Lutosławski, Witold (EN)

Lutosławski Witold, *25 January 1913 Warsaw, †7 February 1994 Warsaw, Polish composer and conductor. He came from a landed gentry family with an estate in Drozdowo near Łomża. His ancestors were educated at renowned universities, e.g. his uncle, Wincenty Lutosławski – later a philosopher and writer – studied in Dorpat, Rome, Paris and London; his mother, Maria née Olszewska, studied medicine in Zurich, Berlin and Krakow, and his father, Józef Lutosławski, studied agriculture in Zurich. Lutosławski spent his childhood and youth in Drozdowo, Moscow (1915–18) and Warsaw. He was raised in a home full of music, which impacted the awakening of his sonic imagination. He started composing already in his childhood and wrote Prelude for piano in 1922. He studied piano under H. Hoffman in Warsaw in 1919–20, under J. Śmidowicz after 1924, and later under A. Taube. He also studied violin under L. Kmitowa in 1926–32. His studies in this field resulted in two sonatas for violin and piano (both from 1927). In 1927/28, he attended the Warsaw Conservatory to lectures by P. Maszyński (principles of music) and solfege exercises led by W. Laski. In 1928–31, he took private lessons in music theory and composition from W. Maliszewski. Under his supervision, in 1930, he composed Chimera-danse for piano, the first piece publicly performed at a concert at the Conservatory (1932). All of Lutosławski’s works composed before 1937, except for the Sonata for piano (1934), were lost during the war. Lutosławski’s general education was parallel to his musical education; in 1924–31, he studied at the Stefan Batory Gymnasium in Warsaw, and in 1931–33 he studied mathematics at the University of Warsaw. He noticed similarities between mathematics and music. In an interview given many years later, he said that both mathematics and music are complicated, highly organised and abstract worlds; however, he was more attracted by music. In 1932, Lutosławski re-entered the Warsaw Conservatory, where he started piano studies under J. Lefeld and continued composition studies under W. Maliszewski. Lutosławski appreciated Maliszewski as a teacher who introduced his students to the discipline of musical thinking and to taking responsibility for every note, but he did not share his critical attitude towards all ‘modernisms.’ Of the pieces written by Lutosławski during his studies, Sonata for piano (1934) shows, on the one hand, the formal discipline required by his professor and, on the other – the composer’s fascination with the impressionist texture of C. Debussy and M. Ravel. Lutosławski graduated his piano studies in 1936 and composition studies in 1937. As his diploma thesis, he submitted the second part of Requiem for solo voice, choir and orchestra: Requiem aeternam and Lacrimosa; the latter was performed in 1938 by H. Warpechowska and the Warsaw Philharmonic Orchestra conducted by T. Wilczak. Symphonic Variations, a composition started in the last years of his studies, gained a permanent place in the concert repertoire; its premiere in June 1939 in Kraków brought the composer great success.

A promising artistic career of Lutosławski and a plan of studies under N. Boulanger in Paris was interrupted by the outbreak of World War II. In September 1939, Lutosławski took part in the fights with the Germans in southern Poland as the commander of a radiotelegraph platoon. During the German occupation, he lived in Warsaw and in 1944 in Komorów near Warsaw. He earned his living as a pianist in Warsaw cafés; he played in a piano duet with A. Panufnik and they prepared about 200 transcriptions of works by J.S. Bach, W.A. Mozart, F. Schubert, J. Brahms, M. Ravel and others. These transcriptions were burnt in 1944 during the Warsaw Uprising. There is only one transcription preserved of Caprice No. 24 by N. Paganini from 1941, which was published by PWM in 1949 as Variations on a Theme by Paganini for 2 pianos. A separate strand of works by Lutosławski are songs for soldiers of the Polish resistance movement (distributed during the occupation and published after the war in the collection Pieśni walki podziemnej for voice and piano). In 1940–41, he wrote Two Studies for piano, and in 1941–44, the 1^st movement of Symphony No. 1; in the winter of 1944/45, Lutosławski wrote Trio for oboe, clarinet and bassoon, which he said was an exploration of the rhythmic and pitch organisation of sounds. Several dozen sketches of short counterpoint exercises for woodwind instruments have survived the war; this collection also includes four-voice canons with an unspecified line-up.

After the war, Lutosławski cooperated in the reactivation of the Polish Composers’ Union (ZKP). In 1945, he became a board member of the ZKP and represented Poland at the MTMW Festivals in Copenhagen (1947) and Amsterdam (1948). He permanently moved to Warsaw in 1945 and married Danuta Bogusławska née Dygat a year later. Like other Polish composers active in Poland after the war, Lutosławski found himself in a situation in which his individual creative intentions were confronted with the cultural policy of the communist authorities and the postulate of socialist realist creativity imposed by them, which did not allow for technical and compositional innovations of Western provenance. Lutosławski’s output from the post-war decade includes utilitarian pieces, written to earn money, as well as works created from an internal need to express himself through music, which are also examples of masterful compositional skills, such as Symphony No. 1 (1947) and Concerto for Orchestra (1954), the performance of which brought Lutosławski great success. The fates of both of these compositions were extremely different during the period of so-called socialist realism in art. Symphony No. 1, as a neoclassical piece, was condemned for its formalism, while the composer received the State Music Award of the First Degree for the Concerto for Orchestra in 1955. In 1954, Lutosławski’s works written for children were also awarded, which are a valuable contribution to the pedagogical repertoire.

In the 1950s, Lutosławski travelled to the Soviet Union (1951) and East Berlin (1952), and his published correspondence from these trips has survived. He participated in festivals in Helsinki (1955), Salzburg (1956), Strasbourg (1958) and Donaueschingen (1959), and was in a jury of composition competitions in Rome and Liège. Lutosławski’s works were presented at almost every International Festival of Contemporary Music Warsaw Autumn, e.g. Little Suite and Concerto for Orchestra in 1956 and Musique funèbre in 1958, which brought the composer international fame. In 1959, it was performed in Minneapolis, Boston, Cleveland, other American cities and at the Venice Biennale; in 1961 in London, Paris, Basel, Utrecht, Strasbourg, Prague and Berlin. For this piece, Lutosławski received 1^st place at the UNESCO International Rostrum of Composers in 1959.

Lutosławski debuted as a conductor during his studies, and later he made numerous recordings but did not perform publicly for many years – exceptionally, in 1952, he conducted the WOSPR in a radio concert, performing J. Haydn’s Oxford Symphony and his own Symphonic Variations. Lutosławski’s constant conducting contact with the orchestra and the audience dates back to the premiere of Trois poèmes d’Henri Michaux in 1963. His work with ensembles in the 1960s consisted, among other things, of perfecting ad libitum sections, in which – following Lutosławski’s concept of controlled aleatoricism – the performers were given freedom in terms of rhythm and tempo while strictly maintaining the pitch. The presence of ad libitum sections, subject to the action of chance and contrasted with conducted sections (a battuta), is the main assumption of the concept of controlled aleatoricism, which Lutosławski first implemented in Jeux vénitiens, achieving subtle rhythmic effects that are impossible to notate. Lutosławski attached great importance to rehearsals with the orchestra because personal preparation gave him a chance to achieve the ideal shape of his own works, and in addition, frequent “working” contact with the orchestra created the opportunity to get to know it in depth and could become an impulse for new sound ideas. Since 1963, the composer conducted performances exclusively of his own works. As a conductor, he travelled extensively, e.g. he performed in 1964 in France and in 1965 in Czechoslovakia with Trois poèmes d’Henri Michaux, in 1965 at the Aldeburgh Festival, he directed the first performance of Paroles tissées, and in 1969 he toured the Netherlands, Norway and Austria, conducting his own works.

In the 1960s, he started working as a lecturer. He led an 8-week composition course at the Berkshire Music Centre w Tanglewood (Massachusetts) in 1962. During this stay in the United States, he visited other music centres, including Los Angeles, San Francisco and Minneapolis. He has the opportunity to meet many outstanding musicians and composers like E. Varèse, M. Babbitt, and L. Hiller. In 1963 and 1964, he lectured at the Summer School of Music in Darlington (England). In 1963, BBB radio broadcast Lutosławski’s speech Czy to jest muzyka? [Is this music?], in which the composer presented the basic problems in the 20^th-century music concerning the composers’ attitude towards the 12-note equal temperament system and talked about the pursuit of enriching sound colours by expanding the range of instruments. In the same year, he gave a lecture in Zagreb on trends in contemporary Polish music, and in 1965 at Kungliga Svenska Musikaliska Akademien in Stockholm on the technique of aleatoric counterpoint; in 1966, he taught a seminar at the University of Texas at Austin, and in 1968, he gave lecture in London and taught 4-week composition course in Århus (Denmark). Lutosławski never became permanently associated with any music school as a teacher; his lectures on music or composition were limited to single appearances, short courses or private consultations, during which he shared his compositional experiences with students. In the 1970s and 1980s, he limited this area of activity even more, sporadically accepting invitations to lectures devoted to his own work. However, he was more and more active as a conductor, leading performances and premieres of his compositions. He cooperated with many excellent ensembles, including Los Angeles Philharmonic Orchestra, San Francisco Symphony Orchestra, BBC Symphony Orchestra, London Sinfonietta, Orchestre de Paris and WOSPRiT.

Every year, he performed in many music centres around the world, e.g. in 1973 in London, Aldeburgh, Witten, Amsterdam, the Hague, Vienna, Düsseldorf, Bucharest and Warsaw; in 1978, he made his first concert tour to the Soviet Union (Moscow, Leningrad) and in 1988 to Izrael. As a conductor, he also participated in festivals devoted exclusively to his work, e.g. in 1987 in Sweden. The works presented at the festivals portrayed Lutosławski as a creator constantly developing his musical language, and so at the Stockholm festival, the works performed reflected the changes in the composer’s style and technique; the programme included, among others, the youthful Variations on a Theme by Paganini and the then latest Chain 3. Lutosławski’s work met with numerous proofs of great recognition since the 1960s. The authority that the composer enjoyed on the international stage was expressed in the fact that in 1969, he was granted membership in the ISCM (SIMC), of which he had previously been a board member (from 1959) and vice-president (1960–65). Honorary membership was granted to Lutosławski by composers’ associations and numerous academies; he received many awards and decorations in Poland and abroad; Polish, English and American universities awarded him honorary doctorates (see list). Since 1990, the Witold Lutosławski International Composition Competition has been held, organised by the Society named after him and the Warsaw Philharmonic.

Lutosławski supported important artistic and social activities in Poland with his authority. He held important positions in the ZKP: in 1945–46, he was secretary and treasurer, in 1946–47, treasurer, in 1947–48, board member, in 1975–79, vice-president, in 1979–85, board member, in 1985–93, presidium member; in 1959–60 and 1963–66, he was also chairman of the ZKP Qualification Committee. He was an individual member of the International Music Council at UNESCO. In 1945, he co-founded PWM in Kraków and was its member from the beginning, later, from the 1960s, a chairman of its Programme Council and of the Editorial Committee of the PWM Music Encyclopaedia. PWM was Lutosławski’s first and, until the 1960s, exclusive publisher. Since 1968, Lutosławski’s works have also been published by the London publishing house Chester, which manager R. Boyle contributed to the promotion of Lutosławski’s music and numerous premieres of his works in the United States, Australia and Japan.

Lutosławski participated in the work of the repertoire committee of the International Festival of Contemporary Music Warsaw Autumn. At the Congress of Polish Culture (11–12 December 1981), he spoke about the artist’s situation during the period of so-called socialist realism. In 1989, he became a member of the Citizens’ Committee beside the Chairman of the NSZZ “Solidarity” and in 1990 of the Polish Council of Culture.

In 1993, he went on artictic tours to, among others, the USA, Canada and Japan, and conducted at the Wratislavia Cantans Festival and Warsaw Autumn Festival. He was an active composer until his last days, leaving an unfinished Violin Concerto. He was buried at the Powązki Cemetery in Warsaw on 16 February 1994.

Polish awards and distinctions – awards: City of Warsaw in 1948, 1976; State Award of the 2^nd degree in 1952; Prime Minister Award for works for children in 1954; State Award of the 1^st degree in 1955, 1964, 1978; ZKP in 1959, 1973; Ministry of Culture and Art 1^st degree in 1962; Artistic Award of the Committee of Independent Culture of NSZZ “Solidarity” in 1983; distinctions: Knight’s Cross of the Order of Polonia Restituta in 1953; Order of the Banner of Labour, Second Class in 1955; Medal of the 10^th Anniversary of the Polish People’s Republic in 1955; Order of the Banner of Labour, First Class in 1959; Golden Badge of Honour of the City of Warsaw in 1967; Badge of Honour of the City of Poznań in 1973; Medal of the 30^th Anniversary of the Polish People’s Republic in 1974; Order of the Builder of the People’s Republic of Poland in 1977; Order of the White Eagle in 1994.

Foreign awards and distinctions – awards: 1^st Prize Tribune Internationale des Compositeurs UNESCO, Paris 1959, 1962, 1964, 1968; IMC and Gesellschaft der Musikfreunde, Vienna 1963; S. Koussevitzky Prix Mondial du Disque 1964, 1976, 1986; Grand Prix du Disque de l’Académie Ch. Cross, Paris 1965, 1971; A. Jurzykowski Award, New York 1966; G. von Herder Award, Vienna 1967; L. Sonning Award, Copenhagen 1967; M. Ravel Award, Paris 1971; J. Sibelius Award, Helsinki 1973; International Record Critic’s Award, Geneva 1979; E. von Siemens Award, Munich 1983; Ch. Grawemeyer Award, Louisville 1985; Queen Sophia of Spain Award, Madrid 1985; International Record Critic’s Award, London 1986; Signature Award of the Pittsburgh Symphony Orchestra, Pittsburgh 1991; Incorporated Society of Musicians, Manchester 1992; Polar Music Prize, Stockholm 1993; Kyoto Prize for Art, Kyoto 1993; Royal Philharmonic Society, London 1993; Classical Music Award, London 1994; distinctions: Gold Medal of the Royal Philharmonic Society, London 1985; Stockholm Concert Hall Foundation Medal, Stockholm 1992; Council of Europe Medal, Strasbourg 1993; Order Pour le Mérite, Bonn 1993.

