Regamey, Konstanty (EN)

Regamey Konstanty, *28 January (15 January) 1907 Kyiv, †27 December 1982 Lausanne, Swiss composer, pianist, music critic and writer as well as oriental philologist, son of Konstanty Kazimierz Regamey (1879–1938), Catholic whose ancestors emigrated from canton Vaud in Switzerland to Vilnius in Tsarist Russia in the middle of the 19^th century. At the request of his mother, Lidia Sławicz (1882–1964), he was baptised at an Orthodox church Desatine in Kyiv. He started learning piano at the age of five under the direction of his mother and father, pianists who graduated from the St. Petersburg Conservatory in the class of A. Yesipova-Leschetizka. Later, he briefly studied privately with R. Glier; his first compositions were preserved from his youth (Mazurkas, Barcarole and Souvenir de jeunesse). From 1920, he lived in Warsaw where he attended Jan Zamoyski Secondary School, studied piano with J. Turczyński and A. Dobkiewicz and theory of music with F. Szopski. Then he composed 2 Preludes and songs to lyrics by contemporary Russian poets. In 1931, he graduated in classical and oriental philology from the University of Warsaw under the supervision of Professor S. Schayer. He debuted as a music critic in 1932 with the article about Symphonie Concertante No. 4 by Szymanowski published in “Zet” and “Prosto z mostu.” In the same year, he started studying oriental philology and linguistics at École des Hautes Études and Collège de France in Paris. He obtained a doctorate in Hindu philology and comparative grammar of Indo-European languages ​​at the University of Warsaw in 1935. He presented his postdoctoral dissertation in 1937 and began lecturing as a university reader. He spent a lot of time with artistically oriented intelligentsia and landed gentry circles, including K. Szymanowski, J. Iwaszkiewicz, B. Miciński, K.L. Gałczyński, J. Braun and J. Stempowski. On 20 July 1937 in the Basilica of St. Francis of Assisi in Krakow, he married Anna Janina Kucharska (1912–1991), a student of Roman philology, daughter of minister W. Kucharski in the government of W. Witos. He was an active critic until the outbreak of World War II. He was an editor of a bimonthly “Muzyka Współczesna” in 1937–39 and executive editor of the monthly “Muzyka Polska” in 1938–39; he took part in the preparation of the International Society for Contemporary Music Festival in Warsaw and Krakow. During the occupation, he worked as a pianist in Warsaw cafes, e.g. in Arkadia and Bohema. He was in an easier situation thanks to his Swiss citizenship, as he was not subject to direct control by the Gestapo. He collaborated with Armia Krajowa and was a courier in 1942 (pseudonym Czesław Drogowski, testimony of W. Felczak); some people found shelter in his apartment, and composers gave him their manuscripts for safekeeping (e.g. R. Palester and others). Konstanty Regamey made his debut at underground concerts. In the spring of 1943, he presented his Persian Songs for bass-baritone and two pianos, instrumented following the suggestion of K. Sikorski, who gave a few lessons on composition to Regamey; Quintet was performed for the first time on 6 June 1944 at the underground concert; impressions from this performance were given many years later in W. Lutosławski’s reminiscences. After the defeat of the Warsaw Uprising, Konstanty Regamey together with his wife and mother were exiled with other inhabitants of Warsaw to the camp in Pruszków; as a consequence, he was imprisoned in the Nazi concentration camp in Stutthof near Gdańsk. Thanks to his Swiss documents, they were not executed in Stutthof but transported to the Neuengamme camp near Hamburg, from where they were released as Swiss citizens and eventually arrived in Lausanne in November 1944. Life and occupation experiences made Regamey feel connected to Poland and Poles, and if it were possible, he would have become a Pole; this bond was alive until the end of his journey.

