And I Am on Stage Again
DURATION: 48:00 min.
YEAR OF CREATION: 2025
INSTRUMENTATION/MEDIA: trombone solo, 4-ch audio playback, live-electronics & live-video
The main inspiration for the piece is the strand of work of the eminent Polish artist Tadeusz Kantor known as the Theatre of Death, in which the artist pays special attention to the mechanisms of human memory. Kantor believed in the need for the physicality of memory ー every metaphysics must have its physics. The extra-musical idea of the "And I Am on Stage Again" is to analyse Kantor's concept, 35 years after the artist's death, through the prism of contemporaneity. It seems that in the present, the greatest challenge to memory is reality ー i.e. the blurring of the boundary between the real and virtual, the anchoring of the vast majority of memories and emotions in virtuality rather than physicality. Kantor believed in the memory of the dead matter. But how can we preserve memory nowadays, when it largely relates to what does not physically exist?
Digital Environments
DURATION: 17:44 min.
YEAR OF CREATION: 2025
INSTRUMENTATION/MEDIA: chamber ensemble [flute, clarinet, saxophone, percussion, piano & sampler, violin, viola, cello], 8-ch audio playback & live-electronics
Piece co-financed by the Ministry of Culture and National Heritage of the Republic of Poland within the programme “Composing Commissions” implemented by the National Institute of Music and Dance.
Baroque Disco
DURATION: 112:00 min.
YEAR OF CREATION: 2025
INSTRUMENTATION/MEDIA: baroque orchestra and stereo audio playback
In Baroque Disco, the aesthetics of classical music –including compositions by Rameau, Vivaldi, and Biber – and an ensemble of historical instruments are juxtaposed with highly rhythmic electronics, which are distinctly closer to a club space than a concert hall.
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La Vie et La Passion de Jésus-Christ [2025 ver.]
DURATION: 46:00 min.
YEAR OF CREATION: 2025
INSTRUMENTATION/MEDIA: chamber ensemble (flute, clarinet, saxophone, percussion, piano & sampler, violin, viola, cello), 4-ch audio playback, live-electronics, video
Just as Moses lifted the snake in the wilderness, so the Son of Man must be lifted, so that everyone who believes may have eternal life in him. For God so loved the world that he gave his one and only Son, that whoever believes in him shall not perish but have eternal life. For God did not send his Son into the world because he was afraid that the child would be sexually abused, and would feel terror and shame. That is because the younger a child is, the more difficult it is because often does not know what to call it. Stays alone with the evil done by the church servants.
Marimba was a Pole
DURATION: 08:23 min.
YEAR OF CREATION: 2025
INSTRUMENTATION/MEDIA: marimba, stereo audio playback
Imaginary Soundscape
DURATION: 26:20 min.
YEAR OF CREATION: 2025
INSTRUMENTATION/MEDIA: flute, multichannel audio playback & live-electronics
Project co-financed by the Ministry of Culture and National Heritage of the Republic of Poland within the programme “Composing Commissions” implemented by the National Institute of Music and Dance.
Suiseki Stone Music
DURATION: 23:36 min.
YEAR OF CREATION: 2025
INSTRUMENTATION/MEDIA: stones & live-electronics
The sounds of the stones, captured with a microphone, are the direct starting point for the piece. Electronically processed, they co-create matter that comes alive, initiating new contexts and forms. The result is a contemplative space in which the reality and physicality of the stones gradually blur and intertwine with their artistic interpretation.
Untitled Folder #4
DURATION: 8:06 min.
YEAR OF CREATION: 2025
INSTRUMENTATION/MEDIA: saxophone [alto, baritone], vibraphone, sampler, cello
Sacha Baron Cohen recalls the Ali G - Donald Trump interview
Ali G: “What is the most popular thing in the world?
DT: Music.
Ali G: No.
DT: Tell me […]”
Score
Miejsca
DURATION: 56:16 min.
YEAR OF CREATION: 2024
INSTRUMENTATION/MEDIA: 2-ch audio playback
"Miejsca" (eng. Places) is an hour-long composition that takes as its starting point recordings of the soundscapes of ten locations around Cracow/Poland. As a result, a new environment was created in which reality gradually blurs and permeates with its digital substitutes and artistic interpretations.
Bandcamp / Info / SoundCloud
Zrealizowano w ramach Stypendium Ministra Kultury i Dziedzictwa Narodowego
Plant Concerto with Pianosong [#2]
DURATION: 12:04
YEAR OF CREATION: 2024
INSTRUMENTATION/MEDIA: piano solo, sampler, 2-ch audio playback
[solo version of the piece for chamber ensemble, sampler, audio playback & video)
Słownik Dźwięków Wyobrażonych - Wielozmysł
DURATION: 33:00 min.