Honorary doctorates: Cleveland Institute of Music, 1971 (Doctor of Music); University of Warsaw, 1973; Northwestern University Evanston, Chicago 1974 (Doctor of Fine Arts); Lancaster University, 1975 (Doctor of Music); University of Glasgow, 1977; University of M. Kopernik, Toruń 1980; University of Durham, 1983; Jagiellonian University, 1984; Baldwin-Wallace College, Berea (Ohio) 1987 (Doctor of Human Letters); University of Cambridge, 1987; Queen’s University of Belfast, 1987; F. Chopin Academy of Music (now the University of Music), Warsaw 1988; New England Conservatory of Music, Boston 1990; Université des Sciences Humaines, Strasbourg 1990; Duquesne University, Pittsburgh 1991 (Doctor of Music); McGill University, Montreal 1993.

Honorary memberships of music associations: ZKP; Polish Society of Contemporary Music; ZAiKS Authors’ Association; Association des Artistes Musiciens Polonais en France; ISCM; IMC; Association of Professional Composers in London; Norwegian Composers’ Association; Konzerthausgesellschaft in Vienna; Guildhall School of Music and Drama in London.

Memberships of artistic and scientific academies – honorary member: Freie Akademie der Künste, Hamburg 1966; American Academy of Arts and Letters, New York 1974; National Institute of Arts and Letters, New York 1974; Royal Academy of Music, London 1976; Accademia Nazionale di Santa Cecilia, Rome; corresponding member: Deutsche Akademie der Künste, East Berlin, 1971; Bayerische Akademie der Schönen Künste, Munich 1973; Académie des Beaux-Arts, Paris 1978 (associé étranger); extraordinary member: Akademie der Künste, West Berlin, 1968; member: Kungliga Svenska Musikaliska Akademien, Stockholm 1963 and others.

Introduction. Lutosławski’s creative attitude was characterised by the pursuit of continuous development of musical language, dictated on the one hand by the idea of ​​constructing a work that was perfect in all its aspects, and on the other by his passion for invention in the field of music. The composer was close to the classical ideal of a transparent construction of a work, characterised by maintaining proportions in architecture, logic of the course and balance of the means used. The preference for classical constructions directed Lutosławski – at the beginning of his creative path – towards neoclassicism. The neoclassical period of Lutosławski’s work – associated, as in the case of the music of other creators of this trend, with folklore – lasted until 1954, and its crowning achievement was Concerto for Orchestra. However, even earlier, after composing Symphony No. 1 (1947), the composer was no longer satisfied with the previous means of compositional technique. From then on, regardless of composing new works using known techniques, he conducted research on the dependence of the quality of sound on the relations between sounds. Lutosławski’s first musical discoveries concerned the relationship between consonant sounds; the new harmony marked the second period of his work. The beginning of this period falls on the years of composing Musique funèbre (1954–58) and Five Songs to Words by Kazimiera Iłłakiewiczówna (1956–57, version for mezzo-soprano and piano; 1959, version for mezzo-soprano and chamber orchestra), and its ending is marked by Three Postludes (1958–60). The harmony worked out over these few years turned out to be extremely important and, at the same time, is one of the main determinants of Lutosławski’s original style. The third period of his work is marked by Jeux vénitiens (1960–61), a work in which the composer changed the principle of time organisation, introducing the so-called controlled aleatorism. The lack of specification of individual rhythmic values influenced the change of the texture and introduced new expressive advantages. The appropriate arrangement of aleatoric and non-aleatoric sections (i.e. strictly conducted based on a specific meter) provided new possibilities for shaping the dynamics of the work’s form. The first pieces from the aleatoric period are characterised by the dominance of aleatoric structures (ad libitum parts), while the later ones by a gradual reduction of aleatoric parts in favour of precise time organisation. Almost every subsequent piece from the 3^rd period of Lutosławski’s work – regardless of its harmonic and aleatoric constructions known from previous compositions – introduces new music ideas, e.g. String Quartet (1964) – the idea of a two-phase form, and Prelude and Fugue (1972) – an innovative polyphonic structure. However, three stages can be distinguished within the 3^rd period, marked by music ideas developed by the composed, to which he later came back and which became a permanent part of his musical language: 1. 1961–68, from Jeux vénitiens to Livre pour orchestra is a fascination with aleatoricism; 2. 1969– 79, from Cello Concerto to Novelette, so traditional ideas (e.g. solo concerto or fugue) combined with the controlled aleatorism technique and 12-note harmony; 3. 1979–92, from Epitaph to Symphony No. 4, the discovery of new principles of shaping melodics and the synthesis of his own harmonic, aleatoric and formal ideas with elements of a traditional profile. The fact that Lutosławski created his highly individual style without losing ties with tradition is a fascinating phenomenon.

In the circle of neoclassicism aesthetics. Compositions from the 1st period of Lutosławski’s work, i.e. until 1954, present a set of technical and formal means characteristic of neoclassicism. Architectural models (suite, variation and symphony) and techniques (variation, polyphonic and development), taken from the tradition of Baroque and Classical music, are combined – as in many neoclassical works – with harmony rich in dissonant sounds and sound centres, which introduce quasi-tonal stability in individual sound areas. The brilliant and colourful instrumentation brings to mind an analogous combination of traditional elements and ‘modernisms’ in the neoclassical works by A. Roussel, S. Prokofiev or I. Stravinsky. Classical ideas of perfection and clarity of form coexist in Lutosławski’s compositions with sound structures originating from 19^th– and 20^th-century music.

In Symphonic Variations (1938), the form of so-called characteristic variations was used, in which the theme is subjected to agogic-rhythmic changes and motivic transformations; the theme is accompanied by an independent harmonic layer – a symptom of modernity. The classical pattern was also used in Symphony No. 1 (1947), with a typical sequence of parts: fast movement 1 – sonata allegro, slow movement 2 – reprise arrangement, fast movement 3 – scherzo, fast movement 4 – finale in the form of sonata allegro without development, but with elements of the transition technique in reprise. Processing and polyphonisation (especially in the fourth movement) occur in symbiosis with various forms of sound centralisation (e.g. the cello trill) and intervallic structuralism (e.g. the initial fragment of the fourth movement). String Overture (1949) also has features of a sonata allegro, in which the themes are shaped based on synthetic scales; the intervallic model for the first and second themes is a succession of whole tones and a semitone, for the third theme – semitone successions. In this work, the traditional form of tonal origin, which is the sonata allegro, is combined with the modal organisation of sound structures. The modality and atmosphere of this piece bring to mind the string Divertimento by B. Bartók, whose work aroused Lutosławski’s interest at that time. Modally treated sound material also appears in two piano etudes, which are characterised by the sequencing of interval models and the exposure of selected chords.

Modal structures from folk material were used in Concerto for Orchestra (1954). The melody of Mazovian songs, as well as tetratonic and pentatonic phrases, were incorporated into polyphonic structures, i.e. imitations and simultaneous combinations of melodies (e.g. 3^rd movement, in the Corale section). The reference to traditional techniques and forms is most visible in the 3^rd movement: Passacaglia, toccata e corale. The ostinato theme of Passacaglia became a pretext for colouristic transformations of the initial melodic structure; it was shown in registers starting from the lowest to the highest while enriching the orchestra line-up. The tonality of the original folk melody functions in accordance with the concept of sound centralisation, achieved through the dominance of selected tones (1^st movement – F-sharp, 2^nd movement – B-sharp, 3^rd movement – D and F-sharp). In addition, shorter sections feature drone sounds, which set a given fragment in a quasi-tonal atmosphere. The Concerto for Orchestra, which combines features characteristic of neoclassicism, folklore, and other classicising works, reflect the composer’s predilection for clarity of form – an idea that was also realised in later periods of his work.

Treatment of folklore material. Elements of Polish folk music appear primarily in Lutosławski’s works from 1950–54, but five years earlier, he created the folklore-saturated Folk Melodies, and in 1945 and 1946, arrangements of Polish Christmas Carols (to which the composer returned in 1985). Lutosławski drew from the folk art of many regions of Poland, using collections of songs by, among others, J. Olszewski, Fr. W. Skierkowski, J.S. Bystroń, and J. Ligęza. In Folk Melodies, he used songs from the Łowicz, Kraków, Podlasie, Sieradz, Silesia, Kurpie and Masuria regions, while in Bucolics, he used exclusively Kurpie melodies, in Little Suite – Rzeszów melodies, and in Concerto for Orchestra – Masovia ones. Folklore appears in Lutosławski’s work primarily in crudo but also in a processed and stylised form. Melodic quotes are introduced in Christmas Carols, Folk Melodies, Bucolics and Little Suite. The creator’s inventiveness is manifested in the shape of the sound of these original folk song melodies. In the piano accompaniment, there are sounds dissonant with the quoted melody, and figures derived from the material of a given song are sometimes introduced (e.g. drone structures in melody no. 11). In Little Suite, the development of the melody from Rzeszów is additionally enriched by polyphonic structures (theme stretta in 1^st and 3^rd movements) and polychord harmony (in the 1^st movement). The composer applied the principle of repeating themes operated with their parts, between which he introduced structures derived from his own invention. In the Silesian Triptych, Lutosławski used Silesian songs and the original folk text.

The most artistic treatment of folklore was in Concerto for Orchestra, in which the melodic material consists of rhythmically modified Mazovian songs. The motifs of these songs are also used as a counterpoint to the basic melody, and there is also a quasi-folk five-note theme developed texturally in a polyphonic manner (e.g. Intrada). The folk character of the piece is emphasised by figurations based on tetratonic phrases and drone sounds, and sometimes also by instrumentation, creating a pastoral mood. Lutosławski’s folkloric works illustrate a technique based on juxtaposing original folk tonality with dissonant, ‘contrary’ harmony and with centralising structures. Folk melodies constitute material subject to rhythmic transformations and colour differentiation by means of rich and variable instrumentation.

Shaping the principles of twelve-note harmony. The first works in which Lutosławski presented the results of his research on the properties of constructed consonances date from 1958–60. Three types of vertical orderings appear in compositions from this period: elementary, i.e. containing one type of interval, two-interval and multi-interval symmetrical, dissymmetrical and asymmetrical. In Five Songs to Words by Kazimiera Iłłakowiczówna, the basis is the ordering with a so-called distinct physiognomy (Lutosławski’s term), i.e. elementary and two-interval. An example of this are two songs: Wiatr [Wind] – based on only one twelve-note, composed exclusively of seconds (mainly minor), and Zima [Winter], in which a twelve-note composed exclusively of thirds, mainly major, dominates. The harmonic layer in Postlude No. 1 also has a ‘distinct physiognomy,’ which is made up of elementary, two-interval and three-interval six-notes, characterised by the symmetrical arrangement of intervals. The simplest principle governing the succession of vertical structures – the juxtaposition of contrasting sounds – is sometimes used to differentiate subsequent parts of the cycle but is more often used within a piece, e.g. in the song Rycerze [Knights].

The second principle of the succession of vertical structures is the continuity of harmonic changes, which occurs when the interval composition of subsequent sound verticals undergoes gradual metamorphoses. For example, the succession of consonances in Apogeum (section 3 of Musique funèbre, from bar 239) consists of the gradual transformation of a multi-interval twelve-note into a cluster, which also undergoes metamorphoses through a reduction in the number of sounds. The principle of combining sound structures through overlapping also proved to be a fruitful musical idea. This procedure concerns chords that have a stage of swelling, i.e. gradual introduction of successive chord components, and a stage of decay, i.e. gradual elimination of sounds, whereby in the stage of decay of a given chord, sounds of the next construction appear. The types of multi-note chords formed in the second, transitional period of Lutosławski’s work and the principles of their combination constitute a permanent element of the composer’s technique in his later works. In works from the third period, pre-composition chords gain – thanks to the use of so-called controlled aleatorism – an original form as ‘diaphoral’ systems. A diaphoral sound complex (from the Greek diaphoresis – spreading, movement in space) is a set of sounds that creates – thanks to the unifying interval model – a certain whole, but is projected in space in different directions; as a result, a structure is formed that has linear and vertical features, but its characteristics are not exhausted in these terms, because the individual particles of the pre-composition interval model sound asynchronously, filling a given section of the piece with their sound. In the last stage of Lutosławski’s third period of creativity, the harmony was simplified, aiming to reduce the number of consonance components to eight or six. Moreover, a characteristic feature of the pieces of this stage (e.g. Partita) is the occurrence of symmetrical consonance, with an easy-to-remember set of intervals, as a key idea, returning in the piece many times.

The role of the series in the construction of the piece. Multi-note arrangements based on the series appear in Lutosławski’s compositions since 1958. The first of them – Musique funèbre – contains the series and its transformations, which resemble dodecaphonic approaches, but also such a treatment of the series of twelve sounds, which is evidence of an original approach to the twelve-note as material and as a construction structure. The basis for the construction of the outer parts of Musique funèbre, i.e. Prologue and Epilogue, is a series containing only the relations of the minor second and the tritone. The 12-note series formed in this way, combined with its inversion, creates a semitone-tritone 24-note whole, carried out in a canonical way, in the basic form, in inversion and transposition. The use of the series in the 1^st and 4^th movements, its presentation in inversion and transpositions, indicates a kinship with the dodecaphonic technique, but this is where the analogies with dodecaphony actually end. This series did not become a pretext for sound speculations and complicated manipulation of its elements – which often took place in dodecaphonic compositions – but served as a means of expression thanks to the selection of intervals; the semitone and tritone dominate the entire sound field, appearing not only successively, but also in consonances, alongside other intervals, mainly fifths, fourths and major seconds. The twenty-four-note pitch system, created by combining the basic form of the series and its inversion, was subjected to rhythmic serialisation. The seventeen-element rhythmic series serves as a factor modifying the melodic aspect of the sound series. The recurring twenty-four-note series begins in subsequent presentations with a different rhythmic value, because the beginning of the repeated rhythmic series falls in each subsequent presentation on a different element of the sound series. In the 2^nd movement of the piece – Metamorphoses – the individual sounds of the series constitute links in sound systems, in which they gain a different sound context. The subsequent metamorphoses consist (in terms of the organisation of pitch) of expanding the number of notes (from one to six) accompanying the notes of the basic series by preceding or following them. Thus, in this part of Musique funèbre, the series does not reveal itself as a compact, independent arrangement, but is a structural base, the subsequent elements of which constitute components of ever new sound arrangements. The sound series appears here as the original structural idea, unifying the entire part of the piece.

