3 fl, 3 ob, 3 cl, 3 bsn, 4 hn, 3 tpt, 3 tbn, 1 tba, 4 perc, 1 hp, vln I (12), vln II (10), vla (8), vc (6), db (4)

The piece was written as part of the composer’s doctoral dissertation project.

Symphony is an approximately 27-minute composition for orchestra. The work employs techniques such as imitating the sounds of animals and natural phenomena.

Its harmonic language is based on pitch centers as well as on pitches derived from the multifonic sonorities of the bass clarinet.

3 fl, 3 ob, 3 cl, 3 bsn, 4 hn, 3 tpt, 3 tbn, 1 tba, 4 perc, vln I (12), vln II (10), vla (8), vc (6), db (4)

world premiere: Warsaw, 20.09.2024, NOSPR, Yaroslav Shemet, Warsaw Autumn, Filharmonia Narodowa



The piece is inspired by the observation of matter undergoing changes during the process of increasing temperature and combustion. References to the action of fire can be interpreted in many ways.

The multitude of unspeakable connections in the interpretative space between listener, performer and composer is certain and unpredictable, regardless of the content of the work’s description.

Some will see it as a symbolism of purification or change, others will find references to destruction, degradation, environmental change, fear of war or burnout in given social functions; others yet will enrich the perception of the composition with their own insights.

2 fl, 2 ob, 2 cl, 2 bsn, 2 hn, 2 tpt, 2 tbn, 1 tba, 1 perc, 1 hp, vln I (10), vln II (8), vla (6), vc (4), db (3)

world premiere: Cologne, 17.01.2024, WDR Sinfonieorchester, Johannes Kalitzke

Frost is an orchestral composition inspired by the natural phenomenon of frost. Frost occurs at temperatures below 0°C (the freezing point of water), when water changes its state from liquid to solid.

This transformation has significant effects on all living organisms, which mostly consist of fluids in various forms. To cope with the impact of low external temperatures on their bodies, some creatures have developed the ability to hibernate during winter. However, modern humans do not enter hibernation during the cold months and are exposed to the harshness of winter. The sensation of cold and the human body's limited resilience to prolonged cold and frost were the main sources of inspiration for the layers of sound in this piece.

clarinet/bass clarinet, percusion solo: 3 timpani (F, F, G), 3 singing bowls, vibraphone, crotales (one octave), drumset

2 fl, 2 ob, 2 cl, 2 bsn, 2 hn, 2 tpt, 1 tbn, 1 perc (2 timpani, bass drum, tam-tam), vln I (6), vln II (5), vla (3), vc (3), db (3)

wolrd premiere: Lüneburg, 22.10.2020, Broken Frames Syndycate, Lüneburger Phliharmoniker

defense mechanisms

The piece consists of 365 measures. This number symbolizes the days in a year. I analyzed my entire year "2019" by recording the defense mechanisms I observed in myself and the situations in which they arose, which later served as inspiration for writing the piece. When it comes to the theme of defense mechanisms, many questions and musical inspirations emerge. In the piece, you witness behaviors that suggest an attempt to defend oneself. How do we use defense mechanisms every day to cope with reality? How do we deal with our thoughts? Are we enough sensitive to what is happening around us? Do we sometimes wish to know nothing about the problems of this world? In the piece “Defense Mechanisms”, I want to pose such questions to the listeners.

2 fl, 2 ob, 2 cl, 2 bsn, 4 hn, 2 tpt, 3 tbn, 1 tba, 2 perc, 1 hp, 1 pno, vln I (10), vln II (8), vla (6), vc (5), db (4)

world premiere: Warsaw, 09.06.2019, Polish Radio Symphony Orchestra, Piotr Zabielski

binaural beats is inspired by the phenomena of binaural beats and isochronic tones, though it does not aim to replicate them literally. Binaural beats occur when two slightly different frequencies are presented separately to each ear, creating the perception of a rhythmic pulse — a concept often linked to meditative brain states. Isochronic tones, on the other hand, are evenly spaced rhythmic pulses of a single tone that can promote focus or relaxation. In this composition, these ideas serve as a point of departure: their principles are translated into orchestral texture and spatial arrangement. To evoke the sensation of shifting frequencies, the double basses are placed on opposite sides of the stage, creating a dialogue that mirrors the binaural concept in an acoustic, concert-hall setting.

