An eminent Polish conductor as well as violinist and chamber musician; founder and artistic director of AUKSO – Chamber Orchestra of the City of Tychy; director of the AUKSO Summer Philharmonic and AUKSODRONE festivals. He was the founder and longtime first violinist of the Silesian Quartet. The artist has a special preference for crossover projects, which has led to collaborations with leading Polish electro-acoustic and foreign electronic music artists, as well as concerts with a galaxy of Polish jazz stars. Moś is also a highly regarded interpreter of contemporary Polish music. He has conducted the world premieres of compositions by Aleksander Nowak, Aleksander Lasoń, Zygmunt Krauze, Grażyna Pstrokońska-Nawratil, Cezary Duchnowski, and Agata Zubel. His recordings have been released under such labels as Nonesuch, EMI Classics, Anaklasis, DUX, BeArTon, and CD Accord. His numerous accolades include the award of the International Rostrum of Composers in Paris, Coryphaeus of Polish Music, the Silver Medal for Merit to Polish Culture – Gloria Artis, and several Fryderyk Awards; he has been granted with honorary citizenship of the City of Tychy. Apart from his intense concert and recording schedule, Moś is a lecturer at Katowice’s Karol Szymanowski Academy of Music.

One of Europe’s best chamber orchestras, for the last quarter century – Poland’s flagship ensemble. Its repertoire ranges from classical masterpieces to contemporary music. The orchestra has gained recognition with its interpretations of music by Polish composers. Such masters as Wojciech Kilar, Zbigniew Bujarski, Aleksander Lasoń, Grażyna Pstrokońska-Nawratil, Piotr Moss, Cezary Duchnowski, Aleksander Nowak have entrusted AUKSO with the task of premiering their works. The ensemble has also scored successes with its recordings of film music by world-famous composers such as Elliot Goldenthal, as well as soundtracks for computer games. Crossover projects combining classical music with jazz, rock or alternative trends have become a trademark of the ensemble, which collaborates in these fields with such artists as Leszek Możdżer, Tomasz Stańko, as well as Aphex Twin and Jonny Greenwood. With the latter two musicians, they recorded an album for the American record company Nonesuch. AUKSO has also won the Fryderyk Award of the Polish Phonographic Society for their Chopin CD recorded with Janusz Olejniczak and for ahat-ilī – Sister of Godsand Syrena. Melodrama aeterna by Aleksander Nowak.

Saxophonist, clarinettist, and composer; graduate of Academy of Music in Kraków. Apart from leading his own quartet and octet, he is also part of Malediwy duo; for several years he played in the Wojtek Mazolewski Quintet. Brought up in a musical family, from his earliest years Pospieszalski developed an interest in avant-garde jazz, improvisation, the search for new types of sound and means of expression. He has collaborated, among others, with Paweł Kaczmarczyk Audiofeeling Band, Marco Eneidi, Dennis González Yells At Eels, YeShe, Graal, Yanina Free Wave, Piotr Damasiewicz and Power of the Horns Ensemble, Kazimierz Jonkisz, Janusz Stefański, Paweł Jarzębski, Maciej Obara, Jerzy Mazzoll, Rafał Mazur, Krzysztof Knittel, Igor Boxx, Fisz/Emade, Peja, and Zakopower. 2022 saw the release of his critically acclaimed 2CD-album Polish Composers of the 20th Century, as well as the beginning of his collaboration with the Portuguese label Clean Feed Records. Pospieszalski has been listed by the German magazine ‘Jazz Thing’ as one of the twenty-five most promising European artists and voted Musician of the Year 2022 in a ‘Jazz Forum’ magazine poll. On Marek Pospieszalski Octet’s CD No Other End of the World Will There Be, released in 2023, the artist continues to pursue his inspirations with the music of 20th-century Polish composers.