Regamey was employed at the University of Lausanne in April 1945 and at the University of Fribourg as an associate professor of general linguistics in 1946; in Lausanne, he was first a lecturer of Russian and oriental languages, from 1949 he lectured on Slavic and oriental languages ​​and civilization, from 1957 full professor. He visited Krakow in March 1947 and was present at the premiere of the orchestra version of Persian Songs. Without abandoning his compositional activities (String Quartet, Variations and Theme), Konstanty Regamey devoted himself to research work in the field of oriental philology and Sanskrit, in 1949–50 he gave lectures in India and Egypt, and he was a delegate to the 22^nd International Congress of Orientalists in Istanbul. He became an editor of “Feuilles Musicales” with P. Meylan in 1954–62; he was a member of Société Linguistique in Paris. At the Festival in Donaueschingen in 1955, there was a premiere of Five Studies, one of his most appreciated compositions due to the original tone and vocal virtuosity. He was one of the initiators of the UNESCO project on the Mutual Appreciation of Eastern and Western Cultural Values in 1956; he visited New Delhi, where he met with Dalai Lama. He started working on the opera Don Robott in 1959 but did not complete it. He made a concert tour as a pianist with the violinist Anna-Maria Gründer in 1962 in the USSR. In Moscow, he met with Svetlana Constantinovna Regamey, the previously unknown daughter of his father from his second marriage, thus his half-sister, who was an architect and later visited him in Lausanne. After returning, he composed Five Poems of Jean Tardieu for choir a capella, considered by critics to be close to the aesthetics of W. Lutosławski, which had their premiere at the International Festival of Contemporary Music “Warsaw Autumn” in 1964 and brought him spectacular success. He was the chairman of the Association des Musiciens Suisses in 1963–68, the Swiss department of ISCM (International Society for Contemporary Music), and in 1964 he created the Swiss Music Council and became its chairman. He had a close relationship with P. Sacher, who conducted many performances of his compositions. He visited Poland again in 1966 as a guest of the “Warsaw Autumn” Festival on the occasion of the premiere of his Autographe. In 1973, he composed the second opera Mio, mein Mio, commissioned by the Hamburg Opera. He was a member of the ISCM presidium in 1969–1973. He wrote a cantata Alpha in 1970 and a double concerto Lila in 1976, dedicated to P. Sacher. He finished his work at the universities in Freiburg and Lausanne and retired in 1977; in the same year, he visited Baranów where his 70^th birthday was celebrated by the Polish Music Society. In September 1978, he was nearly completely paralysed and had to stay in a clinic in Lausanne. He continued working on the cantata Visions by dictating it to composer J. Balissat. Regamey, although in a wheelchair, took part in the festive premiere of Visions at the Lausanne cathedral on Good Friday on 13 April 1979. It was his last great artistic success. On 19 May 1983, a bust of the composer was unveiled at the university in Lausanne. Regamey’s wife died in Lausanne on 22 November 1991, and the composer’s archives were handed over to Bibliothèque Cantonale et Universitaire. In 1987 in Warsaw, a PCU symposium devoted to his work took place. Thanks to the initiative of the board of the Kraków branch of the Polish Composers’ Union and Pro Helvetia in the spring of 1993, many concerts were organised in Poland to celebrate the 10^th anniversary of Regamey’s death; in the spring of 1995 also in Kyiv, Lviv and Drohobych. In 1994, Barbara Halska, a sturdy performer of his music, established the Ensemble Regamey, which performed Quintet during the 6^th International Festival of Krakow Composers (in the presence of H.M. Górecki). In 2002, to celebrate the 20^th anniversary of the composer’s death, the first Polish performance of his Incantation Symphony took place. As part of the International Festival of Krakow Composers in 2004, a concert of Regamey’s compositions took place, and on the centenary of the composer’s birth, concerts and the International Musicological Conference “The Phenomenon of Konstanty Regamey’s Personality” with the participants from Switzerland and Ukraine. The exhibition “Konstanty Regamey. Polistylist” was opened at the University Library in Warsaw. To commemorate the centenary of Regamey’s birth, the Polish premieres of the cantata Visions took place at the festival in Kraków, as well as four performances of it in Ukraine (patron Pro Helvetia). Since 2014, the Musica Iagellonica publishing house, edited by J. Stankiewicz, has been publishing Regamey’s chamber works (Youthful Songs, Persian Songs in French and Polish versions, and Youthful Pieces for Piano, 2023).