1 fl, 2 ob, 1 perc (singing bowls and timpani), vln I, vln II, vla, vc, db

world premiere: Gdańsk, 25.11.2018, Sinfonietta Pomerania, Tadeusz Dixa

relaxation music for chamber orchestra is conceived as a form of meditative, relaxing music. It is written for flute, oboe, percussion (including Tibetan bowls placed on timpani), and string orchestra. The piece unfolds through a repetitive structure, gradually expanding and contracting its harmonic patterns. These subtle shifts in resonance and texture aim to create a sense of spaciousness and calm, inviting the listener into an immersive, contemplative sound world.

1 fl, 2 ob, 2 cl, 2 sax, 2 bsn, 1 perc, 3 perc, 1 pno, 1 acc, vln I, vln II, vla, vc, db

world premiere: Białystok, 14.03.2017, Karel Dohnal (clarinet), Tadeusz Karolak (conductor), Chopin University Orchestra

Concerto for clarinet and orchestra lasts approximately 20 minutes and features a virtuosic and demanding solo part. Composed by a clarinetist, the work reflects the composer’s deep familiarity with the instrument: its technical possibilities, expressive range, and potential for extended techniques.

2 fl, 2 ob, 2 cl, 2 bsn, 2 hn, tpt, 1 tba, 2 perc, vln I, vln II, vla, vc, db

world premiere: Białystok, 29.04.2014, Żaneta Rydzewska (clarinet), Krzysztof Kozakiewicz (conductor), Chopin University Orchestra

fl/b fl, cl/b cl, hn, tpt, tbn, perc, vln I, vln II, vla, vc, db
world premiere: Cologne, 09.05.2026, Ensemble Musikfabrik, Acht Brücken Festival

Superheroines is inspired by the play Top Girls by Caryl Churchill, particularly its dialogues between women from different eras and backgrounds who speak about their experiences. In Superheroines, abstract inspirations incorporate musical structures reminiscent of the dialogues and emotional states of the characters.

fl/b fl, b cl, b sax, perc, vln, vla, vc
world premiere: Dublin, 10.04.2026, Spółdzielnia Muzyczna, Music Current

eco stories is a piece for ensemble, electronics, objects, video, and a plant installation. It consists of five parts, each inspired by different ecological issues.
1. Mechanics
2. Drifting
3. Urban Anthropocene
4. Recycled loops
5. CO2-based respiration
The piece can be performed in two versions. Version I, the full version, consists of 5 parts and lasts approximately 20 minutes. Version II, the shorter version, consists of parts I-III lasts approximately 13 minutes, and does not require a plant installation or a table with small instruments. Each part of the piece refers to a different aspect of human interference with the natural world.

fl, b cl, perc, acc, vln, vla, vc, db
world premiere: Warsaw, 18.10.2025, Hashtag Ensemble, Cantus Ensemble

Top Five is a composition for ensemble and electronics.The main musical material of the piece is inspired by the lives of five outstanding women from culture and science. These are Marilyn Monroe, Hildegard of Bingen, Tamara Łempicka, Maria Skłodowska-Curie, and Wendy Carlos. In connection with references to their lives and work, noticeable are sonic analogies concerning their functioning as women, their professional activity, and the way they were perceived in society. Hence the following contexts appear: associations with addictions, bottles, glasses, pill containers, music boxes with the melody of Happy Birthday, as well as kissing sounds, hissing, and cheers (catcalling, fawning) (Monroe); attempts at meditation, anxieties, and migraine headaches as revelations (Hildegard of Bingen); research on substances, dissolving in water (Skłodowska); Wendy Carlos, cat lover and pioneer of electronic music; or Tamara Łempicka (the act of bringing a goose into salons as a gesture of wanting to impress, driving sports cars, or the use of Art Deco techniques – checkered patterns).

