I like to say that when I am composing, I fully understand the sentiment of God because, when I am composing, I am a god, I create my own world, I am in full control and I have to be extremely careful not to screw it up. I am very future-oriented…
Interview by Nora Abercrombie, ARTSBRIDGE

…Piotr Grella-Możejko’s Sonata, The Horizon of Forgetfulness (1996) [is] a brawny, high-contrast work full of rich counterpoint and compelling textural changes.

[Piotr Grella-Możejko’s] creative, uncompromising honesty was confirmed by the premieres of Contra tempus for large orchestra, a string quartet [Strumienie snu] and a work for chamber ensemble […noc bezkresna, noc bezsenna…].
Hans-Theodor Wohlfahrt, NEUE ZEITSCHRIFT für MUSIK

Grella-Możejko’s music shows qualities similar to those one finds in the works by Eric Satie, Charles Ives, John Cage or Hans-Joachim Hespos, whose explosive and immanently dramatic music could almost form a model for Grella-Możejko’s work. The title of Grella-Możejko’s minimum-optimum-maximum for contrabass stands for minimum information, optimum interpretation and maximum expression. This work, a set of simultaneous instrumental, vocal and theatrical actions, ending with the soloist “buried” under the instrument, spoke out most forcefully against the sterile habits the academic avant-garde. With its provocative gestures, the piece was the best guarantor of artistic unrest and the related search for artistic essence. Grella-Możejko [is an] outsider…

The biggest sounding piece, actually, was a quintet of English horn, bass clarinet, bassoon, horn and ‘cello. This was Piotr Grella-Możejko’s wonderful-sounding Kyrie. It is notable for its strikingly consonant two-part writing – English horn and bassoon, double-stop ‘cello, horn and bass clarinet. The piece changes seamlessly. Timbres are rich, pulsing. There is mystery in Kyrie and not a great complexity. Kyrie sounded like the hit of the evening with the audience, too.

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