Drummer, sound artist, and experimentalist, graduate of the Cracow Academy of Music. His musical sensibilities have been shaped by the yass music scene and the Bydgoszcz Mózg Club milieu. Janicki has collaborated with Polish and foreign jazz, free jazz, and improvised music performers. He is a member of Malediwy duo (with Marek Pospieszalski), T’ien Lai (with Jakub Ziołek and Łukasz Jędrzejczak), the Marek Pospieszalski Octet, and Trio de Janeiro. For several years he also played in the Wojtek Mazolewski Quintet. He appears as a soloist, composes scores (including theatre music in collaboration with Krzysztof Garbaczewski, Maciej Podstawny, Paweł Łysak, Artur Pałyga, Grzegorz Jaremko, and others), and produces albums (Hore by the Polish rapper Vienio). He experiments with sound articulation, modification, amplification, and live mixing. He organises cultural events in Bydgoszcz, Warsaw, and Sokołowsko. He also presents his own broadcast series (Layers) on Radio Kapitał.

Pianist and composer, pupil of Wojciech Kamiński, Andrzej Jagodziński, and Michał Tokaj; a graduate of Copenhagen’s Rhythmic Music Conservatory. In his work, he draws on the traditions of Polish jazz and the Danish school of improvisation. As an extremely versatile artist, both as a composer and performer he moves freely between styles, genres, and forms of classical, jazz, and rock music. He has played with Zbigniew Namysłowski, Maciej Obara, Marcin Masecki, Jan Młynarski; in the bands of Marek Pospieszalski, Franciszek Pospieszalski, and Tomasz Dąbrowski; in Sundial Trio (with Wojciech Jachna and Krzysztof Szmańda), Diomede duo (with Tomasz Markanicz), SPRZEDAM collective (with Macio Moretti and Jędrzej Łagodziński), and Alfons Slik duo (with Szymon Gąsiorek). Tarwid appears on more than a dozen albums recorded both solo and with various bands. The most recent of these, Flowers by Grzegorz Tarwid Trio (with Albert Karch – drums and Max Mucha – bass), came out in 2023. In January 2019, Tarwid curated the Piano Room festival held at Warsaw’s SPATiF Club.

Founded on the initiative of clarinettist, composer and improviser Paweł Szamburski, the trio builds bridges between modernity and the music of earlier centuries as well as other cultures. In conjunction with Tomasz Pokrzywiński (cello) and Michał Górczyński (contrabass clarinet), they jointly developed a musical language of their own, derived from untypical instrumentation, sound, and approach based on reinterpreting and rearranging material, improvising, and filtering the music through the lens of their own sensitivity. They apply such new readings to early music (on the albums Promitat eterno, Ars Moriendi, and Minne), the Hassidic repertoire (Nigunim, Nizozot), the Portuguese fado (Fado), traditional music of the Polish-Lithuanian-Belorussian borderland (Tamoj), as well as one of the most primordial and transcultural genres – that of the lullaby (Lilith Abi). Members of Bastarda Trio invite musicians from various backgrounds to collaborate on their albums (Marcin Masecki, João de Sousa, Katarina Aleksić and Branislava Podrumac, the early music ensemble Holland Baroque, the Polish folk band Sutari) and to play concerts (Dorota Miśkiewicz, among others).

One of Poland’s most outstanding contemporary music composers, a representative of postmodernism in music. He studied with Włodzimierz Kotoński and Tadeusz Baird at the State Higher School of Music (now the Chopin University) in Warsaw and on a scholarship with Roman Haubenstock-Ramati in Vienna. He took part in the Innsbruck International Summer Academy of Early Music and the Darmstadt International Summer Courses for New Music. In the 1980s he collaborated with the Polish Radio Experimental Studio, the Electronic Music Studio of the Cracow Academy of Music, the Technische Universität Berlin Electronic Studio, and the Independent Electroacoustic Music Studio. Szymański’s music has been labelled as surconventionalism. He creates new contexts by playing with the conventions of, and references to, various styles, forms, and periods (the Baroque, among others) while taking advantage of contemporary composition techniques. The thus composed music material is subjected to continual transformations. Szymański’s works have been performed worldwide and commissioned by, among others, the London Sinfonietta, Aldeburgh Festival, Radio France, as well as the BBC. The artist’s numerous accolades include the 1st prize of the Benjamin Britten Composing Competition in Aldeburgh, the Award of the Polish Composers’ Union, and the Gloria Artis Silver Medal for Merit to Culture. Szymański is an honorary member of the Polish Composers’ Union.

