Szałowski Antoni, *21 April 1907 Warsaw, †21 March 1973 Paris, Polish composer. He began learning to play the violin (1912) under the supervision of his father. In 1919–30, he studied at the Warsaw Conservatory under P. Lewiecki (piano), then under K. Sikorski (composition, diploma with distinction). In 1931–36, he continued his composition studies in Paris under N. Boulanger. From 1931, he was a member of the Association of Young Polish Musicians (SMMP) in Paris, from 1933, its treasurer, and from 1936, its vice-president. During his studies in Paris, he wrote mainly chamber pieces. The last piece written with N. Boulanger and, at the same time, an outstanding artistic achievement was the Overture, which soon found its way into the repertoire of many orchestras, becoming the most popular Polish piece abroad. Szałowski’s achievements reverberated around the Polish musical community. His arrival in his homeland in 1938 resulted in numerous concerts. At the end of 1938, Szałowski took over as the president of the SMMP. After the outbreak of World War II, he volunteered for the Polish Army in France, but was not call up due to the armistice in 1940. He soon moved to the south of France. At the end of 1945, he returned to Paris. After the SMMP was reactivated, he again served as the president, almost until the Association was dissolved in 1950. In the first years after the war, Szałowski’s works were presented at many concerts and international festivals of contemporary music (Amsterdam 1948 – Sonatina for oboe and piano, Frankfurt am Main 1951 – concert version of the ballet Zaczarowana oberża). After 1949, when Polish culture was paralysed by the process of Stalinization, the emigration’s works were subject to censorship, and the Symphony (performed in 1950) was Szałowski’s last work presented in Poland. In 1952, Szałowski was removed from the ZKP. The political changes in Poland in 1956 brought the composer’s works back to the concert stage: the Overture was performed at the 1st Warsaw Autumn Festival (1956), and in 1959, as part of the 3rd edition of the festival, the Trio for wind instruments (from 1936) was performed. During the Congress of Polish Culture in Paris in 1956, his Violin Concerto was performed. The premiere of Zaczarowana oberża took place in 1962 in Warsaw Opera but with the libretto changes without the composer’s knowledge. In 1959, Szałowski married Teresa Bończa-Uzdowska, a graduate of the Faculty of History and Archaeology at the University of Warsaw. In 1960, he composed pieces thematically related to medieval art and literature (Wskrzeszenie Łazarza, Cantata). In 1966, he moved to Franconville near Paris, where he created, among others, Six Sketches for chamber orchestra (premiered in 1976 at the 16th Poznań Musical Spring Festival). Most of Szałowski’s post-war works were commissioned by the French radio, with which he permanently cooperated. Despite numerous orders and interest from the largest publishing companies, Szałowski operated in a very difficult financial and professional situation, having the status of an emigrant. This situation changed in 1970, when thanks to the protection of N. Boulanger, he was granted French citizenship. In 1937, he received a gold medal at the World Exhibition in Paris for the Overture, in 1944 and 1946 scholarships from the L. Boulanger Foundation in Boston, in 1955 the music award of the Polish Guard Companies of the U.S. Army in Europe, in 1960 the 1st Prize of the French Radio and Television (RTF) for the radio ballet La femme têtue, and in 1972 the A. Jurzykowski Foundation Prize.
Szałowski’s work, characterised by a particular stylistic coherence, belongs to neoclassicism derived from the school of N. Boulanger. In his first compositional attempts during his studies in Warsaw, Szałowski was influenced by the music of K. Szymanowski, especially his compositions that captivated with an impressionistic richness of sound colours, and in the harmonic language, although close to tradition and imitating the gentler harmonies of Debussy and Ravel, Szałowski strove for bolder, more refined chords, modelled on Szymanowski’s works, marked by chromaticism and polytonality (Prelude for violin and piano). During his studies in Paris with N. Boulanger, Szałowski focused on chamber works; he underwent a specific metamorphosis, from the stylistically incoherent Sonata for piano to String Quartet No. 2, which clearly belonged to the neoclassical trend. The Overture became a reflection of the principles of the neoclassical style. Its logical construction, born of a fascination with movement and colour, with a simultaneous sensitivity to the values of melody and sound, is thought out in the smallest details. The connection with tradition was emphasised by adopting the classical form of the sonata allegro. The internal dialectic was fulfilled in the continuous building and levelling of tension, differentiating movement, colour, sound and dynamics. The chamber pieces composed in the following years confirmed the stylistic interpretation of the N. Boulanger school adopted by the composer, manifested in rhythmic motorics, simplification of melody and harmony, textural clarity, brilliant instrumentation, structural clarity and symmetry of dimensions. This idiom also characterises his later works. Szałowski reached for various musical genres, preferring classical and baroque patterns of instrumental forms. The main place in his work was taken by orchestral pieces at that time. They prove a masterful control of the orchestration technique. Their individual features include euphony of sound, staccato articulation, variable volume and entrusting solo parts to woodwind instruments. Szałowski used the most elaborate orchestral apparatus in the one-act ballet Zaczarowana oberża. Simple content, based on the theme of the cult of wine and the joy of life, is aptly conveyed by lively and colourful illustrative music. Szałowski implements the objectivity characteristic of neoclassicism in the Violin Concerto, representing the type of virtuoso concerto with a conventional three-part structure. The concerto is distinguished by the clarity of its structural plan, conciseness of the narrative and the clarity of the main thematic ideas. The rhythmic factor has a great form-creating significance; motoric progressions and repeated formulas give the movement a dynamic value.