world premiere: Warsaw, 27.10.2025, Warsaw Trio, UMFC

time crusher is inspired by the process of overstimulating human attention, its reactions to scrolling, and the constant intake of fast-changing information.

world premiere: Vienna, 21.06.2025, airborne extended, Reaktor Wien

Melodrama is an energetic eight‑minute work for recorder, flute, harp, harpsichord, and electronics. In this piece, the composer explores extreme emotional states — screaming, laughter, crying, mumbling, hysteria, delirium, complaining, profound pessimism, as well as excitement and joy. The music is characterized by rapid and unpredictable shifts in mood, reflecting the volatility of human emotions.

bass clarinet, percussion, piano, violin and live electronics

world premiere: 05.12.2024 (Gdańsk) / 06.12.2024 (Bydgoszcz, Art Mintaka), Kwartludium

Entomophony is inspired by the intricate sound world of insects. Through instrumental techniques, live electronics and textural layering, the instruments transform to evoke the buzzing, rustling energy of a swarming colony.

fl, ob, cl (+ bcl), bsn, hn, tpt, tbn, pf, hp., perc (2), vln (2), vla, vc (2), db.

world premiere: Frankfurt, 25.02.2024, Ensemble Modern, Yannick Mayaud, cresc... festival

The Painted Bird is inspired by Jerzy Kosiński’s novel of the same title, which portrays the harrowing journey of an abandoned boy during World War II. The novel’s central image of a bird painted in bright colors and subsequently attacked by its own flock serves as a metaphor for alienation and cruelty.

In the composition, bird calls and natural sounds become a key source of sonic material, derived from 46 collected samples. These imitations create layered textures and sound structures that reflect the emotional and symbolic atmosphere of the book.

b fl, b cl, t sax, tbn, sampler, vln, vla, vc, electronics, video, lighting, plant installation

world premiere: Cologne, 18.02.2024, electronic ID, Rufffactory Köln

"Tunnelblick" (music theater piece for ensemble, live electronics, lighting, and AI video installation — commission by Ensemble electronic ID).

"Tunnelblick" is an intermedia musical-theatrical work that intertwines empathy and artificial intelligence, inviting listeners to embark on a contemplative journey through the landscape of human–technology interaction. At its core, the piece probes the nature of empathy in a world increasingly dominated by technology. It serves as an audiovisual reflection on how our perception of reality shapes human behavior and questions whether exposure to overwhelming streams of information becomes toxic to our sense of self.

The concept of tunnel vision lies at the heart of "Tunnelblick" — a metaphor for humanity’s relentless single-minded pursuit of progress. The musical material explores the interplay between emotional states and the advancing realm of artificial intelligence, employing a pulsating blend of live instrumentation and electronics to embody the “heartbeat of progress”.

Visually and sonically, the piece integrates AI-generated video projections—produced in collaboration with Berlin-based AI studio Birds on Mars—and responsive lighting, establishing a dynamic dialogue between musicians and machine-generated imagery. A neural network trained on video and photographic data of flowers and Warsaw cityscapes is controlled in real time via contact with plants on stage.

