Dariusz Mazurowski is a Polish electroacoustic music composer, producer and performer born and currently residing in Gdansk. While the majority of his compositional activity has focused on electronic / acousmatic works, he has also composed instrumental music in conjunction with electronics (including music for various sound objects, both acoustic and electronic), audio installations, radiophonic collages and improvised electroacoustic music.
Dariusz Mazurowski’s compositional career began in the late 1980s, creating works that were initially presented to a club audience, eventually leading to their concert debut in December 1988. During the 1990s he resided mainly in Prague and composed several electroacoustic works before returning to Gdansk in 2000.
His works combine traditional analog instruments with the sonic potential of digital technology and computers, i.e., electronic / synthesized sounds with processed microphone recordings (concrete sounds) and samples.
His compositional approach is dynamic in that it involves live electronics and live sound diffusion across multi-speaker systems. During solo concerts, he often combines fixed media with extracted “parts” that he then performs (sometimes improvises) on live electronic devices. Mazurowski is also active as a visual artist (graphics, drawings, photography and video) and as a journalist (publishing texts mainly devoted to contemporary music: history, perspectives, theory, technical aspects and studio technology in such journals as Estrada i Studio, Muzyka21 and Muzyka i Technologia).
His professional activities include producing various electroacoustic music concerts and participation in and contribution to several scientific conferences and workshops. Mazurowski’s music has been broadcast by various radio stations all over the world, and he has performed at festivals and other events in Europe, North America, South America and Asia.
His installations, visual works and graphics have been exhibited worldwide in numerous galleries. Recent performances / exhibitions include: Audio Art (Krakow 2012, 2013, 2014, 2015, 2016, 2017, 2018, 2021), MUSICACOUSTICA (Beijing 2012), Resonance (Krakow 2013), ohrenhoch der Geräuschladen (a sound gallery in Berlin, 2012, 2014), Echofluxx14 (Prague 2014), LEMESG (Saint Petersburg 2014), Music for No Tape / ERARTA (Saint Petersburg 2014), ICMC / SMC (Athens 2014), Cross-Art 2015 (Saint Petersburg 2015), CIME 2015 (Lisbon), MUSLAB 2015 (Buenos Aires), NYCEMF 2016 (New York), Visiones Sonoras 2016 (Morelia / Mexico), MUSLAB 2016 (Mexico), CCM Sonic Explorations 2016 (Cincinnati), NYCEMF 2017 (New York), TIES 2017 (Toronto), CIME 2017 (Moscow), the Brussels Electronic Marathon 2017, Screen&Sound 2017 (Krakow), MUSLAB 2017 (Mexico), Festival de Arte Nuevo 2017 (Chihuahua, Mexico), Vox Electronica 2018 (Lviv), EM-VISIA 2018 (Kyiv), Electroacoustic Spring 2018 (Rethymnon, Crete), NYCEMF 2018 (New York), digitIZMir / 4 (Izmir, Turkey), IV Accordion Festival (Krakow), Screen&Sound 2018 (Krakow), MUSICACOUSTICA 2018 (Beijing), ICMC / NYCEMF 2019 (New York), Approaches 2019 (Gdansk), Acousmonium / CIME 2019 (Krakow), Electroacústica del mundo: Polonia 2019 (Casa del Lago UNAM, Mexico), NYCEMF 2020 (online edition, due to coronavirus pandemic), CIME 2020 (online edition), digitIZMir 6 (online edition), Audio Art 2020 (online edition), NYCEMF 2021 (online), ICMC 2021 (Santiago, Chile), Musiques Démesurées 2021 (Clermont-Ferrand, France) and others. He is an active member of The Polish Society of Electroacoustic Music (PSeME). Also a co-author and co-producer of the concert series New Music in the Old Town at the Baltic Sea Cultural Center in Gdansk. His compositions has been released on numerous discs (CD and DVD), including Pseudaria / Divertimento (Acte Préalable), Different Types of Fallacies (Audiomat), Back in Time (Mathka), Non Acoustic Symphony (Neuma), Hidden Dimensions (Neuma). He has also designed and built numerous custom analog experimental instruments (including synthesizers) and has collected various, often strange, sound objects such as stones, pieces of wood, old mechanisms, etc., to use as acoustic source material for further transformations.