Taking up a rational approach, Szałowski did not give up on emotions. His logically constructed compositions are at the same time light, cheerful and marked by humour, full of peace and lyricism; hence, the concept of sérénité is used in reference to his work, understood as an expressive category that conveys serenity of spirit, signifying harmony and balance. The aura of sérénité is achieved by the appropriate shape of melics and metro-rhythmics (rhythmically simplified diatonic melodies, motor courses, cantilena lines, arrangements with variable accentuation and direction of movement), harmonic plan (phonic centralisation, cadential formulas), texture (chamberisation, concertato technique, ostinato figures, euphonic sound) and the way of treating form (dimensional symmetry, reprise model, and static type of shaping form). Szałowski also took the idea of sérénité from the school of N. Boulanger, which emphasised the unification of the subjective with the objective element and the combination of emotions and intuition with knowledge, order and discipline.
Literature: K. Regamey Rozmowa z Antonim Szałowskim, “Muzyka” 1938 No. 2; T. Kaczyński Ostatnia rozmowa z Antonim Szałowskim, “Ruch Muzyczny” 1973 No. 10; W. Bogdany Spuścizna rękopiśmienna Antoniego Szałowskiego. Opis źródeł, “Muzyka” 1977 No. 1 [collection of manuscription in the Polish National Library in Warsaw]; M. Gliński Współcześni kompozytorzy polscy. Antoni Szałowski, “Muzyka” 1938 Nos 1–2; R. Haubenstock III Kwartet Szałowskiego, “Ruch Muzyczny” 1948 No. 19; W. Malinowski Technika orkiestrowa a forma w Uwerturze Szałowskiego, “Muzyka” 1958 No. 1/2; Z. Mycielski Antoni Szałowski, “Ruch Muzyczny” 1973 No. 10; B. Maciejewski Antoni Szałowski, in: Twelve Polish Composers, London 1976; E. Szczurko Problem formy w Uwerturze Antoniego Szałowskiego w kontekście założeń neoklasycznych, Forma sonatowa w wybranych utworach Antoniego Szałowskiego and Właściwości tonalnoharmoniczne utworów solowych Antoniego Szałowskiego, «Zeszyt Naukowy Akademii Muzycznej w Bydgoszczy» No. 10, 1998, No. 12, 1999 and No. 13, 2000; E. Szczurko Sérénité w twórczości Antoniego Szałowskiego and Problem organizacji czasu i ruchu w muzyce Antoniego Szałowskiego, in: Język –system – styl – forma w muzyce, ed. B. Mielcarek-Krzyżanowska, V. Przech, Bydgoszcz 2003; E. Szczurko, Twórczość Antoniego Szałowskiego a norma szkoły kompozytorskiej Nadii Boulanger, in: Dzieło muzyczne, jego estetyka, struktura i recepcja, ed. A. Nowak, Bydgoszcz 2005; E. Szczurko, Symbolika baletu „Zaczarowana oberża” Antoniego Szałowskiego, in: Karol Szymanowski w perspektywie kultury muzycznej przeszłości i współczesności, ed. Z. Skowron, Kraków–Warsaw 2007; E. Szczurko, „Wskrzeszenie Łazarza. Hommage à Giotto” Antoniego Szałowskiego. Obraz symfoniczny wobec obrazu malarskiego, in: Dzieło muzyczne jako fenomen dźwiękowy, ed. A. Nowak, Bydgoszcz 2007; E. Szczurko, Pieśni bawarskiego rękopisu „Carmina Burana” w kantatach Carla Orffa i Antoniego Szałowskiego, in: Dzieło muzyczne i jego rezonans, ed. A. Nowak, Bydgoszcz 2008; E. Szczurko, Twórczość Antoniego Szałowskiego w kontekście muzyki XX wieku, Bydgoszcz 2008; E. Szczurko, The Raising of Lazarus by Antoni Szałowski. Hommage à Giotto – Symphonic Image in the Face of Pictorial Image, in: Dni Tadeáša Salvu, Banská Bystrica 2010; E. Szczurko, Antoni Szałowski – the Essence of His Creativity, “Musicology Today”, Émigré Composers, vol. 8, ed. S. Żerańska-Kominek, Warsaw 2011; E. Szczurko, Symbolic Media in the Ballet „The Enchanted INN” by Antoni Szałowski, in: Dzieło muzyczne jako znak, ed. A. Nowak, Bydgoszcz 2012; E. Szczurko, Antoni Szałowski. Person and Work (Ars Musica. Interdisziplinäre Studien, Vol. 4), Frankfurt am Main 2013; K. Gołaszewska, Nurt neoklasyczny w twórczości fletowej kompozytorów