In Preludes and Fugue (for 13 string instruments), the sound series acts as a factor that unites the piece and is used as a means of contrast. In the fugue, the way the series is treated entails a contrast between themes and episodes, while in the preludes, the series plays the role of uniting the fragments of the piece. The composer designed the work in such a way that in each performance version (any number of the seven preludes can be performed, in any order) each prelude is connected to every other one. For this purpose, he adopted one six-note series for the initial fragments and another for the final sections of each prelude. In each case, the sounds of both six-note series overlap at the moments when the preludes join, creating analogous twelve-note fields. The sound series, which served as the structural basis for the sound layers in Mi-parti, are of crucial importance for the construction of the form. In the subsequent parts of the piece, the composer operated with appropriate mutations of the series, which were used to form horizontal, vertical and entire sound fields. For example, the 2^nd movement is based on a twelve-note series, the elements of which are used to build two layers of this part; the sounds of the series appear in them in melodic and harmonic approaches.

Sequences of sounds based on serial order also appear in Lutosławski’s later works, e.g. in Symphony No. 3, in one of its parts (after no. 49) the horizontal arrangement of sounds, realised by complementary parts of double basses and pizzicato cellos, is based on a series containing major seconds and fifths (also their inversions). The series in Lutosławski’s compositions is one of many procedures used by the creator to organise sound material and appears alongside other types of shaping the sound space.

Shaping the melody. In works from the first period of Lutosławski’s work, i.e. until 1954, the melody is based on modal structures, derived from the composer’s invention (e.g. String Overture, Two Piano Studies) and on modal and tonal structures of folk provenance (e.g. Folk Melodies, Concerto for Orchestra). In his later works, the composer based the ordering of the sequence of sounds on several main principles. One of them consists of various approaches to the pre-compositional serial arrangement. The series are most often formed from twelve sounds appearing in alternating succession of two intervals: a minor second and a tritone, but also a major second and a fifth. This limitation of the number and quality of intervals affects the expressiveness of sound arrangements based on the series.

The second principle is related to the technique of aleatoric counterpoint. It concerns sound systems created by several or a dozen or so instrumental parts (exceptionally also vocal, as in Trois poèmes d’Henri Michaux), which realise the sound models assigned to them asynchronously, i.e. without taking into account the common time division. These sounds have specific rhythmic values, which must be realised approximately, and hence playing in a collective ad libitum causes “flexible,” smooth divergence of sounds in individual parts. In a given aleatoric section, these parts are usually entrusted with a small number of sounds, the repetition of which creates the impression of a static sound system. The relations between instrumental or vocal parts are established in many ways. One of them is to entrust all instrumental or vocal voices with the same or a similar set of several sounds, in the same or a similar interval pattern. A given pitch-interval model is rhythmically differentiated in individual voices so that the sounds do not occur in unison. This type of texture is characteristic of the refrains found in many of Lutosławski’s works, e.g. in Livre pour orchestre and in Symphony No. 2.

Another type of ordering of sound sequences in the aleatoric section consists of adopting a given sound-interval model (e.g. six-note) and assigning a different number of sounds of this model to individual voices occurring simultaneously. These voices create a sound field created from this six-note sounding asynchronously (e.g. in Trois poèmes d’Henri Michaux – soprano and alto parts in no. 29). Yet another type of aleatoric section is created by many voices, each of which realises several (often three or four) various, adjacent sounds, which are part of a twelve-note filling the entire sound space of the section. The horizontal sound orders shaped in this way, while remaining in contrapuntal relations to each other, are closely related to the harmony of a given section and co-create a moving sound complex in a quasi-polyphonic texture. This is a specific type of polyphony, in which the point is not to distinguish individual parts, but to the overall effect, i.e. textural ‘limpness.’

A different type of polyphonic structure based on the technique of aleatoric counterpoint is presented in the fugue themes in Preludes and Fugue for 13 string instruments. In this piece, each of the 6 themes is not a single melodic line, but a “bundle of voices” (Lutosławski’s term), resulting from the implementation of one sound-interval model in several instrumental parts in an asynchronous manner. In the culminating section of the fugue, there is a stretto of all six polymorphic themes, i.e. six sound bundles, which, thanks to rhythmic and articulatory contrast, can be distinguished during listening. This is undoubtedly an original polyphonic approach, both on a micro scale (within the themes – “bundles”) and on a macro scale (in sections of simultaneous occurrence of themes – “bundles”), which can be called polymorphophony (polymorphism of voices in a polyphonic structure). Lutosławski returned to polyphonic approaches closer to tradition, i.e. to leading counterpointing individual voices, in his later compositions, including Chain 1. The return to exposing individual melodic lines is connected with a new concept in Lutosławski’s work of forming and with horizontal sound courses. A clear example of this concept is Epitaph for oboe and piano (1979). The main idea is the melodic contrast between refrains and episodes, i.e. the opposition of intervals of different expression (minor third and whole tone versus tritone and semitone), different articulation (legato versus staccato and portato) and rhythm (longer values ​​versus shorter ones). The second important idea is the introduction of a structure combining two contrasting types of melody in the form of an interval sequence in the second part of the refrain, which contains common features of the refrain and episodes. In more elaborate works, e.g. Double Concerto for oboe, harp and orchestra, this technique of shaping the melody was developed by introducing a greater number of melodic models and a greater variety of permutations. In works for solo instruments with orchestra, the soloist parts are entrusted with dramatic recitatives, virtuoso figurations, as well as fluid, charming cantilenas. The composer devoted more and more attention to the latter, giving the songful melody the role of the primary factor in music. Cantilena episodes are included in all concertante works, from Cello Concerto, through Double Concerto (for oboe and harp), Chain 2 (for violin and orchestra) to Piano Concerto, as well as in other orchestral works, e.g. Symphony No. 3. In vocal works with orchestral accompaniment, recitative melodics and syllabic realisation of the text predominate; melismas appear exceptionally, as if to emphasise the importance of a given word, e.g. ‘sommeil’ (after no. 103) in Les espaces du sommeil. A considerable variety of melodies occurs only in the cycle of songs Chantefleurs et chantefables, which is related to the variety of expression of the texts of individual fairy tales; among the various melodies, the cantilena found its place in the song L’Angélique. Cantilenas are inscribed in the dramaturgy of the work; they usually appear after many sound ‘adventures’ that take place in the first phase of the work.

Controlled aleatoricism. Jeux vénitiens (1961) begins the third period of Lutosławski’s work, dominated by aleatoric structures, inscribed in a logical, strict organisation of sounds. Lutosławski was inspired by the aleatoric technique of J. Cage, but the scope of performance freedom in the works of both composers is extremely different. Lutosławski, explaining the principles of the aleatoric technique he uses, refers to the definition of W. Meyer-Eppler: an aleatoric event is one that is established in general terms, and in detail depends on chance. The composer establishes the architectonics of the work and all of its qualities, except for the synchronisation of simultaneously performed vocal or instrumental parts. The ‘detail’ entrusted to chance, i.e. collective playing ad libitum, brings with it a characteristic fluidity, flexibility of texture, but the sections of the work played ad libitum are always recognisable in all performances thanks to the specification of other aspects of sound. The freedom of performance concerning the duration of individual sounds in ensemble playing is, however, subject to certain limitations. These sounds have specific rhythmic values; according to the composer’s commentary included in the score, these values ​​should be realised approximately, which means that the composer assumes a difference in the duration of, for example, the eighth note played by violin I and the eighth note in the cooperating violin II, in order to obtain the non-synchronisation of the simultaneously performed voices. The asynchrony of instrumental parts usually occurs within short sections of the piece, while the duration of these sections is precisely defined in minutes and seconds. Aleatoric sections appear in Lutosławski’s works alongside sections strictly conducted according to a specific rhythmic unit, notated and performed in the same way in all instrumental parts. An example of the alternation of both types of sections can be found, among others, in the first part of the Jeux vénitiens. The contrast between them is achieved not only thanks to the different organisation of time but also to the different harmony. The initial section “A” of this movement shows how the composer combined his previous experience in the construction of chords with the technique of playing ad libitum. This section is filled with the content of one, pre-composition chord, which, however, does not appear here in the form of a sound vertical, due to the deliberate asynchrony in the occurrence of its individual members. The diaphoric sound complex obtained in this way is a mobile sound ensemble, based on a common construction model, but realised asynchronously. The structure of the entire 1^st movement of Jeux vénitiens consists of the alternating occurrence of aleatoric sections and those conducted based on the given meter.

The composer used the technique of controlled aleatoricism in all works written after Jeux vénitiens, although in each piece, it plays a different role and the scope of its use is different. Free and strict sections in terms of time organisation appear with varying intensity in individual compositions. Initially, Lutosławski was fascinated by his aleatoric technique, hence the dominance of ad libitum playing in Jeux vénitiens, Trois poèmes d’Henri Michaux, String Quartet and Symphony No. 2. In works composed later, there is a balance in the use of both techniques of organising musical time or a predominance of strict metro-rhythmic disposition. The choice of one or the other technique in a given section of the work is associated with shaping the dynamics of the form and with emphasising the important role of individual interval-pitch relations. For example, the form of Livre pour orchestre (1968) contains Chapitres (Chapters) and Intermèdes (Intermedia); the latter are assigned an aleatoric technique, and the Chapters (except for the last one) are strictly conducted. In later works, the composer tended to give greater importance to the strict organisation of time; for example, in the Piano Concerto, the aleatoric counterpoint technique dominates only in the first movement of the work, while the second is conducted throughout, and in third and fourth, ad libitum sections appear sporadically.

In addition to not specifying the duration of individual rhythmic values, Lutosławski allows for other freedoms in performance, such as polyverses of the formal arrangement and the lack of specification of the pitch. The only example of freedom in the interpretation of the formal progression is the Preludes and Fugue. Of the seven preludes composed by the composer, the musicians can perform any number of them, in any order, and the fugue can be played in its entirety or in shortened versions, marked by the composer in the score. Lutosławski composed a polyverses work, and designed many variants of the work, the number of which is, however, limited; he did not leave the role of co-creator to the interpreters but gave them the opportunity to choose one or another form of the piece.

The lack of specification of the pitch of sounds in the entire part of the piece occurs in Trois poèmes d’Henri Michaux. In the second poem, the vocalists have their registers marked in the score (high, medium and low), within which they produce sounds in the form of speech, whisper and scream. Moreover, an original idea in this composition is the simultaneous juxtaposition of the ensemble playing ad libitum and a battuta. This effect is associated with the appearance of two ensembles: choir and orchestra, led by two conductors.

The two-phase formal model and its development. For many years, Lutosławski worked on constructing a formal model that he could use in various pieces. The original form of this model, formed in the 1960s, consists of a succession of two developmental phases, the first of which contains a series of episodes separated by a refrain returning in various variants, while the second phase is characterised by the continuity of the sound progression leading to a climax and its resolution. In later works, the model was enriched by developing its individual elements and incorporating classical formal and technical ideas. The reproduction of the two-phase model occurs not only in two-part works (Quartet, Symphony No. 2) but also in four-part and so-called one-part works (without parts separated by a title or a number with a tempo indication). For example, in Livre pour orchestre the first 3 Chapters separated by Intermedia (equivalents of refrains) form the first phase, while the very extensive Chapter No.4, developed from Intermedium No. 3 and leading to a climax, constitutes the second phase. We can read a modified two-phase model in the one-part Mi-parti, in which the 1^st phase is made up of three episodes of similar construction, while the second is made up of sections in which the tension gradually increases until the climax, then an unexpected and sonically new fragment, and the Epilogue. In Mi-parti, the composer also used a construction idea consisting of introducing several “chain-like” overlapping sound threads that begin and end at different times, ensuring continuity and structural coherence of the piece. This formal principle was later introduced in compositions entitled Chain 1, 2, and 3.

Lutosławski develops the two-phase model of form differently in Cello Concerto, including a segment with a cantilena between the part consisting of a series of episodes and the dramatic part leading to the climax. The model is developed using means derived from tradition, e.g. cadenza in concertos; the solo cello introduction in the Cello Concerto has some features of a cadenza. An even greater extension of the two-phase formal model occurs in the Piano Concerto, where the function of the first phase is fulfilled by the initial fragments of the first movement (sequencing of sections), while the function of the second phase is fulfilled by the extended fourth movement of the piece – the chaconne. The extension of the form consists of adding the second movement Presto and the third Largo. The third movement is characterised by songfulness, both in the solo piano introduction that begins it and in the final fragment. In the fourth movement, the composer used the above-mentioned “chain” principle and the repeated repetition of the theme in a tripartite rhythm, as in the baroque chaconne. The presence of the virtuoso element in these concertos is a clear allusion to the classical concerto, and especially the Romantic one. Also, in terms of architecture, there are noticeable analogies with the three-part classical concerto and the four-part concerto, which appeared in the romantic era. Thus, the Double Concerto (for oboe, harp and orchestra) contains 3 movements (including the middle slow one – Dolente), while Chain 2 for violin and orchestra and the Piano Concerto present four-part formal arrangements. The concertos are particularly marked by the combination of Lutosławski’s original formal and technical ideas with traditional principles of shaping.

The two-phase formal model is not always possible to read in vocal-instrumental compositions. Lutosławski said that when he started composing a vocal-instrumental form, he always had a general vision of the whole piece and only then would he look for an appropriate text for it. He made great use of French poetry (Trois poèmes d’Henri Michaux, Paroles tissées to a poem by J.-F. Chabrun, Les espaces du sommeil and Chantefleurs et chantefables to poems by R. Desnos). The content is presented in Lutosławski’s works in a clear way, usually syllabically, recitatively, but the composer did not strive to illustrate the content with music; for example, the same word clusters in Paroles tissées (“le cri du bateleur et celui de la caille”) are sung lullaby-like at one time and dramatically at another. Lutosławski chose surrealist texts; their ambiguity was for him an important quality that related poetry to music. Individual words, their accentuation and expression were an impulse for creating musical structures corresponding to them.

