What makes the music of Katarina Głowicka special? First of all space. Deep and extensive. As in ambient music. Built by reverbs, echoes and electronics. Against this background – a piano. Flickering , rippling . Cascades of repeating notes and rhythms. As in minimal music . Tonal associations, but with different development. Clear sounds, distorted, appear then re-appear hear and there as whispers and crackles. As in glitch music. But clearly you hear the skills of a seasoned composer – the clear intentions and the feeling for ‘big form’.

Jan Topolski,  Dwutygodnik

Katarina Glowicka’s artistic output embraces musical media of every kind, as she collaborates with stage directors, choreographers, visual artists, musicians and conductors on original works for opera, dance and symphonic orchestra. Her works are distinguishable by their force of expression and colour.

Her works have been premiered by renowned international ensembles and soloists such as Scottish Ensemble, Ensemble Recherche, Holland Symfonia, the Vocal Lab, British countertenor Jonathan Peter Kenny and saxophonist Ties Mellema, among many others. The chamber piece, Microgalaxies, was commissioned and performed at the Wien Modern festival in Austria while other compositions have been performed at the Biennale di Venezia, Warsaw Autumn, De Suite at Ijsbreker, Gaudeamus Music Week.

She graduated from the Wroclaw Academy of Music in Poland under her mentor Grazyna Pstrokonska-Nawratil before pursuing postgraduate studies at the Royal Conservatory of Music in The Hague under Louis Andriessen, and at the Strasbourg Conservatory under Ivan Fedele. Her fervent belief in the new computer medium has taken her to Northern Ireland where she completed her PhD in 2008 at the Sonic Arts Research Centre. Currently she is a freelance musician in the Netherlands and a lecturer of computer music at Royal Conservatory Brussels.