polskich na przykładzie wybranych utworów Aleksandra Tansmana, Antoniego Szałowskiego, Tadeusza Szeligowskiego i Wojciecha Kilara, Lublin 2013; E. Szczurko, Twórczość Antoniego Szałowskiego w polskim piśmiennictwie muzycznym, in: Twórcy – źródła – archiwa, in the series: Muzyka polska za granicą, vol. 1, ed. B. Bolesławska-Lewandowska, J. Guzy-Pasiak, Warsaw 2017; E. Szczurko, Działalność kompozytorska i organizacyjna Antoniego Szałowskiego w Paryżu w latach 1931–1939, in: Muzyka polska za granicą. Między Warszawą a Paryżem (1918–1939), vol. 2, ed. B. Bolesławska-Lewandowska, J. Guzy-Pasiak, Warsaw 2019; B. Bolesławska-Lewandowska, Przemilczana twórczość [Z. Mycielski, R. Palester, K. Régamey, A. Szałowski], “Ruch Muzyczny” 2017 No. 4, pp. 8–15.
Instrumental:
Mazurka for chamber orchestra, 1926, performed in Polish Radio Warsaw 1931 (lost)
Trio for violin, cello and piano, 1926 (lost)
String Quartet No. 1, 1928, performed in Warsaw 1929 (withdrawn)
Mazurka for piano, 1928, performed in Warsaw 1928 or 1929 (?), published in Warsaw 1995 Polish National Library
Prélude for violin and piano, 1928, in a version for cello and piano, performed in Warsaw 1928, in a new version Paris 1932, published in Paris 1932 Max Eschig
Symphonic Variations, 1928, performed in Warsaw Philharmonic 1929 (withdrawn)
Capriccio for orchestra, 1929, performed in Warsaw Philharmonic 1930 (withdrawn)
Piano Concerto, 1930, performed in Warsaw Philharmonic 1930 (withdrawn)
Suite for violin and piano, 1931, performed in Paris 1932, published in Paris 1933 Max Eschig
Sonata for piano, 1932 (withdrawn)
Sonatina No. 1 for piano, 1933, performed in Paris 1935, published in London no year Augener
Partita for cello solo, 1933, performed in Paris 1935, published in Paris 1935 Max Eschig
String Quartet No. 2, 1934, performed in Paris 1935 (withdrawn)
Andante for piano, 1934, performed in Paris 1935, published in Paris 1936 Max Eschig
Melodia for piano, 1935, published in Paris 1936 Max Eschig
String Quartet No. 3, 1936, performed in Paris 1937, published in Kraków 1947 PWM
Aria and Burlesque for cello and piano, 1936, performed in Paris 1936, published in Paris 1969 Rideau Rouge, Kraków 1980 PWM
Little Humoresque for piano, 1936, performed in Paris 1936, published in London 1936 Augener
Perpetuum mobile for piano, 1936, published in London 1948 Augener
Sonatina for clarinet and piano, 1936, performed in Paris 1937, published in New York 1948 Omega Music Edition
Trio for oboe, clarinet and bassoon, 1936, performed in Warsaw 1937, published in London 1943 Chester
Overture for orchestra, 1936, performed in Polish Radio Warsaw 1936, published in Warsaw 1939 TWMP, Kraków 1947 PWM
Duo for flute and clarinet, 1939, performed in Polish Radio Warsaw 1939, published in New York 1948 Omega Music Corporation
Symphony, 1939, performed in Polish Radio Katowice 1950
Sinfonietta, 1940, performed in Angers 1940, published in London no year Chester
Duo for violin and cello, 1941 (withdrawn)
Partita for orchestra, 1942 (withdrawn)
Concertino for string orchestra, 1942, 2nd version 1948, performed in London 1948, published in London no year Chester
Three Pieces for fisharmonia, 1943, manuscript (withdrawn)
Sonatina for oboe and piano, 1946, performed in Paris 1946, published in Paris 1948 Amphion
Zaczarowana oberża [The Enchanted Inn], concert version of the ballet, 1947, performed in Frankfurt am Main 1951
Four Pastorales for flute and string trio, 1948, performed in Paris 1949
Divertissements de ballet for orchestra, 1950 (withdrawn)
Study for piano, 1950, performed in Paris 1951, published in London no year Augener
Triptych for orchestra, 1950, performed in RTF Paris 1951, published in Editions Françaises de Musique in Paris 1953
Concertino for flute and string orchestra, 1951, performed in London 1951, published in Paris 1951 Amphion
