Today we sit down with Zuzanna Całka on Zoom. Warsaw-based, Całka is a pianist and composer who derived from a strong classical tradition and only recently started to put out compositions under her own name. Having studied at prestigious music universities in Berlin and Warsaw, she crafts her music by layering and transforming piano and synthesizer sounds. Her work alternates between minimalist solo piano pieces and more intricate compositions, where electronic elements interweave with piano to create evocative soundscapes. Enriched by her fascination with electronic music and film. Her debut EP, Late Night Takes, released in early, 2023, exemplifies this blend, featuring soothing yet emotional tracks.

Sitting down with Zuzanna, I’m immediately struck by her warmth and reflective nature. We dive right into her transition from classical pianist to an artist performing her own compositions, in which case I am wondering if these two types of musicianship can co-exist.

“Do you still perform classical pieces?”

“Occasionally, if the program is to my liking. For example, Rhapsody in Blue is such a joy to play because you can improvise during the coda. Playing with an orchestra is also magical—the sound, and the feeling of playing with a bigger group of musicians”

Zuzanna added; “I would love to perform the Warsaw Concerto written by Richard Addinsell one day. It’s one of my favourite piano concertos which I recorded as a piano solo rendition and released in an album called “Warsaw Concerto” including also Paderewski and Chopin pieces. Polish music is really inspiring!”

“What has got your priority nowadays?”

“Well, these days, I’m very focused on my solo work, which requires a different kind of preparation. Classical pieces often demand intense, specific practice, especially for large, unfamiliar works. It’s all about where your focus lies. That said, I have favorite pieces I return to when the occasion arises.”

Zuzanna’s path took an unexpected turn when she shifted from solely performing classical works to composing and improvising her own music.

“You’ve only recently begun releasing music under your own name. What’s your record about?”

“Well, technically, it’s been just a year,” Zuzanna laughs. “Late Night Takes was my debut EP and was born during the Covid-19 lockdown. The title came from both the literal and atmospheric—recording late at night. The pieces are calm yet emotional, about introspection and daydreaming. One track, Boketto, takes its name from the Japanese word for daydreaming. I found the word so beautiful that I based the whole concept of the EP around it. I wouldn’t describe it as a ‘composed record’, because it all came out of me while improvising, doing warming-ups or while practising classical pieces.”

“The whole lockdown seems to have been a creative period for many artists.”

“Absolutely. It was a chance to step away from the noise, especially social media. That mental space allowed me to create something genuine.”

“You’ve described composing as a spiritual practice. Can you elaborate?”

“It’s very intuitive for me. Much of my music starts as improvisation, often recorded in one take. Boketto was born that way—just me testing my new microphones. That improvised recording caught the attention of my (current) agency and eventually became part of a major BBC trailer. It’s truly amazing how a simple piano improvisation, created while testing out new microphones, can find its way to Hollywood. To answer your question, spirituality is incredibly important to me because I see it as a reflection of truth. When I compose, I trust my inner mind and allow the first ideas that come to me to guide the process.”

Zuzanna’s shift began during her studies in Warsaw.

“You studied piano, not composition. How did composing start for you?”

“It all began with an invitation to compose for theater. I thought, why not? The experience was transformative, seeing how music impacts children, who respond so purely. Then came the Instant Composition Contest in Poland. It was exhilarating to improvise music live to film in front of a jury, including Jan AP Kaczmarek (e.g. Finding Neverland, Hachi) who became a great inspiration and helped me realize that I was heading in the right direction. Winning that competition made me realize I could pursue composition.”

“Was it difficult to pivot from a classical pianist’s path?”

“Composing and performing my music feels like a natural evolution of my classical training. All those hours of practice laid the foundation for this step forward.”

Inspirations and Influences

“Your biography states that your own music is an ‘alternation of minimalistic solo piano and more articulated songs where piano and electronic inserts are mixed together and create haunting layers of sounds.’What influences shape your music?”

“My biggest influences are classical composers like Debussy, Philip Glass, and Steve Reich. I’m fascinated by Reich’s patterns and rhythmic changes—something you’ll hear in my next single, releasing in March. On the electronic side, my time in Berlin exposed me to the works of Ólafur Arnalds and Nils Frahm, whose music changed how I see the piano and synthesizer relationship. Frahm’s impact on neoclassical music is unparalleled.” Calka adds; “his music is probably one the reasons I started to collect this beautiful collection of analog synthesizers. Something I will do for the rest of my life probably”, as she laughs and moves the camera to show her collection of synths in her studio space.

“I think it’s funny that you planned to study in Berlin to broaden your knowledge on classical music, and you end up being drawn to neoclassical music and synthesizers.”

“It truly was. I went there to study piano but ended up studying life, as one professor put it. Berlin’s artistic energy, combined with my classical training, shaped who I am as an artist.”

Picture on the right
From top to bottom: Claude Debussy, Philip Glass, Steve Reich, Ólafur Arnalds, Nils Frahm

Looking back and ahead

Zuzanna’s star is clearly rising as her music featured this year on KEXP, played a show at OPIA (brainchild of Ólafur Arnalds) and is about to be featured at ESNS in Groningen next year. 

“You’ve had an incredible year. Do you feel any pressure?”

“Not at all. I’m excited for what’s next—meeting new people and reconnecting with those I’ve worked with last year. ESNS is particularly exciting. I’ll be performing at the Lutherse Kerk, very late at night, and I have a program planned that will hopefully surprise the audience.”

“What’s next after ESNS?”

“I have a lot of plans! My next project will be more collaborative. While I put the focus during my last and upcoming record on my solo project, I’m eager to create alongside other artists in the near future. For now, though, I’m focused on delivering my best performance at ESNS.”

“Something you will be sharing with us soon?”

“New things will come out soon with the first single being released in January and the album coming in February!

And with that being said, our time with Zuzanna has come to an end. Her enthusiasm for both her craft and the journey ahead are infectious. As she prepares for her upcoming performance at ESNS and the release of her new work, one thing is clear: Zuzanna Całka is an artist who blends tradition with innovation, crafting a sound that is both timeless and contemporary.

We can’t wait to see where her music takes her—and us—next. Keep an eye out for her upcoming single in January and the album in February. Until then, we’ll be daydreaming along to Late Night Takes.