Szymanowski, Karol (EN)

Szymanowski, Korwin, Karol Maciej, *3 October (21 September) 1882 Tymoshivka (Ukraine, former Kiev Governorate, Chyhyryn County), †29 III 1937 Lausanne, Polish composer. He came from a noble family that had settled in Ukraine in the 18^th century. His father, Stanisław Bonawentura Marian (1842–1905), was the owner of the estate of Orłowa Bałka (former Kherson Governorate), and he inherited the village of Tymoshivka from his father, Feliks (†1889), becoming one of its four owners. The family of his mother, Dominika Teodora Anna Taube (1853–1943), had come from Courland but lived in Ukraine since the 19^th century. Szymanowski grew up in an environment of extremely high intellectual and artistic culture, cultivating Polish patriotic traditions, and at the same time open to new phenomena in the field of science and art. His father played the piano and cello and was interested in mathematics and astronomy as much as literature. Szymanowski’s siblings also showed artistic talents: Anna called Nula (1875–1951) painted, Feliks (1879–1934) was a talented pianist, Stanisława became a famous singer, and the youngest, Zofia (1893–1946, marital surname: Grzybowska), author of a book about her family Tymoshivka (Story about Our House [Opowieść o naszym domu]), wrote poems and translated the texts of her brother’s songs into French. The development of Szymanowski’s compositional talent and humanistic interests was strongly influenced by early contacts with the Blumenfeld and Neuhaus families; like his siblings, he studied at the music school of G. Neuhaus and his wife Olga, F. Blumenfeld’s sister. He began composing around 1896, but his youthful works (songs, operas Złocisty szczyt and Roland) have not survived. After studying with Z. Noskowski, he made his debut as a composer at concerts of the Publishing Company of Young Polish Composers in Warsaw and Berlin. He was quickly recognised as the most talented among young artists, following his own path and searching for his own style.

Szymanowski’s aesthetics was shaped by modernist ideas at the turn of the 19^th and 20^th centuries. His style was subject to changes but always remained in interaction with contemporary trends in European music. The composer advocated innovative concepts in art, but they were adopted deliberately and transformed following his own creative imagination and system of values. He was open to inspirations from the past and the present; sought connections with the cultures of Islam and ancient Greece, Rome and Byzantium; he identified with both the Polish traditions of high culture and the folk music of the Podhale region.

The range of instrumental and vocal-instrumental musical genres and forms practised by Szymanowski is extremely wide, including operas and ballets, symphonies and concertos for a solo instrument with orchestra, string quartets and works for violin and piano, cantata forms for solo voices, choir and orchestra and a cappella choral songs; the section of piano music and songs for voice and piano is particularly richly represented. Although he composed one operetta and composed popular soldiers’ songs, he definitely avoided forms of applied and pedagogical music. He treated music – that created sub specie aeternitatis – as a phenomenon that went beyond everyday life, as a ceremonial containing a sacred element. Szymanowski was extremely susceptible to suggestions coming from poetry, literature, philosophy, and works of fine art, which animated his sonic imagination; he often combined music with words and stage action, or through titles or a hidden extra-musical program, he crossed the boundaries of his own, autonomously understood art, searching for sound, representation of emotional states, images and moods.

Szymanowski’s talent was most fully expressed in the field of music, but the artist also tried his hand at poetry and literature, writing poems, short stories and novels; in fact, he did not intend them for printing; by doing so, he wanted to verbalise his attitude towards life, art, love and religion. His press polemics and journalistic works date back to the 1920s and are an attempt to define the position towards the music of the past and the present, towards the tasks of Polish music and the issues of its role in society.

As a person, Szymanowski fit perfectly into the archetype of a modernist artist – a spiritual aristocrat, a bit of a dandy, rising above his surroundings and being aware of his separateness. His homosexual orientation and later development of the disease also contributed to this image. However, he was not the loner type. Refined, with impeccable manners and great personal charm, baronial, he liked company, alcohol, fun, but also travel, intellectual disputes, and museums; he experienced the charms of landscapes as strongly as the beauty of works of art. He combined cosmopolitanism with patriotism. He did not start a family, but he was always devoted to his relatives and friends, whom he often supported financially.

The breakthrough significance of Szymanowski’s work in 20th-century Polish music lies in the combination of native traditions with European universalism. His intentions are best evidenced by the note left in the notebook about national art: “The essential value of a great work of art lies where in its creator an ethnic man, a Frenchman, an Englishman or a Pole ends and a lonely man, standing face to face with life as a metaphysical issue begins” [„Istotna wartość wielkiego dzieła sztuki znajduje się tam, gdzie w jego twórcy kończy się człowiek etniczny, Francuz, Anglik czy Polak, a zaczyna się człowiek Samotny, stający oko w oko wobec życia jako zagadnienia metafizycznego”]. The awareness of the enormous cultural background and the entire heritage of the European past has remained the permanent basis of Polish music since his time.

Chronicle of life and work

Tymoshivka – Elysavet (1882–1901)

1882      

3 October (21 September) — Karol Maciej Szymanowski was born in Tymoshivka, son of Stanisław Bonawentur Marian Szymanowski and Dominika Teodora Anna nee Taube

2 November (21 October) —Szymanowski’s baptism in the Roman Catholic church in Smila

circa 1889            

Szymanowski starts learning to play the piano, primarily with his father, later in Elysavet in Olga and Gustaw Neuhas’s music school

1894      

September — beginning of education at the Real School of the Land Self-Government in Elysavet as an external student

1895      

June — a trip to Geneva with his father; they watch R. Wagner’s Lohengrin in Vienna on their way back home

1896–1901

the first compositions are written by Szymanowski: piano pieces, including preludes (9 published in print in 1906 as op. 1)

1901

June — obtaining a secondary school leaving certificate after completing the 7^th grade of the Real School of the Land Self-Government in Elysavet

Studies in Warsaw. The beginnings of his compositional activity (1901–1905)

1901–05

autumn — Szymanowski’s arrival in Warsaw to study music; he takes private lessons in harmony with M. Zawirski and counterpoint and composition with Z. Noskowski

16 February — distinction at the Konstanty Lubomirski composition competition in Warsaw for six preludes (Nos 1, 3, 5, 7, 9 from the later collection of Preludes, Op. 1 and Prelude in C-sharp minor not included in this collection)

August — a trip with H. Neuhaus and F. Blumenfeld to Germany; in Bayreuth, they watch R. Wagner’s Tristan und Isolde and The Master-Singers of Nuremberg. They visit Cologne and Munich

August — a stay in Zakopane with B. Gromadzki and S.I. Witkiewicz; first meeting with A. Rubinstein

10 December–January — a stay in Zakopane, Szymanowski plays for charity – on 31 December for the Public Library, in January for „Pomoc Bratnia”

