Born in 1968. Composer. As his first and family names indicate, he is a Pole, permanently residing in Poland. He is a lecturer at the Music Academy in Cracow, dealing at the same time with sound realization. In earlier years, he was not doing anything of significance, apart from a certain trifle called work. He has not won any awards, a fact which, in his view, is proof of a lack of money in Poland for supporting culture. It can also result from the fact that he hardly ever takes part in competitions for composers (which does not contradict the former theory). He writes music for instruments and electronic media. He creates systems for algorhythmic compositions. Interactive projects are not alien to him either.
Recently he took to spaghetti a lot. This, however, has not had any impact on his compositional style or his appearance.

Selected compositions: twt for flute and violin (1989), Divertimento for oboe, violin, cello and cembalo (1990), Gigue for oboe, two clarinets, bassoon, two violins, two violas, cello and double-bass (1990), Short Black Story for saxophone and harp (1991), Aitkenada for flute solo (1991), Welcome to the Paradise for flute and percussion instruments (1991), Turdidae for tape (1992), series of compositions for harp: Colon, Concert Etude, Postlude, The Line; Limericks - series of short pieces for different instruments (bassoon, bassoon and piano, piccolo flute and vibraphone, reeds trio, etc.), Carnival Suite for saxophone solo (1996), Shizzz... for tape (1997), Retroplexis for tape (1998), Sinfony II for tape (2002).

Sinfony II is an electroacoustic piece. As the title suggests, it is the second piece of the cycle Sinfonies (sinFonies). The idea of the cycle consists in putting pure, synthetically produced sounds together with natural recordings and the sounds of acoustic instruments. These sounds are not joined together to form a new, single whole but are placed in juxtaposition to one another. It is a kind of qualitative polyphony'. The quality here is not understood in the sense of better-worse' but rather different'. The composer is interested in the perception of such a piece. Are we capable of listening to this collage as to a musical composition or merely as a more or less ordered collection of aural phenomena? Sinfonies I was a stereophonic piece. Sinfonies II is a multi-channel work, with all its consequences.
The work was commissioned by the Warsaw Autumn' Friends' Foundation and financed with funds from the Ernst von Siemens Musikstiftung.
Mateusz Bień