The composer and tradition and modernity. Referring with great respect to the music of great masters from past eras, Lutosławski treated their work as a source of imagination and the best school of compositional craft. As masters from whom he learned musical thinking, he mentioned J.S. Bach, J. Haydn, L. van Beethoven, F. Chopin, J. Brahms, C. Debussy, O. Messiaen, M. Ravel, A. Roussel, I. Stravinsky and B. Bartók. In contrast to Lutosławski’s affirming attitude towards these composers, his approach to the representatives of the 20^th-century Viennese School was characterised by a clear distance. Reflection on A. Schönberg’s solutions and his significance in the history of 20^th-century music was a fairly frequent motif in Lutosławski’s statements, yet his attitude towards this creator was dominated by a critical tone. Lutosławski perceived Schoenberg’s innovativeness, without ever questioning it, from the point of view of the role played by his “method of composing with the help of 12 notes” in the destruction of traditional melody. He also accused Schoenberg’s dodecaphony of the dominance of systemic elements over the auditory factor. However, this did not prevent Lutosławski from investigating interval combinations within the 12-note series, as evidenced by his numerous preserved sketches, located in the archives of the Paul Sacher Foundation in Basel. On the other hand, Lutosławski’s attitude towards A. Webern can be described as ambivalent. On the one hand, he had a great appreciation for the innovative musical idea of ​​the Austrian composer, but Lutosławski was convinced that Webern had gone too far in his disintegration of the tonal system and the principles of construction of a musical work related to it. In his work, Lutosławski did not imitate the sound of other composers’ music, he only adopted a certain structural idea, incorporating it into an original musical language; for example, he claimed that he learned how to shape the energy of a large symphonic form from the classics, mainly from Beethoven and Haydn, but he created tension in a work in a completely different way; the role of preparation, of introducing the actual musical action, is played by the introductory phases, most often written using the aleatoric counterpoint technique. The references to the work of individual composers are noticeable to the recipient not so much (although this is sometimes possible, especially in Lutosławski’s early works), but to the general structural principles known from early European music, i.e. to the principles of polyphonic shaping of structure, to the principle of contrasting by juxtaposing episodes and refrains, motivic work and to the idea of ​​concerting.

Lutosławski assessed new phenomena introduced by the experimental work of the avant-garde as auxiliary and necessary for the emergence of later works. The composer’s attitude towards the avant-garde was that of a listener fascinated by the scale of radical discoveries and experiments, but also of a composer full of criticism, and finally of an artist with broad horizons who, concerned about the state of affairs surrounding him, asked questions about the future of music. Lutosławski’s creative attitude was characterised rather by a gradual expansion of the range of compositional means than by conducting spectacular but ephemeral experiments. This was what distinguished him from the coryphaeuses of the second avant-garde, who – in their search for novelty at all costs – built their isolated sound worlds from one piece to another, losing the integrity of their own style. Lutosławski subordinated the inspirations he drew from the avant-garde to his own creative visions and aesthetics. The value of music was the highest criterion of his creative choices; he combined the historical significance of a musical piece with value. Novelty, especially in a radical and shocking form, never became a goal per se for him. Both in his creative consciousness and in the sound world of his works, the novelty was to express inner truth – in a form that was to give it a chance to survive. J. Cage’s avant-garde composition (Piano Concerto) became for Lutosławski an impulse triggering a new compositional idea (aleatoric counterpoint), which, as a result, had little in common with the experimental musical phenomenon that fertilised it. Lutosławski’s contact with the music of the past and the present was for him an impulse to creative action, in which he realised his own, original thought.

Lutosławski’s compositional idiom is revealed primarily in the technique of controlled aleatoricism, the construction of chords and in the principles of shaping and developing melodies based on distinct interval models. The originality of Lutosławski’s music is also manifest in many other aspects, e.g. in the construction of micro- and macro-polyphonic structures or in the dynamics of the work’s form, including a phase introducing the musical action and a phase with the culmination of this action, as well as in the way of achieving coherence of the work (as one of the methods – chain arrangements). Lutosławski brought many innovations in the field of harmony, melody and temporal relations between sounds, based on a set of twelve sounds and the most traditional performing ensemble. Openness to solutions in the field of form and sound process in music constituting the legacy of the classical-romantic era, as well as the ability to create their modern equivalents with the listener’s reaction in mind, is undoubtedly one of the most important features of Lutosławski’s musical style. New musical ideas coexist in his music with traditional ideas in perfect harmony, they do not appear next to each other but interpenetrate and co-create new values. Lutosławski created coherent works, with a perfect balance of means and clear architecture, which grew out of tradition and at the same time enriched it. It is these features of Lutosławski’s music that allow him to be called a 20^th-century classic.

Lutosławski’s music is, against the background of 20^th-century creativity, a rare example of pure art, constituting its own world enclosed in a network of sound relations, structures, colours and means of expression, an autonomously musical world. The composer emphasised many times that his work, like the absolute music of classicism and romanticism, has no references to the surrounding reality and does not contain extra-musical content or meanings. He only stated that in creating works, he was inspired by the concept of “action,” understood through a distant analogy to a theatrical situation but free from clear threads, taking place in a musical progression full of tensions, climaxes and relaxations. However, it is not only this internal dynamics, rooted in the heritage of Beethoven and Brahms, that determines the individual character of Lutosławski’s music. It is also reflected in the composer’s extraordinary sense of colour – both of individual instruments and the human voice, as well as the orchestral, symphonic whole. In this respect, C. Debussy and M. Ravel were models and sources of inspiration for Lutosławski, and considering their artistic affinities with the circle of French impressionists, it can be said that painters under the banner of C. Monet, A. Renoir and E. Manet also – in this indirect way – participated in shaping Lutosławski’s colour imagination. In his comments about his own work, it is difficult to find evidence of close ties with the visual arts, especially with painting, although it was certainly close to him in its own way (he mentioned J. Vermeer van Delft, G. Braque and P. Klee as his favourite painters). The fact that he particularly valued modern painting is evidenced by the fact that he had paintings by H. Stażewski, J. Tchórzewski and J. Stajuda in his home. Although it is difficult to say whether and to what extent this painting influenced the shape and character of Lutosławski’s works, there is no doubt that the common denominator between his sound world and the domain of modern painting was the concept of abstraction. Lutosławski’s sound visions can be considered as specifically abstract insofar as they are enclosed in the world of independent sound qualities and constructions.

Official writings on music. Against the background of 20^th-century compositional reflection, Lutosławski’s writings, starting with his debut in “Muzyka Polska” in 1937 (the text Tchnienie wielkości, written after the death of K. Szymanowski), reveal an individual profile, distinguishing them quite clearly from the abundant writings of composers such as J. Cage, P. Boulez or K. Stockhausen. While these three coryphaeuses of the musical avant-garde of the second half of the 20^th century proclaimed radical aesthetics in the form of manifestos, Lutosławski chose a pragmatic approach, describing primarily the practical problems of his compositional technique. He tried to present and explain specific solutions in individual pieces to help listeners understand them, rather than to build a theory and aesthetics per se. Another difference between Lutosławski’s attitude and the post-war representatives of the musical avant-garde is his position on the essence of contemporary music. As an enthusiast of it, he always maintained a critical distance from radical innovations, especially those that ignored perceptual aspects and listeners’ experiences in the process of musical communication. Therefore, in many of his texts, a critical assessment of the main assumptions of both musical avant-gardes of the 20^th century is visible. The main group of Lutosławski’s official writings includes texts on beauty, musical form, compositional technique, creativity and perception. Presented by their author at lectures for composition students (including at Tanglewood in the United States) and at scientific conferences in Poland and abroad, they show the most important aspects of his creative workshop, in particular – the original concept of musical form, the organisation of pitch and musical time, as well as the assumptions of the so-called controlled aleatoricism. In these texts, illuminating the systemic principles of Lutosławski’s work, starting from the turn of the 1950s and 1960s, the theory of composition is closely connected not only with the sound practice of individual pieces but also with considerations around perception. They show that Lutosławski constantly had in mind the effect that his music had on listeners. In his original approach to the issues of perception, he combined, on the one hand, an excellent, one might say instinctive or intuitive knowledge of the psychological mechanisms of music reception because it did not result from scientific studies, and on the other hand, a feeling and understanding of the solutions of the great masters of the past: Haydn, Beethoven, Chopin and Brahms, which he transformed into the modern musical language of his own compositions. The second circle of Lutosławski’s writings includes both general commentaries, intended for concert programmes, and detailed analyses of his own works, presented at musicological symposia. The texts devoted to Trois poèmes d’Henri Michaux, String Quartet, Paroles tissés, Symphony No. 2, Cello Concerto, Preludes and Fugue, Les espaces du sommeil and Mi-parti stand out in this context – works that constitute the core of Lutosławski’s mature output from the 1960s and 1970s. In some of them, the composer reflects on his own creative path, emphasising the significance of the breakthrough that occurred at the end of the 1950s, when – fascinated by the ideas of Cage and W. Meyer-Eppler – he was already able to freely develop his concept of 12-note harmony and in its wake the idea of ​​a two-part form and limited action of chance (“controlled” aleatoricism). The third group of writings contains Lutosławski’s opinions on the circle of composers and musicians who were particularly close to him. Giving evidence of his spiritual and artistic affinities, Lutosławski indicated his fascination with composers from the Baroque (J.S. Bach), Classicism (Mozart, Beethoven), Romanticism (Chopin) and the 20^th century (Sibelius, Stravinsky, Bartók, Shostakovich, Webern, and especially Debussy, Roussel and Messiaen). A separate group consists of Lutosławski’s texts on Polish composers and musicians: G. Bacewicz, G. Fitelberg, J. Lefeld, W. Maliszewski, W. Małcużyński, K. Regamey, M. Spisak, as well as on the excellent performers of Lutosławski’s works: J. Krenz and A.-S. Mutter. The most diverse group of writings includes reports and texts on various aspects of contemporary musical life in Poland and abroad. The richness of the topics Lutosławski addressed (noticeably, his statement after the election of Cardinal Karol Wojtyła as Pope) shows how much he was interested in various manifestations and events of contemporary musical life, its cultural and political contexts. He described them not only as an observer but as an active participant, making his own, original contribution to them. Against this background, a group of texts devoted to the prospects of new music stands out. Their value lies in the fact that they documented radical changes in Polish music after 1956: the aesthetic and technical ferment characteristic of the work of the “1933 generation” led by K. Penderecki, H.M. Górecki and W. Kilar, who debuted during the first Warsaw Autumn festivals at the turn of the 1950s and 1960s. Lutosławski subjected his own assessment of phenomena in the latest Polish music and in Western European avant-garde works, combining openness to innovation with balanced opinions on radical ideas and sound solutions.

Notebook of thoughts. The Archives of the P. Sacher Foundation in Basel contain Lutosławski’s notebook with various notes by the composer, which he called Zeszyt myśli [Notebook of Thoughts]. All the notes were made in pencil, and the frequent crossing out of single words or larger sections of text indicates that the notes were created spontaneously and corrected ad hoc. A characteristic feature of the notes is their two-part layout. The first part of the notes is of a workshop nature and is a typical composer’s sketchbook. This is evidenced by Lutosławski’s comments on the structural elements of several planned pieces, such as the Nonet, Piano Concerto, Laments, Elegy or a piece for choir and 2 soloists (or for choir and soloist) with the participation of an orchestra and electroacoustic means, based on the story Before the Law by F. Kafka. A special place among these projects is occupied by the Piano Concerto, the only one of them to be completed. The level of advancement of the sketches devoted to it indicates that this piece was the closest to the implementation phase. In the first part of the notes, only two dates appear, allowing us to find out the chronology of the sketches: 18 and 24 October 1958. The second part of the Notebook of Thoughts differs from the previous part in its textual character; musical elements: sketches, diagrams, etc. appear here sporadically (the final date of this part and thus of the whole is 10 January 1984). Considered from a literary point of view, Lutosławski’s notes elude the usual criteria used to define this type of source. They are neither a “classical,” personal diary, written in the rhythm of everyday events and reflections, nor a systematic work notebook, in which technical and compositional issues would dominate. The change in the nature of the text must have been dictated by the creative dilemmas that Lutosławski experienced, standing at a crossroads between his works still rooted in the neoclassical trend and the all-encompassing wave of new music that began to reach Poland after 1956. Apart from notes from the turn of the 1950s and 1960s, which concern Three Postludes and Jeux vénitiens, Lutosławski left no mention of the pieces he composed, which allows us to assume that his further creative path was free from creative dilemmas. Lutosławski’s notes remain an important document of the composer’s aesthetic awareness, his attitude not only towards new phenomena in music from the late 1950s but also towards the broader music of the 20^th century. Although the Notebook of Thoughts does not illustrate all stages of Lutosławski’s creative path (it lacks references to both the first twenty years and the last decade), it does document a specific stage of his work – the years 1959–62, which saw a radical change in the composer’s technical and aesthetic concepts. Notes from this period, which follow one another with great frequency, shed light on Lutosławski’s thought process and even on the emotions accompanying the creative choices he made. From this point of view, the Notebook of Thoughts remains a unique testimony of the transformation that opened the way for Lutosławski to fulfil his vision of new music.