Dodecaphony. Konstanty Regamey as a composer, mostly autodidact, started practising dodecaphony when it was only J. Koffler who used this technique in Poland and his achievements were known only in the narrow circle in Lviv. He reached dodecaphony from the perspective of total chromaticism of a sound material, so similar to Schönberg. Konstanty Regamey’s first attempts were Persian Songs, especially Quintet which is a result of using dodecaphonic constructivism in a virtuoso instrumental texture, the final effect of which is a neo-romantic expression. According to the composer, the application of the rules of classical dodecaphony does not yet determine the piece’s style and does not create new musical language; therefore, Konstanty Regamey treated dodecaphony only as a specified compositional technique thanks to which he composed in various styles, e.g. in Quintet (movement 2) in Brahms’s style, in Music for Strings (movement 4) and later in Autographe he got near the neoclassical style, and in 4 x 5 he demonstrated five ways of treating series. In the uncompleted opera Don Robott, he serialised not only music (melody, harmony, polyphonic blocks) but also all the aspects of the stage composition as visual elements, lighting, movement of singers and groups of characters on stage. After 1968, Konstanty Regamey used dodecaphony only occasionally. The composer’s struggle to develop dodecaphony, and at the same time to create individual musical style, diverged from the direction of development of European dodecaphony that led to total serialism discovered by O. Messiaen. Konstanty Regamey, seeking expressive and colourful music with an original expression, affirmed the views that this is music growing out of neoclassicism and neoromanticism, but at the same time avoided excessive systematisation. As one of the first Polish dodecaphonists he was listed in the work of B. Schaeffer (Klasycy dodekafonii) next to, e.g., F. Martin and L. Dallapiccola.

Polystylism. According to the composer, the music of the 1950s is monotonous in style and static in texture, as the construction of a piece comes down only to contrasts of dynamics and sonoristic qualities. Konstanty Regamey used various techniques within one piece, often from different historical periods. He believed that work should mirror the artist’s personality and that one style or one school is a limitation and impoverishment of one’s creative potential. Konstanty Regamey was interested in aleatoricism, he preferred detailed notation but believed that improvisation is not a European tradition and musicians do not feel its essence and cannot improvise. He recognised the role of aleatoricism as a factor enriching the piece’s texture, but defined its limits; he did not accept complete freedom. An example of Regamey’s aleatoricism is the “crowd effect” in the first composition from Five Poems of Jean Tardieu, where the impression of complete freedom was achieved based on the skeleton of precisely written vocal parts; in the last part of 4 x 5, four quintets improvise on the foundation of a strictly notated tutti group. Konstanty Regamey’s view was close to W. Lutosławski’s, who, using the so-called controlled aleatoricism, defined its boundaries in his works. An original feature of the composer is the tendency to express humour, jokes, irony and persiflage in music. Laughter as a vocal effect appears in the fifth of the Five Studies and in Three Songs of the Clown. The performance term “prokofieusement” in Music for Strings became famous, suggesting to the performers to extract the irony and esprit of the composer. Many of Konstanty Regamey’s works end with a sonic surprise: repetition of the same motif (Sonatina for flute and piano), a whisper at the end of the Five Studies, a slowing down of the tempo, reminiscent of the braking of a gramophone record (Lila). Konstanty Regamey’s compositions bear the mark of stylistic pluralism, express his characteristic polystylism and are evidence of his excellent ability to write in various styles. This tendency is already noticeable in his first piece composed during the occupation in Warsaw, Persian Songs, and in Variations and Theme there is a variation in the style of Bach; in Music for Strings, although composed in the dodecaphonic technique, the composer uses a significant contrast of two series: one on which he builds perfect chords, the other with dissonant sounds; in Five Poems of Jean Tardieu, he juxtaposes the avant-garde, sonoristic choral texture and stylization characteristic of the Italian Renaissance madrigal. A special example is the Incantation Symphony, in which the composer combined distant styles: a prehistoric spell from Formosa as an ethnomusicological document, an 8^th-century Hindu spell, an Assyrian incantation to conjure demons, a quote from Adam de la Halle’s virelais with the text of an Italian love sonnet by Gaspara Stampa, interwoven with an instrumental serial theme. Konstanty Regamey perfected this method of composition, achieving in his last work, Visions, a strong expressive, coherent stylistic unity of elements of sonoristic technique with traditional musical language, primarily in the area of ​​choral texture. Currently, stylistic pluralism, analogous to the tendency in 20^th-century literature to abandon genre purity by blurring the boundaries of literary genres and combining different forms and styles of narration, is a compositional attitude sanctioned by postmodernist stylistics. One of the pioneers of such an attitude was Konstanty Regamey (with e.g. Ch. Ives). There are interpretations explaining this position of Konstanty Regamey with the Renaissance diversity of his talent, the genetic and biographical polyculturalism of his personality and his multifaceted activity (theoretician of new music, music critic and essayist, pianist and composer, philologist and expert in 40 Indo-European and Eastern languages, mediator of the cultures of the East and the West).

