Born in 1990 in Gdańsk, Poland—a city renowned for the Solidarity resistance movement, the first independent labor union in the Eastern Bloc active throughout the 1980s — Hania began playing the piano at age seven. She eventually trained as a classical pianist in Warsaw and later pursued studies in Berlin, where she began to explore electronic music. Recently, she has settled in London.
 
Rani is a quiet star — more interested in connection than fame or spectacle - and constantly seeks the new in her work, challenging herself and her audience in an active process or renewal and regeneration. It’s a driving quality that she has brought to bear on a remarkably diverse catalogue, beginning with 2015’s Biała Flaga, released with her friend, cellist Dobrawa Czocher, and reissued by Deutsche Grammophon in 2021. She’s since progressed swiftly through a series encompassing solo piano albums like 2019’s Esja, 2023’s more electronically inclined Ghosts, not to mention film and theatre scores, art installations, even her first piano concerto. It is this restlessness that a decade after her artistic debut, keeps driving her to greater heights. “I guess I’m quite single minded,” she laughs. “Often I’m not ultimately happy and that allows me to think, ‘This time I’ll be better’.”
 
A self-confessed latecomer to writing and recording her own compositions, Rani was born in 1990 to an architect father and doctor mother, growing up in a house filled with music. Her earliest memories include its presence, and it was only when she began spending more time at her friends that she began to understand how the sounds of neither her father’s Beatles, Pink Floyd and Cat Stevens LPs, nor her mother’s classical collection, were a constant feature in other families’ homes. Enrolling, aged seven, at music school, she soon found herself exposed not only to the intense training demanded by classical music– she could read and write music almost as soon as words – but also, slowly but surely, to a further range of styles across the spectrum.
 
Still, the institution’s focus was on performance, and the idea she might nurture her own creativity – especially as a Pole, even more so as a female – rarely crossed her mind. Though she witnessed other musicians covering a gamut of different genres, sometimes even arranging their music – especially after she moved on to Warsaw’s Fryderyk Chopin University – she continued to restrict herself to collaboration. For a time she was half of Poland’s respected alternative pop duo, Tęskno, releasing an album, Mi, in 2018, but even Biała Flaga, released when she was 25, had contained just a smattering of hers and Czocher’s own short compositions. Instead it was primarily concerned with their rearrangements of Polish rock star Grzegorz Ciechowski.
 
It was during the second half of the 2010s that Rani moved to Berlin to continue her studies at Hanns Eisler Hochschule Für Musik where she really developed as a composer, taking counter-point and contemporary music classes as well as studying acoustics and collaborating with modern opera directors and theatre directors and poets. It was also in Berlin where Rani would start to explore electronic music and experience and a growing and immense feeling of freedom, expanding what felt possible as a pianist and performer. She also made friends with an Icelandic opera singer, Álfheiður Erla Guðmundsdóttir, who welcomed her into a likeminded circle of her island homeland’s musicians. On her first visit to the country, too, Rani was introduced to Bergur Þórisson, one half of Hugar and a collaborator with Ólafur Arnalds who was just beginning to work with Björk. He invited her to return to record pieces she’d written for piano, though even she didn’t consider them especially worthy of further exposure afterwards, at least not outside her native country.
 
In fact, having returned to Warsaw following the conclusion of her studies, these pieces were merely an afterthought when she decided to reach out beyond Polish borders. By now, her main focus was on the  sketches she’d prepared for what would turn out to be the foundation of her second album, Home. Gondwana Records, chosen as home to Portico Quartet, one of her favourite acts – and now Rani’s label – had ideas of their own, however. Just days after she’d sent both collections, they invited her to London, where they persuaded her to release Esja. This proved fortuitous, with its palliative tranquility a welcome counterpoint to the pandemic’s menacing uncertainty less than a year later. Soon she was captivating audiences trapped in households across the world, while lockdown also provided the chance to complete Home, which, in contrast to Esja, featured vocals and strings as well as additional contributions from bassist Ziemowit Klimek and drummer Wojtek Warmijak.
 