Around March/April — one-month stay with S.I. Witkiewicz in Italy

June — G. Fitelberg, L. Różycki and A. Szeluto, staying in Berlin, establish the Spółka Nakładowa Młodych Kompozytorów Polskich [Publishing Company of Young Polish Composers] with the financial support of Fr. W. Lubomirski; Szymanowski joins them a little later

summer — a concert in Stamary hotel in Zakopane, the programme includes works by L. Różycki, G. Fitelberg, A. Szeluta and Szymanowski – for the first time with the name Spółka Nakładowa Młodych Kompozytorów Polskich

12 October (29 September) — death of his father, funeral on 17 October (4 October) in Elysavet

8 November — the Lviv “Przegląd Muzyczny, Teatralny i Artystyczny” announces the official establishment of the Spółka Nakładowa Młodych Kompozytorów Polskich. This association aims to publish works by young Polish artists in Berlin and to organise concerts of new Polish music – including Variations in B-flat minor Op. 3, Four Etudes Op. 4, Three fragments from poems by Jan Kasprowicz Op. 5, Piano Sonata No. 1 in C minor Op. 8, Sonata in D minor Op. 9 for violin and piano, Swan Op. 7 to words by W. Berent, Variations on a Polish folk theme, B minor Op. 10, Concert Overture Op. 12, Fantasy in C major Op. 14

Concerts in Warsaw and Berlin – Young Poland in music (1906–1910)

1906

January — Szymanowski meets G. Fitelberg in Berlin

6 February — the first concert of young Polish composers at the Warsaw Philharmonic; in the programme, among others: Concert Overture Op. 12, Variations on a Polish folk theme Op. 10 and Etude in B-flat minor Op. 4 no. 3 by Szymanowski, also works by G. Fitelberg, L. Różycki, A. Szeluta and W. Lubomirski. H. Neuhaus plays the piano and G. Fitelberg conducts

9 February — repetition of the concert (additionally Neuhaus performs Szymanowski’s Fantasy in C major Op. 14)

30 March — the first concert of young Polish composers in Berlin. The programme included Concert Overture Op. 12 by Szymanowski and pieces by G. Fitelberg, L. Różycki and W. Lubomirski; orchestra Berliner Philharmoniker is conducted by G. Fitelberg

25 VI — Szymanowski comes back to do Tymoshivka. In the summer and autumn, he composes the 1^st part and the finale of Symphony No. 1 in F minor

1907

21 March — the second concert of Polish composers in Berlin conducted by G. Fitelberg. In the programme: Eternal Songs by M. Karłowicz, symphonic poem Pan Twardowski and Ballad Op. 18 by L. Różycki, The Song of the Falcon by G. Fitelberg, preludes and Etude in B-flat minor Op. 4 no. 3 by Szymanowski (N. Neuhaus plays the piano)

19 April — the concert of Polish composers at the Warsaw Philharmonic conducted by G. Fitelberg. The programme includes: Overture Op. 12 and Piano Sonata No. 1 in C minor Op. 8 by Szymanowski (N. Neuhaus plays the piano) and pieces by L. Różycki, G. Fitelberg and W. Lubomirski

22 April — “Kurier Warszawski” (no. 110) publishes a critical review by A. Poliński, Young Poland in Music, accusing young composers of lacking “individual and national originality” and promoting the idea of “musical Bundists”

29 April — “Kurier Warszawski” (no. 117) publishes the protest of Szymanowski and G. Fitelberg against the allegations in the above review and the response of A. Poliński

6 December — Szymanowski’s trip abroad with his brother Feliks, through Odesa to Lviv, where they stay until 6 January 1908

1908      

January — continuation of the journey: from Lviv through Krakow and Vienna to Italy

February–March — a stay in Nervi near Genoa together with his brother and the Neuhaus siblings

20 March — the first performance of Pentezilei op. 18 Sz. at an evening in honour of S. Wyspiański in Lviv (singing S. Szymanowska); the composer was absent

24 May — “Protest 28” against the director of the Warsaw Philharmonic, A. Rajchman, published in “Goniec Poranny” (no. 239) and “Nowa Gazeta” (no. 239) – signed, among others, by G. Fitelberg, M. Karłowicz, P. Kochański, H. Melcer-Szczawiński, H. Opieński, A. Rubinstein, Szymanowski, F. Szopski (on 18 September, Rajchman stepped down from the position of director)

November–December — a stay in Warsaw; musical and friendly contacts with S. Spiess, the Wertheim family and P. Kochański

1909      

25 January — Szymanowski with G. Fitelberg and H. Neuhaus at the world premiere of Elektra by R. Strauss in Dresden

26 March — premiere of Symphony No. 1 in F minor Op. 15 at the Warsaw Philharmonic conducted by G. Fitelberg

3 April — premiere of Sonata in D minor Op. 9 performed by P. Kochański (violin) and A. Rubinstein (piano) at the Warsaw Philharmonic

June — probably a stay in Italy with S. Spiess

July — the wedding of Stanisława Szymanowska with Stefan Bartoszewicz
July–October — in Tymoshivka – work on the Symphony No. 2, which began in April

December — Prelude and Fugue in C-sharp minor by Szymanowski win one of the 10 prizes in the competition for a piano piece, announced in Berlin by the editors of the magazine “Signale für diemusikalische Welt”

1910      

May — a stay in Italy with S. Spiess, on his way back to Tymoshivka, Szymanowski visits Vienna, Lviv, Krakow and Warsaw

13 August–September — a stay in Majorenhofie in Latvia, during which Szymanowski visits Emil and Anna Młynarski in their estate in Iłgów and Teresa and Tomasz Zanów in Gierkany near Dukszty (in Lithuania)

24 October — awarding Szymanowski the 1^st prize for the Piano Sonata No. 1 at the competition in Lviv on the occasion of the 100^th anniversary of F. Chopin’s birth

Vienna Period – travelling (1911–1914)

1911      

January — Szymanowski is a member of the committee of the monthly “Sztuka;” his song to the words of T. Miciński Święty Franciszek mówi is included in the first issue (op. 20 no. 2)

7 April — premiere of Symphony No. 2 Op. 19 at the Warsaw Philharmonic conducted by G. Fitelberg

end of April — trip to Italy and stay in Sicily: Palermo, Agrigento, Syracuse, Taormina; return via Naples, Rome, Florence, Venice, Vienna

2^nd half of May — a stay in Vienna, meeting with G. Fitelberg

20 May — Szymanowski present at the premiere of Pelléas and Mélisande by C. Debussy in Vienna, he also watches operas by R. Strauss: The Knight of the Rose and Elektra

