Maklakiewicz, Tadeusz Wojciech
Maklakiewicz Jan Adam, *24 November 1899 Chojnata (near Skierniewice), †7 February 1954 Warsaw, composer, teacher, choir conductor, organist and music publicist. Son of an organist from Mszczonowa, Jan Maklakiewicz (1874–1955) and Rozalia née Izbicka. His father was his first music teacher. In 1919–22, he studied at the F. Chopin Institute of Music in Warsaw (violin under L. Binental, harmony under M. Biernacki, counterpoint under F. Szopski); in 1921–25, he studied composition at the Warsaw Conservatory under R. Statkowski, and in 1926/27 under P. Dukas at Ecole Normale de Musique in Paris, where he also led a mixed choir at a Polish centre and was a member of the Young Polish Musicians Society. In 1927–29, he taught theory and conducted a choir at the H. Kijeńska-Dobkiewiczowa Conservatory in Łódź; in 1928–32, he was a harmony professor at the Warsaw Conservatory. From January 1932 to June 1935, Maklakiewicz was an organist and choir director at the Holy Cross Church in Warsaw, which then was one of the best church choirs in Poland. In the 1930s, he also led the choir “Znicz” of the Trade Union of Municipal Gasworks Employees, the choir and orchestra of the ordnance factory at Fort Bema (currently Bemowo district, Warsaw), the Commercial Youth Choir and the “Lira” Choir of the Academic Music Club at the University of Warsaw.
He was an active publicist; in 1930–37, he was a regular music reporter for “Kurier Poranny.” In 1934, together with J. Niezgoda, a secretary general of the Union of Polish Singing and Music Associations, and F. Grąbczewski, owner of a bookstore and music publishing house in Warsaw, they founded a monthly “Chór,” devoted to choral music and the activities of singing groups and amateur orchestras, recognised the official organ of this association in 1935; initially, Maklakiewicz edited the monthly by himself, later (July 1935–November 1936) with J. Niezgoda. In 1926–39, he cooperated with the Polish Theatre in Warsaw, and, after the war, with the Juliusz Słowacki Theatre and Stary Theatre in Kraków, National Theatre, Chamber Theatre and Syrena Theatre in Warsaw, and from 1937 also with the Polish Radio.
During World War II, he worked as a pianist at the Café Club in Warsaw from October 1939, and later at the café Znachor, founded by a famous actor and director E. Chaberski, which was a meeting spot for underground activists. From March 1941 until the end of the war, he hid in Chojnata, where he gave private harmony and piano lessons.
From November 1945 to July 1947, he was a director of the National Philharmonic in Krakow (merged with the opera in May 1946). In 1947–48, he was a director of the Warsaw Philharmonic; he revived the institution, organising a symphonic orchestra and choir. In 1948–50, he taught harmony at the State Music School (currently State Music School Complex No. 1) in Warsaw; from 1949, he was a professor at the Warsaw Conservatory (currently Chopin University of Music) in Warsaw; in 1950–51, a dean of the Department of Composition, Conducting and Theory of Music. He lectured composition, instrumentation and counterpoint; his students included M. Sulej, J. Tyszkowski, A. Szaliński, S. Foremny, M. Magin and B. Konowalski.
He was active in numerous music associations and organisations. From 1928, he was a member of the Polish Composers’ Union, where he was a secretary general in 1932–35 and a vice-president later. From 1928, he was also a member of the Polish Society for Contemporary Music, where he was, consecutively, a treasurer, secretary and vice-president. What is more, he was also a member of the Music Writers and Critics Association (founded in 1926 by M. Gliński), where he was a treasurer; in 1947–51, he was a board member of the Polish Composers’ Union. He received the Krakow Music Award in 1947; he was posthumously awarded the Officer’s Cross of the Order of Polonia Restituta.