Born in 1979 in Gliwice, he studied composition at the Karol Szymanowski Academy of Music in Katowice and at the University of Louisville School of Music. Nowak’s compositions have been presented at many prestigious festivals (such as the Warsaw Autumn, Sacrum Profanum, Festival of Premieres ‘Polish Modern Music’ in Katowice, Festival of Polish Music in Kraków, and others), as well as during concerts in the United States and a number of European countries (including the 54th International Rostrum of Composers in Paris). They have been commissioned and performed by London Sinfonietta, the Polish Radio Orchestra in Warsaw, Alarm Will Sound, NOSPR – the Polish National Radio Symphony Orchestra, AUKSO Chamber Orchestra of the City of Tychy, Ensemble OMN, and the Silesian Quartet. The vocal-instrumental compositions occupy an important place in his output. He wrote to texts by such writers Georgi Gospodinov (Space Opera), Olga Tokarczuk (ahat-ilī – Sister of Gods – album won the Fryderyk Award of the Polish Phonographic Society), Radek Rak (Baśń o sercu. Favola in musica), Stanisław Lem (Lo firgai – The Mask), Szczepan Twardoch (Drach. Dramma per musica – awarded with the Coryphaeus of Polish Music and the O!Lśnienia prize, Syrena. Melodrama aeterna – won the Fryderyk Award, and Pokora. Dramma giocoso, which crowns the triptych), Marcin Wicha (Rzeczy. Vaudeville). His accolades include, the Guarantees of Culture award of TVP Kultura state television channel (2011), the Passport Award of the “Polityka” weekly (2018), the Coryphaeus of Polish Music award of the National Institute of Music and Dance for Personality of the Year (2021). Since 2020 he has held the post of Head of the Chair of Composition and Music Theory.

Graphic artist and writer, columnist, author of essays and children’s books, born in 1972 in Warsaw. He designs covers, posters, and logotypes. For several years he created weekly comic-strip commentaries for ‘Tygodnik Powszechny’ weekly. His accolades include the ‘Polityka’ weekly’s 2017 Passport Award for literature and the Nike Literary Award for his book Things I Didn't Throw Out, which also won the Witold Gombrowicz Literary Prize and was nominated for Gdynia Literary Prize. He has also written texts for, among others, ‘Gazeta Wyborcza’ daily as well as ‘Charaktery’, ‘Pismo’, and ‘Polityka’ magazines. In his autobiographical essay collections How I Stopped Loving Design and Things I Didn't Throw Out, recollections of his childhood and coming-of-age, as well as the realities of late communist Poland, become a point of departure for comments on relations with parents, Jewish origins, and the Polish intelligentsia. In 2022 Wicha published a collection of feature articles titled Nic drobniej nie będzie. In the same year, he was also nominated for the Nike Literary Award for his 2021 publication Kierunek zwiedzania.

A harpsichordist, organist, conductor and creator of culture, Jan Tomasz Adamus specialises in historically informed performance of a broad musical repertoire, from Renaissance polyphony to romantic symphony and opera. Since 2008, he has acted as general and artistic director of a cultural institution, the Krakow early music orchestra and the mixed symphonic choir Capella Cracoviensis. He created and served as artistic director of the Harmonologia and Capella Claromontana ensembles. Jan Tomasz Adamus was also an artistic co-ordinator of Forum Musicum, a Wroclaw early music festival. Since 2000 he has been artistic director of the Bach Festival in Świdnica. He has recorded numerous CDs with solo organ works, baroque operas and the romantic repertoire on historical instruments (Chopin, Schubert, Moniuszko, Wagner). He lectured at the Academy of Music in Wroclaw and Universität für Musik und darstellende Kunst in Graz.

