composers (J)


Maciej Jabłoński,

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 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.

updated: November 2015



mobile phone: (+48) 504 903 087
address: os. Kazimierzowskie 21/80, 31-842 Kraków


  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.
Maciej Jabłoński, July 2013


I heard a Fly Buzz for soprano and chamber ensemble, based on a text by Emily Dickinson (1993)
Symphony No. 1 "Catharsis" for soprano solo, mixed choir and orchestra (1993-94)
String Quartet No. 1 for 2 violins, viola, cello and soprano (1993-95)
Five Songs for soprano and piano, accompanying the poets’ words (1993-98)
Violin Concerto No. 1 "Le Quattro Stagioni" for violin, harpsichord, percussion and string orchestra (1995)
Piano Sonata No. 1 for piano and invisible soprano (1995)
L'Inverno for harpsichord, percussion and string orchestra (1995)
Symphony No. 2 (1995-96)
Sonata for Oboe and Piano (1996)
String Quartet No. 2 (1996)
Piano Sonata No. 2 (1996)
Miserere nostri Deus, liturgical song for an a cappella choir (1996)
Piano Concerto (1996-97)
Piano Trio (1997)
String Quartet No. 3 (1997)
Adieu for flute and harp (1997)
The Solitude for chamber ensemble and musical development (1997)
Symphony No. 3 (1997-98)
Concerto da camera for 11 instruments (1998)
Piano Sonata No. 3 (1998)
Violin Concerto No. 2 for violin solo, mixed choir and large orchestra (1999)
Sinfonietta for string orchestra (1999)
Toccata for piano and orchestra (1999)
1999.12.31 - Concerto grosso for trombone, synthesiser and small orchestra (1999)
Symphony No. 4 for organ and orchestra (1999-2000)
The Last Dream of Donald Merrett for organ and percussion (1999-2000)
Sonata for Violin and Piano (2000)
Ω for chamber ensemble (2000)
Piano Concerto No. 2 (2000-2002)
Äy for chamber ensemble (2001)
Can-Can for cello, clarinet, percussion and piano (2001)
Concertino for cello, harpsichord, piano, string orchestra and percussion (2002)
Four Etudes for piano (2003)
Π for chamber ensemble (2003)
(Barbapapa) [version I] for string orchestra (2004)
Three Women, songs for soprano, clarinet, marimba and cello (2004)
Ø for 2 trumpets (2004)
Symphony No. 5 * (2004)
e for bass clarinet, violin, marimba and piano (2004)
Mygoor for accordion and piano (2004)
Δe, concerto for trumpet and chamber orchestra (2005);...therefore... for string quartet and computer (2005)
Whose are those fingerprints for piccolo flute, oboe, clarinet, alto saxophone and tuba (2005)
...à cinq (Concerto Grosso No. 2) for 5 pianos and orchestra (2005)
H.M. for violin solo (2005)
M.C. Escher 'Dag en Nacht' for two violins (2005)
Quo vadis...? for trombone and harpsichord (2005)
Somnos for choir and orchestra (2005-2007)
Finish for organ and six actors to text by Adam Zagajewski (2006)
Sadly, it’s over for cello and piano (2006)
Concerto for Alto Saxophone and Orchestra (2006)
Reconstruction part 2 of Concerto for Oboe and Orchestra by Beethoven (2006)
Look nothing composes starry baskets and like fish lets out into the blue (Concerto Grosso No. 3) [version I] for oboe, violin and chamber orchestra (2007)
Déjà vu for cello and orchestra (2007)
Thumbnails for saxophone quartet (2008)
The Labyrinth of the Mind for alto saxophone and saxophone quartet * (2008)
Logorhea for computer (2008)
Whose are these tracks...? for flute, oboe, clarinet, alto saxophone and tuba (2008)
Arrangements of Pietro Locatelli’s Labyrinth for violin and string orchestra (2008)
Anxiety, Confidence for bass clarinet, violin, percussion and piano (2009)