August–September — he finished Piano Sonata No. 2 Op. 21 and The Love Songs of Hafiz Op. 24 for voice and piano in Tymoshivka. Lively contacts with Natalia Davydova, to whom he dedicated Sonata No. 2

end of October — a stay in Vienna with G. Fitelberg

20 November— departure from Vienna via Prague to Berlin

1 December — performance of Symphony No. 2 Op. 19 at the Berlin Philharmonic conducted by Fitelberg and the first performance of Piano Sonata No. 2 Op. 21 (piano A. Rubinstein)

1912      

18 January — Szymanowski’s compositional debut in Vienna – performance of Symphony No.2 Op. 19 and Piano Sonata No. 2 Op. 21 at the Musikverein Hall (conductor G. Fitelberg, piano A. Rubinstein)

28 January — in the Bösendorfer Hall in Vienna, a reading by R. Dehmel, combined with recitations of his poetry and the performance of songs to his texts by, among others, Szymanowski (from Op. 13 or 17), C. Ansorge, M. Reger, A. Schoenberg, O. Vrieslander. Singing by Thea von Marmont, accompaniment by A. Neumann

January–February — repetitions of the above program in various German cities

27 February — Szymanowski’s composer’s concert in the Beethoven Hall in Vienna. The programme includes selected songs from Op. 24, 13, 17, and Swan Op. 7, Piano Sonata No. 2, Variations in B minor Op. 10, Fugue in C-sharp minor, several preludes and etudes (singing by S. Szymanowska, piano by A. Rubinstein)

25 March — Szymanowski’s composer’s concert in Lviv, the programme includes: Piano Sonata No. 2, Variations in B minor Op. 10, Prelude and Fugue in C-sharp minor, selected preludes from Op. 1, etudes from Op. 4 and songs from Op. 2, 7, 11, 13, 22 and 24 (singing S. Szymanowska, piano Szymanowski)

31 March — Szymanowski wins a 10-year contract with Universal Edition in Vienna

26 April — Szymanowski’s composer’s concert at the Festival of Polish Music in Krakow with the participation of S. Szymanowska and Wiener Konzertverein orchestra conducted by G. Fitelberg. The programme includes Overture Op. 12, Symphony No. 2 Op. 19 and selected songs for voice and piano

July–November — a stay in Tymoshivka, among others, work on opera Hagith

end of November — Szymanowski and Fitelberg rent a flat in Vienna at Alleegasse 4/6 (now Argentinierstrasse, on the front wall of the building there is a plaque commemorating the composer’s stay)

1913      

10 January, 15 January — Szymanowski present in Vienna at the performance of Afternoon of a Faun by C. Debussy and Petrushka by I. Strawiński (15 January), performed by S. Diaghilev’s ensemble

13 March — performance of Concert Overture Op. 12 in a new arrangement –Wiener Tonkünstlerverein orchestra conducted by O. Nedbal

14 March — an interview with Szymanowski published in “Neues Wiener Tageblatt”

14 April — Szymanowski’s composer’s concert in Wiener Tonkünstlerverein, the programme includes Fantasia Op. 14 for piano, Piano Sonata No. 2 Op. 21, Sonata in D minor Op. 9 for violin and piano, Romance Op. 23 for violin and piano, Bunte Lieder op. 22; performers: H. Neuhaus (piano), N. Duesberg (violin), O. Liebstöckl (singing)

May/June — Szymanowski and Fitelberg move out of the apartment on Alleegasse due to financial problems

5 June — Szymanowski leaves to Tymoshivka

October — completion of the opera Hagith Op. 25

1914      

January–February — a stay in Zakopane in Nosal guesthouse at Maria Witkiewicz

the end of March–April — a trip to Italy and northern Africa with S. Spiess. They visit Sicily, Algiers, Biskra, Tunis, on 22 April, they come back to Italy

the beginning of May — a stay in Rome and Szymanowski’s trip to Paris at the invitation of the composer Ch. Cuvillier

28 May–27 July — Szymanowski’s stay in London; meetings with Rubinstein and Kochański. Probably in the house of the singer P. Draper, Szymanowski meets Stravinsky. London performances of Szymanowski’s works. As a result of the tense international situation after the murder of the Austrian heir to the throne in Sarajevo, Szymanowski gives up his planned trip to Switzerland to I.J. Paderewski and returns via Berlin to Warsaw, and from there via Kyiv to Tymoshivka by the “last normal train”

August — The Love Songs of Hafiz Op. 26 for voice and orchestra are written in Tymoshivka

December — the Szymanowski family lives in Kyiv at ul. Lewaszowska in Lipki

Years of war and revolution (1915–1919). New creative ideas

1915      

January–February — a stay in Kyiv

March — Szymanowski with Zofia and Paweł Kochański are guests at J. Jaroszyński’s estate in Zarudzie; he composes The Fountain of Arethusa (Mithes Op. 30 no. 1)

18 (5) April — in the Merchant’s Club Hall in Kyiv, Kochański and the composer at the piano perform, among others, Szymanowski’s works: Sonata in D minor Op. 9, Romance Op. 23 and Fountain of Arethusa

the end of May–June — another stay in Zarudzie together with Kochański; Szymanowski completes Mithes Op. 30 (Narcissus and Dryads and Pan); Nocturne and Tarantella is written Op. 28

summer, autumn — in Tymoshivka, Szymanowski completes Métopes Op. 29, Songs of a Fairy-Tale Princess Op. 31, 3 Songs Op. 32 to words by D. Davydov and 2 parts of Masques Op. 34: Tantris the Fool and The Serenade of Don Juan

1916

24 (11) February — an evening of 20^th-century Polish songs at the Polish Theater in Kyiv, one of the three parts of the programme is devoted to Szymanowski’s songs; the piano part is performed by the composer

​the end of March–April — stay in Petrograd (St. Petersburg) with the Kochański family. Szymanowski meets many outstanding musicians, including S. Prokofiev. At a musical evening at P. Suwczyński’s, H. Neuhaus and P. Kochański perform Szymanowski’s works (including Mithes Op. 30 and two pieces from the cycle Masques Op. 34)

17 (3) May–the beginning of June — a stay in Moscow

around 10 June–autumn — in Tymoshivka: completion of Symphony No. 3 “Song of the Night” Op. 27 and Masques Op. 34 (Szeherezada); String Concerto No. 1 op. 35 and Twelve Etudes for piano (Op. 33) are written

25 (12) October— in Petrograd, A. Dubiański performs Piano Sonata No. 2 Op. 21 and Masques Op. 34 at a recital (Szymanowski was absent)

the end of November–December — a stay in Moscow with S. Spiess and in Petrograd with the Kochański family. Szymanowski watches a tragedy by I. Annienski Famira Kifaried

1917

the beginning of January — in Petrograd, Szymanowski is waiting for the rehearsals to begin, because A. Siloti intends to perform Symphony No. 3 (however, it was not performed)

until 15 January — a stay in Moscow

2nd half of January–June — a stay in Kyiv, in winter, Szymanowski suffers from scarlet fever

