music of ideas and is meant to capture Dick's extra-textual vision (using the score as a 'butterfly net'). A suitable motto for this vision is a verse from the poem The World by the 17th-century English metaphysical poet Henry Vaughan: 'I saw Eternity the other night...'
The work was commissioned by the 'Warsaw Autumn' Friends' Foundation and financed with funds from the Ernst von Siemens Musikstiftung, Munich.
Aleksander Gabryś