Olga Widawska-Kotulecki
Registered as:

Widawska-Kotulecki Olga

General Information

Year of Birth:  1967
Date of Birth:  25. January 1967
Country of Birth: 


PeriodEducationInstrumentTeacherEducation OrganisationLocation

Fryderyk Chopin Lyzeum: school leaving examination (teaching certificate for piano and rhythmics)

1985 - 1986


1985 - 1986

music theory

1986 - 1987


1986 - 1987

compositional technique

1987 - 1990


1987 - 1990

private composition studies

1988 - 1989

composition courses

1988 - 1989

composition courses (Arne Nordheim)

1988 - 1989

composition courses (Luc Ferrari)

1988 - 1989

composition courses (Hans Peter Haller)


diploma with distinction


Master of Arts

complementary studies

complementary studies



Computerised music notation for music publishers

music educator

Performances (Selection)


Commissions (Selection)

PeriodCommissionCompositionCommissioner (Organisation)Commissioner (Person)

Tabak-Galerie 16


PeriodAwardCompositionAwarding Organisation

state scholarship






IX. International Competition for Composers by GEDOK Mannheim: distinction


work scholarship

Description of Style

It is important for me to contribute independently to the music of our time though my works. Even though I mainly employ traditional instruments, I try to create new sounds, colours and harmonies with them. I definitely do not wish to be squeezed into a predetermined pattern, music is an "art of expression" for me, and freedom as regards form, harmony and notation is essential for me.

A famous Polish critic compared my compositional path with that of Witold Lutoslawski after the world premiere of my string quartet piece 'Erwartung' in Warsaw. Others may check how true this is, but I could describe the sting quartet piece in a few words as follows: it is written according to an unorthodox twelve tone technique and is full of contrasts. The lyrical, melodic solo parts of the single instruments confront the brisk and aggressive parts for all instruments, and all performers are nevertheless equal. The short cadences which are to be played freely in this work lead to the increasingly important graphically notated longer phrases, which increasingly appear in my later works. I enjoy composing music for solo instruments, my works therefore include a concert for oboe, one for flute, as well as a concert for four solo instruments. In my solo works I give the performers the opportunity to show their skills in their entirety, though technical skills are less important for me than the virtuosity from "within". In my works I use a wide range of expressive forms, for example, passages of lyrical transcendence follow humorous ones, and aggressively arrogant passages follow passages of "whispered hysterics", but I give the soloist the freedom to fully succumb to the mood and expression of the composition. In these cases I release the rhythmic metric bonds and let the accompaniment continue in the background like a sound layer. After these passages, I make use of traditional notation to reunite the soloist with the ensemble. Within the context of "classical" instrumentation, I try to make full use of all the possibilities of the instruments, through the use of uncommon dodecaphonic material, glissando effects, special flageolets, multiphonics or through the quick succession of varying rhythmic metric structures, in order to arrive at some modern and present-day composition technique.

Olga Widawska-Kotulecki 1995

Contact, Links

Language:  German, Polish