Released in late spring, 2020, this second solo album, like her first, picked up awards in her homeland as well as international acclaim, but Rani was far from content to rest on her laurels. Passionate about the visual arts including architecture, photography and of course cinema, she also composed scores for Piotr Domalewski’s film, 2020’s I Never Cry, and a play, Nora, directed by Michał Zdunik, with pieces for both included on 2021’s Music For Film And Theatrealongside other examples of her scoring work. That year, however, had already started with a remix exchange between Rani and Portico Quartet, and she’d also been invited to contribute to the 2021 Berlin Film Festival, releasing Live From Studio S2 on Piano Day. The enchanting, 25-minute performance – recorded and filmed in monochrome by a team of two in one of Polish Radio’s most iconic studios – has since amassed well over seven million views.
 
Even this wasn’t enough to satisfy Rani’s curiosity and passion, with Inner Symphonies, her second album with Dobrawa Czocher, released by Deutsche Grammophon in October, 2021. “My teacher’s room at music school was full of vinyl with the famous ‘Yellow Label’”, she marvels. “It felt like a dream come true.” If, furthermore, this collection, made up this time of their own compositions, only encouraged interest from film and TV, so did her soundtrack for 2022’s Venice – Infinitely Avant-Garde, not to mention On Giacometti, an album of piano music written for 2023’s The Giacomettis. In addition, she worked on her first production for Amazon, 2023’s The Lost Flowers Of Alice Hart, starring Sigourney Weaver, which, after receiving eight nominations at the Australian Academy of Cinema and Television Arts Awards, picked up four prizes, including Best Miniseries.
 
That year, too, Rani finally set out on tour again across Europe and North America, as well as finishing Ghosts, her most ambitious work to date, between Warsaw and Berlin. Released in October 2023, it was dominated by synths, featured her acrobatic voice yet more prominently, and its dismissal of any lingering belief she was merely another ‘New Classical’ composer was heralded by ‘Hello’s sprightly yet ethereal pop. Besides, with vocals from Patrick Watson on ‘Dancing With Ghosts’, the reappearance of bassist and Moog player Klimek, ‘Whispering House’ written and recorded with Ólafur Arnalds, and Portico Quartet’s Duncan Bellamy contributing loops, Ghosts introduced her to a whole new audience who welcomed these widening horizons.
 
Soon, having improbably provided music for ITV’s coverage of the English football team, she was on the road once more, headlining shows from London’s Somerset House to San Francisco’s Great American Music Hall. Meanwhile, visitors to Zodiak, the Warsaw Architecture Pavilion, could enjoy Room For Listening, a sound and spatial art installation, designed with architecture studio Zmir, in which an hour long composition is looped and streamed through 25 speakers. Rani then rounded off 2024 with a document of her live shows, recorded at the Polish Radio studios where she’d filmed Live At Studio S2, this time with an additional string ensemble. Now she occupied S1, its concert studio, afterwards providing the striking photos making up Nostalgia’s artwork as well as liner notes illuminating stories behind the music and her fascination with the space itself.
 
In addition, Rani continues to write for films, including the forthcoming adaptation, starring Glenn Close, of Tove Janssen’s The Summer Book. In addition will also perform solo shows in Japan and Australia including Sydney Opera House and then perform her Ghosts album in its entirety with an eight-piece international ensemble – including her old friends, Klimek and Czocher – on a tour stopping in some of Europe’s most prestigious concert venues including sold-out shows at Berlin Philharmonie, Salle Pleyel in Paris and the Barbican in London. In this mass of activity, then, there is perhaps no better illustration of her compelling urge to explore, research and dissect her work – whether orchestral, electronic or piano, vocal or instrumental, alone or collaborative – nor, more importantly, her endless determination to “be better” and see “the beauty in things”. Music moves spirit, after all. As Rani observes, “probably the only stable part of my career is change. To have the opportunity to switch from touring to piano concerto, from piano concerto to pop, that’s the way ahead for me...”