Maklakiewicz’s prolific output, rooted in the tradition of Romanticism, diversified over the years in terms of musical genres and compositional techniques. His first compositions, written before studies, are amateur-like, but his outstanding musical abilities and artistic individualism are already visible in Symphonic Variations op. 4, performed in 1923 at a showcase at the Warsaw Conservatory by the school orchestra conducted by H. Melcer-Szczawiński. From his studies (1921–25), there are only compositions for piano, 4 Songs op. 5, 4-voice double fugue Ojcze Nasz for mixed choir and small symphony orchestra, and 2 works for orchestra: Fragment Liryczny and Prolog to the intended opera Lilia Weneda based on the drama by J. Słowacki (diploma thesis completed under the supervision of L. Różycki due to R. Statkowski’s illness); these compositions suggest visible influences of M. Karłowicz. Maklakiewicz’s musical language began to evolve in 1926, moving away from academism towards the modernisation of means of musical expression. It was influenced by the composer’s fascination with K. Szymanowski’s music, as evidenced by Reflexions op. 14 for violin and piano, 1-part vocal-instrumental Symphony No. 2 “Holy Lord” and Concerto quasi una fantasia op. 23. Maklakiewicz’s individual style was also shaped during his stay in Paris, where he got to know the latest trends in European music, especially French, and perfected his compositional technique; it was visible primarily in the scope of instrumentation, enriching the colouristic values of the work. Chamber works, Suita huculska and triptych Wiosna na wsi, written under the supervision of P. Ducas, initiated the period of the greatest flourishing of the composer’s artistic inventiveness. In 1928–30, he composed works the artistic weight of which is evidenced by the musicians participating in the premiere (Z. Drzewiecki, S. Korwin-Szymanowska, K. Wiłkomirski, I. Dubiska, S. Jarzębski, G. Fitelberg, G. Georgescu) and the awards granted: Concerto quasi una fantasia, Cello Concerto (1932 State Music Award), Violin Concerto No. 1 (1933 1st prize at the L. Kronenberg Composition Competition). These works confirm that Maklakiewicz was rightly considered to be among the leading young generation of Polish composers in the interwar period. Later, symphonic music was set aside in Maklakiewicz’s work; the composer wrote music for orchestra occasionally. Symphonic poems Grunwald (1944) and Prague Overture (1947) stand out for their masterful instrumentation. After 1930, Maklakiewicz had a tendency to simplify his musical language, dictated by the conviction that it was necessary to create music accessible to a wide audience. Using simple musical means (returning to major minor tonality) became the basis of his compositional technique, starting with the Symphonic Tango (1931) and ending with Violin Concerto No. 2 (1952).
Throughout his life, Maklakiewicz composed vocal music which constitutes the largest part of his oeuvre. These are solo songs accompanied by piano or orchestra, choral works for various types of accompanied or unaccompanied choirs, numerous arrangements of folk songs, popular melodies and works by other composers; one piece was often arranged in several versions. Maklakiewicz wrote vocal compositions for practical purposes; these are patriotic songs, often inspired by the theme of work and folk music, related to anniversaries and historical events, soldier and youth songs, also mass music and songs for children; Maklakiewicz occasionally reached for texts by outstanding poets ((Słowacki, Kasprowicz, Tuwim). There are a few compositions that stand out with their artistic values: 4 Japanese Songs, 3 Vocalises, 5 Folk Songs, Dwa wiatry, Kołyskanka [Lullaby] (lyrics K.I. Gałczyński). Maklakiewicz’s post-war work was largely influenced by social realism aesthetics. The views of popularising music, simplicity of musical means and seeking inspiration in folk music corresponded with Maklakiewicz’s opinion of the social role of art, which is why after 1948, he composed mass music and cantatas with socialist meaning. He intended to write an opera twice, as in the manuscript, there are two fragments of the planned opera Lilia Weneda (1925) and piano reduction of act 1 of the opera Wiatr halny (1953, libretto A. Pach); however, large forms of dramatic music were not in line with his creative aptitude.