Created in 1970, Capella Cracoviensis is one of the most important and active Polish ensembles on the contemporary early music scene. It is famous for its semi-staged and concert productions of operas (baroque and early romantic) as well as its bold artistic gestures and surprising concert venues. The ensemble specialises in historical performance techniques and only performs on period instruments. It participates in numerous prestigious festivals like Bachfest Leipzig, Händel-Festspiele Halle, SWR Festspiele Schwetzingen and appears in concert halls around the world, including Opéra Royal Versailles, Theater an der Wien, Concertgebouw Amsterdam. Capella Cracoviensis is also a chamber choir with its repertoire ranging from Renaissance polyphony and mannerist madrigals to 19th and 20th century songs. The ensemble records for such labels as Alpha, AviMusic and Decca. Its recording of Porpora’s Germanico in Germania brought the orchestra a prestigious Diapason d’Or award. Since 2008, the general and artistic director of Capella Cracoviensis has been Jan Tomasz Adamus.

Pianist, chamber musician, and educator. He graduated in piano from the Katowice Academy of Music and studied at Salzburg’s Universität Mozarteum. Critically acclaimed as one of the most outstanding pianists of his generation, Sałajczyk performs both most recent works and music by the Polish Romantics. With the oeuvre of Karol Szymanowski in the centre of his interests, his repertoire also includes compositions by Juliusz Zarębski, Władysław Żeleński, and Mieczysław Wajnberg. He has given world premiere performances of many contemporary works, and appeared with leading Polish chamber ensembles and orchestras. A member of Wajnberg Trio, he also previously played in Hashtag Ensemble. Sałajczyk’s numerous music record prizes include a Fryderyk Award. He has recorded widely for such labels as DUX, CD Accord, Hänssler, CPO, and Naxos, as well as Polish Radio Programme Two, PWM Edition, Musiq3 in Belgium, Deutschlandradio, and hr2. Sałajczyk is the president of the Karol Szymanowski Music Society in Zakopane.

One of the most outstanding instrumentalists of her generation, Bojanowicz has won both audience and critical acclaim with her fine sound, noble expression, and uncompromising interpretations. Graduate of Warsaw’s Chopin University of Music and Berlin’s Universität der Künste, the artist has been recognised with, among others, the ‘Polityka’ weekly’sPassport Award as well as prizes in numerous cello competitions (including the 1st prize in the 45th International Jeunesses Musicales Competition in Belgrade, 2015). As a soloist she has appeared with leading Polish philharmonic and chamber orchestras, including Warsaw and NFM Wrocław Philharmonic Orchestras, the Polish National Radio Symphony Orchestra (NOSPR), Leopoldinum, Sinfonietta Cracovia, AUKSO, and Beethoven Academy Orchestra. New works have been dedicated to her by such composers as Paweł Szymański, Hanna Kulenty, Aleksander Nowak, and Dariusz Przybylski, among others. She has given world premiere performances of many solo and chamber pieces. Her recent (2021) release is dedicated to Cezary Duchnowski’s works for cello and electronics.

HCH is the name of a radio duo formed by Jacek Hawryluk (musicologist and music journalist associated with Radiostacja, and for 30 years with Polish Radio; In the years 2007–2024 head of the music editorial office and vice-director of Polish Radio Channel Two, founder of “Płytomania”, “Płytowy Trybunał Dwójki” and “Samo H” radio programmes, and contributor to “Ruch Muzyczny” magazine) and Bartek Chaciński (music journalist and columnist, collaborating with Polish Radio since 2004, previously head of “Machina” magazine’s music section, now head of the culture department and deputy editor-in-chief of the “Polityka” weekly, author of Dictionaries of Most Recent Polish Language). These two have shared the air since 1995 (Scout Radio / Radiostacja) and joined forces in 2004, presenting for 13 years the programme cycle entitled “HCH” – first on Polish Radio Channel Four, then Channel Three. In 2024 they ended hosting programmes on PR 2 and returned to Channel Three. They also collaborated on Polish Television’s “WOK” (“All about Culture”). Since 2016 they have written original concert notes for AUKSO.