July–half of October — in Tymoshivka, he completes: Piano Sonata No. 3 Op. 36, orchestral sketches of cantatas Demeter (Op. 37 bis) and Agawe (op. 38), String Quartet No. 1 Op. 37; he starts working on Efebos

around the half of October X — the Szymanowski family move to Elysavet due to the uncertain political situation

November — the Ukrainian Central Council announces a declaration of independence

1918

February–March — Ukrainian Central Council concludes peace with Germany, Hetman P. Skoropadskyi takes power; until November, when Bolshevik rule came, there was relative peace, which allowed Szymanowski to engage in creative work

8 May (25 June) —Szymanowski;s concert in the hall of the District Court in Elysavet, the first performance of two of Paganini’s newly composed Caprices Op. 40 (violin by W. Goldfeld, composer at the piano)

May–June — Four Songs Op. 41 to words by Rabindranath Tagore are written

summer — first ideas for the libretto of the opera King Roger, developed together with J. Iwaszkiewicz

September — a stay in Odesa at the Davydov family

27 October — Szymanowski sends to Iwaszkiewicz to Warsaw a draft of the libretto of the “Sicilian drama” (King Roger)

autumn — Songs of the Infatuated Muezzin Op. 42 to words by J. Iwaszkiewicz is written

February–March — after the occupation of Kyiv and Elysavet by the Red Army and the proclamation of the Ukrainian SSR (10 March), Szymanowski and H. Neuhaus, commissioned by the new authorities, start working in the People’s Commissariat of Education in the department of cultural dissemination. They organise concerts and meetings. During this time, Szymanowski meets a young poet, Borys Kochno

31 August — the “white” Volunteer Army of General A. Denikin occupies Kyiv, there is a civil war in Ukraine

December — Szymanowski, together with A. Taub, his mother Anna and sister Janina, travels through Odessa and Romania to Warsaw, where they arrive on 24 December (his brother Feliks arrived a few months earlier, S. Szymanowska and her family are also there). Anna Szymanowska with her daughter Nula and Zofia Szymanowska with her husband land in Lviv in February 1920

In the reborn Poland – world-class performances of works (1920–1926)

1920      

24 January — the first Szymanowski’s concert after war in Warsaw at the conservatory hall; Stanisława, Karol and Feliks Szymanowki as well as P. Kochański are performing. The programme includes 3 Caprices de Paganini, Mithes, Nocturne and Tarantella, selected songs from Op. 13, 22, 24, 31 and 42

14 and 17 March — composer’s concerts in Krakow and Lviv (performers: S. Szymanowska, Kochański, Szymanowski)

April — a commission from the Polish Theater in Warsaw to write the ballet Mandragora according to the script by L. Schiller and R. Bolesławski as the ending of Molière’s comedy The Bourgeoisie Gentleman

8 June — J. Iwaszkiewicz finishes libretto to King Roger

15 June — premiere of Mandragora in the Polish Theater in Warsaw

July — Szymanowski publishes his first article Uwagi w sprawie współczesnej opinii muzycznej w Polsce in „Nowy Przegląd Literatury i Sztuki”

9 August — Szymanowski joins the Centralny Komitet Propagandy Związków Artystycznych [Central Propaganda Committee of Artistic Unions], which organises cultural events for soldiers fighting against Russia. Soldier songs are written

18 October — a trip with J. Effenberg-Śliwiński as a delegate of the Biuro Propagandy Zagranicznej [Foreign Propaganda Office] to Vienna, Paris and London (arrival in London at the beginning of November)

9 November — at the concert at Wigmore Hall in London Kochański performs, among others, Mithes Op. 30 and Nocturne and Tarantella Op. 28 (composer plays the piano part)

1920–21  — sketches of the score of King Roger are created

1921      

15 January — after officially resigning from the governmental mission abroad, Szymanowski, together with Rubinstein and the Kochański family, sails from Liverpool to the United States on the Carmania ship

24 January — arrival in New York

26 February — trip with Rubinstein to Florida and Cuba (return on 14 March)

9 March — at a recital at Aeolian Hall in New York, Kochański performs, among others, Szymanowski’s Nocturne (without Tarantella), enthusiastically received by the audience

March–April — contacts with the New York music world. Szymanowski meets, among others, Dorothy Jordan Robinson, Lord Alington (to whom he dedicated Songs of the Infatuated Muezzin Op. 42); he meets with I.J. Paderewski and S. Rachmaninoff. Szymanowski’s literary attempts are created: Opowieść o włóczędze-kuglarzu i o siedmiu gwiazdach oraz Tomek czyli przygody młodego Polaka na lądach i morzach. Powieść fantastyczna [The Tale of a Wanderer and the Conjurer and the Seven Stars, and Tomek, or the Adventures of a Young Pole on Land and Sea. A fantastic novel]

28 April — Szymanowski arrives in Le Havre on the ship France with the Kochański family and Rubinstein

May — a stay in Paris. Meeting with Stravinsky and Diaghilev. Szymanowski is present at performances of Stravinsky’s ballets (Petrushka, Pulcinella, The Rite of Spring)

2 June — performance of 4 Songs Op. 41 to words by Rabindranath Tagore (singing M. Freund) at the concert Société de Musique Independente (in the programme also pieces by B. Bartók, A. Berg, K.Sh. Sorabji, I. Stravinsky, A. Honegger and others)

around 5 June — return to Warsaw. Szymanowski rents an apartment in Bydgoszcz, where S. Szymanowska and her husband and mother Anna Szymanowska settled.

11 June — A. Rubinstein performs, among others, Masques Op. 34 at a recital al Wigmore Hall in London

summer — the cycle of songs Słopiewnie Op. 46 bis to words by J. Tuwim is created

September — second trip to the United States via France and England; 27 September Szymanowski sets sail from Liverpool to New York

24 October — London premiere of Symphony No. 3 conducted by A. Coates (without solo voice and choir, replaced by cello and organ)

12 November — Kochański performs two parts of Mithes at Carnegie Hall in New York

1922      

5 January Szymanowski receives an award at the MWRiOP competition in Warsaw for his String Quartet No. 1 Op. 37

17 January — premiere of the whole Songs of the Infatuated Muezzin and 2 songs from the cycle Słopiewnie at the concert in Lviv (singing S. Szymanowska, accompaniment E. Steinberger)

20 January — American premiere of Mandragora in Town Hall in New York performed by Ballet Intime in A. Bolm’s choreography; Little Symphony Orchestra conducted by G. Barrère

20 and 21 January — world premiere of the cycle Słopiewnie Op. 46 bis in Town Hall in New York by A. Miriam (soprano) and A. Tannera (piano)

