Aleksandra Brejza

Aleksandra Brejza (born 1963) serves as Assistant Professor at Feliks Nowowiejski Academy of Music in Bydgoszcz, where she teaches composition, 20th-century composition techniques, and introduction to composition and arrangement within the Department of Composition and Music Theory. A distinguished Polish composer, her academic career is deeply intertwined with her creative output spanning orchestral, choral, and chamber music.

Education:

• State Primary and Secondary School of Music in Inowrocław (Piano, Prof. A. Drzewiecki)
• Feliks Nowowiejski Academy of Music in Bydgoszcz (Composition, Prof. F. Woźniak)

Brejza's research centers on contemporary classical composition with emphasis on structural innovation and textural complexity. Her work explores diverse forms including sacred choral settings, orchestral works, and homages to composers like Bartók and Kodály. She integrates 20th-century techniques with traditional forms, particularly evident in her psalm settings and requiem compositions. Her creative process often engages with Polish literary traditions through settings of Miłosz and Akhmatova poetry.

Analysis of her 15 most recent compositions (2001-2009) reveals a pronounced evolution toward choral and sacred music, with increasing sophistication in vocal-orchestral integration. The period shows heightened focus on liturgical texts (psalms, requiem) while maintaining chamber music output, particularly string quartets and flute-based works. Electronic elements appear in later works like Maiandros, demonstrating stylistic expansion beyond purely acoustic composition.

Scientific Awards:

• Scholarship from Minister of Culture and Art (1998)
• Scholarship from Polish Composers' Union (1989)
• Main prize, Academic Fugue Competition (1986)
• Two honorable mentions in T. Baird Competition (1989, 1993)
• First honorable mention, Pomorski Siew Competition (1996)
• Finalist, London Prize Competition (2000)
• Second prize, National Psalmodic Competition (2002)

As an educator, Brejza mentors composition students through her teaching roles while maintaining an active creative practice supported by cultural ministry grants. Her participation in Young Composers' Courses (1988) and International Composition Courses in Hungary (1992) established early professional networks that continue to influence her pedagogical approach. Current institutional support enables ongoing development of large-scale works like the Requiem (2008-2009).