As a composer of religious music, Maklakiewicz is – alongside F. Nowowiejski – one of the most outstanding representatives of Polish religious music of the 1st half of the 20th century. Maklakiewicz worked with this type of music throughout his life, particularly intensively in 1932–35, when he was an organist and church choir director. He composed five masses (e.g. Polish Mass, considered one of the best mass compositions in Polish), parts of mass as well as other liturgical works and religious songs. He also created works intended for concert performance, inspired by religious content and sacred music, e.g. the cycle of Madonna Songs for voice and orchestra, Symphony No. 2 “Holy Lord,” and Cello Concerto, in which the theme is based on a melody Kyrie from the Gregorian mass Orbis factor, and uses motifs of Bogurodzica and the melody of psalm 109 from Polish Vespers; the melody of the third movements is based on the Gregorian melody of the funeral antiphon In paradisum deducant te.
Maklakiewicz is one of the first composers of film music in Poland; he wrote it since 1931 for such famous films as Barbara Radziwiłłówna, among others. As a highly valued theatre music composer, he collaborated with outstanding directors: J. Osterwa, A. Szyfman, A. Zelwerowicz, and especially with L. Schiller, with whom he wrote music for the famous Pastorałka; he also wrote music for children’s radio plays. Maklakiewicz was sensitive to the obvious needs of not very musical Polish society; he combined compositional activity with performing; with the passion typical of social activists, he was also engaged in organisation activities in the field of popularising music. Only a few compositions were published out of his enormous output (with opus numeration from 1918 to August 1921 and a new one from September 1921 to April 1930); most of his works remained in manuscripts in the Archive of Polish Composers at the Warsaw University Library, in the WTM Library, PWM Central Music Library, and the library of the Central Artistic Ensemble of the Polish Army in Warsaw. An extensive list of compositions was included in the monograph by M. Wacholc.
Literature: K. Szymanowski Przedstawiciel młodej twórczości muzycznej o jednym z najmłodszych kompozytorów, “Kurier Poranny” from 11 February 1928; M. Gliński Nowe kompozycje. Symfonia „Święty Boże” Jana Adama Maklakiewicza, “Muzyka” 1928 no. 2; H. Feicht Zagadnienia z muzyki kościelnej. (Na marginesie polemiki o p. Janie Adamie Maklakiewiczu), “Kurier Warszawski” from 10 February 1932; S. Waljewski Jan Adam Maklakiewicz. Z powodu otrzymania Państwowej Nagrody Muzycznej, “Kurier Poranny” from 25 March 1932; R. Werner Współcześni kompozytorzy polscy, episode 4: Jan Adam Maklakiewicz, “Muzyka” 1937 no. 2; K. Wiłkomirski Wielki sukces polskiego kompozytora Jana Maklakiewicza na Międzynarodowym Festiwalu w Pradze, “Życie Warszawy” from 17 May 1947; Z. Mycielski „Pieśni japońskie” Jana Adama Maklakiewicza, “Ruch Muzyczny” 1947 no. 18; M. Wacholc Jan Adam Maklakiewicz, monography, doctoral dissertation, Chopin University of Music, 1987; M. Wacholc Jan Adam Maklakiewicz, Otwock 2012.
Instrumental:
Chant d’amour for piano, 1915
The Calm of the Sea (Crimean Sonnets) [Cisza morska (Sonety krymskie)] for piano, 1920
Funeral March for piano, 1920
Mary-Lida, waltz for piano, 1920–21 (?), published in Warsaw no year, author’s funding
Momencik muzyczny for piano, 1920
Impromptu for piano, 1921
Four 4-voice Fugues for piano, 1922
Variations for piano (fragments preserved), 1922
Symphonic Variations on their own Theme op. 4, 1923, premiere Warsaw June 1923
Lyrical Fragment [Fragment liryczny] for orchestra (lost), 1924, premiere Warsaw March 1924
Wianeczek for 4 hands for piano, transcription of a song Wianeczek, 1924
2 Preludes for piano, 1926
Reflexions op. 14 for violin and piano, 1926
Romance sans paroles for flute and piano, 1926–27 (?)