Literature:

Special publications – Witold Lutosławski. Prezentacje, interpretacje, konfrontacje, materials of the symposium devoted to Lutosławski’s work, Warsaw 17 April 1984, ed. K. Tarnawska-Kaczorowska, Warsaw 1985, includes, i.a.: B. Pociej “III Symfonia” – dramaturgia symfonicznej formy, K. Szwajgier Harmonia polifoniczna. Z problematyki współbrzmień we wczesnej twórczości Witolda Lutosławskiego, K. Tarnawska-Kaczorowska „Muzyka żałobna” na orkiestrę smyczkową, M. Tomaszewski O ekspresji i formie u Witolda Lutosławskiego. Spostrzeżenia i refleksje, A. Tuchowski Problematyka ruchu w „Livre pour orchestre” Witolda Lutosławskiego; Witold Lutosławski, materials from a scientific session devoted to Lutosławski’s work, Kraków 24–25 April 1980, «Zeszyty Naukowe Akademii Muzycznej w Krakowie», ed. L. Polony, 1985, includes, i.a.: M. Negrey Symfonika Witolda Lutosławskiego, B. Pociej Estetyka, poetyka, styl, K. Szwajgier Semantyka realizacyjna „Kwartetu smyczkowego” Witolda Lutosławskiego, K. Tarnawska-Kaczorowska „Les espaces du sommeil” Witolda Lutosławskiego; Witold Lutosławski, «MusikKonzepte» book 71/72/73, ed. H.-K. Metzger and R. Riehn, Munich 1991, includes, i.a.: M. Homma „Vogelperspektive” und Schlüsselideen. Über einige Aspekte der Kompositionstechnik Lutoslawskis anhand kompositorischer Skizzen, A. Michaely Lutosławskis „III. Sinfonie”; “MusikTexte” 1991 no. 42, includes, i.a.: M. Homma Nostalgie des Aufbruchs? Witold Lutoslawskis Klavierkonzert – ein Spätwerk, I. Nikolska Wiederbelebung der Melodie. Über einige Grundzüge thematischer Formung in Witold Lutoslawskis Musik der achtziger Jahre and Ich bin ein Komponist der harmonisch denkt (interview with Lutosławski); Witold Lutosławski. Człowiek i dzieło w perspektywie kultury muzycznej XX wieku, materials from a conference devoted to Lutosławski, Poznań 9–11 October 1997, «Prace Komisji Muzykologicznej PTPN» vol. 10, ed. J. Astriab, M. Jabłoński and J. Stęszewski, Poznań 1999; Estetyka i styl twórczości Witolda Lutosławskiego, materials from the symposium devoted to Lutosławski’s work, Warsaw 27–28 June 1997, «Studia et Dissertationes Instituti Musicologiae Universitatis Varsoviensis. Seria B» vol. 9, ed. Z. Skowron, Kraków 2000, includes: B. Aubigny Wzorce poetyckie i dramatyczne w wokalnoinstrumentalnych utworach Lutosławskiego, J. Casken Wizje i dramat w muzyce Lutosławskiego, J. Harley Znaczenie formy symfonicznej w muzyce Lutosławskiego, M.A. Harley “Dans la nuit”. Motywy nocy i śmierci w twórczości Lutosławskiego, M. Homma Studia Lutosławskiego nad seriami dwunastotonowymi, I. Nikolska O typach związków łańcuchowych w twórczości Lutosławskiego na przykładzie „Łańcucha I” na zespół kameralny i „Łańcucha III” na orkiestrę, J. Paja-Stach Cechy stylistyczne utworów Lutosławskiego na instrument solo i fortepian, P. Petersen Mikrotony w muzyce Lutosławskiego, Ch.B. Rae Świat dźwiękowy Witolda Lutosławskiego. Świat kontrastów, Z. Skowron Estetyka sformułowana Witolda Lutosławskiego. Próba rekonstrukcji, S. Stucky Ciągłość i zmiana. Istota stylu Lutosławskiego, A. Thomas „Gry weneckie”. Metody robocze na początku dojrzałego okresu twórczości Lutosławskiego, A. Tuchowski Integrująca rola modeli ruchu w dojrzałej twórczości symfonicznej Lutosławskiego. Porównanie „Livre pour orchestrę” i „IV Symfonii”, A. Whittall Między polaryzacją a syntezą. Nowoczesny paradygmat w „Koncercie wiolonczelowym” oraz w „Koncercie fortepianowym” Lutosławskiego, English ed. Lutoslawski Studies, ed. Z. Skowron, Oxford 2001; S. Będkowski and S. Hrabia, Witold Lutosławski. A Bio-Bibliography, Westport-London, 2001, includes biography, list of works and performances, writings, bibliography, discography; Witold Lutosławski i jego wkład do kultury muzycznej XX wieku, «Acta Musicologica Universitatis Cracoviensis» 13, materials from the symposium devoted to Lutosławski’s work, Kraków 7 February 2004, ed. J. Paja-Stach, Kraków 2005; Witold Lutosławski. Osoba i dzieło, «Forum Muzykologiczne» no. 2, materials from a press conference devoted to Lutosławski, Warsaw 24 September 2004, Warsaw 2005; Lutosławski. 1913– 2013, album published on the occasion of the 100^th anniversary of Lutosławski’s birth, concept, selection of materials and ed. E. Markowska, Warsaw 2012, published also in English; Witold Lutosławski. 1913–1994. 100e anniversaire de la naissance du compositeur polonais, texts E. Sikora, Z. Skowron, F.-X. Szymczak et al., Paris 2013; Lutoslawski Centenary 2013. Woven Words, occasional edition London Philharmonia Orchestra, ed. S. Stucky, London 2013, includes i.a.: S. Stucky Remembering Lutosławski, Ch.B. Rae Lutosławski and the Scars of Wars, N. Reyland Essences and Essentials. Lutoslawski’s Musical Stories, Z. Skowron Lutoslawski’s Aesthetics and Their Sources, A. Thomas Lutosławski. Parallel Lives of a Captive Muse; Witold Lutosławski. Publication éditée à l’occasion du 100e anniversaire de la naissance de Witold Lutosławski, ed. J. Lambert, Z. Skowron and M. Winiarska, Brussels 2013 (bilingual publication, French-Flemish), includes, i.a.: D. Gwizdalanka Witold Lutosławski, Z. Skowron La magistralité de la musique de Witold Lutosławski, N. Reyland Ecouter Witold Lutosławski, A. Thomas Witold Lutosławski et ses interprètes, Ch.B. Rae Witold Lutosławski et la musique pour enfants.

Magazines, special issues of magazines – “Witold Lutosławski Studies”, 3 volumes, 2007–09; “Muzyka” 1995 no. 1/2, includes: K. Baculewski Lutosławski. Jedna technika, jeden styl?, M. Homma O przestrzeni muzycznej w harmonice dwunastotonowej Witolda Lutosławskiego, A. Jarzębska Problem kształtowania kontinuum formy w „IV Symfonii” Witolda Lutosławskiego, D. Krawczyk Koncepcja czasu Witolda Lutosławskiego, K. Meyer Kilka uwag na temat organizacji wysokości dźwięków w muzyce Witolda Lutosławskiego, I. Nikolska Melodia i niektóre zasady jej kształtowania w twórczości Lutosławskiego z lat 1960–1980, J. Paja-Stach and M. Stanilewicz-Kamionka Witold Lutosławski. Dokumentacja (chronicle of life and work, compositions, writings, bibliography), Ch.B. Rae Organizacja wysokości dźwięków w muzyce Witolda Lutosławskiego; “Monochord. De musica acta, studia et commentarii” 1996 no. 11, includes: B. Pociej Kompozytor wobec dwóch żywiołów. Symfonizm a kameralizm w twórczości Witolda Lutosławskiego, A. Chłopecki Witolda Lutosławskiego tombeau dla epoki and Witolda Lutosławskiego pożegnania z modernizmem, L. Zielińska Teoria trójkątów czyli kształty ekspresji w muzyce Lutosławskiego, A. Thomas „Gry weneckie”. Lutosławski na rozdrożu; «Res Facta Nova» 1997 no. 2 (11), includes i.a.: Witold Lutosławski (25.01.1913–07.02.1994), S. Będkowski By nie zatarł czas… Witold Lutosławski o sobie, rozmowa z Witoldem i Danutą Lutosławskimi, I. Nikolska O moim języku muzycznym, conversation with Lutosławski, Z. Skowron Spotkania z Lutosławskim, conversation with Lutosławski; Witold Lutosławski. Ein Leben in der Musik, “Osteuropa” 2012 no. 11–12, includes: I. Antulov Wütender Antagonismus. Lutosławskis Cello-Konzert, S. Borchers Von Warschau nach Darmstadt und zurück. Lutosławski, Penderecki und Górecki, M. Gołąb Lutosławski auf der Suche. Elemente und Urspünge des Frühwerks, D. Gwizdalanka Klassiker der Avantgarde. Witold Lutosławski: Leben und Werk, D. Kozińska Gründe und Abgründe. Lutosławski und der Sozialistische Realismus, W. Kuczok Unsortierte Bemerkungen Von Lutosławski zur schlesischen Komponistenschule, K. Meyer Pan Lutosławski. Erinnerungen an meinen Lehrer und Freund, A.-S. Mutter „Ein neuer musikalischer Kosmos”. Über Witold Lutosławski, R. Ritter Heisshunger auf Neue Musik. Das Ende des Stalinismus und der „Warschauer Herbst”, D. Szwarcman Auf den Schultern von Riesen. Lutosławski und seine Vorgänger, W. Tarnopolski „Ein Symbol der Freiheit”, Lutosławskis Einfluss auf die Sowjetunion, A. Thomas Das Cello-Konzert lesen. Lutosławski und die Literatur, A. Wiedemann Heiliger Witold, bitte für uns; “Muzyka w Mieście” 2013 no. 1–2, includes: J. Michalska, C. Duchnowski and A. Zubel Plamy na słońcu, P. Hendrich W Roku Lutosławskiego o nim samym i jego muzyce, H. Holliger and K. Komarnicki Tyle nut, ile trzeba, K. Kord and A. Skulska Harmonia naturalności, S. Kringelborn Śpiewokwiaty i śpiewobajki, A. Kwiecińska Lutosławski według Salonena, A. Laskowski W poszukiwaniu nagraniowej inicjacji, A. Sławiński Spotkania z Mistrzem, A. Thomas and K. Komarnicki Gry brytyjskie, A. Wit and A. Skulska Zdumiewająca logika.

Documentation – Witold Lutosławski. Materiały do monografii, ed. S. Jarociński, Kraków 1967 (a selection of Lutosławski’s writings and statements); Lutosławski, ed. O. Nordwall, Stockholm 1968 (includes a selection of Lutosławski’s writings); T. Kaczyński Rozmowy z Witoldem Lutosławskim, Kraków 1972, supplement Wrocław 2^nd ed. 1993, German ed. Gespräche mit Witold Lutosławski, connected with B.A. Varga Neun Stunden bei Lutosławski, transl. L. Fahlbusch and C. Rüger, Leipzig 1976, English ed. Conversations with Witold Lutosławski, transl. Y. May, London 1984, transl. Y. May and Ch.B. Rae, 2^nd ed. 1995, fragm. in: Iz biesed s Witold Lutosławski, transl. K. Iwanow, “Sowietskaja Muzyka” 1975 no. 8; B.A. Varga Beszélgetések Witold Lutosławski, Budapest 1974 (record of conversations held in Warsaw in March 1973), English ed. Lutoslawski Profile, London 1976, German ed. Neun Stunden bei Lutosławski, in: T. Kaczyński Gespräche…, cf. above; J.P. Couchoud La musique polonaise et Witold Lutosławski, Paris 1981; I. Nikolska Conversations with Witold Lutoslawski (1987–92), Stockholm 1994, Russian extended ed. Moscow 1995, Polish ed. Muzyka to nie tylko dźwięki. Rozmowy z Witoldem Lutosławskim, Kraków 2003; Notatnik muzyczny Witolda Lutosławskiego, ed. T. Kaczyński, in: Mistrzowie muzyki późnego renesansu, materials from a musicological conference ZKP 21–23 October 1994 in Toruń, Warsaw 1994; Postscriptum, selection and ed. D. Gwizdalanka and K. Meyer, Warsaw 1999 (a selection of writings and conversations); Lutoslawski on Music, ed. and transl. Z. Skowron, Lanham (Maryland) 2007; Witold Lutosławski Zapiski, ed. Z. Skowron, Warsaw 2008; Z. Owińska Lutosławski o sobie, introduction G. Michalski, Gdańsk 2010 (record of conversations held in Warsaw on 25 April and 16 September 1992); Witold Lutosławski O muzyce. Pisma i wypowiedzi, ed. Z. Skowron, Gdańsk 2011; T. Kaczyński Witold Lutosławski w świetle korespondencji. W drugą rocznicę śmierci, “Ruch Muzyczny” 1996 no. 3, French ed. Witold Lutosławski vu á travers sa correspondence, «Mitteilungen der Paul Sacher Stiftung» vol. 9, 1996; Z. Skowron Improwizacje na zadany temat. Nieznany list Witolda Lutosławskiego do Bo Walnera, “Ruch Muzyczny” 2003 no. 26; Z. Skowron „Zeszyt myśli” Witolda Lutosławskiego jako dokument jego drogi twórczej, in: Karol Szymanowski w perspektywie kultury muzycznej przeszłości i współczesności, ed. Z. Skowron, Kraków 2007, fragm. “Ruch Muzyczny” 2007 no. 25 and 26.

Monographies – O. Nordwall Witold Lutosławski och bans musik, Stockholm 1969; B. Pociej Lutosławski a wartość muzyki, Kraków 1976; L. Rappoport Witold Lutosławski, Moscow 1976; S. Stucky Lutoslawski and His Music, Cambridge 1981; T. Kaczyński Lutosławski. Życie i muzyka, Warsaw 1994, 2^nd ed. 2000; Ch.B. Rae The Music of Lutosławski, London 1994, extended 3^rd ed. 1999, supplementary ed., transl. S. Krupowicz, Warsaw 1996; J. Paja-Stach Witold Lutosławski, Kraków 1996; J. Paja-Stach Lutosławski i jego styl muzyczny, Kraków 1997; Z. Skowron Witold Lutosławski. A Classic of 20^th-century Music, Warsaw 2003; D. Gwizdalanka, K. Meyer Lutosławski, vol. 1: Droga do dojrzałości, Kraków 2003, 2^nd ed. 2005, vol. 2, Droga do mistrzostwa, Kraków 2004, 2^nd ed. 2005; I. Błaszkiewicz Aleatoryzm w twórczości Witolda Lutosławskiego, «Prace Specjalne PWSM w Gdańsku», ed. J. Krassowski, 1973; M. Homma Witold Lutosławski. Zwölfton-Harmonik, Formbildung, „aleatorischer Kontrapunkt”. Studien zum Gesamtwerk unter Einbeziehung der Skizzen, Schriften zur Musikwissenschaft und Musiktheorie, Cologne 1996; M. Sułek Pieśni masowe Witolda Lutosławskiego w kontekście doktryny realizmu socjalistycznego, Kraków 2010; B. Smoleńska-Zielińska, T.A. Zieliński Witold Lutosławski. Przewodnik po arcydziełach, Warsaw 2011; B.H. Wagner Witold Lutosławski. Pieśni dla dzieci na głos i fortepian. Interakcje między słowem a muzyką, jako równoważnymi elementami wykonawstwa piosenek dla dzieci na przykładzie wybranych kompozycji, Łódź 2012; A. Chłopecki PostSłowie. Przewodnik po muzyce Witolda Lutosławskiego, Warsaw 2012; A. Kopińska Fortepian w twórczości Witolda Lutosławskiego. Rola czynnika percepcyjnego w interpretacji wykonawczej, Katowice 2013.