In "Tunnelblick", music, visuals, and stage design merge to create an immersive environment that challenges preconceptions and invites critical reflection on the human condition in the age of technology and informational overload.

world premiere: Kraków, Teatr KTO, 08.09.2023, Spółdzielnia Muzyczna contemporary ensemble

Insatiability (2023), inspired by Stanisław Ignacy Witkiewicz’s novel Insatiability, explores the tension between sonic excess and fragile stillness. The work saturates the sound spectrum with dense overtone structures, distortion, and noise in climactic moments, while contrasting them with delicate, soft textures.

world premiere: Warsaw, UMFC, 22.05.2023, Adam Maksymienko (accordion), Julia Kurzydlak (conductor), Chopin University Modern Ensemble

solo acc, fl, cl/bcl in Bb, s/a sx, tpt in Bb, perc (waterphone, 3 singing bowls, 2 tmp, bd, cym), pno, 2 acc, vln, vla, vc, db

Doubler is a work for accordion and chamber orchestra built around the concept of duality, both in texture and spatial sound. The piece draws inspiration from natural soundscapes and explores the organic placement of sound in space, emphasizing stereophonic effects through instrumental arrangement. It continues the composer’s long-standing fascination with the accordion, expanding its expressive and coloristic possibilities without relying on strict mathematical systems.

world premiere: Katowice, NOSPR, 10.03.2023, Kwartet Śląski, Festiwal Prawykonań

botanical studies for string quartet and multi-channel electronics

Inspired by the intricate shapes, structures, and textures of plants, botanical studies transforms botanical observation into sound. The interplay between repetition and diversity in the natural world serves as the seed for the work’s musical material, unfolding like an evolving organic landscape.

fl/bfl, ob, bcl, cl, vln, vla, vc, electronics

world premiere: Warsaw, 22.09.2022, Ensemble for New Music Tallin, Warsaw Autumn

"Elusive" for ensemble and electronics is inspired by the concept of overlapping voices and perceptions, where “to speak to” and “to be spoken to” merge ("Phenomenology of Perception", Maurice Merleau-Ponty). The work features multiple layers centered on shifting sound centers and microtonal harmonies, with electronic processing complementing the acoustic instruments. Techniques such as bowing the spokes of a bicycle wheel produce sounds similar to the multiphonics of the clarinet and oboe, which are then reinforced and transformed electronically, blurring the line between live sound and its electronic extensions.

world premiere: Cologne, 09.01.2023, Studio Ensemble Musikfabrik
Ensemble Musikfabrik:
Helen Bledsoe, flute
Benjamin Kobler, piano
Dirk Rothbrust, percussion
Hannah Weirich, violin

group I (E – Earthlings): fl/bfl, accordion, perc, vln, vc, db
group II (A – Astronauts): cl I, cl II, hn, tpt, tbn, bass tbn

world premiere: Vienna, 30.07.2021, Klangforum Wien, Johannes Kalitze (conductor), ImPuls Tanz Festival, Theater Odeon

The concept behind the piece is inspired by the novel Return from the Stars by Stanisław Lem. The book’s main protagonist Bregg, an astronaut, returns to our planet after 127 Earth years only to find the globe alien to him. On Earth, a perfectly designed social system is in place; this is the result of “betrisation”, a process that renders the psyche incapable of aggression, fighting, or taking risks. The astronaut, although abandoned by his interstellar travel companions after all, sets out to discover a communal and mental space for himself to function in on the now foreign planet... I have therefore chosen four subjects of the novel as the vehicles for my piece. First, the attempt to face the consequences of Einstein’s twin paradox—that is, to adapt to life on the planet as found 127 years later. Second, the need for a sense of community and the related problem of alienation. Third, introducing “betrisation” and examining an egalitarian and ant colony-like society, where a universal and equal measure of well-being counts the most—even if it costs people their ability to experience the world in metaphysical terms. And fourth, the struggle with self and with one’s own nature, pursued in foreign realms that reflect our personal issues like distorting mirrors. Essential to the musical and stage-wise organisation of the piece is the splitting up of the ensemble into two groups of six: Group A—the Astronauts and Group E—the Earthlings. The piece consists of six movements/acts.
Żaneta Rydzewska

world premiere: Cologne, 05.06.2021/04.12.2021, hand werk

2 tpt, 2 hn, tbn, b tbn

world premiere: Witten, 25.04.2021, Ensemble Schwerpunkt, Wittener Tage für neue Kammermusik

The piece is inspired by a Rubik’s Cube, the process of solving it, and the observation of various behaviors during the search for a solution. What is the Rubik’s Cube within a musical work? Who can turn it? Is our only goal to solve the Rubik’s Cube? What if we were part of this Rubik’s Cube?