Works for Children for piano and for violin and piano, 1951, published in Paris 1951 Editions Pierre Noel
Suite for orchestra, 1952, performed in Brussels 1953
Suite for harpsichord, 1953, published in London no year Augener
Violin Concerto, 1954, performed in RTF Paris 1956, published in Kraków 1977 PWM
Quintet for flute, oboe, clarinet, horn and bassoon, 1954, performed in Paris 1957, published in New York 1956 Omega Music Corporation
Partita for string orchestra, 1954, performed in RTF Paris 1957, published in Editions Françaises de Musique in Paris 1964
Divertimento for oboe, clarinet and bassoon, 1955, published in London 1956 Chester
Radio-musique for orchestra, 1955, published by Editions Françaises de Musique in Paris 1955
String Quartet No. 4, 1956 (lost)
Sonatina No. 2 for piano, 1957
Aria and Toccata for string orchestra, 1957, performed in Paris 1960, published by Editions Françaises de Musique in Paris 1958
Dance for orchestra, 1957, published by Editions Françaises de Musique in Paris no year
Bagatelle for orchestra, 1958, published by Editions Françaises de Musique in Paris 1958
Concerto for oboe, clarinet and bassoon, 1958, performed in Paris 1962, published in Paris 1959 Editions Françaises de Musique
Moto perpetuo for orchestra, 1958, published by Editions Françaises de Musique in Paris 1958
Mazurka for orchestra, 1959, published by Editions Françaises de Musique in Paris 1959
Little Caprice for orchestra, 1959, published by Editions Françaises de Musique in Paris 1959
Wskrzeszenie Łazarza/Résurrection de Lazare. Hommage à Giotto, symphonic image, 1960, published by Editions Françaises de Musique in Paris 1960
4 Indicatifs for chamber orchestra, 1960
Intermezzo for orchestra, 1961, published by Editions Françaises de Musique in Paris 1961
Allegretto for bassoon and piano, 2nd version with orchestra1962, performed in RTF Paris 1963, published in Paris 1964 Editions Françaises de Musique
Berceuse pour Clémentine for orchestra, 1964, published by Editions Françaises de Musique in Paris 1964
Two Pieces for the ondes Martenot, 1968 (sketches)
Music for Strings, 1970, performed in 1973, published by Editions Françaises de Musique in Paris no year
Six Sketches for chamber orchestra, 1972, performed in Poznań 1976, published by Editions Françaises de Musique in Paris 1972
Vocal-instrumental:
Two Songs for voice and orchestra, words by K. Przerwa-Tetmajer, 1927 (withdrawn)
Sonnet for soprano and chamber orchestra, 1931, performed in Paris 1931 (lost)
Three Songs for Zygmunt [Mycielski] for voice and piano, 1935, manuscript without a text
Three Folk Songs for voice and piano, 1942, published in Kraków 1950 PWM
Two Folk Songs for soprano and piano, 1950
Folk Song for voice and piano, 1956
Cantata for female voices and string orchestra, words from medieval text in Latin, 1960, performed in Paris 1967, published in Paris 1961 Editions Françaises de Musique
Pater noster for voice and organ, 1967 (?), sketches
Scenic:
Zaczarowana oberża/L’auberge ensorcelée/The Enchanted Inn, ballet, libretto W. Conti, 1945, staged in the National Opera in Warsaw 1962, choreography W. Gruca
Music for radio plays:
Améthyste ou les brebis de son pâturage by C. Hulewicz, for harpsichord, 1953, performed in Paris 1953, published by Editions Françaises de Musique in Paris
L’autre by J. Morawska, for chamber orchestra and choir, 1954, performed in Paris 1954, published by Editions Françaises de Musique in Paris
La femme têtue, radio balet for 15 instruments and reciter, text by J. Lescure, 1958, published by Editions Françaises de Musique in Paris
Le merveilleux voyage de Suzanne Michel for orchestra, choir and soloists, text and director J. Pivin, 1962, performed in Paris 1963, published by Editions Françaises de Musique in Paris1964