Doctoral theses – A. Belland Piano Variations by Ives, Valen, Lutoslawski, Dallapiccola. A Discussion of Their Styles and Forms, Indiana University 1981; J. Paja System w muzyce Witolda Lutosławskiego, UJ 1982, summary “Muzyka” 1985 no. 2; K.A. Russavage Instrumentation in the Works of Witold Lutoslawski, University of Illinois, Urbana-Champaign 1988; G.B. Bietti Forma e funzione nelle opere di Lutosławski (1961–76), Università degli Studi di Roma “Sapienza”, Rome 1992; Ch.B. Rae Pitch Organization in the Music of Witold Lutoslawski since 1979, University of Leeds 1992; V. Scolnic Pitch Organisation in Aleatoric Counterpoint in Lutoslawski’s Music of the Sixties, Hebrew University of Jerusalem, Jerusalem 1993; D.M. Rust A Theory of Form for Lutoslawski’s Late Symphonic Works, Yale University, New Haven 1994; M.L. Klein A Theoretical Study of the Late Music of Witold Lutosławski. New Interactions of Pitch, Rhythm and Form, State University of New York, Buffalo 1995; Ling Chao Chen An Analysis of Witold Lutoslawski’s “Variations on a Theme by Paganini” for Two Pianos and an Original Composition Concerto for Two Pianos and Orchestra, Louisiana State University w Baton Rouge 1996; F.C. Gurney Wheels within Wheels. An Examination of Witold Lutoslawski’s “Trois poèmes d’Heno.i Michaux”, University of Washington w Seattle 1998; T.S. Liebig Performance Edition and Analysis of the Violin Part of Lutoslawski’s “Partita” and “Subito”, University of Miami 1998; C. Nies Structural Issues in Lutoslawski’s Symphony No. 4, University of Cincinnati 2001; V. Fung Witold Lutosławski’s Chantefleurs et chantefables. An Analysis, The Juilliard School of Music in New York 2002; A.A. Madkour Compositional Control – Psychological Experience. An Analysis of Witold Lutosławski’s “Mi-parti” for Orchestra, University of Pittsburgh 2002; N.W. Reyland „Akcja” and Narrativity in the Music of Witold Lutosławski, Cardiff University 2006; M. Fang Utilizing OpenMusic as a Tool for the Analysis of Lutosławski’s „Chain 2”, Cornell University in Ithaca (2010), Cincinnati 2012.