The piece was commissioned by Westdeutscher Rundfunk for the Wittener Tage für neue Kammermusik 2021.

world premiere: Warsaw, ATM, 23.09.2020, Formy Żeńskie: Barbara Mglej (violin), Paulina Woś-Gucik (violin), Martyna Zakrzewska (piano), Aleksandra Gołaj (percussion), Alena Budziňáková-Palus (accordion), Żaneta Rydzewska (electronics), Warsaw Autumn Festival

fl/bfl, ob, cl/bcl, tpt, hn tbn, tba, perc (nicophone, waterphone, bd, timp, 2 singing bowls, saw, ratchet, marc, cuico, guiro small/medium), pno, vln I, vln II, vla, vc, db

world premiere: Cologne, HfMT Köln, 28.06.2019, Ensemble Musikfabrik, Clement Power (conductor)

data processing draws on Aldous Huxley’s idea that our experiences and emotions are inherently solitary, communicated only indirectly through symbols or language. The piece contrasts this notion with sounds drawn from nature—particularly frogs—which serve as the starting point for its musical material. These sounds are transformed and reimagined, oscillating between recognizable imitation and abstract reinterpretation, resulting in a multilayered sonic landscape that invites each listener’s individual perception.

world premiere: Warsaw, 16.05.2019,Alicja Wołyńczyk, Jarosław Gałuszka, Agnieszka Kopacka, Warszawskie Spotkania Muzyczne, Zamek Królewski

world premiere: Cologne, 25.01.2019, Ensemble Musikfabrik, Adventure, HfMT Köln

sit back and relax for piano, percussion, double bass, electronics, and lights is clearly divided into two contrasting sections. The first part features calming, meditative structures that blend sustained sounds based on harmonic cents. The second part introduces lighting that rhythmically follows the energetic sound patterns, creating a dynamic and immersive contrast.

world premiere: Cologne, 08.09.20218, Trio Catch

The piece is based on the principle of musical recycling, utilizing a limited set of musical material that undergoes subtle transformations throughout the piece. This approach mirrors natural processes where limited resources are reused efficiently. The piece begins and ends with a performative ritual, where the musicians look downward, symbolizing the act of summoning and releasing the musical material from and into the depths. The title under reflects this connection to deep layers, possibly alluding to psychological depths as well.

world premiere: Witten, 27.04.2018, IEMA Ensemble, Wittener Tage für Neue Kammermusik, NewComer Concert

spit it out employs recorded samples of human speech in various languages as its point of departure. Each instrument functions as if a character in a conversation, and the listener is positioned like an anthropologist, attempting to discern the meaning emerging from the interaction between flute, clarinet, violin, viola, and cello.

world premiere: Warsaw, 16.09.2017, Pablo Sanchez Escarische Gasch, Radosław Jarocki, Jędrzej Jarocki, Warsaw Autumn

world premiere: Warsaw, 17.12.2017, Kwartludium, UMFC

world premiere: Warsaw, 21.09.2016, Mateusz Rajkowski, Jędrzej Jarocki, Radosław Jarocki, Tamara Kurkiewicz, Warsaw Autumn Festival

world premiere: Rotterdam, 05.09.2016, AKOM Ensemble

world premiere: Warsaw, 23.09.2026, Two plus Two Quartet, Centrum Promocji Kultury Praga-Południe, Warsaw Autumn

world premiere: Warsaw, 19.02.2016, Miłosz Woliński, Adrianna Wadoń, Radosław Jarocki, Olga Chwaszczewska, Jędrzej Jarocki, UMFC

world premiere: Konstanz, 27.11.2016, performers: Azra Ramić, Ina Callejas, Peer Kaliss, High Noon 2000+, Theater Konstanz

world premiere: Paris, 01.07.2023, Ensemble Intercontemporain, Manifeste, IRCAM

"Le Petit Scandale" explores emotional states inspired by Ligeti’s "Le Grand Macabre". The piece reflects a range of expressions such as crying, laughing, shouting, mumbling, moaning, and complaining. These emotional states shift rapidly, creating a dynamic dialogue that resembles a quarrel between the two instruments. The composition vividly captures the intensity and unpredictability of human interaction.