Prélude op. 17 for organ, 1927
Suita huculska op. 15 no. 1 violin and piano, 1927, published in Warsaw 1932 TWMP
Spring in the Countryside [Wiosna na wsi] op. 18 for cello and piano, 1927, Paris 1929 M. Eschig
Concertino quasi una fantasia op. 22 for piano and orchestra, 1928
Concerto quasi una fantasia op. 23 for piano, solo voice and orchestra, 1929, premiere Warsaw 1929, piano reduction ed. J. Wróblewski in: «Zeszyty Naukowe Akademii Muzycznej w Warszawie» no. 27, Warsaw 1993
Cello Concerto op. 24, 1929, premiere Bucharest 9 February 1930, piano reduction Warsaw 1935 TWMP and Kraków 1966
Violin Concerto No. 1, 1930, premiere Warsaw 10 April 1931
Symphonic Tango, 1931, from 1934 as Spanish Impressions, published in Poznań 1932
Kościuszko pod Racławicami for orchestra, also as Racławice, 1936, premiere Kraków 1 May 1946
Ostatnie werble (Les Tambours Veilés), symphonic poem, 1936, premiere Warsaw 12 May 1936 PR
Maik, orchestra fantasia, also as Gaik. Polski lud wita wiosnę, versions: 1. for small orchestra with piano ad libitum, 2. for salon orchestra, 3. for piano, 1937, published in Warsaw 1937 F. Grąbczewski – all versions
Przekupka warszawska, suite for orchestra, 1937
Grunwald, symphonic poem, 1944, premiere Kraków 30 May 1945, published in Kraków 1960
Prague Overture, 1947, premiere Prague 8 May 1947
Polish Dances for orchestra, also as Łowicz Dances, 5 pieces, 1948, premiere Ostrava 22 September 1951: 1. Polonaise, 2. Old Waltz, 3. Polka, 4. Kujawiak, 5. Oberek,
Violin Concerto No. 2 “Mountaneers”, 1952, premiere Łódź 12 December 1952
Chodzony, rondo for orchestra, 1952
Bassoon Concerto (incomplete), 1953
Vocal and vocal-instrumental:
4 Songs op. 5 for voice solo and piano, 1922–23: 1. Smutna jest dusza moja, lyrics K. Przerwa-Tetmajer, 2. Ja kocham ciebie, lyrics L. Staff, 3. Po zachodzie, lyrics R. Tagore, 4. Ty nie odejdziesz, lyrics T. Bocheński; 2nd version for voice and orchestra
Symphony No. 2 “Holy Lord” op. 20 for baritone, mixed choir, organ and orchestra, lyrics J. Kasprowicz, 1927, premiere Warsaw 10 February 1928
4 Japanese Songs op. 25 for voice solo and piano, lyrics Riociu Umeda, Polish and Frenc transl. B. Wodzińska, 1930, 2nd version for soprano and orchestra, both versions published in Kraków 1947: 1. Noc jak cień obrazu, 2. Woda zamknęła się gładką, spokojną linią powierzchni, 3. Wiatr przyniósł jesień, 4. Wiosny krzew
Pieśń o chlebie powszednim, symphonic rhapsody for mixed choir and orchestra, lyrics W. Broniewski, 1931, published in Paris 1932 (?)