Analyses, interpretations – B. Schaeffer Polskie melodie ludowe w twórczości Witolda Lutosławskiego, “Studia Muzykologiczne” vol. 5, Kraków 1956; M. Piotrowska Aleatoryzm Witolda Lutosławskiego na tle genezy tego kierunku w muzyce współczesnej, “Muzyka” 1969 no. 3; J. Bucko Witold Lutosławski. Zamietki o tiechnikie instrumentalnoj kompozycyi, “Sowietskaja Muzyka” 1972 no. 8; B. Pociej The Music of Witold Lutosławski, “Polish Perspectives” 1972 no. 7/8; L. Rappoport Niekotoryje osobiennosti orkiestrowoj polifonii Witolda Lutosławskiego, in: Polifonija. Sbornik tieorieticzeskich statiej, Moscow 1975; J. Szaltuper O Stile Lutoslawskogo 60-ych godow, in: Problemy muzykalnoj nauki, vol. 3, ed. I. Prudnikowa, Moscow 1975; W. Konold Zwischen Folklore und Aleatorik. Der Komponist Witold Lutosławski, “Musica” XXVII, 1973; T.A. Zieliński Droga twórcza Witolda Lutosławskiego, “Ruch Muzyczny” 1968 no. 20, 21, reprint in: T.A. Zieliński Spotkania z muzyką współczesną, Kraków 1975; I. Nikolska Tworczeskaja ewolucya Witolda Lutoslawskogo, in: Aktualnyje problemy socyalisticzeskogo iskusstwa, collective work, ed. I. Rubanowa, Moscow 1978; P. Petersen Bartók und Lutoslawski. Ein Vergleich, “Studia Musicologica Academiae Scientiarum Hungaricae”, book of the international symposium devoted to B. Bartók, Budapest 1981; P. Petersen Über die Wirkung Bartóks auf das Schaffen Lutosławskis, “Musik-Konzepte” book 22: Béla Bartók, ed. H.-K. Metzger and R. Riehn, Munich 1981; J. Casken Transition and Transformation in the Music of Witold Lutoslawski, “Contact. Today’s Music” 1975 no. 12, reprint Przejście i transformacja w muzyce Witolda Lutosławskiego, «Res Facta» 9, 1982; Z. Helman Intellekt und Phantasie in der Musik von Witold Lutosławski, «Musikološki Zbornik» XVIII, Ljubljana 1982; K. Meyer O muzyce Witolda Lutosławskiego, «Res Facta» 9, 1982; K. Tarnawska-Kaczorowska Witold Lutosławski. Myśl i kreacja, «Zeszyty Naukowe Akademii Muzycznej w Krakowie» no. 6, 1983, reprint in: Witold Lutosławski, Kraków 1985; T.A. Zieliński Witold Lutosławski, “Polish Music” XVIII, 1983 no. 3–4; M. Homma Horizontal-vertikal. Zur Organisation der Tonhöhe bei Witold Lutosławski, “Neuland-Jahrbuch” V, 1985; J. Paja Idiom kompozytorski Witolda Lutosławskiego na tle tendencji twórczych w muzyce XX wieku, in: Muzykologia krakowska 1911–1986, ed. E. Dziębowska, Warsaw-Kraków 1987; J. Paja L’opera di Witold Lutosławski e la musica polacca delsuo tempo, “Nuova Rivista Musicale Italiana” XXII, 1988 no. 4; J. Paja The Polyphonie Aspect of Lutoslawski’s Music, “Acta Musicologica” LXII, 1990; I. Nikolska Symfonizm Witolda Lutosławskiego, “Muzyka” 1992 no. 3; Ph. Wilby Lutoslawski and a View of Musical Perspective, in: Companion to Contemporary Musical Thought, part 2, ed. J.F. Paynter, T. Howell, P. Seymour and R. Orton, London 1992; G.B. Bietti La comunicazione nella musica di Lutoslawski, “Nuova Rivista Musicale Italiana” XIX, 1995 no. 1; D. Gwizdalanka Hałas, Lutosławski i cisza, “Monochord. De musica acta, studia et commentarii” 1995 no. 8–9; J. Paja-Stach Witold Lutosławski – klasyk i modernista, “Arka” 1995 no. 3; G. Becker Witold Lutosławski and M. Homma Klangfarbe und Harmonik in der Musik Witold Lutosławskis, in: Warschauer Herbst und neue polnische Musik. Rückblicke-Ausblicke, ed. V. Kalisch, Essen, 1998; K. Meyer Witolda Lutosławskiego stosunki z awangardą, “Zeszyty Literackie” 1998 no. 4; K. Tarnawska-Kaczorowska Signs in Witold Lutoslawski’s Music, in: Les universaux en musique. Actes du quatrième congrès international sur la signification musicale, ed. C. Miereanu and X. Hascher, Paris 1998, Polish ed. Znaki w muzyce Witolda Lutosławskiego, “Muzyka” 2002 no. 1; M.L. Klein Texture, Register, and Their Formal Roles in the Music of Witold Lutoslawski, “Indiana Theory Review” 1999 no. 1; E. Kowalska-Zając Organizacja zjawisk rytmicznych w sekcjach ad libitum kompozycji aleatorycznych Witolda Lutosławskiego, «Zeszyty Naukowe Akademii Muzycznej w Łodzi» XXIX, 2000; M. Tomaszewski Music between East and West. The Work of Lutosławski, Penderecki, and Górecki in the Context of Culture and History, in: Musicology and Sister Disciplines. Past, Present, Future, ed. D. Greer, I. Rumbold and J. King, Oxford 2000; G. Eberle Identität im Wandel. Zur Entwicklung Lutoslawskis, in: Wien Modern 90, ed. L. Knessl, Saarbrücken 2001; L. Kolago Zum Wort-Ton-Verhältnis im Werk von Krzysztof Penderecki und Witold Lutosławski, in: Stimme und Wort in der Musik des 20. Jahrhunderts, ed. H. Krones, Vienna 2001; S. Będkowski Witold Lutosławski (1913–1994), in: Music of the Twentieth-century Avant-garde. A Biocritical Sourcebook, ed. L. Sitsky, Westport 2002; R. Chłopicka W kręgu liryki Witolda Lutosławskiego. Inspiracje poetyckie, in: Pieśń polska. Rekonesans. Odrębności i pokrewieństwa. Inspiracje i echa, ed. M. Tomaszewski, Kraków 2002; H. Mossburger „…den Menschen durch meine Musik etwas mitteilen.Witold Lutoslawski und die musikalische Ausdrucksästhetik, in: Musik, Wissenschaft und ihre Vermittlung. Bericht über die internationale musikwissenschaftliche Tagung der Hochschule für Musik und Theater Hannover, ed. A. Edler and S. Meine, Augsburg 2002; M. Tomaszewski Chopin, Szymanowski, Lutosławski w swych stylach późnych i ostatnich, in: Styl późny w muzyce, literaturze i kulturze, ed. W. Kalaga and E. Knapik, Katowice 2002; A. Tuchowski Between Romanticism and Musical Constructivism. Chopin and Lutosławski, in: Chopin and His Work in the Context of Culture. Studies, vol. 2, ed. I. Poniatowska, Kraków 2003; B. Pociej Lutosławski, czyli doskonałość muzyki, “Wychowanie Muzyczne w Szkole” 2004 no. 4; M. Renat Relacje między słowem a muzyką w pieśniach dziecięcych Witolda Lutosławskiego, “Wychowanie Muzyczne w Szkole” 2004 no. 1; R. Berger „Nie wydasz fałszywego świadectwa…!” Słowo o Niewypowiedzianym, Z. Skowron Klasycy muzyki europejskiej XX wieku w świadomości twórczej Witolda Lutosławskiego and M. Tomaszewski Lutosławski. dialogi i soliloquia, «Res Facta Nova» 2007 no. 9 (18); H. Mossburger Witold Lutoslawski und die „Neue Einfachheit”, “Musik & Ästhetik” no. 42, 2007; A. Nowak The Archetypes of Platonian Ideas and Their Reception in the Aesthetic Thought and Musical Work of Witold Lutoslawski and M. Strzelecki Outstanding Lutoslawski, in: The 20^th Century and the Phenomenon of Personality in Music, ed. L. Ozolina and I. Mežaraups, Riga 2007; A. Nowak Functions of Sound in Witold Lutoslawski’s Music, in: Dzieło muzyczne jako fenomen dźwiękowy, «Prace Zbiorowe Akademii Muzycznej w Bydgoszczy» no. 24, ed. A. Nowak, 2007; N. Reyland Lutoslawski, „Akcja”, and the Poetics of Musical Plot, “Music and Letters” LXXXVIII, 2007; A. Thomas One Last Meeting. Lutosławski, Szymanowski and the Fantasia, in: Karol Szymanowski w perspektywie kultury muzycznej przeszłości i współczesności, ed. Z. Skowron, Kraków 2007; N. Reyland Lutoslawski Witold, in: The Concise New Makers of Modern Culture, ed. J. Wintle, Routledge 2008; N. Reyland Notes on the Construction of Lutoslawski’s Conception of Musical Plot, “Witold Lutosławski Studies” vol. 2, 2008; J. Paja-Stach Glosa do charakterystyki osobowości Witolda Lutosławskiego. O altruizmie, in: Muzykolog wobec świadectw źródłowych i dokumentów, P. Poźniak commemorative book, ed. Z. Dobrzańska-Fabiańska, J. Kubieniec, A. Sitarz and P. Wilk, Kraków 2009; H. Collins Rice Witold Lutoslawski and the Craft of Writing Nothing, “Tempo” 2010 no. 253; M. Kmiecik Surrealizm a aleatoryzm. Przypadek „Trois poèmes d’Heno.i Michaux” Witolda Lutosławskiego, “Teksty Drugie” 2012 no. 1–2; B. Mielcarek-Krzyżanowska Folklor muzyczny i jego znaczenie w wybranych utworach Witolda Lutosławskiego, in: Dzieło muzyczne jako znak, «Prace Zbiorowe Akademii Muzycznej w Bydgoszczy» no. 34, ed. A. Nowak, 2012; I. Nikolska Simfonizm Witolda Lutosławskiego, in: Zwukowaja srieda sowriemiennosti, ed. E.M. Tarakonowa, Moscow 2012; M. Jabłoński Duch mistrza. Rezonans muzyki Witolda Lutosławskiego w twórczości kompozytorów polskich przełomu XX i XXI wieku, “Ruch Muzyczny” 2013 no. 3; Z. Lissa „Mała suita” i „Tryptyk” Witolda Lutosławskiego, “Muzyka” 1952 no. 5/6; E. Dziębowska Pieśń masowa w twórczości Witolda Lutosławskiego, “Muzyka” 1954 no. 7/8; Z. Lissa „Koncert na orkiestrę” Witolda Lutosławskiego, “Muzyka” 1955 no. 3/4, reprint “Studia Muzykologiczne” vol. 5, Kraków 1956; B. Pociej Uwertura na smyczki Witolda Lutosławskiego, “Ruch Muzyczny 1958 no. 4; L. Markiewicz „5 pieśni” Witolda Lutosławskiego, “Ruch Muzyczny” 1960 no. 5/6; W. Brennecke Die Trauermusik von Witold Lutoslawski, in: F. Blume commemorative book, ed. A.A. Abert and W. Pfannkuch, Kassel 1963, reprint in: Studia Hieronymo Feicht septuagenario dedicata, 1967; L. Markiewicz „II Symfonia” Witolda Lutosławskiego, “Muzyka” 1968 no. 2; H. Schiller „Kwartet smyczkowy” Witolda Lutosławskiego, «Res Facta» 2, 1968; J. Hansberger Begrenzte Aleatorik. Das Streichquartett Witold Lutoslawski, “Musica” XXV, 1971; P. Petersen Witold Lutoslawski „Präludien und Fuge” (1972), “Hamburger Jahrbuch für Musikwissenschaft” vol. 1, 1974; L. Polony Struktura procesu dźwiękowego w „Kwartecie smyczkowym” Witolda Lutosławskiego, «Zeszyty Naukowe PWSM w Krakowie», materials of the scientific session 1975, Kraków 1975; J. Selleck Pitch and Duration as Textural Elements in Lutoslawski’s String Quartet, “Perspectives of New Music” XIII, 1975; M. Stanilewicz Organizacja materiału dźwiękowego w „Muzyce żałobnej” Witolda Lutosławskiego, “Muzyka” 1975 no. 4; R. Chłopicka Witold Lutosławski – Pięć pieśni do słów Iłłakowiczówny, «Zeszyty Naukowe PWSM w Krakowie», ed. K. Droba, L. Polony, M. Stachowski and K. Szwajgier, 1977, reprint “Ruch Muzyczny” 1977 no. 20; T. Marek Witolda Lutosławskiego „Miparti”, “Polish Music” XII, 1977 no. 2; W. Walkowa Aleatorika Witolda Lutoslawskogo i osobiennosti jego ispolzowanija wo Wtoroj Simfonii, in: Problemy muzyki XX wieka, ed. W.M. Cendrowski, Gorki 1977; M. Stanilewicz Problem formy w „Muzyce żałobnej” Witolda Lutosławskiego, “Muzyka” 1978 no. 1; G. Sannemüller „Paroles tissées” von Witold Lutoslawski, in: Beiträge zur Musikgeschichte Nordeuropas, K. Gudewill commemorative book, ed. U. Haensel, Wolfenbüttel 1977; T.A. Zieliński Przestrzenie snu Witolda Lutosławskiego, “Ruch Muzyczny” 1978 no. 12; K. Tarnawska-Kaczorowska „Koncert” na wiolonczelę i orkiestrę Witolda Lutosławskiego, in: Muzyka w muzyce, «Spotkania Muzyczne w Baranowie» vol. 2 part 1, ed. T. Malecka and L. Polony, Kraków 1980 (also includes a statement by Lutosławski); T.A. Zieliński „Koncert podwójny” Lutosławskiego, “Ruch Muzyczny” 1980 no. 24; S. Stucky Lutoslawski „Double Concerto”, “The Musical Times” CXXII, 1981; A. Tuchowski Witolda Lutosławskiego „Novelette” na orkiestrę, “Ruch Muzyczny” 1983 no. 17; M. Brandt Witold Lutoslawski aan gene zijde van oud en nieuw, “Mens en Melodie” XXXVI, 1983; M. Homma „Mi-parti”, “Melos” XLVII, 1985; T.A. Zieliński „Łańcuch I” Witolda Lutosławskiego, “Ruch Muzyczny” 1985 no. 9, reprint “Polish Music” XX, 1985 no. 1/2; M. Homma Unerhörtes Pathos. Witold Lutoslawski „III Sinfonie”, “MusikTexte” 1986 no. 13; B. Smoleńska-Zielińska „Łańcuch II” Witolda Lutosławskiego and „III Łańcuch” Witolda Lutosławskiego, “Ruch Muzyczny” 1986 no. 15 and 1987 no. 26; Ph. Gantchoula La „IIIeme Symphonie” de Witold Lutoslawski, “L’analyse musicale” 1988 no. 10; J. Paja-Stach Idea koncertowania w kompozycjach Witolda Lutosławskiego i jej realizacja w „Koncercie fortepianowym”, «Prace Specjalne Akademii Muzycznej w Gdańsku» no. 49, ed. J. Krassowski, T. Błaszkiewicz, B. Długońska and H. Nowakowska, 1992; R. Chłopicka Les rapports des „Paroles tissées” de Witold Lutoslawski avec la tradition littéraire et musicale, in: Dramaturgie et collaboration des arts au theâtre, materials of the 4^th international seminar, Paris 24 November–4 December 1988, ed. I. Mamczarz, Florence 1993; B. Smoleńska-Zielińska Śpiewobajki o kwiatach i zwierzętach, “Ruch Muzyczny” 1993 no. 1; M. Homma Gleichzeitigkeit des Ungleichartigen. Witold Lutoslawskis „Vierte Sinfonie” – Synthese seines Schaffens, “MusikTexte” 1994 no. 54; K. Bula Folklor w „Tryptyku śląskim” Witolda Lutosławskiego, in: Tradycje śląskiej kultury muzycznej, vol. 7, «Zeszyty Naukowe Akademii Muzycznej we Wrocławiu» no. 65, ed. A. Wolański and M. Zduniak, 1995; J. Paja-Stach Rola partii fortepianu w „Recitativo e arioso” i w „Particie” Witolda Lutosławskiego, «Prace Specjalne Akademii Muzycznej w Gdańsku» no. 53, ed. J. Krassowski, T. Błaszkiewicz, K. Sperski, B. Długońska and H. Nowakowska, 1995; A. Thomas Your Song is Mine, “The Musical Times” no. 1830, 1995 (about mass songs); R. Chłopicka Związki z tradycją literacką i muzyczną w „Paroles tissées” Witolda Lutosławskiego, in: Muzyka polska 1945–1995, materials from a scientific session, Kraków 6–10 December 1995, ed. K. Droba, T. Malecka and K. Szwajgier, Kraków 1996; H. Möller Französisch-deutsche Traditionsbezüge in Witold Lutoslawskis „Grave” für Violoncello und Klavier, in: Deutsche Musik im Wegekreuz zwischen Polen und Frankreich. Zum Problem musikalischer Wechselbeziehungen in 19. und 20. Jahrhundert, ed. Ch.-H. Mahling and K. Pfarr, Tutzing 1996; K. Tarnawska-Kaczorowska Witold Lutoslawski’s Third Symphony (1983). A Hermeneutic Interpretation, «Irish Musical Studies» no. 5, ed. P.F. Devine and H.M. White, Dublin 1996; L. Markiewicz Schlesische Volksmelodien im Werk von Witold Lutosławski, in: Musikgeschichte zwischen Ost- und Westeuropa. Symphonik-Musiksammlungen, ed. H. Loos, Sankt Augustin 1997; W. Malinowski Lutosławski und die Folklore am Beispiel des „Konzerts für Orchester”. Nationale und universelle Bedingtheiten, in: Národné, individuálne a univerzálne prvky v hudbe, ed. J. Lengová, Banská Bystrica 1998; A. Thomas Witold Lutoslawski „Musique funèbre”, in: Settling New Scores. Music Manuscripts from the Paul Sacher Foundation, ed. F. Meyer, Mainz 1998; K. Meyer Symfonia sprzed półwiecza (o „I Symfonii” Witolda Lutosławskiego), “Zeszyty Literackie” 1998 no. 3; M. Homma „Aleatorischer Kontrapunk”, „matière première”, Harmonik und Rhythmik. Zum Entstehungsprozess von Witold Lutoslawskis „Trois poèmes d’Heno.i Michaux” für zwanzigstimmigen Chor und Orchester (1961–1963), “Musiktheorie” XIV, 1999 no. 1; M. Kabeláĉ O Třech poematech Witolda Lutoslawskeho, “Hudební vêda” XXXVI, 1999 no. 2–3; M. Homma Witold Lutoslawski’s „ Trois poèmes d’Heno.i Michaux”. The Sketches and the Work, “Polish Music Journal” III/2, 2000 (internet ed.); M.L. Klein Lutoslawski’s „Partita” for Violin and Piano. A New Perspective on His Late Music, in: After Chopin. Essays in Polish Music, ed. M. Trochimczyk, Los Angeles 2000; M. O’Brien Witold Lutoslawski’s ,,Venetian games”, in: The Rosaleen Moldenhauer Memorial. MusicHistoryfromPrimary Sources – a Guide to the Moldenhauer Archives, ed. J. Newsomi A. Mann, Washington 2000; A. Draus „Chantefleurs et chantefables” Witold Lutoslawski. Interpretacje wykonawcze – próba porównania, in: Pieśń polska. Rekonesans. Odrębności i pokrewieństwa. Inspiracje i echa, ed. M. Tomaszewski, Kraków 2002; T. Hirsbrunner Reihentechnische Systematik und Bartóksche Melodik in Witold Lutoslawskis „Musique funèbre”, in: Struktur und Freiheit in der Musik des 20. Jahrhunderts. Zum Weiterwirken der Wiener Schule, ed. H. Krones, Vienna 2002; T. Müller Witold Lutoslawski „Grave – Metamorphosen für Cello und Klavier” (1981). Im Spannungsfeld zwischen Moderne und Tradition, “Zeitschrift der Gesellschaft für Musiktheorie” 2003 no. 1; D. Rust Two Questions of Perception in Lutoslawski’s Second Symphony, PNM 2004 no. 2; M.L. Klein The Logic of Suffering in Lutoslawski’s Symphony No. 4, in: Intertextuality in Western Art Music, ed. M.L. Klein, Bloomington 2005; M. Renat Związki słowno-muzyczne w pieśniach Witolda Lutosławskiego, «Edukacja Muzyczna I. Prace Naukowe Akademii im. J. Długosza w Częstochowie», 2005; K. Tarnawska-Kaczorowska Rozumienie muzyki. Na przykładzie „Miparti” Witolda Lutosławskiego, “Muzyka” 2005 no. 1; K. Musiał Kolęda w twórczości Witolda Lutosławskiego, “Musica Sacra Nova” 2007 no. 1; J. Paja-Stach Witold Lutoslawski’s „Epitaph” for Oboe and Piano (1979) against the Background of the Composer’s Style Characteristics, “Musica Iagellonica” vol. 4, Kraków 2007; A. Łobos „20 Polish Christmas Carols for Soprano, Female Choir and Orchestra” by Witold Lutoslawski as an Extremely Good Example of Pedagogical Interactions in Polish School of Music, “The New Educational Review” 2008 no. 15; N. Reyland Livre or Symphony? Lutoslawski’s „Livre pour orchestre” and the Enigma of Musical Narrativity, “Music Analysis” XXVII, 2008 no. 2–3; Z. Skowron Witold Lutosławski na rozstajnych drogach. Nowe spojrzenie na „Trzy postludia” w świetle stanu badań oraz szkiców kompozytorskich, in: Muzyka jest zawsze współczesna, studies dedicated to A. Jarzębska, ed. M. Woźna-Stankiewicz and A. Sitarz, Kraków 2011; K. Kiwała Problem znaczenia muzyki w polskich koncepcjach fenomenologicznych na przykładzie „II Symfonii Wigilijnej” Krzysztofa Pendereckiego oraz „IV Symfonii” Witolda Lutosławskiego, in: «Prace Zbiorowe Akademii Muzycznej w Bydgoszczy» no. 34, ed. A. Nowak, 2012.