YEAR OF CREATION: 2024
INSTRUMENTATION/MEDIA: chamber ensemble, 2-ch audio playback, live-electronics, video
composition for d/Deaf and hearing audience
Masss
[in collaboration with Aleksander Wnuk]
DURATION: ~45:00 min.
YEAR OF CREATION: 2024
INSTRUMENTATION/MEDIA: live-electronics
CARDIO
[in collaboration with Małgorzata Mikulska & Madlena Głowacz]
DURATION: 40:00 min.
YEAR OF CREATION: 2024
INSTRUMENTATION/MEDIA: flute solo, 2-ch audio playback, live-electronics & fitness trainer
Cardio is a project initiated by composer Piotr Peszat and flautist Małgorzata Mikulska, which assumes focusing on the physicality of the performance process and struggling with the body and its limitations 一 trying to overcome them. The flautist strives for performance virtuosity and at the same time physical perfection. The performance of the piece is perceived as a process of self-improvement, an activity not only in the artistic but also in the sport.
Treatise
Music for dance theatre performance
YEAR OF CREATION: 2024
DURATION: 55:13 min.
INSTRUMENTATION/MEDIA: 4-ch audio playback
[in collaboration with Krakowski Teatr Tańca]
Choreography: Milan Tomasik
Mr Klassiker
DURATION: 07:12 min.
YEAR OF CREATION: 2024
INSTRUMENTATION/MEDIA: accordion, quarter-tone accordion, 4-ch audio playback
Muzyka Recepturowa
DURATION: 10:24 min.
YEAR OF CREATION: 2024
INSTRUMENTATION/MEDIA: pharmaceutical objects, 2-ch audio playback & live-electronics
Commissioned by Silence Music Festival & Fagron Polska
Impossible Hearing
DURATION: 40:30 min.
YEAR OF CREATION: 2024
INSTRUMENTATION/MEDIA: accordion, 4-ch audio playback, 4-ch live-electronics, video
In "Impossible Hearing," a classical instrument is juxtaposed with the aesthetics of noise. Noise in music and art is usually associated with forms of rejection and resistance movements. Aesthetically, it manifests itself in the negation of concepts such as "beauty" and "musicality," which often has links to political resistance. However, integrating opposing worlds is intended to have a constructive dimension. Through real-time processing, a new, homogeneous electroacoustic instrument is created. Reaching the limit point of perception, we begin to perceive reality differently. After complete deconstruction, we finally get the world hidden behind the facade of accepted cultural codes and patterns of their reception.
Super CARDIO
DURATION: 15:25 min.
YEAR OF CREATION: 2024
INSTRUMENTATION/MEDIA: chamber ensemble (flute, clarinet, vibraphone, violin, viola, cello), 4-ch audio playback, 4-ch live-electronics, video
15-minute fitness session with chamber ensemble, audio playback & live-electronics live performance
[in collaboration with Hashtag Ensemble & Katarzyna Łukawska/fitness trainer]
Szekspirie
Music for dance theatre performance
DURATION: 46:34 min.
YEAR OF CREATION: 2023
INSTRUMENTATION/MEDIA: 2-ch audio playback
[in collaboration with Krakowski Teatr Tańca]
Choreography: Eryk Makohon
Movement of People Playing
DURATION: 13:20 min.
YEAR OF CREATION: 2023
INSTRUMENTATION/MEDIA: flute, 4-ch live-electronics
PEnderSZATch Rising
DURATION: 13:12 min.
YEAR OF CREATION: 2023
INSTRUMENTATION/MEDIA: vibraphone, 88-k MIDI keyboard, cello (with VR glasses), 4-ch audio playback, video
"PEnderSZATch Rising" is a multimedia piece based on a paragraph concept, i.e., it is constructed from several segments and choices structured in a question-and-answer form.
What happens when musicians go to heaven? Do they have a choice? Can they hear angel music? Do they meet god? only one?
Music, Action!
DURATION: 19:27 min.
YEAR OF CREATION: 2022
INSTRUMENTATION/MEDIA: for a solo painter, symphonic orchestra, live electronics, and live-video
“Music, action!” is a piece for a painter solo, orchestra, live-electronics & live-video created by composer & sound artist Piotr Peszat in
collaboration with visual artist Grzegorz Mart. The soloist – an artist painting on canvas – appears on stage during the performance. Within
the piece, several cameras transmit the conductor and particular musicians while playing. Their image is displayed on the painter’s canvas. Several contact microphones are attached to the rear surface of the canvas. Thus, the painter, while touching the surface with a brush and other objects, can generate and trigger different sounds. The audience can see the whole process both on stage and on a big screen above the orchestra. The relation between the artist and the conductor and “soloist” instruments is different each time. At the beginning of the piece, the conductor conducts an “invisible orchestra”. While painting the 1st trumpet player, the painter generates trumpet-like sounding material. In the middle section of the piece, the painter electronically evokes musical material previously played by the 1st violin, in a way taking over the soloist character. In the epilogue part of the piece, the artist paints a static portrait of the 1st horn player.