277,13 K for 2 oboes, alto saxophone and electronics (2009)
(Barbapapa) [version II] for string orchestra (2009)
Trainspotting (see trailer) for trombone and tuba (2009)
Arrangements of the first part of Karol Szymanowski’s Harnasie for clarinet quartet, string quartet and percussion (2009)
Look nothing composes starry baskets and like fish lets out into the blue (Concerto Grosso No. 3) [version II] for violin, clarinet quartet, percussion and string orchestra (2010)
Lebenszeichen for violin solo (2010)
Before for trombone and electronics (2010)
Sonata for Harpsichord (2010)
I will remember [version I] for flute, tuba and electronics (2010)
I will remember [version II] for flutes (one performer) and electronics (2010)
Fuori, concerto for two pianos, orchestra and electronics (2011)
Kordissimo! for cello quartet (2011)
Dreaming, song cycle for soprano and piano (2011)
Barbapapa-Concerto for violin and string orchestra (2011)
Aureus for flute and harp (2011)
Awakening, piano quintet for two violins, viola, cello and piano (2011)
Transitions for soprano solo, soprano in the hall ad libitum and orchestra, to text by Georg Trakl (2012)
I will remember for 3 flutes and electroacoustic layer [version III] (2012)
Deadline for accordion and electroacoustic layer (2012)
Moon Pierrot for actor, bass flute, bass clarinet, amplified violin, amplified cello, percussion, piano and 4-channel electroacoustic layer, 8-channel text layer and video installation (2012)
Urku for organ and electroacoustic layer (2012)
Awakening [version II] for string quartet with electroacoustic layer ad libitum (2012)
UI for alto saxophone, electroacoustic layer and video (2012/13)
Bang! for 4 French horns (2013)
The Moebius Strip for 2 vibraphones, 2 pianos and electroacoustic layer (2013)
Concerto grosso No. 1 [version II] for trombone, synthesiser and small orchestra (2013)
Elburs for 2 pianos and electroacoustic layer (2013)
Theta for French horn and electroacoustic layer (2013)
The Broken Cage (V2.1) for flute, trombone, violin, cello, piano and electroacoustic layer (2013)
277,13K [version II] for 2 oboes, English horn and electroacoustic layer (2013)
Moon Pierrot [version II] for actor, 8-channel electroacoustic layer and video (2013)
Blitz for accordion solo (2013)
Symphony No. 6 "Oneirophrenia" for video, symphony orchestra and electroacoustic layer (2014)
TriCaBeVar for oboe, violin and guitar (2014-2015)
Tao. Concerto da camera No. 2 for alto saxophone and chamber orchestra (2015)
Kryształ i szkło for 2 guitars (2015)
Półcienie i kontury (Concerto grosso no. 4) for guitar, double bass and string orchestra (2016)
IU for alto saxophone and piano (2016)
Wielka fuga for 6 guitars (2016)
Match for 2 groups of young people, narrator, string orchestra, electroacoustic layer and video (2016)
A Night in a Bedroom for bass clarinet and video (2016)
Quasi una fantasia. Piano Concerto No. 3 (2017)
Theta for horn solo (2017)
Concerto grosso No. 5 for contrabass clarinet, marimba and chamber orchestra (2018)
Alpha for alto saxophone solo (2018)
Studium koloru for soprano saxophone and 2 alto saxophones (2018)
Panta rhei for clarinet and string orchestra (2019)
Planh for flutes, violin and cello (2019)
Symphony No. 7 "Sinfonia Cosmica" (2019)
Drift. Concerto for Electric Guitar and Orchestra  (2019)
Szlakiem nocnych motyli I for accordion and cello (2019)
Szlakiem nocnych motyli II for flute and piano  (2019)
Shapes and Spaces for string quartet (2019)
Mosaics I for 2 bassoons (2020)
Mosaics II for 2 trombones and tuba  (2020)