Missa de Inventione Sanctae Crucis (Missa secunda) for 4-voice male choir and organ, 1932
Missa pro defunctis for 3-voice male choir and organ, 1932
Msza świętokrzyska for mixed choir and organ, 1932, published in Warsaw 1933 F. Grąbczewski
Veni Creator, hymn for mixed choir, 1932, published in Warsaw no year F. Grąbczewski; also in 2 choral versions
3 Vocalises for voice solo and piano, 2nd version for voice and orchestra, both versions composed in 1939, revised in 1946 (with orchestra), 1949 (with piano): 1. Passioneè, 2. Triste, 3. Joyeuse
Missa tertia pro honore s. Francisci Confessoris for mixed choir and organ, 1940
Missa quarta in honorem Beatae Mariae Virginis (Częstochowa Mass) for mixed choir and organ, 1942
Madoňe, 4 pieces for voice solo and piano, lyrics L. Stehlik, Polish transl. A. J-wicz (Hanna Parysiewicz’s pseudonym), 1947, published in Prague 1947 (?) ed. Svoboda: 1. Krumlovska, 2. Lňarska (Fleur-de-lys), 3. Lňarska (Fleur-de-lys), 4. Zlatokorunska (with gold crown); 2nd version for voice and orchestra, 1947
Polish Mass for soprano or tenor solo, mixed choir and organ, lyrics M.H. Szpyrkówna, 1944, published in Kraków 1947
Suita łowicka for soprano, mixed choir and orchestra, folk lyrics, 1948, piano reduction published in Kraków 1950
Śląsk pracuje i śpiewa, suite for voice solo, 3 choirs and orchestra or piano, lyrics S. Młodożeniec and folk, 1948, piano reduction published in Kraków 1950; 2nd version for voice solo and male choir, 1950
Grenada for 2 voices solo, choir and orchestra, lyrics M.A. Swietłow, transl. J. Tuwim, 1949, premiere 28 March 1949; 2nd version, 1951
Komuna Paryska for 2 voices solo, choir and orchestra, lyrics W. Broniewski, 1949; 2nd version, 1949
Suita żywiecka for 2 voices solo, 2 male choirs and orchestra, lyrics J. Reimschüssel, 1952
Nowy mazur, cantata for voice solo, male choir and orchestra, lyrics M. Jezierski, 1953
Tryptyk morski for 2 voices solo, male choir and orchestra, lyrics J. Gałkowski, 1953
ca. 80 songs for voice solo (or unisono) and piano, including:
Wianeczek op. 15 for voice solo (or unisono) and piano, 1920
Więc już nie myślę for voice solo (or unisono) and piano, lyrics J. Słowacki, 1922
Pieśń o burmistrzance op. 21 for voice solo (or unisono) and piano, lyrics J. Kasprowicz, 1928, published in Warsaw 1930 TWMP
Ty jesteś jak polny kwiat op. 23 for voice solo (or unisono) and piano, lyrics H. Heine, Polish transl. G. Knollowa, 1928, published in “Muzyka” 1928 no. 11
Pieśń o polskim morzu for voice solo (or unisono) and piano, lyrics A. Bogusławski, 1933; 2nd version for unaccompanied mixed choir, published in Warsaw 1934 TWMP, also in: Z pieśnią, ed. J.K. Lasocki, book 3, Kraków 1966, 5th ed. 1987; 3rd version for male choir (3rd prize at the composition competition), 1933
Jego uśmiech for voice solo (or unisono) and piano
Matka i syn for voice solo (or unisono) and piano
Pomnik for voice solo (or unisono) and piano
Wieści for voice solo (or unisono) and piano; also for 2 voices and piano
Syna serce kochające for voice solo (or unisono) and piano, lyrics F. Kiwelowicz
Wódz for 2 voices and piano, lyrics B.Z. Lubicz, published in: Pamięci marszałka J. Piłsudskiego, Lviv 1937
Pieśń Rodziny Rezerwistów for voice solo (or unisono) and piano, lyrics K. Jeżewska, 1938, published in Warsaw no year F. Grąbczewski
Do matki for voice solo (or unisono) and piano, lyrics F. Kiwelowicz, 1942; also arranged for unaccompanied male choir, published in “Chór” 1938 no. 5; arrangement for 3 equal voices