The piece was commisioned and written for Joaquín Sáez Belmonte and Natalia Lentas.

world premiere: Berlin, 20.04.2021, Thibaut Surugue, Unerhörte Musik

world premiere: Cologne, 02.07.2021, Dominik Susteck, Sankt Peter Kunst Station, comissioned by Deutschlandfunk

world premiere: Białystok, 27.09.2019, Żaneta Rydzewska, UMFC Białystok

world premiere: Samobor (Croatia), 16.12.2018, Martina Jembrišak, Samobor Museum

world premiere: Warsaw, 08.01.2017, Żaneta Rydzewska, UMFC

world premiere: Warsaw, 25.11.2018, Andrzej Karałow, Pablo Sanchez Escarische Gasch, II Polski Kongres Saksofonowy, UMFC

world premiere: Warsaw, 27.04.2017, Dziołak/Stankiewicz Duo, „Perspektywy”, AFK

world premiere: Warsaw, 22.09.2017, Jarocki/ Rydz Duo, Warsaw Autumn, UMFC

world premiere: Warsaw, 09.04.2015, Przemysław Wojciechowski, UMFC

"SynEsthESiA" unfolds in three movements that mirror different layers of consciousness and subconsciousness. The first, “Red,” represents the conscious layer, focused on E‑flat and A; the second, “Blue,” embodies the subconscious, centered around A, B, and E. The final movement, “Green,” synthesizes the two sound worlds, uniting them through G and E and reflecting the work’s idea of colors and psychological states blending into one another.

The piece was written for Agnieszka Dąbrowska-Kras.

b fl, b cl, t sax, tbn, sampler, vln, vla, vc, electronics, video, lighting, plant installation

world premiere: Cologne, 18.02.2024, electronic ID, Rufffactory Köln

"Tunnelblick" (music theater piece for ensemble, live electronics, lighting, and AI video installation — commission by Ensemble electronic ID).

"Tunnelblick" is an intermedia musical-theatrical work that intertwines empathy and artificial intelligence, inviting listeners to embark on a contemplative journey through the landscape of human–technology interaction. At its core, the piece probes the nature of empathy in a world increasingly dominated by technology. It serves as an audiovisual reflection on how our perception of reality shapes human behavior and questions whether exposure to overwhelming streams of information becomes toxic to our sense of self.

The concept of tunnel vision lies at the heart of "Tunnelblick" — a metaphor for humanity’s relentless single-minded pursuit of progress. The musical material explores the interplay between emotional states and the advancing realm of artificial intelligence, employing a pulsating blend of live instrumentation and electronics to embody the “heartbeat of progress”.

Visually and sonically, the piece integrates AI-generated video projections—produced in collaboration with Berlin-based AI studio Birds on Mars—and responsive lighting, establishing a dynamic dialogue between musicians and machine-generated imagery. A neural network trained on video and photographic data of flowers and Warsaw cityscapes is controlled in real time via contact with plants on stage.

In "Tunnelblick", music, visuals, and stage design merge to create an immersive environment that challenges preconceptions and invites critical reflection on the human condition in the age of technology and informational overload.