Non-Lieux #4 / Kolonia Artystów
DURATION: 44:32 min.
YEAR OF CREATION: 2022
INSTRUMENTATION/MEDIA: 2-ch live-electronics & live-video of the Gdańsk's soundscape/image
Gewalt der Musik
DURATION: 12:28 min.
YEAR OF CREATION: 2021
INSTRUMENTATION/MEDIA: chamber ensemble, 4-ch audio playback & 4-ch live-electronics
At what point does music start to be pervert? In BDSM sex as well as in the classical music tradition, Inge Arteel notes, that pleasure is connected to restriction and discipline. The Gewalt der Musik, the “power of music,” connects to actual abuse and violence (the German word Gewalt ambiguously expresses both). A starting point for the composition is the concept of a super-human, a person who must be perfect in the smallest detail. Our culture encourages us to constantly change and progress. Modern culture imposes on us being super-human in everything, and although we know that a super-human does not exist, many want to achieve this goal. One could say, that the development of music — especially in the 20th century, eg. trends such as serialism or new complexity — is also based on a desire to develop a super-human, super-performer or super-score. Very often, however, there is some weakness under perfection. Gewalt der Musik is a commentary on the permanent bidding of Western culture. Instrumentalists, as well as the conductor, are striving for perfection.
TVTVP - Thousand More Years
DURATION: 32 min.
YEAR OF CREATION: 2022
INSTRUMENTATION/MEDIA: voice, 4-ch live-electronics, video
TVTV - Intronisation
DURATION: 17:38 min.
YEAR OF CREATION: 2022
INSTRUMENTATION/MEDIA: Ableton Push solo, 4 performers, 4-ch live-electronics & live-video
Your Personal Rate of Growth in
a Rapidly Changing World
DURATION: 14:05 min.
YEAR OF CREATION: 2022
INSTRUMENTATION/MEDIA: piano solo, VR glasses, 4-ch live-electronics & optional live-video
Music against dictatorship(s)
DURATION: 18 min.
YEAR OF CREATION: 2022
INSTRUMENTATION/MEDIA: I. "Transition" for Ableton Push solo & 4-ch live-electronics; II. "I am a little ugly man" video with 2-ch audio;
III. "Hands off Ukraine" for Ableton Push solo & 4-ch live-electronics
Sensation Score #1
DURATION: 8:00 min.
YEAR OF CREATION: 2021
INSTRUMENTATION/MEDIA: harpsichord solo with VR glasses, live-electronics & video
[with video created by Grzegorz Mart]
The starting point for the harpsichordist's activities is a 3D film score. Known from classical scores, but also historical graphical scores, thinking with a graphic symbol as an element to which more or less specific musical actions are assigned is replaced by three-dimensional space surrounding the performer.
The composed stimuli affecting eyesight are designed to introduce the performer into a specific emotional state and at the same time relate to a specific sound matter, characterized in the introduction to the score. During the performance, the harpsichordist watches the 3D film score through VR glasses in order to increase the participation dimension in specific situations appearing in the 3D video file. The film is a composed sequence of fictionalised images and situations depicting the non-concert life of the performer, which shapes her as an artist.
F******-Gran Torso
DURATION: 19:37 min.
YEAR OF CREATION: 2021
INSTRUMENTATION/MEDIA: 2-ch audio playback
Classical contemporary music has experienced (and is experiencing) a progressive alienation in society. This diagnosis prompts the artists to take actions that go beyond the academic schema, to use pop culture and tools associated with popular music like sampling and remixing.
Masterpieces of music from the second half of the 20th century - in this case, the string quartet "Gran Torso" by Helmut Lachenmann - are creatively reinterpreted. In front of the icons of 20th-century music, stands their opposition and "threat". However, maybe it is the only chance to save contemporary classical music and to make artists, academics, and audiences aware that it is time to get back to reality.
Let Us Now Hold Hands
DURATION: 20 min. up to infinite
YEAR OF CREATION: 2021
INSTRUMENTATION/MEDIA: cello, hand-made percussion, 4 performers, audio playback, video & lights
Musikalisches Opfer #2
DURATION: 20:50 min.