Pieśń o Stalowej Woli for voice solo (or unisono) and piano, lyrics S. Młodożeniec, published in Warsaw 1939 F. Grąbczewski
3 Songs for voice solo (or unisono) and piano, lyrics A. Tryb (from the cycle Loňske listi), 1947, premiere Prague 19 January 1948
Piosenki mariensztackie, 5 pieces for voice solo (or unisono) and piano, lyrics E. Żytomirski, 1949, published in Warsaw 1950 S. Arct: 1. Pieśń budowniczych Warszawy, 2. Fontanna na rynku (Waltz), 3. Pałac pod Blachą (Menuet), 4. Przekupka (Polka), 5. Trasa W-Z (March)
Pieśń o przyjaźni polsko-radzieckiej for voice solo (or unisono) and piano, lyrics E. Żytomirski, 1949, published in Warsaw 1951 Czytelnik; version for male choir and orchestra, 1953; version for unaccompanied 3 equal voices; version with piano accompaniment
Budujemy polską wieś for voice solo (or unisono) and piano, lyrics M. Kowalewski, published in: Na nowej drodze, zbiór pieśni masowych, Warsaw 1951 Czytelnik; also version for choir unisono and orchestra; arranged for unaccompanied mixed choir
Nowy mazur for voice solo (or unisono) and piano, lyrics M. Jezierski; published in: Na nowej drodze, zbiór pieśni masowych, Warsaw 1951 Czytelnik; also version for choir unisono and orchestra; arranged for unaccompanied mixed choir
Praca bije nam z rąk for voice solo (or unisono) and piano, 1948, lyrics S. Czernik; published in: Na nowej drodze, zbiór pieśni masowych, Warsaw 1951 Czytelnik; arranged for unaccompanied mixed choir
Pierwszy Maja for voice solo (or unisono) and piano, also as Na Pierwszy Maja, 1952, published in Warsaw 1953 Czytelnik; version for voice and small band, published in “Praca Świetlicowa” 1953 no. 4–5; version for unaccompanied mixed choir, published in “Praca Świetlicowa” 1952 no. 4; version for voice solo, mixed choir, male choir and orchestra, 1953; version for equal voices, published in “Radio i Świat” 1953 no. 17
Siedem róż (from the film Dom na pustkowiu) for voice solo (or unisono) and piano, lyrics E. Żytomirski, published in: «Śpiewamy i tańczymy» 1954 no. 1, also in: W melodyjnym rytmie, Kraków 1957
Buduj Warszawę for voice solo (or unisono) and piano, lyrics A. Przegrodzić (E. Żytomirski’s pseud.), published in the collection: Warsaw w pieśni i piosence, Kraków 1955
several dozens of songs for mixed choir, including Dwa wiatry for mixed choir, lyrics J. Tuwim, 1937, published in “Chór” 1937 no. 7–8
songs for choir and instruments, including:
Elegy op. 12 for choir and organ, lyrics J. Iwaszkiewicz, 1926
Zabrze for choir and orchestra, lyrics W. Broniewski, 1949, choral voices and piano reduction published in Kraków 1950; also version for unaccompanied male choir, published in Kraków 1949
songs for male choir, including:
Trzy struny for male choir, lyrics K. Iłłakowiczówna, 1935, published in “Chór” 1935 no. 2; also version for 3 equal voices, published in “Śpiew w szkole” 1935/36 no. 5
Lullaby [Kołysanka] for male choir, lyrics K.I. Gałczyński, 1946, published in Kraków 1948, 3rd ed. 1950; version for unaccompanied mixed choir, published in Kraków 1949; version for voice and piano, 1952, published in Kraków 1954; version for 3 equal voices
Pieśń o Stalinie (polonaise) for male choir, lyrics K.I. Gałczyński, 1949, published in Warsaw 1949 published by MON; also version for voice solo, male choir and piano, 1949
***
2 introits
8 offertories
1 communion
5 responsories
numerous religious compositions, including:
17 Marian songs
12 Christmas carols, some published in Warsaw 1937 S. Arct, in the collections: Kolędy i pastorałki, Kraków 1957 and Kolędy, ed. S. Ormiński, Rumia 1983
2 songs for Lent