— performance of Symphony No. 2 Op. 19 in Boston conducted by P. Monteux

March —Szymanowski’s return from America on the ship Olympic (18 March in Paris)

the end of March–1^st half of April — a stay in Paris, 8 April at the meeting at H. Prunières’s, Szymanowski meets Bartók, Ravel, and Stravinsky, he also acquaints with Helena Kahn-Casella (A. Casella’s ex-wife)

around 14 April — return to Warsaw

May — A. Tansman’s article on Szymanowski is published in „La Revue Musicale” (No. 7)

May — premiere of Hagith Op. 25 at the Grand Theatre in Warsaw, conducted by E. Młynarski and directed by A. Popławski (I. Dygas – Old King, S. Gruszczyński – Young King, M. Mokrzycka – Hagith)

May — departure to Paris

20 May — composer’s concert at the Vieux-Colombier theatre; in the programme: Songs of the Infatuated Muezzin, individual songs from Słopiewnie Op. 46 bis, Songs of a Fairy Tale Princess Op. 31 and Lullabies Op. 48, Roxana’s aria from King Roger (performed by S. Szymanowska), Mithes Op. 30, Nocturne and Tarantella Op. 28 (violin by P. Kochański) and the first performance of Twelve Etudes Op. 33 (piano R. Casadesus)

around the half of July —Szymanowski’s return to his country

19 August — a trip to Zakopane. Contacts with J. Zborowski (curator of the Tatra Museum), A. Chybiński, S. Mierczyński, S.I. Witkiewicz, H. and M. Rytard, A. Zamoyski,  K. and Z. Stryjeński and with the highlanders

12 September — another performance of Hagith Op. 25 at the Grand Theater in Warsaw with the vocal and ballet show The Love Songs of Hafiz, the orchestra is conducted by E. Młynarski

November — premiere of Violin Concerto No. 1 Op. 35 at the Warsaw Philharmonic conducted by E. Młynarski (violin by J. Ozimiński)

1922–23 

— Children’s Rhymes are written, Szymanowski’s polemics are published in the press (My splendid isolation and Opuszczę skalny mój szaniec) in response to the criticism of P. Rytel and S. Niewiadomski

1923      

12 April— Hagith staged at Hessisches Landestheater in Darmstadt (Szymanowski was absent); staging J. Schlembach, scenography T.E. Pilartz, conductor J. Rosenstock

June — concert of works by Szymanowski and M. de Falla at the Vieux-Colombier theatre in Paris

August–September — stay in the Vilnius region in Gierkany near Dukszty at T. Zan’s

11 December — concert of Szymanowski’s songs in Lviv; S. Szymanowska performs the entire Słopiewnie (for the first time in Poland) and 12 songs from the cycle Children’s Rhymes op. 49 (first performance), composer at the piano

1924      

7 March — premiere of String Quartet No. 1 Op. 37 in Warsaw by Kwartet Filharmonii Warszawskiej (J. Ozimiński, H. Gołębiowski, A. Kieć, Z. Butkiewicz)

11 April — first performance of Symphony No. 3 Op. 27 at the Warsaw Philharmonic (without the choir, which was replaced by an organ); tenor solo A. Dobosz, conductor G. Fitelberg

9 May — composer’s concert at the Warsaw Philharmonic (Violin Concerto No. 1 Op. 35 performed by J. Ozimiński, Symphony No. 3, orchestra fragments from 2^nd act of King Rogera), conductor G. Fitelberg

June — Szymanowski becomes the chairman of the newly constituted Polish section of SIMC

June — at the 2^nd SIMC Festival in Prague, A. Moodie performs Violin Concerto No. 1 conducted by G. Fitelberg

​June —Szymanowski’s trip to Paris

summer — another stay in Gierkany near Dukszty at T. Zan’s. Completion of the scores from King Rogera Op. 46 and Demeter Op. 37 bis

September — Szymanowski lives in Warsaw at ul. Nowy Świat 47 next to A. Iwański

November — the first performance of Violin Concerto No. 1 Op. 35 at Salle Gaveau in Paris by Hortense de Sampigny conducted by Ph. Gaubert

28 and 29 November — American premiere of Violin Concerto No. 1, P. Kochański play and L. Stokowski conducts

December —B. Krystall’s commission of a requiem in the memory of his late wife

1925      

January — plans of Chłopski requiem commissioned by Pr. de Polignac (unaccomplished)

23 January —Alina Bartoszewiczówna’s death, Szymanowski’s niece

30 April — awarding Szymanowski the Officer’s Cross of the Order of Polonia Restituta

11 June —P. Kochański’s performance of Violin Concerto No. 1 Op. 35 conducted by E. Młynarski at the opening of the Polish Music Festival in Paris

23 June — as part of the Polish Music Festival, a composer’s concert by Szymanowski in Salle Gaveau in Paris: Symphony No. 3 Op. 27, Violin Concerto No. 1 Op. 35, The Love Songs of Hafiz in ballet version, (violin: P. Kochański, tenor: G. Paulet, conductor: G. Fitelberg)

July–3 September — stay in Saint-Jean-de-Luz in the Pyrenees at the invitation of Dorothy Jordan Robinson; sketches of Stabat Mater are created

1926      

4–9 January — Szymanowski becomes a member of the jury of the 4^th SIMC Festival in Winterthur

20 January –2 March — works on a score 

19 June — premiere of King Rogera at the Grand Theater in Warsaw, conductor. E. Młynarski

the end of June–August — stay in Paris and in Saint-Jean-de-Luz together with the Kochański family

4 September — performance of Violin Concerto No. 1 Op. 35 in Vienna (violin B. Huberman, conductor G. Fitelberg) in the presence of the composer

12 November — performance of Symphony No. 3 Op. 27 and 3 songs from the cycle The Love Songs of Hafiz Op. 26 conducted by Fitelberg at the jubilee concert celebrating the 25^th anniversary of the Warsaw Philharmonic

19 November — performance of Symphony No. 3 Op. 27 in Philadelphia conducted by L. Stokowski

2nd half of November — J. Marx’s proposal for Szymanowski to take over the position of director of the conservatory in Cairo

December — first performance in Berlin of the Violin Concerto No. 1 Op. 35 (violin by B. Huberman, conductor by G. Fitelberg)

17 December — performance of Symphony No. 3 Op. 27 in New York conducted by W. Mengelberg

December — Szymanowski’s final negative response to the job offer in Cairo

Work at the Warsaw Conservatory (1927-1932)

1927      

22 February — Szymanowski receives a decree of appointment to the position of director of the Warsaw Conservatory

February — interview with Szymanowski in „Kurier Czerwony” (No. 44) Nowy duch w Konserwatorium Warszawskim. O celach uczelni i potrzebie poparcia młodej twórczości

February — awarding Szymanowski The Order of the Crown of Italy

1 March — Szymanowski takes up the duties of director of the Warsaw Conservatory

15–16 March — stay in Vilnius at the invitation of the music section of the Writers’ Trade Union; composer’s concert performed by I. Dubiska and Szymanowski