Attitude to Oriental music. As an Oriental philologist and researcher of Sanskrit and Tibetan dialects, Konstanty Regamey was one of the most prominent experts in Oriental music. He was searching for a key to this music for a long time, not to limit himself to a fascination with different scales and rhythms, unintelligible to listeners from the West. Getting to know the ontological foundation of Oriental music, created in the process of improvisation with a totally different track of time, led Konstanty Regamey to state that the role and function of Eastern music has nothing to do with European concert practice. He believed that the influence of Oriental music on Western music was impossible and opposed the thesis of A. Daniélou, who thought that the music of the East would renew the music of the West. According to Regamey, the synthesis of these kind of music is not possible; the only achievable thing is to take over and adapt ready-made forms of Eastern music which can give results but would require the cultivation of new musicians and recipients. He believed that the attitude of composers like O. Messiaen, who fragmentarily borrow rhythmic or melodic schemes from Hindu music and introduce them into the work created in the Western musical tradition is not acceptable. The extreme form of such musical conglomerates as products of Western consumer culture, which according to Konstanty Regamey has led to the point of absurdity, is free jazz seeking inspiration in Hindu music.

Connections with Oriental music are evidenced by quarter tones, the use of which Regamey was a pioneer of in Polish music already in 1948 in Variations and Theme (under the influence of A. Panufnik’s Lullaby composed a year earlier). Konstanty Regamey did not create a system of quarter tones like, for example, A. Hába, but he used them only as transitions in passages and grace notes, thus broadening the sound spectrum, and giving a strong expressive effect. Due to the melodic nature of microtones, he rarely used them in harmonic vertical aggregates (Autographe). The use of quarter tones especially in the cosmogenic poem Alpha created a specific climate of meditation and ecstasy, and the return to purely diatonic music entails climate change. Konstanty Regamey introduced clusters already in Persian Songs and Quintet, i.e. at a time when H. Cowell’s invention was not yet widespread in Europe. These are clusters with the so-called moving interior (the first to use them was D. Shostakovich in Symphony No. 2), in which the volume and internal density change during the sound (3^rd part of Condensazioni in moto from 4 x 5). Konstanty Regamey completely rejected quoting authentic ragas and any attempts at synthesis of Eastern and Western languages. In Hindu music, he only sought inspiration and aura of sound to create his own modes maintained in the Hindu climate. In his works (Five Studies, 2^nd part of Incantation Symphony, 2^nd part of 4 x 5) he did not create a synthesis of two different traditions but his own style using means and stylistic features of Hindu music. An authentic Hindu text allowed him to obtain a true oriental aura on a scale previously unseen in Western music (Five Studies, Alpha).

Literature. Konstanty Regamey wrote articles, essays and polemic texts in Polish, French and German; he reviewed concerts, reported on important events from musical life, wrote about composers and their new compositions and was one of the most important protectors and promotors of Szymanowski and new music. S. Kisielewski considered him an authoritative representative of “objective criticism,” B. Shaeffer saw him as an apologist for new music, the most outstanding Polish music critic of his time. Initially, as an aesthetician and theoretician (Treść i forma w muzyce), he was strongly influenced by S.I. Witkiewicz’s doctrine of pure form; later, he rather recognised the balance of the content-form ratio. Dealing with the problem of evolution in music and fine arts (Próba analizy ewolucji w sztuce), he based his artistic work on four fundamental elements: creativity, motivation, form and material. Konstanty Regamey’s views on new music had an inspiring effect on the circles in which he lived: in Warsaw during the interwar period and the occupation, and then in Lausanne, Freiburg and Geneva, in musical and university circles, where he became “the spiritus movens of the new music of the Romanesque Switzerland” (J. Stenzl), whose roots were seen in Polish music. “Despite many successes and proofs of recognition, Konstanty Regamey remains a greatness that has not been fully discovered and appreciated. For this reason, he shares the fate of many of his great predecessors, whose work had to wait a long time for its rightful place in music history. Let us recall here Webern, Varèse and Ives. Time is the most righteous judge. I believe that it will do justice to the deep and fascinating musical personality of Konstanty Regamey” (W. Lutosławski, 1977).