Soma for multichannel electronics (Dolby Atmos / Ambisonics 3rd order)

world premiere: Warsaw, 19.01.2024, UMFC, Dolby Atmos, CU Cinema ("Kino dźwięku")

The piece transforms field recordings and elements of musique concrète into immersive, rhythmic textures. It explores the perception of space and movement in sound, creating a sonic environment that envelops the listener.

photos:© Natalia Kabanow

world premiere: 19.05.2019, Grand Prix award at the 20th National Independent Theatre Festival in Ostrów Wielkopolski

world premiere: 26.04.2019, Galeria Sztuki im. Jana Tarasina, Kalisz

“bawsiedobrze” is an interactive installation that analyzes the movements of the participant (listener) and generates composed sounds that transform in real time based on their gestures. Participants are encouraged to dance specific choreographed sequences within marked areas on the floor. By following these movements, they can decode and reconstruct a hidden musical composition embedded in the installation. The work is powered by Kinect technology, which enables precise motion tracking and sound modulation.

world premiere: Warsaw, 25.09.2018, Delirium Ensemble, Nowy Teatr, Warsaw Autumn Festival

no-body is a multisensory installation combining scents and visuals, creating an immersive experience. Performers are enclosed within a white fabric cube, onto which video mapping is projected, enhancing the spatial and sensory atmosphere.

world premiere: Wrocław, 28.06-02.07.2019, 17th Survival Performance Art Festival, Pod Ciśnieniem

world premiere: Tampere, 13.04. 2018, Annegret Mayer-Lindenberg (viola, performer), Brigitta Muntendorf (performer) - Ensemble Garage, (Żaneta Rydzewska, electronics), Tampere Biennale, Finland

"so-forth" explores the experience of being constantly observed in the digital age, overwhelmed by sensory overload. It also reflects on the reciprocal nature of observation — how we, too, watch others, creating a complex web of surveillance and interaction.

b fl, b cl, t sax, tbn, sampler, vln, vla, vc, electronics, video, lighting, plant installation

world premiere: Cologne, 18.02.2024, electronic ID, Rufffactory Köln

Tunnelblick (music theater piece for ensemble, live electronics, lighting, and AI video installation — commission by Ensemble electronic ID).

Tunnelblick is an intermedia musical-theatrical work that intertwines empathy and artificial intelligence, inviting listeners to embark on a contemplative journey through the landscape of human–technology interaction. At its core, the piece probes the nature of empathy in a world increasingly dominated by technology. It serves as an audiovisual reflection on how our perception of reality shapes human behavior and questions whether exposure to overwhelming streams of information becomes toxic to our sense of self.

The concept of tunnel vision lies at the heart of Tunnelblick — a metaphor for humanity’s relentless single-minded pursuit of progress. The musical material explores the interplay between emotional states and the advancing realm of artificial intelligence, employing a pulsating blend of live instrumentation and electronics to embody the “heartbeat of progress”.

Visually and sonically, the piece integrates AI-generated video projections—produced in collaboration with Berlin-based AI studio Birds on Mars—and responsive lighting, establishing a dynamic dialogue between musicians and machine-generated imagery. A neural network trained on video and photographic data of flowers and Warsaw cityscapes is controlled in real time via contact with plants on stage.

In Tunnelblick, music, visuals, and stage design merge to create an immersive environment that challenges preconceptions and invites critical reflection on the human condition in the age of technology and informational overload.

world premiere: Warsaw, 19.12.2023, Centrum Sztuki Współczesnej
performer: Żaneta Rydzewska
music, electronics: Żaneta Rydzewska
light: Żaneta Rydzewska

The piece "Roast" for solo performer is a composition that explores the composer’s inner critical voice, as well as the way a composer can be perceived by others. In this work, I mock myself and punish myself, assigning exercises as penance for supposed mistakes and faults.

world premiere: Cologne, 09.01.2023, Studio Ensemble Musikfabrik
Ensemble Musikfabrik:
Helen Bledsoe, flute
Benjamin Kobler, piano
Dirk Rothbrust, percussion
Hannah Weirich, violin

group I (E – Earthlings): fl/bfl, accordion, perc, vln, vc, db
group II (A – Astronauts): cl I, cl II, hn, tpt, tbn, bass tbn

world premiere: Vienna, 30.07.2021, Klangforum Wien, Johannes Kalitze (conductor), ImPuls Tanz Festival, Theater Odeon