2 Easter songs
16 songs with various themes, including Ojcze nasz op. 7 for mixed choir and small orchestra, 1924
Scenic:
Cagliostro w Warszawie, ballet, 1 act in 3 scenes, libr. J. Tuwim, 1938, staged in Poznań 1947
Złota kaczka, ballet, 5 scenes, libr. J. Reimoser after A. Oppman’s legend, 1951, staged in Bytom 12 May 1951
Zbójnicy, ballet miniature for small orchestra and piano, 1929 (?), published in Warsaw 1936 F. Grąbczewski
Images polonaises, ballet miniature, 1932, premiere Paris 1932, manuscript lost
Shivokumi, ballet miniature for orchestra, 1934
Szał, ballet miniature for piano, libr. based on W. Podkowiński’s painting Szał uniesień, 1938
Kuszenie szatana, ballet miniature, 3 versions, 1940–48
Tarantella śmierci, ballet miniature for piano, 1947
theatre music for 22 plays (preserved in manuscripts in large part), including:
L. Schiller Pastorałka, staged in Warsaw 9 January 1926, published in Warsaw 1931 Instytut Teatrów Ludowych
S. Żeromski Dzieje grzechu, staged in Warsaw 19 October 1926
Z. Krasiński Nieboska komedia, staged in Warsaw 1926
A. Nowaczyński Wojna wojnie, staged in Warsaw 5 November 1927
Ph. Dunning and S. Abbot Broadway, staged in Warsaw 7 June 1928
W. Shakespeare Juliusz Cezar, staged in Warsaw 21 January 1928
W. Shakespeare Romeo i Julia, staged in Warsaw 29 October 1931
A. Nowaczyński Komedia amerykańska, staged in Warsaw 4 May 1932
E. Rostand Cyrano de Bergerac, staged in Warsaw 7 October 1932
K.H. Rostworowski Kajus cezar Kaligula, staged in Warsaw 16 May 1934
Sophocles Antygona, staged in Kraków 1945
J.P. Priestley Miasto w dolinie, staged in Kraków 1946
W. Shakespeare Wiele hałasu o nic, staged in Poznań 1947
6 compositions preserved in manuscripts
music for 12 films, including:
Cham, directed by J. Nowina-Przybylski, 1931
Pod Twoją obronę, directed by E. Puchalski, J. Lejtes, 1933
Przybłęda, directed by J. Nowina-Przybylski, 1933
Barbara Radziwiłłówna, directed by J. Lejtes, 1936
Florian, directed by L. Buczkowski, 1936
Kościuszko pod Racławicami, directed by J. Lejtes, 1938
Sygnały, directed by J. Lejtes, 1938
Dom na pustkowiu, directed by J. Rybkowski, 1949
Arrangements:
Te Deum laudamus for voice and organ, 1933
Veni Creator for voice and organ
Ave Regina for voice and organ
Gloria Tibi Trinitas for 3-voice male choir
20 Christmas carols (numerous versions)
8 songs for Lent
8 Marian songs
3 Easter songs
51 arrangements of songs:
6 pieces for voice and piano
31 pieces for unaccompanied mixed choir, including 5 folk songs, published in Poznań 1929, W. Żeleński Zaczarowana królewna, lyrics A. Asnyk, published in “Chór” 1935 no. 8, also in: Z pieśnią, book 5, ed. J.K. Lasocki, Warsaw 1952 Czytelnik, S. Moniuszko Znaszli ten kraj, lyrics A. Mickiewicz after J.W. Goethe, published in “Chór” 1936 no. 3
4 pieces for mixed choir accompanied by instruments, including F. Nowowiejski Rota, lyrics M. Konopnicka, 1946 (2 versions)
3 pieces for unaccompanied male choir
3 pieces accompanied by instruments
4 pieces for 2–3 equal voices
orchestration:
J. Zarębski Polonez tryumfalny, 1931, premiere Kraków 1946
J. Zarębski Suita tańców polskich, 1932, premiere Warsaw 1 November 1935
F. Nowowiejski Rota, 1946, premiere May 1946 PR
Polski Hymn Narodowy, harmonisation K. Sikorski, 2 version: for orchestra and for a small, free-form Odeon-type orchestral ensemble, 1948
Ułan, Polka rzeszowska, Pożegnanie, Kazbek, Burłaki, dances for the Song and Dance Ensemble of the Polish Army House, 1949
K. Szymanowski Stabat Mater, piano reduction, 1926, published in Vienna 1928 UE