Witczak

film and theatre
composer

Tymoteusz Witczak, a Polish film and theatre composer, music producer.

selected cues

His musical style blends ambient electronics, intimate piano, percussions and experimental textures. It results in haunting, atmospheric compositions and intense, horror-inspired cues.

About

In his music Tymoteusz incorporates elements of horror and experimental music, creating intense and suspenseful compositions. Simultaneously, he contrasts them with spacious, atmospheric electronics and delicate, emotional melodies. He draws inspiration from ambient music, video games soundtracks, and post-minimalism.

Tymoteusz Witczak is a Polish composer and music producer, known his dark and spacious scores for film and theatre. His film scores include the dark comedy “A Night at the Kindergarten” (Netflix Original) and the FIPRESCI Prize-nominated thriller "Wall." He is the composer for the football series "1992 - Top Game" (Viaplay) by Maciej Bielawski. The documentary films he composed for have been recognised at prestigious festivals: "Best Documentary from Central and Eastern Europe" Award at Ji.hlava IDFF 2023 for "Distances" by Matej Bobrik; documentary "Little Poland" was an official selection of the Warsaw Film Festival; and “When Will This Wind Stop" by Aniela Gabryel received the IDFA Award for Best Student Documentary. Tymoteusz composed music for short films such as Paulina Skibińska's "Monika W" and Emilia Zielonka's "Reflection".
Tymoteusz often incorporates elements of horror and experimental music, creating intense and suspenseful compositions. Simultaneously, he contrasts them with spacious, dreamy textures and delicate, emotional melodies. Tymoteusz has written music for several theatre plays, collaborating with noted Polish directors such as Piotr Ratajczak on "Limba" (Teatr Układ Formalny), Jan Husakowski on "Kim jest Pan Szmidt" (Teatr Wybrzeże), Grzegorz Grecas on "Zaginiony Świat" (Teatr Maska), Marta Strecker on “Spólnota (TUF),” Katarzyna Dudzic on "Cicho - Tuxo" (WTW), and Jarosław Tumidajski on "Siedem minut po północy" (AST).  Tymoteusz is also active as a music producer both for film song projects and commercial artist releases. He arranged and produced Polish star actor Zbigniew Zamachowski's composition "Bo Twój Ojciec Tu Jest" featured in "A Night at the Kindergarten". His other collaborations include avant pop artists Karolina Micuła's "Piękny Koniec Świata." and Projekt MANIA's upcoming album release. Tymoteusz's commercial work includes the sound logo for Polish Radio #2, winning their 80th anniversary national competition; since 2018, it can be heard daily as the intro sound to the "Fantazja Polska" broadcast. He also composed the theme for the podcast "Polska w Grze."
As a young boy, Tymoteusz's first musical creativity involved plucking and scraping the strings of an old piano at his parents' house. He went on to earn an M.A. in Composition at the Academy of Music in Wrocław and co-hosted over 100 episodes of experimental music show "Panorama Dźwięku" on Academic Radio Luz during his studies. He then interned at Ballroom Studios in Dresden, where he assisted in recording and producing top German recording artists, and worked as a freelance sound technician, including a three-month stint on a cruise ship traversing the Canary Islands.
When he's not creating darkly expressive music in his studio in Wrocław, Tymoteusz frequently attends screenings of genre cinema and arthouse films. He loves pour-over coffee, yoga, and platformer video games.

FILM SCORES

Tymoteusz composed soundtracks for films produced for Netflix, Viaplay, Canal+, TVP. He collaborated with Michal Bielawski, Rafał Skalski, Michal Tylka, Matej Bobrik, Aniela Gabryel, Emilia Zielonka, Paulina Skibinska. His works have been recognised at prestigious festivals such as IDFA, JiHlava IDFF, Warsaw Film Festival.

film poster of Netflix Movie Night at The Kindergarden by Rafal Skalski poster made by Plakiat

Theatre music

He is active in the field of theatrical music, collaborating with directors such as Piotr Ratajczak on "Limba" (Teatr Układ Formalny), Jan Husakowski on "Kim jest Pan Szmidt" (Teatr Wybrzeże), Grzegorz Grecas on "Zaginiony Świat" (Teatr Maska), Marta Strecker on “Spólnota”(TUF), Katarzyna Dudzic on "Cicho - Tuxo" (WTW), and Jarosław Tumidajski on "Siedem minut po północy" (AST).

Testimonials

"The most versatile and creative composer I have ever worked with"

Tymoteusz is brilliantly organized and constantly comes up with new ideas. His music for our Night in Kindergarten increased the value of the film and gave it a new dimension.
Rafał Skalski
director
"I felt listened to"

We worked on a football documentary series. I then discovered that Tymek had great hearing - also for the people around him. I felt listened to. No wonder the effect of this cooperation was excellent.

Michał Bielawski
director
"master of empathetic, conflict-free communication"

Tymek is an extremely talented and hard-working composer, a creator endowed with great openness and patience for joint exploration, and at the same time he can stand for his vision.
As if that wasn't enough - he is a master of substantive, conflict-free, empathetic communication.
I recommend it to everyone with a clear conscience!
Mateusz Pacewicz
director, screenwriter
"A great, sensitive and versatile composer"

He is open to suggestions and proposals, and at the same time he is independent in delivering his own vision. Empathetic in contact, person I can honestly recommend.
Piotr Ratajczak
director
"huge impact on the film's reception"

I appreciate Tymek's ability to discretly empathize with the film's theme, delicately enhance the character's emotions, and at the same time leave a huge impact on the film's reception.
Matej Bobrik
director
"balance between self expression and responsiveness to the storytelling"

It is not easy to combine intuition, creative abilities, abstract thinking and other elements that make up what we call talent. Tymoteusz combines all these ingredients into a whole by composing music, which is a play of images, smells, tastes and even touch.

Emilia Zielonka
director
"Wonderfully professional cooperation"

The music is solid and carefully prepared, it fits great within the picture.

Marcin Lenarczyk
supervising sound editor
"Two projects, two great collaborations"

Tymek has a great feel for dramaturgy, he skilfully asks the director for directions and proposes non-obvious, creative solutions. In both of my theatre works he composed music that was consistent with the stage worlds, but what's more - it deepened and expanded them with new dimensions.

Jan Husakowski
director