YEAR OF CREATION: 2021
INSTRUMENTATION/MEDIA: cello & voice solo, chamber ensemble [flute, bass clarinet, baritone saxophone, percussion, piano, violin, viola], 4-ch audio playback, live-electronics & live-video
WIBRAAP
electronics device and application translating sounds into vibrations
YEAR OF CREATION: 2021
Documentation [in Polish]
The Promised Land of Error
DURATION: 49:35 min.
YEAR OF CREATION: 2021
INSTRUMENTATION/MEDIA: soprano solo & live-electronics
Trombone Concerto
DURATION: 25:10 min.
YEAR OF CREATION: 2020
INSTRUMENTATION/MEDIA: trombone solo & chamber orchestra [flute, oboe, bass clarinet, bassoon, horn in F, trumpet in Bb, piano, harp, 2x percussion, 2x violin, 2x viola, 2x cello, double bass] / 4-ch audio playback / live-electronics / live-video
[with video created by Grzegorz Mart]
Empty City Radio
for orchestra, audio playback and video. "Empty City Radio" consist of 4 parts, published on the NOSPR profile on Facebook and on the YouTube channel. In collaboration with visual artist Grzegorz Mart.
YEAR OF CREATION: 2020
Covid-19 REMIX ft. Grzesiek Mart
A series of remixes were created during the Covid-19 pandemic. The project was realised in collaboration with visual artist Grzegorz Mart and several instrumentalists from Poland and Germany.
YEAR OF CREATION: 2020
Słownik Dźwięków Wyobrażonych
DURATION: 46 min.
YEAR OF CREATION: 2020
INSTRUMENTATION/MEDIA: chamber ensemble (flute, bass clarinet, soprano saxophone, bassoon, percussion, acoustic guitar, piano, violin, viola, cello) / four d/Deaf performers, multichannel audio playback / live-electronics / objects for the perception of music in the form of vibrations / video
The composition is intended for d/Deaf and hearing audiences.
St. Christopher's Day
DURATION: 10:12 min.
YEAR OF CREATION: 2020
INSTRUMENTATION/MEDIA:
piano solo / live-electronics / 2-ch audio playback
Crowning Him With Thorns
DURATION: 08:40 min.
YEAR OF CREATION: 2020
INSTRUMENTATION/MEDIA:
sampler solo (49-key MIDI keyboard) / vocals / 2-ch audio playback
PEnderSZATch
DURATION: 26:10-54:15 (depending on variant)
YEAR OF CREATION: 2020
INSTRUMENTATION/MEDIA:
chamber ensemble [flute (grande & bass), clarinet (in Bb & bass), saxophone (alto & baritone), bassoon, trumpet in Bb, electric guitar, vibraphone, piano & sampler (49-key MIDI keyboard), violin, viola, cello] / 2-ch audio playback / live-electronics / video / interactive system for voting
There is no game without a solution, but what if it is multivariant? Do you remember paragraph-based computer games, or maybe books of this kind? The last mass hit based on their mechanics was the Netflix film Black Mirror: Bandersnatch. Piotr Peszat attempted to write a paragraph-based, autobiographical composition with an alternative course of events. The audience will take on the role of a "young and promising composer from Krakow" (an often repeated, hackneyed cliché, a trap that takes years to get out of) and decide how his career will unfold. Or maybe, regardless of the choices made, some events are inevitable anyway, like criticism from "Glissando"? The composition PEnderSZATch (coded surname Peszat, colloquial nickname Pender and Bandersnatch) offers interaction and a democratic form, referring to the latest events from the world of pop culture, politics, or social, church and festival life. If the principles of a democratic state of law are being questioned - let's practice them on the Internet. So that we don't forget them quickly and don't give them up easily.
Recording / Score
The Dictionary of Imaginary Places
DURATION: 12:40 min.
YEAR OF CREATION: 2020
INSTRUMENTATION/MEDIA:
violin solo / live-electronics / 4-ch audio playback / front video projection
Święto wiosny na aturi i mimozy wstydliwe
DURATION: 50:20 min.
YEAR OF CREATION: 2020
INSTRUMENTATION/MEDIA: 4-ch audio playback
Music to performance directed by Klaudia Hartung-Wójciak
SUPERGALLERY
DURATION: 56 min.
YEAR OF CREATION: 2019
INSTRUMENTATION/MEDIA:
two performers, 4-ch audio playback and live-electronics, front video projection
Into the Heart of Hearts
DURATION: 58 min.
