Born 1971, Marcel Chyrzynski obtained his Master's degree (with distinction) from the Academy of Music in Krakow in 1995, where he studied composition with Prof. Marek Stachowski, orchestration with Prof. Krzysztof Penderecki and computer music with Marek Choloniewski. He also studied with such Fulbright scholars from the U.S. as Richard Boulanger, Cindy McTee, and Rodney Oaks. Chyrzynski perfected his compositional skills on numerous courses, including the Internationale Akademie für Neue Komposition in Schwaz in Austria (1994), Young Composers Summer Course in Bialystok (1995) as well as the Summer Composers' Course in Radziejowice (1996,1997), Internationale Werkstatt für Neue Musik und Computer in Stuttgart (1995) and International Workshop of New Music in Krakow/Stuttgart (1996). He has gained valuable experience and training under the tutelage of composers such as Paul Patterson, Sylvano Bussotti, Claude Lefebvre, Joji Yuasa, Boguslaw Schaeffer, Lidia Zielinska and Hanna Kulenty.
Among many Polish awards and citations, Chyrzynski has twice received 1st prize in the A.Krzanowski Competition for Young Composers in Bielsko-Biala for Miniature for solo clarinet (1988) and for Three Preludes for clarinet and piano (1990), 1st prize for Four Love Lyrics for baritone and piano in the 3rd All-Polish Adam Didur Composers' Competition in Sanok (1994), citation for Piece for Orchestra in the Composers' Competition organised by Polish Radio in Warsaw (1996), 3rd prize for Psalm 88 for mixed choir in the 2nd All-Polish Composition Competition Musica Sacra in Warsaw (1996), 3rd prize for ...similes esse bestiis for mixed choir in the 3rd All-Polish Composers' Competition Musica Sacra in Warsaw (1997) and 1st prize for Ferragosto per tromba, pianoforte e batteria in the Tadeusz Baird Composition Competition for Young Composers in Warsaw (1997).
In 1998, Chyrzyński obtained a doctoral degree in composition at his alma mater; and in 2010, the doktor habilitowany degree (professorial qualification) in music arts. Since 1994 he has worked as a lecturer and in 2010 became the Associate Professor at the Krakow Music Academy's Department of Composition, Interpretation and Musical Education. 2014-19 he has been a director of the Institute of Composition, Conducting and Music Theory.
He has been a visiting professor in Mexico (Universidad National Autónoma de Mexico in Mexico City), South Africa (University of Pretoria, University of Cape Town, University of the Witswatersrand in Johannesburg), South Korea (Yeungnam University in Daegu, Inje University in Gimhae), Slovakia (Academy of Performing Arts in Bratislava), the United States (University of Southern California in Los Angeles, New York Conservatory of Music), Italy (Conservatorio Statale di Musica in Latina) and Poland (Institute of Musicology, Jagiellonian University), as well as at the Takefu International Composition Workshop in Japan and during the Seoul International Music Festival in South Korea.
Since 1995 he has been a member of the Polish Composers' Union and in 2005-07, 2009-11 and 2013-21 a member of the Main Board of PCU. Since 2005 he also became a member of the Polish Society for Electroacoustic Music. Since 2014 he has been a director of the International Festival of Krakow Composers. Since 2016 he has been a president of the Krakow Branch of the Polish Composers' Union.
