Assistant Professor Miłosz Bembinow, DMus

Miłosz Bem­bi­now is a com­pos­er, con­duc­tor, prize-win­ner of com­po­si­tion com­pe­ti­tions, hold­er of schol­ar­ships of the Bavar­i­an Gov­ern­ment and the Min­is­ter of Cul­ture and Nation­al Her­itage.

He is an author of choir and ora­to­rio pieces, as well as film and light music. His works have been record­ed on 30 CDs, two of which won the “Fry­deryk” award. For 20 years he has been an orga­niz­er of cul­tur­al activ­i­ties, and an activist of a num­ber of soci­eties and foun­da­tions, e.g. the Pol­ish Com­posers’ Union and the Soci­ety of Authors and Stage Com­posers (recent­ly).

Cur­rent­ly he is Assis­tant Pro­fes­sor at the FCUM’s Chair of Com­po­si­tion. The sub­ject of his doc­tor­al the­sis was the piece Amor vincit for mez­zo-sopra­no, bari­tone, choir and orches­tra and its descrip­tion from the per­spec­tive of the speci­fici­ty of a composer’s work. The the­sis also pre­sent­ed the ori­gin of the com­po­si­tion, and also issues con­nect­ed with the selec­tion and usage of text. Among oth­er things, it touched on the prob­lems result­ing from the usage of com­plex per­for­mance appa­ra­tus – e.g. a wide range of pos­si­bil­i­ties con­cern­ing tex­ture and sound. In his writ­ten the­sis Miłosz Bem­bi­now also con­cen­trat­ed on plac­ing the piece Amor vincit in a his­tor­i­cal con­text and attempt­ing to give an answer to a ques­tion about the role of this kind of music nowa­days – what kind of audi­ence a sec­u­lar piece with a can­ta­ta and ora­to­rio char­ac­ter can be addressed to at the begin­ning of the sec­ond decade of the 21st cen­tu­ry.

At his par­ent uni­ver­si­ty Miłosz Bem­bi­now has taught the fol­low­ing sub­jects since 2004: Score Read­ing, Orches­tra­tion, and Propaedeu­tics of Com­po­si­tion and Arrange­ment, all at the Depart­ment of Choir Con­duct­ing, Music Edu­ca­tion, Church Music, Rhyth­mics and Dance, as well as Score Read­ing, Orches­tra­tion and Con­tem­po­rary Com­pos­er Tech­niques at the Depart­ment of Com­po­si­tion, Con­duct­ing and The­o­ry of Music.

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last modified: 03/01/2014