The concept behind the piece is inspired by the novel Return from the Stars by Stanisław Lem. The book’s main protagonist Bregg, an astronaut, returns to our planet after 127 Earth years only to find the globe alien to him. On Earth, a perfectly designed social system is in place; this is the result of “betrisation”, a process that renders the psyche incapable of aggression, fighting, or taking risks. The astronaut, although abandoned by his interstellar travel companions after all, sets out to discover a communal and mental space for himself to function in on the now foreign planet... I have therefore chosen four subjects of the novel as the vehicles for my piece. First, the attempt to face the consequences of Einstein’s twin paradox—that is, to adapt to life on the planet as found 127 years later. Second, the need for a sense of community and the related problem of alienation. Third, introducing “betrisation” and examining an egalitarian and ant colony-like society, where a universal and equal measure of well-being counts the most—even if it costs people their ability to experience the world in metaphysical terms. And fourth, the struggle with self and with one’s own nature, pursued in foreign realms that reflect our personal issues like distorting mirrors. Essential to the musical and stage-wise organisation of the piece is the splitting up of the ensemble into two groups of six: Group A—the Astronauts and Group E—the Earthlings. The piece consists of six movements/acts.
Żaneta Rydzewska

world premiere: Cologne, 05.06.2021/04.12.2021, hand werk

2 tpt, 2 hn, tbn, b tbn

world premiere: Witten, 25.04.2021, Ensemble Schwerpunkt, Wittener Tage für neue Kammermusik

The piece is inspired by a Rubik’s Cube, the process of solving it, and the observation of various behaviors during the search for a solution. What is the Rubik’s Cube within a musical work? Who can turn it? Is our only goal to solve the Rubik’s Cube? What if we were part of this Rubik’s Cube?

The piece was commissioned by Westdeutscher Rundfunk for the Wittener Tage für neue Kammermusik 2021.

world premiere: Cologne, Sankt Peter Kunst Station, 20.11.2019, violin: Lola Rubio, violas: Pauline Buss, Laura Hovestadt photos: © Dörthe Boxberg

world premiere: Tampere, 13.04. 2018, Annegret Mayer-Lindenberg (viola, performer), Brigitta Muntendorf (performer) - Ensemble Garage, (Żaneta Rydzewska, electronics), Tampere Biennale, Finland

"so-forth" explores the experience of being constantly observed in the digital age, overwhelmed by sensory overload. It also reflects on the reciprocal nature of observation — how we, too, watch others, creating a complex web of surveillance and interaction.

soprano, flute, clarinet, viola, double bass

world premiere: Berlin, 28.09.2023, Novoflot Ensemble, Akademie der Künste

The piece explores the boundaries between acoustic perception and urban noise. Written for soprano, flute, clarinet, viola, and double bass, it forms a part of Novoflot’s large-scale opera-installation *“The Theory of Harmony #2 – OpernCall”*, performed on the façade of the Akademie der Künste in Berlin.

Text by Ulrich Holbein.

Commissioned by Novoflot and produced in collaboration with Akademie der Künste.

world premiere: Würzburg, 16.10.2022, Theresa Maria Romes, Marie-Thérèse Zahnlecker, KAMMERMUSIK! Festival Würzburg

world premiere: Warsaw, 25.09.2021, Ko-Mat Ensemble, Aleksandra Ołdak, "Lalki", text: Marcin Zdunik, Warsaw Autumn, Komuna Warszawa

world premiere: Rotterdam, 05.09.2016, AKOM Ensemble

world premiere: Kraków, 09.04.2016, Sebastian Szumski, Krzysztof Augustyn, Academy of Music in Kraków, text: Stanisław Przybyszewski