26–27 March — Szymanowski is part of the Polish delegation to the celebration of the 100^th anniversary of L. van Beethoven’s death in Vienna

28 April — performance of Symphony No. 3 Op. 27 at Salle Gaveau in Paris conducted by W. Straram

30 April — a trip to Prague for the Polish Music Festival

3 May — performance in Prague of Violin Concerto No. 1, Symphony No. 3 and String Quartet No. 1 (violin B. Huberman, singing S. Szymanowska, Czech Quartet, conductor G. Fitelberg)

16 June — awarding Szymanowski the title Commander of the Order of the Crown of Italy‎

29 November — sending the String Quartet No. 2 through the Kochański family to the Musical Fund Society chamber music competition in Philadelphia (it was not awarded); “Przegląd Współczesny” publishes serially the first monograph on Szymanowski by Z. Jachimecki

9–11 December — Szymanowski’s stay in Riga and Daugavpils; composer concerts with I. Dubiska

13 December — the Government of the Czechoslovak Republic approves of Szymanowski’s election as a member of the Česká Akademie Věd a Umění

1928      

10 January — anonymous article in “Głos Prawdy” (No. 10) Protekcjonizm w Konserwatorium pod ochroną Departamentu Sztuki, attacking Szymanowski’s reforms. At the same time in “Kurier Poranny” (No. 10) an article highly appreciating Szymanowski’s work

12 January —Szymanowski’s response in “Kurier Poranny” (No. 12) in the form of an intervire Walka starszych muzyków z młodszymi czy też młodej twórczości ze starą

3 February — composer’s concert in Lviv; orchestra of the Conservatory and City Theater in Lviv is conducted by A. Sołtys. They performed Concerto Overture Op. 12, three songs from The Love Songs of Hafiz Op. 26 for voice and orchestra (singing S. Szymanowska) and Symphony No. 3 Op. 27 (first time with a choir); the composer present at rehearsals and concert

26 February — concert of Polish music in Rome at Teatro Augusteo, performance of, among others, Symphony No. 3 Op. 27, conducted by G. Fitelberg, in the presence of the composer

29 February — chamber music concert in Rome in the Capizucchi hall (performers: S. Szymanowska, I. Dubiska, Szymanowski)

4 March — composer’s concert in Geneva in the conservatory hall (performers: S. Szymanowska, I. Dubiska, Szymanowski)

28 October — premiere of King Roger in Stadttheater in Duisburg in the presence of the composer; conductor P. Drach, and director A. Schum. During the performance, there were protests and demonstrations by members of the nationalist organization Stahlhelm

13 November — performance of Symphony No. 3 Op. 27 at the concert conducted by G. Fitelberg (in the cycle of his 9 concerts) at Teatro Colón in Buenos Aires

1 December — granting Szymanowski a sick leave by the MWRiOP until 31 January 31 1929, then extended until 15 February 1929

December — the beginning of the stay in Edle for treatment (until 15 February 1929)

1929      

11 January — premiere of Stabat Mater at the Warsaw Philharmonic conducted by G. Fitelberg (soloists: S. Szymanowska, H. Leska, E. Mossakowski). Szymanowski listens to the radio broadcast

15 February — awarding Szymanowski the MWRiOP music award for the Violin Concerto No. 1 Op. 35

7 March — Stabat Mater performed at the hall of the Poznań University, directed by W. Raczkowski, in the composer’s presence

8 March — concert performance of the 1st scene of the ballet Harnasie at the Warsaw Philharmonic conducted by G. Fitelberg

14 May — the first performance of String Quartet No. 2 Op. 56 in Warsaw by the Warsaw String Quartet (J. Kamiński, M. Tursch, A. Wiłkomirski, M. Neuteich)

29 May — composer’s concert in Poznań at the Polish Music Festival, organised on the occasion of the General National Exhibition (including the performance of the 1^st scene of the ballet Harnasie, Violin Concerto No. 1 and Stabat Mater, performers include: P. Kochański, S. Szymanowska, conducted by G. Fitelberg and W. Raczkowski)

15 July — MWRiOP, at Szymanowski’s request, dismisses him from the position of director of the Warsaw Conservatory on 31 August 1929. For the transitional period, J. Miketta is appointed commissioner in charge of the university.

around 15 July — a trip to Edlach

around 20 August — resignation from further treatment in Edlach. Szymanowski was diagnosed with pulmonary tuberculosis in Vienna

26 August — trip to a sanatorium in Davos (treatment at the expense of MWRiOP)

8 November — performance of Stabat Mater Op. 53 at the Warsaw Philharmonic conducted by W. Raczkowski

12 November — the first performance of String Quartet No. 2 Op. 56 in Paris by Quatuor Krettly

4 and 6 December — performance of Stabat Mater in Vienna, conductor R. Nilius

1930      

8 January — the general meeting of members of the Polish Society of Contemporary Music elects Szymanowski as an honorary member and honorary president of the Society

15 March — Stabat Mater performed at Salle Gaveau in Paris conducted by A. Wolff as a part of Concerts Lamoureux (solists: E. Ruhlmann, Ch. Mattei, J. Hazard)

23 March — Violin Concerto No. 1 performed at Grande Salle Pleyel in Paris by Y. Astruc and Orchestra Symphonique de Paris conducted by P. Monteux

6 April — R. Schmitz performs 12 Etudes Op. 33 for piano at the Imperial Theatre in Tokyo

19 May — Szymanowski returns from Davos to Warsaw

17 June —Szymanowski appointed by MWRiOP [Ministry of Religious Affairs and Public Education] as a professor at the Higher School of Music of the State Conservatory of Music in Warsaw, as of 1 September 1930

July–10 September — stay in Zakopane, friendship with Z. Nałkowska. Szymanowski composes Veni Creator

6 September — performance of Stabat Mater conducted by G. Fitelberg in Liège during SIMC Festival

12 September — Szymanowski is elected the first rector of the Higher School of Music of the State Conservatory of Music for the academic year 1930/31 (approved by MWRiOP on 16 September 1930)

16 October–7 November — Szymanowski’s stay in Zakopane during the period of sick leave granted by the Minister of WRiOP (10 October–7 November). Z. Drzewiecki serves as rector in Szymanowski’s place

22 October — Szymanowski concludes a notarial rental agreement for the Atma villa with the owner, H. Obrochtowa. A day later, he moves into Atma

7 November — inauguration of the Higher School of Music in the conservatory hall in Okólnik – Szymanowski’s speech. In the evening, a concert at the Warsaw Philharmonic – Veni Creator Op. 57 (first performance) and a fragment from Harnasie

11 December — composer’s concert at the Stary Theater in Krakow (performers: S. Szymanowska, I. Dubiska, Z. Drzewiecki, Szymanowski, Choir of the Musical Society conducted by B. Wallek-Walewski)