Literature: N. Loutan-Charbon C. Regamey, compositeur, introduction A.-F. Marescotti, Yverdon 1978 (monograph includes a list of works and bibliography); Inventaire du fonds musical précédé du Catalogue des oeuvres… (catalogue of K. Regamey’s Archive collections in Cantonal and University Library of Lausanne, introduction by H. Villard and articles by R. Brunner, J. Stankiewicz and J. Stenzel), ed. J.-L. Matthey and M. Rey-Lanini, Lausanne 1999; M. Andrzejewski Polski Szwajcar Konstanty Regamey, Gdańsk 2016; [note about the wartime fate of K. Regamey’s Quintet and the transmission of the score to London], “Pod Prąd. Pismo polskiej myśli niepodległej w Szwajcarii” Fribourg 1946 no. 34; F. Brenn C. Regamey, “Journal des Arts” 1946 no. 12–13; E. Appia Un compositeur autodidacte. C. Regamey and P.A. Gaillard “Cinq Poèmes de Jean Tardieu” de C. Regamey, “Revue musicale Suisse” 1951 no. 5 and 1965 no. 4; Constantin Regamey. Musik der Zeit, “Schweizer Komponisten,” Bonn 1955 no. 10; H. Jaton C. Regamey, Président de l’AMS, “Revue musicale de Suisse Romande” 1963 no. 3; B. Schaeffer Klasycy dodekafonii (comments on Quintet and opera Don Robott), vol. 2, Kraków 1964; G. de A. L’Ensemble MW 2 de Cracovie [report of the performance of K. Regamey’s Nietożsamość a nieskończoność / La Non-Identité Infinie at Radio Studio in Geneva], “La Suisse,” 9 May 1968; J. Cegiełła Entretien avec C. Regamey, “Perspectives Polonaises” 1973 no. 6, reprint in: J. Cegiełła Szkice do autoportretu polskiej muzyki współczesnej, Kraków 1976; J. Viret Les Cinq Etudes pour Voix de Femme et Orchestre de C. Regamey and Entretiens avec C. Regamey, “Revue musicale de Suisse Romande” 1970 no. 4 and 1975 no. 3; J.-C. Poulin C. Regamey L’Eclectisme, en musique, n est pas un défaut dans la mesure où il est cohérent, “Gazette de Lausanne” from 11 December 1976; W. Lutosławski Une création fascinante. Souvenirs de l’an 1944. Traduction T. Zawadzki, “Revue musicale Suisse” 1977 no. 2, Polish ed.: Fascynująca prapremiera (wspomnienie z 1944 r.), “Ruch Muzyczny” 1983 no. 10, reprint in: Oblicza polistylizmu…, 1988; J. Stenzl Présence du Compositeur, “Revue musicale Suisse” 1977 no. 1; M. Favre Musik und Sprache. Zum 70. Geburtstag des Komponisten C. Regamey, “Bund” from 27 January 1977; H.-Ch. Tauxe Portrait d’un humaniste, “24 Heures” from 28 June 1977; M. Telemińska Techniki kompozytorskie w twórczości Konstantego Regameya z lat 1942–1967, «Zeszyty Naukowe Państwowej Wyższej Szkoły Muzycznej w Katowicach» no. 24, Katowice 1978; J. Stenzl Daniels Visionen, “Basler Zeitung” from 17 April 1979; N. Loutan-Charbon “Visions” de Constantin Regamey, “Revue Musicale de Suisse romande” 1980 no. 1; “Ruch Muzyczny” 1983 no. 10, special ed., devoted to Konstanty Regamey; Oblicza polistylizmu. Materiały sympozjum poświęconego twórczości Konstantego Regameya, Warsaw 29–30 May 1987, ed. K. Tarnawska-Kaczorowska, Warsaw 1988 (includes articles by B. Pociej, M.K. Byrski, M. Tomaszewski, A. Jarzębska, D. Gwizdalanka, K. Tarnawska-Kaczorowska, J. Stankiewicz, J. Stenzl, M. Kusińska, W. Lisecki, A. Tuchowski, J. Dankowska, L. Polony, W. Stróżewski, and K. Szwajgier); M. Gerteis Philologue und Komponist, “Tages-Anzeiger” from 9 January 1981; J. Wyttenbach Komponist C. Regamey. Résistance-Solidarität-Toleranz, “Basler Zeitung” from 21 January 1981; N. Loutant Les deux opéras de C. Regamey, “Schweizer Theaterjahrbuch” 1983 no. 45; Inauguration du buste de Constantin Regamey (Discours de M. Claude Bridel, recteur, de M. Jacques Mercanton, professeur honoraire, de M. Jean Balissat: Portait de Constantin Regamey compositeur, Biographie de Constantin Regamey par Mme Nicole Loutan-Charbon, Présentation du sculpteur Jacques Barman par M. le Dr Fernand Cardis, professeur honoraire [commemorative edition for celebrations at the University of Lausanne on 19 May 1983], Librairie de l’Université, Lausanne 1984; E. Solińska Konstanty Regamey: muzyka i sanskryt, “Życie Warszawy” 21/22 March 1987; E. Orman Konstanty Regamey w Polsce, “Ruch Muzyczny” 1988 no. 13–14; W. Kuzyk Nespodiwana zustricz u Kiewi, “Kreszczatik” from 18 April 1995; M. Woźna Muzyka Konstantego Regameya na Ukrainie, “Ruch Muzyczny” 1995 no. 10; R. Brunner Contraintes et libertés stylistiques. L’oeuvre musicale de Constantin Regamey (1907–1982), “Dissonanz” 1998 no. 7; J. Stankiewicz Konstanty Regamey – nieutracona polskość, in: Muzykolog wobec dzieła muzycznego, E. Dziębowska’s memorial book, ed. M. Woźna-Stankiewicz and Z. Dobrzańska-Fabiańska, Kraków 1999, also in: Inventaire du fonds musical…, Lausanne 1999; W. Felczak Relacja o pewnym fragmencie działalności konspiracyjnej Konstantego Regameya podczas II wojny światowej, programme book of the 14^th International Festival of Krakow Composers, ed. J. Stankiewicz, Kraków 2002; A. Walaciński Anonymus Helveticus “Nietożsamość a nieskończoność” na niemą recytatorkę, śpiew i niezidentyfikowaną ilość instrumentów, in: Retrospekcje. Teksty o muzyce XX wieku, Kraków 2002 (1^st ed. “Forum Musicum” 1970 no. 6); W dwudziestą rocznicę śmierci Konstantego Regameya. Wspomnienia przyjaciela, interview of B.M. Jankowski with O. Nusslé, “Ruch Muzyczny 2003 no. 8; K. Naliwajek Wczesna twórczość pieśniowa K. Regameya – w kręgu ezoteryki, erotyzmu, symbolizmu i katastrofizmu, “Przegląd Muzykologiczny” 2005 no. 5; B. Galiński Konstanty Regamey, jakim go poznałem, “Ruch Muzyczny” 2005 no. 16; J. Stankiewicz Jedność duchowa spuścizny Regameya / Die geistige Einheit des Regamey-Erbe Regameya, German transl. by A. Volk, “Secesja” 2006 no. 2; J. Stankiewicz Konstanty Regamey (1907–1982) – indywidualność poliwalentna, in: Donum natalicum. Studia Thaddaeo Przybylski octogenario dedicata, ed. Z. Fabiańska, A. Jarzębska, A. Sitarz, Kraków 2007, Slovakian transl. L. Chalupka Konstanty Regamey (1907–1982) – polywalentná indyvidualita, in: K pocte Alexandra Moyzesa a L’udovita Rajtera, ed. L. Chalupka, Bratislava 2007; J. Arkuszewski Konstanty “Kot” Regamey (1907–19820), in: programme book of 19^th International Festival of Krakow Composers, ed. J. Stankiewicz, Kraków 2007; Kalendarium międzynarodowej Konferencji “Fenomen osobowości Konstantego Regameya (Kijów 19007 – Lozanna 1982) w Stulecie urodzin i Dwudziestopięciolecie śmierci, in: programme book of 19^th International Festival of Krakow Composers, ed. J. Stankiewicz, Kraków 2007; A. Woźniakowska Fenomen Regameya, “Dziennik Polski” 4 June 2007; A. Woźniakowska Muzyczne emocje [o polskim prawykonaniu Wizji K. Regameya], “Dziennik Polski” 5 June 2007; L. Akopjan W Krakowie pamiętają o Regameyu, “Ruch Muzyczny” 2007 no. 14; J. Stankiewicz Constantin Regamey et la genèse de sa personnalité, “Revue Musicale de Suisse” 2007 no. 7/8; K. Naliwajek-Mazurek Regamey 1907–1982. Kompozytor, pianista orientalista, in: Okupacyjne losy muzyków. Warszawa 1939–1945. Koncepcja albumu, selection of materials and edition by K. Naliwajek-Mazurek and A. Spóz, vol. 2, Warsaw 2015. K. Naliwajek-Mazurek Konstanty Regamey – muzyka na rozdrożach historii i polityki, in: Muzyka polska za granicą, vol. 1, Twórcy – Źródła – Archiwa, ed. B. Bolesławska-Lewandowska, J. Guzy-Pasiak, Warsaw 2017.