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composer; b. 29th July 1974 in Golub-Dobrzyń. From 1993 to 1998 he studied composition at the Academy of Music in Krakow under Marek Stachowski (graduated with honours). Since 1998 he has been teaching theory of music at his alma mater, becoming adjunct professor in 2004. In 2002 he obtained a PhD and in June 2012 – a habilitation degree. He cooperates with PWM Edition.

Jabłoński participated in a range of international courses. In 1997 he took part in the Young Composers’ Meeting in Apeldoorn (the Netherlands) led by Rodney Sherman, Robert Platz, and Louis Andriessen; the Sommerkurse für Neue und Computermusik in Stuttgart, and the International Summer Composition Courses in Radziejowice led by Peter-Michael Hamel, Alejandro Iglesias Rossi and Paul Patterson. In 1998 he participated in the Buckower Sommerwerkstatt in Buckow (Germany) and in 2006 took a course led by Helmut Lachenmann and Georges Aperghis in Darmstadt (Germany).

He worked with many Polish orchestras: the Polish Radio National Symphony Orchestra, Orchestra and Choir of the Warsaw Philharmonic, Polish Radio Symphony Orchestra in Warsaw, AUKSO Chamber Orchestra, Amadeus Chamber Orchestra, Beethoven Academy Orchestra, Orchestra of the Silesian Opera in Bytom, Orchestra of the Academy of Music in Krakow, and Tarnów Chamber Orchestra. He collaborated with a range of conductors, including: Tomasz Bugaj, Szymon Bywalec, Wojciech Czepiel, Agnieszka Duczmal, Michał Dworzyński, Przemysław Fiugajski, Marek Moś, Marcin Nałęcz-Niesiołowski, Paweł Przytocki, Tomasz Tokarczyk, Maciej Tworek, Piotr Warzecha, Antoni Wit, Sławek A. Wróblewski, José Maria Florêncio Junior; chamber ensembles: ARA Ensemble, Kwadrofonik, Kwartludium, Ensemble Nordlys, Das Neue Ensemble, Krakow Horn Quartet, Cracow Saxophone Quartet, Smash Ensemble, and Lutoslawski Piano Duo; and artists: Josiah Boothby, Paweł Cieślak, Anna Ciuła-Pehlken, Bartosz Gaudyn, Udo Grimm, Gośka Isphording, Jan Kalinowski, Petr Katina, Michał Knot, Barbara Krzekotowska, Jarosław Malanowicz, Christine Michaela Pryn, Andrzej Rzymkowski, Marian Sobula, Marek Szlezer, Maciej Zimka.

Jabłoński’s compositions have been performed not only in Poland (during the Days of Kraków Composers, Warsaw Autumn, Musica Polonica Nova, Festival of World Premieres, Audio Art, Poznań Music Spring), but also in Germany, Denmark, Sweden, Austria, Spain, and Slovakia. His Symphony No. 5 (2004), Concerto for alto saxophone and orchestra (2006) and 277,13 K for 2 oboes, alto saxophone and electronics (2009) were written thanks to the support of the Ministry of Culture and National Heritage of Poland. The Moebius Strip for 2 vibraphones, 2 pianos and electroacoustic music was composed for Kwadrofonik and commissioned by the Świętokrzyska Philharmonic as part of the 2012-13 "Collections – Composing Commissions" programme. His Symphony No. 6, composed for the Polish Radio National Symphony Orchestra, was premiered in April 2015.

Maciej Jabłoński is a winner of several composition competitions. In 1995 he received an honourable mention for Psalm 138 for soprano and string orchestra (1994), and in 1996 - the 2nd prize (1st was not awarded) for Psalm 23 for soprano and string orchestra (1995) at the Adam Didur Composition Competition in Sanok. In 1997 he won the 3rd prize for Zaczarowany ogród (Enchanted Garden) for orchestra (1997) at the Ryszard Bukowski Competition, while in 2009 he received the grand prix for Logorrhoea for computer (2008) at a composition contest held as part of the Sound Screen Festival in Bydgoszcz.

Jabłoński is also involved in promoting music among children and young people. He led 1700 auditions in schools of the Małopolska region in collaboration with the Philharmonic in Kraków. He also writes articles, reperts and essays on music for "Ruch Muzyczny" and "Glissando" magazines. Occasionally he publishes texts in "Tygodnik Powszechny", "Dwutygodni"k, and Culture.pl. He is a co-author of Przewodnik po muzyce koncertowej (A Guide to Concert Music; PWM Edition 2003/2004), wrote close to 50 entries for Encyklopedia Muzyczna PWM (PWM Encyclopaedia of Music), including a special supplement on Henryk Mikołaj Górecki. He specialises in music of the youngest generation of Polish composers.

Together with Ewa Trębacz and Andrzej Bonarek, Jabłoński founded the Apeiron Artistic Association (1998). He has been a member of the Polish Composers’ Union since 2006.

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works

1. The goals of art? First, to move; second, to intrigue; third, not to bore!
2. All elements are subordinate to the construction of form – for form is always significant. It is important to me that form is coherent and spontaneous.
3. Anthropocentrism, psychology – music as an attempt to enter the depths of the human being, thoughts and emotions, and to bring them out through the musical code.
4. New means? Yes, of course! They always help to communicate an important truth. But they are never an end itself.
5. Art is not only a reflection of reality; its is also reaction to reality. The context of a work cannot be limited to "here and now". One needs to strive for a timeless perspective. Otherwise music quickly loses its freshness and universality, becoming a mere chronicle of its time.
6. In compositions for the orchestra, texture often creates form; it is constructed heterogeneously from "melodic bundles" put in various rhythms, or polyphonically. Homophony is becoming ever more rare. Heterophony is very significant, it provides the effect of a blurred melody, its intensification, and it adds deeper meaning to it.
7. Sound and texture are the most important elements of music. Harmonics benefits a lot once it is freed from the constraints of equal temperament.
8. Spectral music has taught me to integrate sound and harmony. I have spent a lot of time developing my own method of applying spectral means. Copying the masters (e.g. Grisey) is not difficult. The challenge is to adapt these means to your own style and aesthetics, give them a personal touch in order to communicate what is most important and comes from me.
9. Things that are most important should be communicated as personally as possible. Inspiration – yes, imitation – no!
10.  My inspiration comes from: Nørgård, Aperghis, Sciarrino, Romitelli, Grisey, Zych, Harvey, Lachenmann, Furrer.
11.  Microtonality is present in all my pieces written after 2006. Some of my works use Julián Carrillo's Thirteenth Sound theory, which assumes the division of an octave into 13 pitches. This way music enters totally unknown territories of harmony.
12.  The majority of my works have an electroacoustic layer, some also have a video layer. Sound production cannot be limited to existing acoustic instruments. It cannot be generated in one place only – topophony is a very important aspect of music's influence. I cannot imagine it otherwise.

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