Piotr Salaber

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Piotr Salaber (born in 1966 in Wrocław, Poland) – composer, conductor and pianist, „one of the most interesting Polish composers of theatre music[1] Graduated from the Academy of Music in Bydgoszcz, first - getting his master's degree in choral conducting under prof. H. Gostomski, and later from the Faculty of Composition, and Theory of Music; he earned a doctorate in musical arts in conducting (2005), habilitation in 2012, since 2013 - professor of the Academy of Music in Bydgoszcz

Awarded with Amadeus - the composer's prize of The Polish Radio Theatre (2017) and The Honorary Pearl of Polish Market in the field of Culture (2017).

He polished his composing skills under Karlheinz Stockhausen during master courses in Kuerten, near Cologne (1998–2002), as well as Elżbieta Sikora and Alain Savouret (International Course For Composers, Gdańsk 2000) Since the academic year 2006/2007 he has been giving lectures on film music at the Institute of Audiovisual Arts at the Jagiellonian University in Kraków, and since 2010 also at the Academy of Music in Bydgoszcz, in 2016 as a guest lecturer at the University of British Columbia in Vancouver. So far he composed the music for nearly a hundred of theater premieres, three feature movies and TV series. Constantly works with Polish Radio and Television, also with theaters in Poland (Atheneum, 6th Floor Theatre, Warsaw), France (Atelier - Theatre, Paris), Canada (Popular Theatre, Vancouver), Hungary (Csokonai Theater, Debrecen), Nemzeti Színház {National Theatre}, Budapest), Puppet and It’s Double Theater (Taiwan). and Russia (Bolshoi Drama Theater,Moscow Sovremennik Theatre) St. Petersburg)[2]

"The work of Piotr Salaber focuses on two types of music: theater music (up to a hundred theater productions) and songs for children (more than 100 songs, the musical). Other compositions (about 10), for choir, soloists, electronic media and orchestra. Characteristic of the work of Salaber is combining sounds of traditional instruments (including folk instruments from different regions of the world) with electronic sounds. Of great importance for the composer is also the problem of surround sound and take into account the principles of perception in creating and shaping the tension in the composition. "[3]


  1. ^ Polish Market Magazine (178) 05 2011, page 94,
  2. ^ www.amuz.bydgoszcz.pl
  3. ^ Anna Nowak, Katarzyna Kliczewska, Polish Composers 1918-2000, Gdańsk 2005, ISBN 978-83-89444-81-3, page 867