12 December — ceremony of awarding Szymanowski with an honorary doctorate from the Faculty of Philosophy of the Jagiellonian University, supervisor Z. Jachimecki

1931

29 January — American premiere of Stabat Mater at Carnegie Hall in New York conducted by H. Ross (soloists: E. Hayden, G. Reynolds, N. Eddy)

11 March — performance of Violin Concerto No. 1 at Salle Gaveau in Paris (C. Frantz, Orchestre Symphonique de Paris conducted by P. Monteux)

31 March — completing the score of Harnasie in Zakopane

5 May — awarding Szymanowski (also G. Fitelberg and J. Turczyński) the title Knight of the Legion of Honour

6 May — a ceremonial concert at the Grand Theatre in Warsaw under the patronage of the President of the Republic of Poland, I. Mościcki, on the 25^th anniversary of the founding of Young Poland in music. Performance of works by Karłowicz, Różycki and Szymanowski (first performance of the second act from the ballet Harnasie), conducted by G. Fitelberg

circa 25 July–11 August — stay in Zuoz in Switzerland with the Kochański family and I. Warden

28 July — performance of Kurpie Songs for mixed choir a cappella in London as part of the 9^th SIMC Festival. During the meeting, Szymanowski was elected an honorary member of SIMC (the composer was not present)

September — Z. Drzewiecki was elected rector of the Higher School of Music for the academic year 1931/1932. Szymanowski retains the position of professor and vice-rector

14 October — performance of a 2^nd act from the ballet Harnasie in Poznań in the hall of the Grand Theatre at the inaugural concert of the Poznań City Symphony Orchestra, conducted by G. Fitelberg

29 November — publication of Szymanowski’s article Zatarg o Wyższą Szkołę Muzyczną (“Kultura” from 29 November 1931), followed by further press appearances by his opponents and supporters

December — Szymanowski’s article Frédéric Chopin et la musique polonaise moderne appears in the special issue of “La Revue Musicale,” dedicated to Chopin

1932      

20 January — MWRiOP liquidates the Higher School of Music, returning to the former conservatory system, headed by E. Morawski. J. Miketta’s place in the Ministry is taken by W. Maliszewski

4 February — performance of the second act from the ballet Harnasie conducted by G. Fitelberg as part of the Polish Music Festival in Antwerp

16 February — performance of the second act from the ballet Harnasie conducted by E. Młynarski at the jubilee concert under the patronage of President I. Mościcki on the 30^th anniversary of the Warsaw Philharmonic,

17 February — Szymanowski receives an offer from W. Maliszewski from the MWRiOP to take up composition classes at the conservatory from 1 September 1932

19 February — MWRiOP forces professors of the former Higher School of Music to retire: G. Fitelberg, L. Różycki, K. Sikorski and W. Raczkowski. Students announce a strike at the University

8 March — Szymanowski resigns from the position of professor at the State Conservatory of Music in Warsaw in “Kurier Poranny” in an open letter. The resignation is accepted (1 May 1932)

7 and 8 April — P. Kochański performes Violin Concerto No. 1 at a concert Los Angeles Philharmonic Orchestra conducted by A. Rodziński

May — Szymanowski is elected president of the Polish Composers’ Association at its annual general meeting

9 June — completion of the Symphony Concertante No. 4 Op. 60 in Zakopane; dates in the score: “March–April 1932, 9 June 1932”

27 June — at a concert of Polish contemporary music as part of the Polish Music Festival in Paris on the occasion of the 100^th anniversary of Chopin’s arrival in France, Orchester de Concert Walter Straram performed, among others: a suite from the ballet Harnasie (conducted by G. Fitelberg), and P. Kochański played The Fountain of Arethusa from Mithes Op. 30 and a violin transcription of Roxana’s Song

August — stay in Zakopane with the Kochański family

28 August — completing the pencil manuscript of the Violin Concerto No. 2 Op. 61

8 September — English premiere of Stabat Mater in Worcester Cathedral (London Symphony Orchestra conducted by I. Atkins)

9 October — the premiere of the Symphony Concertante No. 4 Op. 60 in the hall of the Grand Theatre in Poznań, the composer performs the piano part; The Poznań City Symphony Orchestra is conducted by G. Fitelberg

21 October — performance of King Roger at the National Theatre in Prague, directed by J. Munclinger, conducted by O. Ostrčil, in the presence of the composer

5 November — the second world performance of the Symphony Concertante No. 4 at the Grand Theatre in Lviv (the piano part is performed by the composer, conducted by G. Fitelberg)

11, 18 November — performance of Symphony Concertante No. 4 at the Warsaw Philharmonic (piano part Szymanowski, conductor G. Fitelberg)​

Concert trips (1933–1935)

1933      

8 January — Regia Accademia di Santa Caecilia in Rome grants Szymanowski honorary membership

19 January — premiere of Symphony Concertante No. 4 in Copenhagen (the composer plays with the Danish Radio Orchestra conducted by G. Fitelberg)

28 January — performance of Symphony Concertante No. 4 at Queen’s Hall in London (piano J. Smeterlin, Royal Philharmonic Orchestra, conducted by N. Malko)

19 February —Stabat Mater and Six Kurpie Songs for mixed choir performed in Chicago, conducted by A. Skalski

3–7 May — Szymanowski takes part in a meeting of artists and scientists organised by the International Institute of Intellectual Cooperation at the Committee of Literature and Art of the League of Nations in Madrid; the meeting is chaired by M. Skłodowska-Curie. Szymanowski’s statement published in Entretiens vol. 2: L’avenir de la culture (Paris 1933). On the way back he stops in Paris

24, 26 June — two concerts in Bologna; in the first one, Szymanowski performs his Symphony Concertante No. 4, conducted by G. Fitelberg, the second, chamber one, features E. Umińska with the composer at the piano

September — completion in Zakopane of two fragments of the Litany to the Virgin Mary Op. 59

6 October — premiere of Violin Concerto No. 2 Op. 61 at the inaugural concert of the Warsaw Philharmonic (violin: P. Kochański, conductor: G. Fitelberg)

13 October — a jubilee composer’s concert at the Warsaw Philharmonic on the occasion of the 50^th anniversary of Szymanowski’s birth (his year of birth was 1883); in the program: Symphony Concertante No. 4 Op. 60 (piano part by the composer), the world premiere of Litany to the Virgin Mary Op. 59 (singing by S. Szymanowska), concert, performance of the entire Harnasie Op. 55 (without choir), conducted by G. Fitelberg; concert broadcast on the radio

2 and 4 November — American premiere of Symphony Concertante No. 4 in Cleveland; piano part by S. Eisenberger

4 November — Szymanowski goes with G. Fitelberg and H. Sztompka to Moscow for concerts of Polish music on the occasion of the 15^th anniversary of Poland regaining independence