Interviews – A. Ettinger Rozmowa z kompozytorem, “Radio i Świat” 1954 no. 24; K. Biegański Ilustracje muzyczne Witolda Lutosławskiego do audycji PR, “Antena” 1956 no. 12 and 1957 no. 1; S. Wysocki Witold Lutosławski o sobie, “Sztandar Młodych” from 2/3 September 1957; response to the survey on the work of I. Stravinsky, “Ruch Muzyczny” 1957 no. 7; B. Pilarski Witold Lutosławski odpowiada na pytania, “Ruch Muzyczny” 1958 no. 7 (about Musique funèbre), reprint in: B. Pilarski Szkice o muzyce, Warsaw 1969; Witold Lutosławski, laureat nagrody ZKP, “Stolica” 1959 no. 6; Nie tylko o książkach, “Nowa Kultura” 1959 no. 51/52; J. Radomińska Chciałbym mieć dźwiękoszczelną pracownię, “Kulisy” 1959 no. 50; [D. W.] Witold Lutosławski. Dialog z kompozytorem, “Stolica” 1960 no. 36; J. Hordyński Polscy kompozytorzy współcześni – Witold Lutosławski, “Życie Literackie” 1960 no. 42; K. Nastulanka O potrzebie i torturze słuchania muzyki. O Warszawskiej Jesieni oraz o wielu innych sprawach mówi Witold Lutosławski, “Polityka” 1960 no. 46; B. Pilarski Moja muzyka jest grą, “Współczesność” 1961 no. 20 (about Jeux vénitiens), reprint Om Witold Lutoslawski „Jeux vénitiens”, transl. N. Zaba, “Nutida Musik” VI, 1962/63, also in: B. Pilarski Szkice o muzyce, Warsaw 1969; Cz. Chruściński Znakomity polski kompozytor opowiada o wrażeniach z USA, “Siedem dni w Polsce” (Warsaw) 1962 no. 44; A. Rich Poland’s Far-Out Is Finding an Audience, “New York Times” from 12 August 1962; Z. Sierpiński O syntezatorze i muzyce polskiej w USA rozmawiamy z Witoldem Lutosławskim, “Życie Warszawy” from 14–15 October 1962; Trzy pracowite miesiące Witolda Lutosławskiego za oceanem, “Kurier Polski” from 11 October 1962; S. Drabarek Witold Lutosławski o wrażeniach z Biennale w Zagrzebiu, “Kurier Polski” from 29 May 1963; K. Zbijewska 10 minut z Witoldem Lutosławskim, “Dziennik Polski” from 22–23 September 1963 no. 226; M. Fleuret Le contrôle du hasard, “France Observateur” from 5 November 1964; [HEN] Witold Lutosławski o Warszawskiej Jesieni, “Sztandar Młodych” from 29–30 August 1964 (about a programme of the 8^th Warsaw Autumn Festival); Michał Spisak z Parisa laureatem nagrody muzycznej na rok 1964, “Tygodnik Polski” from 3 May 1964 no. 18 (interview with Lutosławski in connection with the ZKP award given to M. Spisak); J. Balcerak Witold Lutosławski mówi, “Jazz” 1966 no. 11; J. Bruzdowicz Muzyczna jesień tysiąclecia, “Politechnik” 1966 no. 41; Composer’s Workshop – Witold Lutosławski, “Polish Music” I, 1966 no. 3; H. Klein Notes from Underground, “The New York Times” from 7 August 1966; L. Lesle Gespräch mit dem Komponisten, “Die Welt” from 10 November 1966; J. Hordyński Z Witoldem Lutosławskim, “Życie Literackie” 1967 no. 19; T. Kaczyński O „II Symfonii” z Witoldem Lutosławskim, “Ruch Muzyczny” 1967 no. 21, reprint in: Rozmowy z Witoldem Lutosławskim, Kraków 1972, English ed. Symphony No. 2 (1966–67) – Interview with Witold Lutoslawski, transl. K. Klinger, in: Lutoslawski, ed. O. Nordwall, Stockholm 1968; A. Blyth Polish Composer on His Music, “Times” from 11 March 1968; B. Pelzer L’émotion, “Le Point” 1968 no. 17; H. Rogers Lutoslawski. Poland’s great „Lone Wolf”, “The Christian Science Monitor” from 24 June 1968; K. Cygielska Kapryśne i nieobliczalne, “Żagle” 1969 no. 4; T. M. [T. Marek] „Livre pour orchestre” by Witold Lutoslawski, “Polish Music” IV, 1969 no. 1; Cesta tvoriveho hl’adania – hovori Witold Lutoslawski, “Lud” from 26 November 1970; E. Kofin Rozmowa z Witoldem Lutosławskim, “Odra” 1970 no. 1; Th. Balán De vorba cu Witold Lutoslawski, “Muzica” XII, 1971; A. Blyth Witold Lutoslawski, “Times” from 9 February 1971; J. Cegiełła Autoportret polskiej muzyki – Lutosławski, “Współczesność” 1971 no. 4, reprint in: Szkice do autoportretu polskiej muzyki współczesnej, Kraków 1976; T. M. [T. Marek] Cello Concerto by Witold Lutosławski, “Polish Music” VI, 1971 no. 3; E. Harendarska Z Witoldem Lutosławskim o awangardzie muzycznej, “Pomorze” 1972 no. 5; B.M. Jankowski Uczyć obcowania z dobrą sztuką, “Trybuna Ludu” from 29 January 1972; T. Kaczyński Czy jesteśmy głusi? Witold Lutosławski odpowiada na pytania „Sztandaru Młodych”, “Sztandar Młodych” from 25–26 December 1972; T. M. [T. Marek] Composer’s Workshop – Witold Lutosławski. Preludes and Fugue, “Polish Music” VII, 1972 no. 3; K. Młynarz Pro Sinfonica. Pani muzyka i my, «Zeszyty Muzyczne Pro Sinfoniki II stopnia» 1972/73 no. 7; A. Podkańska Wykonanie było idealne… Witold Lutosławski dla czytelników „Głosu Szczecińskiego”, “Głos Szczeciński” from 24 February 1972 (about the concert of Lutosławski’s chamber compositions); P. Vujica Lutoslawski und der Herbst, “Kleine Zeitung” from 17 October 1972; K. Bielawska Akt twórczy to akt rezygnacji, “Literatura” 1973 no. 11; T. Kaczyński Witold Lutosławski – das einsame Genie, “Radar” 1973 no. 2, entitled Witold Lutosławski. Geniusz samotny, “Radar” 1973 no. 3 (article combined with interview); O. Lewtonowa Naszij intierwiu s Witold Lutoslawski, “Sowietskaja Muzyka” 1973 no. 7; B. Pociej O roli słowa, teatralności i tradycji w muzyce mówi Witold Lutosławski, “Poezja” IX, 1973 no. 10, reprint in: Lutosławski a wartość muzyki, Kraków 1976; J. Radomińska Witold Lutosławski, in: Spotkania zapisane, Kraków 1970, Warsaw 2^nd ed. 1973; A. Schiller Natchnienie nie nawiedza leniuchów, “Polityka” 1994 no. 9, supplement “Kultura” (interview from March 1973); J. Narkowicz Dokąd prowadzą eksperymenty muzyczne?, “Czas” 1975 no. 14; G. Rendon Dialogo Lutoslawski-Rendon, “La Patria” from 18 May 1975 (interview conducted during the Warsaw Autumn Festival 1974); W. Jamroziak Członkowie honorowi Pro Sinfoniki. Witold Lutosławski, «Zeszyty Muzyczne Pro Sinfoniki II stopnia» 1975/76 no. 3; J. De Jong In gesprek met Lutoslawski, “Mens en Melodie” XXXI, 1976 no. 12 (mainly about Mi-parti), W. Jamroziak Rozmowa z Witoldem Lutosławskim, “Nurt” 1976 no. 1; T. M. [T. Marek] A New Work by Witold Lutoslawski, “Polish Music” XI, 1976 no. 1 (about Les espaces du sommeil); A. Marias Susret sa Witold Lutoslawski, “Zvuk” 1977 no. 3; E. Solińska, B. Możdżyński Witold Lutosławski – Komponowanie nie jest intelektualną zabawą, “Sztandar Młodych” from 25 October 1977, reprint in: E. Solińska W salonie muzycznym, Bydgoszcz 1986; T.K. Sznajderski Muzyka i kompozytor, “Życie Literackie” 1977 no. 13; G. Banaszkiewicz Jesteśmy muzykalni?, “Tydzień” 1978 no. 37; Ch. Ford Symphonist in a Thousand, “The Guardian” from 6 February 1978; B.M. Jankowski U źródeł – cechy narodowe, “Trybuna Ludu” 1978 no. 170; L. Klein Witold Lutoslawski in Conversation, “Fugue” 1978 no. 11; I. Grzenkowicz Odrębna wizja muzyki, “Kultura” 1979 no. 8; B. Henkel Witold Lutosławski: Koncerty są fenomenalną lekcją kompozycji, “Gazeta Lubuska” from 30 December 1979; M. Kevorkian, M. Popowa S mikrofon ili pismo po sweta, in: Muzikalen almanach, Sofia 1979; K. Kleinman Musiikki ei ole ammattilaisia varten, “Rondo” 1979 no. 1; I. Nikolska Witold Lutoslawski. Biesieda posle koncerta, “Sowietskaja Muzyka” 1979 no. 3; F. Yener Lutoslawski, “Milliyet Sanat Dergisi” (Istanbul) from 2 July 1979; K.W. Fain Witold Lutoslawski. Champion of „the durable”, “Washington Post” from 27 January 1980; Komponist und Dirigent, “Sachsische Neuste Nachrichten” from 20 February 1980; J. McLellan Lutoslawski’s Music is Here and Now, “Washington Post” from 27 July 1980; T. M. [T. Marek] Double Concerto for Oboe, Harp and Chamber Orchestra by Witold Lutoslawski, “Polish Music” XV, 1980 no. 4; J. McLellan The Composer Everyone Wants – Lutoslawski, the Revolutionary, “Washington Post” from 27 January 1980; M. Regel Witold Lutosławski – Muzyka wymaga aktywnej promocji, “Echo Dnia” from 22 May 1980; P. Skans Samtal med Lutoslawski II, “Nutida Musik” 1980/81 no. 1; J. Waloch Z Witoldem Lutosławskim – po koncercie w Toruniu, “Nowości” from 19 September 1980, extended ed. Porównanie z przeszłością jest niesprawiedliwe, “Gazeta Pomorska” from 27–28 September 1980; A. Daubenton Vers une „Solidarité” culturelle? Lutoslawski „C’est la musique qui, la première, a fait connaître la Pologne”, “Nouvelles Littéraires” from 12 February 1981; J. Doucelin Mentor de la musique polonaise Lutoslawski défend la langue française, “Le Figaro” from 21 February 1981; J.M. de Montrémy La musique dit quelque chose d’essentiel, “La Croix” from 7 February 1981; Goworiat uczastniki i gosti Moskowskogo Mieżdunarodnogo Muzykalnogo Festiwala w SSSR (Moscow 1981), Lutosławski’s statement ed. I. Nikolska, “Sowietskaja Muzyka” 1981 no. 10; E. Burzawa O „III Symfonii” na gorąco, “Ruch Muzyczny” 1983 no. 25 (interview from 30 September 1983 w Chicago); T. Marek „III Symfonia” Witolda Lutosławskiego, “Ruch Muzyczny” 1983 no. 16, English and German transl. “Polish Music” XVIII, 1983 no. 3/4; G. Michalski An Interview with Witold Lutosławski, “Polish Music” XXIII, 1988 no. 2/3; I. Nikolska Witold Lutoslawski o siebie, o tworczestwie, o tradicyjach, “Sowietskaja Muzyka” 1988 no. 9; M. Anissimov Witold Lutoslawski. Un classique contemporain, “Le Monde de la Musique” 1988 no. 115; B. Gieraczyński Witold Lutosławski in Interview, “Tempo” 1989 no. 170; R. Duffalo Witold Lutoslawski, in: Trackings. Composers Speak with Richard Duffalo, New York 1989 (interview from 21 March 1987 in Philadelphia); T. Kaczyński Potrzeba natchnienia, “Odra” 1990 no. 11, reprint of the large part in: Rozmowy z Witoldem Lutosławskim, Wrocław 2^nd ed. 1993; E. Markowska Utwór powinien być owocem natchnienia, Muzyka jest domeną świata idealnego and „Chantefleurs et chantefables” na Warszawskiej Jesieni. Witold Lutosławski o swoim nowym utworze, “Ruch Muzyczny” 1990 no. 22, 23 and 1991 no. 18; I. Bodnar Satelity krążą wokół ziemi, a my wciąż gramy na fagocie, “Przekrój” 1992 no. 27; H. Kesting Vielleicht ein bisschen Bartók. Der polnische Komponist Witold Lutoslawski im Gespräch, “Neue Zeitschrift für Musik” 1992 no. 4; M. Kominek Nigdy nie byłem neoklasykiem, “Studio” 1992 no. 3; K. Sobolewski Jestem samotnym wilkiem, “Dziennik Polski” from 30–31 May 1992; J.A. Łużyńska Nie wolno zgubić Polski, “Ruch Muzyczny” 1993 no. 4; A. Łużyńska Zanussi o Lutosławskim, Lutosławski o Zanussim, “Ruch Muzyczny” 1994 no. 12; K. Piotrowski Komponuję to, co chcę usłyszeć, “Vivo” 1994 no. 1; D. Rust Conversation with Witold Lutoslawski, “The musical Quarterly” 1995 no. 1 (interview from 19 October 1993 in Toronto); M. Gargas Przed dziesięciu laty. Witold Lutosławski o harfie, “Ruch Muzyczny” 2000 no. 12; E. Markowska Przed dziesięciu laty. Niepublikowana rozmowa Witolda Lutosławskiego z okazji 90-lecia Filharmonii Narodowej, “Ruch Muzyczny” 2001 no. 14; I. Nikolska, E. Michalczenkowa-Spirina O nowych tiechnikach, formie i smysle and E. Okuniewa Nowyj put’ k orkiestru, in: Kompozitory o sowriemiennoj kompozicyi. Chriestomatija, ed. T. Kiuriegian and W. Cenowa, Moscow 2009; J.-Y Bosseur Witold Lutoslawski. L’expression entre complexité et flexibilité, in: De vive voix: Dialogues sur les musiques contemporaines, Paris 2010 (interview from 1981); A.-S. Mutter and P. Matwiejczuk Człowiek, który zstąpił z nieba, “Muzyka w Mieście” 2013 no. 6.

Memories of Lutosławski – T. Kaczyński Lutosławski od wewnątrz, “Ruch Muzyczny” 1999 no. 25; Witold Lutosławski w pamięci Józefa Patkowskiego, interview by G. Michalski, “Ruch Muzyczny” 2005 no. 1; G. Michalski Lutosławski w pamięci. 20 rozmów o kompozytorze, Gdańsk 2007 (a record of conversations with, among others, J. Hartwig, K. Zanussi, K. Zachwatowicz, A. Wajda, M. Bogusławski, K. Witkowska, H. Szpilman, and R. Kapuściński); G. Ligeti Witold Lutoslawski in memoriam, in: Gesammelte Schriften, ed. M. Lichtenfeld, Mainz 2007; T. Kaczyński Lutosławski nieznany, “Ruch Muzyczny” 2007 no. 3; Rozmowy latem. Po lekturze „Zapisków” Witolda Lutosławskiego, interview by K. Droba with E. Knapik, “Ruch Muzyczny” 2008 no. 19; J. Hartwig Spotkanie poświęcone Witoldowi Lutosławskiemu, “De Musica” VII–VIII, 2009; M. Tomaszewski Towards Perfect Completeness. Remembering Lutosławski, in: Between Sound and Music, «Interdisciplinary Studies in Musicology» X, ed. J. Humięcka-Jakubowska and P. Podlipniak, Poznań 2011; D. Gwizdalanka Lutosławski. Błędy i legendy, “Ruch Muzyczny” 2013 no. 19; E.M. Jensen Wokół jednego zdjęcia, “Ruch Muzyczny” 2013 no. 14; A. Kwiecińska Tropem Lutosławskiego, “Muzyka w Mieście” 2013 no. 7–8; A. Kwiecińska Znacznie bliżej procesu tworzenia. O Witoldzie Lutosławskim i jego muzyce mówi Esa-Pekka Salonen, “Ruch Muzyczny” 2013 no. 7 (interview for Polskie Radio Program II, 4 July 2012); Głosy o Witoldzie Lutosławskim, “Zeszyty Literackie” 2013 no. 2, includes statements by, i.a., J. Andrzejewski, M. Bristiger, A. Chłopecki, J. Iwaszkiewicz, R. Kapuściński, K. Meyer, A.-S. Mutter, Z. Mycielski, A. Panufnik, B. Pociej, J. Rappé, M. Tomaszewski, A. Wajda, K. Zanussi, T.A. Zieliński, K. Zimerman).