His works have been performed in Poland, Austria, Germany, England, France,
The Netherlands, Belgium, Italy, Spain, Greece, Kosovo, Romania, Finland, Estonia, Sweden, Switzerland, Russia, Georgia, Moldova, Iran, Australia, New Zealand, South Africa, Japan, South Korea, China, USA, Canada, Mexico, Brazil, Panama as well as in Slovakia, Ukraine and Belarus at numerous concerts and festivals, including Silesian Days of Contemporary Music in Katowice (1994, 2000, 2006, 2016), International Festival of Krakow Composers (1995-99, 2002-03, 2010-11, 2013, 2015-19), MOSAICO Music Festival in Krakow (1995), International Festival of Contemporary Music Warsaw Autumn (1996), Musica Moderna in Lodz (1997), Musica Polonica Nova in Wroclaw (1998, 2006, 2008, 2014), International Festival of Sacred Music Gaude Mater in Czestochowa (1997-98, 2015), Internationale Studienwoche für zeitgenössiche Musik in Hamburg (1995), FIU Music Festival in Miami (2000), Musica Nova Festival in Helsinki (2000), Music Festival in Vitebsk (2001), International Festival of Contemporary Music CONTRASTS in Lvov (2002), International Contemporary Music Festival The New Music Scene of Prishtina in Kosovo (2003), Festival International de musique en Catalogne in Ceret in France (2004), Cadaques International Festival of Music in Spain (2004), Festival of Polish Music in Krakow (2005-06, 2008, 2015, 2018), UltraSchall Festival für neue Musik in Berlin (2006), New Music New Faces Festival in Krakow (2006), Festival of World Premiere in Katowice (2007), Sounds New Contemporary Music Festival in Canterbury (2009), ZXZW Festival in Tilburg in the Netherlands (2007, 2010), Portraits of composers in Warsaw (2011, 2019), Focus Music Festival in New York (2011), Poznan Music Spring Festival in Poznan (2013, 2018-19), International Contemporary Harpsichord Festival in Padova in Italy (2013), Encuentro Universitario de Clarinete Festival in Mexico City (2013), Gulfstream in Kiev in Ukraine (2014-15, 2019), Music in Old Cracow Festival (2014), Kiev Music Fest in Kiev (2014, 2019), Sügisfestival in Tallinn in Estonia (2014), Cool Capital Biennale in Pretoria in South Africa (2014), Annelie de Man Festival in Amsterdam (2015), SWIK Festival in Eelde in the Netherlands (2015), Daegu International Contemporary Music Festival in South Korea (2016), Takefu International Music Festival in Japan (2016), Polish Music Festival in Moscow (2016), Kraków Spring Cello Festival (2017), Lviv Early Music Festival (2017), Kraków Autumn Music Festival (2017), Le Festival Franco-Polonais in Douai in France (2018), The Karol Szymanowski Music Days Festival in Zakopane (2018), Seoul International Music Festival (2018), Chopin & Friends Festival in New York (2018), New York City Electroacoustic Music Festival (2019), Tehran Contemporary Music Festival in Iran (2019), Wawel at Dusk Festival in Krakow (2019), Le Forme Del Suono Festival in Latina in Italy (2019), Daegu International Computer Music Festival in South Korea (2019) and Festival Loop 11 in Brussels in Belgium (2019).
Three of his compositions, Ferragosto per tromba, pianoforte e batteria, Quasi Kwazi I and Quasi Kwazi II, were perfomed at the Dimensions of Time and Silence concert which presented Polish and Australian music in Sydney (1998).
His composition Extended Perception of Echo for Strings represented Polish contemporary music at the International Fair Midem Classique 2000 in Cannes.
His compositions have been published by PWM Edition and Edition Ferrimontana - Frankfurt, and have been released on 18 compact disc by DUX, ZPR Records, Acte Préalable, The Institute of Art, PWM-DUX, Polish Radio SA, Phasma-Music, AM in Krakow, PGMaudio and PWM Edition. Several of his works have been performed on Polish Television, Korean KBS as well as on Polish, Dutch, German, Finnish, Estonian and Australian radio broadcasts.
Chyrzynski has also composed music for the theatre – he is particularly interested in contemporary plays. He has written music for plays such as Divine Words by Ramon dell Valle-Inclan, Herr Paul by Tankred Dorst, La Fête by Slawomir Mrozek, Fedra’s Love by Sarah Kane, Legoland by Dirk Dobbrow, Tätowierung by Dea Loher, The Madness by Pawel Jurek, Porno Generation by Pawel Jurek, Testosteron by Andrzej Saramonowicz, Konrad Machine by Mateusz Pakula, Enter the Dragon. Trailer by Mateusz Pakula, Antyzwiastowanie by Maria Spiss and Vengeance is a Woman by Pawel Kamza.
(...) I wouldn't classify myself as a composer of any particular style.
I write what I feel and do it in a natural way. I leave the business of attaching stylistic and ideological labels to my music to musicologists and critics.
(...) My music changes along with me. Its evolution is a natural and conscious result of my own development.
(...) I think that one should not succumb to fashion. A composer should be authentic in what he does, since only the truth can survive in time.
(...) Aleatoricism is not the aim of my music, but only a means of achieving a particular sound quality, much as fugal or canonic techniques are employed in contemporary compositions.
(...) What also fascinates me is jazz of 50's and 60's such as Miles Davis and Jazz Messangers, as well as its most modern forms: Michael Brecker, Chick Corea, Keith Jarrett, Tomasz Stanko.