YEAR OF CREATION: 2019
INSTRUMENTATION/MEDIA:
acoustic and electric string quartet, 2-ch audio playback, front video projection (with possible extension to 2-ch video projection)
Are you not afraid of me? I'm different. I'm different than you. I sound different. I sound different than what you are used to. I represent a different culture. Some people say that I am a cultural fetish. It is an elitist culture not popular. Do you know me? Do you know anything about me? Are you not afraid of me? Don’t you feel a threat from my side? Are not you afraid of fighting with me for a social position? Yet we compete. Are you not afraid of me? We are competing for state money. Don’t you feel a threat from my side? We compete for public interest and applause. Are you not afraid of me? We want to be useful to society. Am I not hurting you? Don’t you feel a threat from my side? Don’t you feel aggression towards me?
Recording / Score [full variant, 2019] / Score [short version, 2022]
Vie et Passion du Christ
DURATION: 46 min.
YEAR OF CREATION: 2019
INSTRUMENTATION/MEDIA: chamber ensemble [fl./sax./bn./tr./pno.&smplr./vn./vla./vc.], 4-ch audio playback, live-electronics, front video projection
Just as Moses lifted up the snake in the wilderness, so the Son of Man must be lifted up, so that everyone who believes may have eternal life in him. For God so loved the world that he gave his one and only Son, that whoever believes in him shall not perish but have eternal life. For God did not send his Son into the world because he was afraid that the child would be sexually abused, and would feel terror and shame. That is because the younger a child is, the more difficult it is because one does not know how to call it. Stays alone with the evil done by the church servants.
Recording / Score [full variant, 2019] / Score [short variant, 2022]
Re-Performance
intermedia performance with visual artist Grzegorz Mart
Luzifer Trans
DURATION: 13:01 min.
YEAR OF CREATION: 2018
INSTRUMENTATION/MEDIA:
video with audio (2-ch)
#5 Grocery Store Music
DURATION: 9:30 min.
YEAR OF CREATION: 2018
INSTRUMENTATION/MEDIA:
flute, bass clarinet, percussion (1x wood block [small size], suspended cymbal [large size], 2x Thai gong [pitches f#1 and a1 nat.], vibraphone), piano, violin, viola, cello, 4-ch audio playback
In the case of "Grocery Store Music" — treated as a non-musical concept — the rejection of a purely sound paradigm of music as the only form of composing allows its implementation in many versions. Grocery Store Music #5 for chamber ensemble and audio playback is the fifth implementation of the Grocery Store Music concept, previously realized using piano solo or other chamber instrumentations mixed with an audio playback layer. Grocery Store Music can be understood as a metaphor for a concert situation and in particular the moment of abstract and self-referential perception of new music. Grocery Store Music is an attempt to establish a border point in which we abandon the abstract world and transfer thoughts to our own experiences and problems — in this case, reality consisting only of shopping, jobs and watching movies.
#3 Jenny's Soul. Or Dirk's?
DURATION: 6:36 min.
YEAR OF CREATION: 2017
INSTRUMENTATION/MEDIA:
accordion solo (preferably amplified) and stereo audio playback with an interactive score
The Artist's Way
DURATION: 30:49 min. (50 min. if counting part of the piece, that's being executed while the audience enters the concert venue)
YEAR OF CREATION: 2017
INSTRUMENTATION/MEDIA:
symphonic orchestra (2 fl., 2 ob., 2 cl. in B, 2 bn., 4 hn. in F, 2 tr. in B, 3 tbn., tba, 3 perc. pno., 8 vn. I, 8 vn. II, 6 vla., 5 vc., 4 d.b.) 6-ch audio playback, front video projection
with video created by Grzegorz Mart
My Body. My Capital.
DURATION: 5:01 min.
YEAR OF CREATION: 2017
INSTRUMENTATION/MEDIA:
video with audio (2-ch)
I am only surrounded by beautiful people. Beautiful bodies have become more valuable than artworks. Bodies are art, and what an art!JLo has insured her buttocks for three hundred million dollars. My body is my only capital. Rihanna’s legs are worth a million dollars. Just a million?
#3 Grocery Store Music
DURATION: 9:25 min.
YEAR OF CREATION: 2017
INSTRUMENTATION/MEDIA:
piano solo, 2-ch audio playback
Hearing Inside Watching
DURATION: 11:00 min.
YEAR OF CREATION: 2016
INSTRUMENTATION/MEDIA: video with 2-ch audio
In collaboration with visual artist Katarzyna Feiglewicz.
Tale about Wawel Dragon
DURATION: unspecified
YEAR OF CREATION: 2012
INSTRUMENTATION/MEDIA: piano solo
Educational material for children to play the piano using extended performance techniques.
[in collaboration with Ignacy Matuszewski]