11 November — first concert in Moscow in the conservatory hall, the program included, among others, Symphony Concertante No. 4 (Szymanowski by the piano)

12 November — chamber concert at the Polish Legation in Moscow (performers: E. Bandrowska-Turska, H. Sztompka and Szymanowski)

20 November — performance of the Symphony Concertante No. 4 at the Zagreb Philharmonic (piano Szymanowski, conductor G. Fitelberg)

the end of November — two concerts in Belgrade: Harnasie at a symphony concert of Polish music and a chamber concert with violin works by Szymanowski (violin by M. Mihajlović)

1 December — concert of Polish music in Bucharest, the programme includes: Symphony Concertante No. 4 and 2^nd act from the ballet Harnasie

1934

25 February — performance of Symphony Concertante No. 4 in Paris; Szymanowski at the piano, conducted by P. Monteux

3 and 5 March — performance of Symphony Concertante No. 4 in Amsterdam and in the Hague, Szymanowski plays with the Concertgebouw Orchestra, conducted by P. Monteux

9 March — radio concert of Polish music in Turin; among others, performance of Harnasie conducted by G. Fitelberg

26 March — concert of Polish music in the hall of the National Opera in Sofia, including a performance of the Symphony Concertante No. 4 (piano Szymanowski, conductor G. Fitelberg)

​June–August — negotiations regarding Szymanowski’s concerts in Berlin at the invitation of W. Furtwängler. B. Huberman appeals to Szymanowski to cancel the concerts due to the persecution of Jews in Nazi Germany after the introduction of the Nuremberg racial laws. Szymanowski decides to perform due to his difficult financial situation

27 October — in Totnes (Devonshire, England), violin recital by R. Totenberg, with Szymanowski at the piano. The programme includes: Roxana’s Song, Mithes, Dance of Harnasie, Nocturne and Tarantella; a concert broadcast by BBC Radio

28 October — Szymanowski performs Symphony Concertante No. 4 in London with BBC orchestra conducted by M. Sargent

11 November —Szymanowski decorated with Order of Polonia Restituta

2 December — Szymanowski performs Symphony Concertante No. 4 in Lyon at the concert conducted by J. Witkowski

10 December — Szymanowski’s planned concert in Berlin is cancelled because, on 4 December, W. Furtwängler steps down as director of the Staatsoper and Berliner Philharmoniker

13 December — a concert of Szymanowski’s works on the Berlin radio, performed by E. Umińska and the composer

28 and 29 December — first American performance of Violin Concerto No. 2, A. Spalding with Boston Symphony Orchestra performs, conducted by S. Kusewicki

24 January —the first performance of the Symphony No. 2 Op. 19 in the new version in Lviv, conducted by G. Fitelberg

15 February — Szymanowski plays Symphony Concertante No. 4 at the Warsaw Philharmonic, conducted by J. Horenstein

5–26 March — concert tour around Scandinavia with performances of the Symphony Concertante No. 4: 6 March concert in Stockholm, 11 and 14 March in Oslo, 18 March in Bergen

22 March — composer’s concert in Copenhagen (with violinist R. Totenberg and singer Inger Rassloff)

April — Szymanowski’s performance of the Symphony Concertante No. 4 at the Berlin Philharmonic under the direction of H. Stange

21 April — Szymanowski’s performance of the Symphony Concertante No. 4 in Rome at the Teatro Augusteo, conducted by B. Molinari

1–5 May — Szymanowski’s stay in Riga with S. Szymanowska and the violinist W. Niemczyk, composition concerts on 3 May, 4 May (combined with a concert of graduates of the Warsaw Conservatory) and 5 May

May — stage premiere of the ballet Harnasie at the National Theatre in Prague (as Zbojníci), directed by J. Munclingr, choreography by J. Nikolska, set design by V. Pavlík, conducted by J. Charvát. Composer present at the performance

4–11 August — beginnings of negotiations with the opera in Hamburg regarding the staging of Harnasie, talks in Zakopane with the general intendant of the opera, H.K. Strohm

November — Z. Szymanowska’s book Story about Our House [Opowieść o naszym domu] is published (Lviv–Warsaw, Książnica Atlas)

5 November — Szymanowski was awarded the Golden Academic Laurel by the Polish Academy of Literature “for outstanding contributions to Polish art”

10 November — performance of Violin Concerto No. 2 Op. 61 in Paris in the cycle Concerts Colonne; violin Z. Francescatti, conducted by P. Paray

12 November — Szymanowski’s performance of Symphony Concertante No. 4 conducted by G. Fitelberg in Liège

15 November — concert in Maastricht: Concert Overture Op. 12 and Symphony Concertante No. 4 performed by the composer, conducted by H. Hermans

27 November — ceremonial decoration of the music award of the capital city of Warsaw to Szymanowski (awarded at the end of October) for his compositional activities

25 December — after his stay in Paris, Szymanowski goes to Grasse in southern France for treatment

In Grasse and in Lausanne (1936–1937)

1936      

until 10 March — Szymanowski’s stay in Grasse at Clinique Hélios (from 27 February at Parc Palace); the composer is accompanied by Leonia Gradstein

10 March — trip to Paris; Szymanowski participates in Harnasie rehearsals at the Théâtre National de l’Opéra. At S. Lifar’s request, he changes the ending of the second act and adds a third act (tenor solo)

23 April — performance of Violin Concerto No. 2 in Barcelona as part of the 14^th SIMC Festival by S. Frenkel, conducted by K. Anćerl

27 April — the Paris premiere of the ballet Harnasie at the Théâtre National de l’Opéra; choreography by S. Lifar, decorations and costumes by I. Lorentowicz, conducted by Ph.D. Gaubert, starring S. Lifar

July — Szymanowski’s return to Poland

July — stage performance of the entire Harnasie at Wawel Castle as part of the Polish Music Festival in Krakow, conducted by G. Fitelberg

October — at the concert of the Warsaw Philharmonic, inaugurating the season, J. Turczyński performs Symphony Concertante No. 4 conducted by Z. Latoszewski

November — Szymanowski leaves for Paris

December — Szymanowski leaves L. Gradstein for Grasse and stays at Le Grand Hotel

1937

18 January — concert of Polish music in The Hague: Symphony Concertante No. 4 is played by Z. Drzewiecki conducted by G. Fitelberg

4 and 6 February — a stage performance of the ballet Harnasie conducted by A. Rodziński in Cleveland

24 March — Szymanowski’s health condition rapidly deteriorated. From Grasse, he is taken to Lausanne, to the Clinique du Signal, accompanied by L. Gradstein

27 March —S. Szymanowska arrives to Lausanne

29 March — Szymanowski’s death at 0.05 (according to time in Poland on 28 March at 23.05)

2 April — Szymanowski posthumously decorates with Order of Polonia Restituta

30 March–7 April — funeral ceremonies (route: Lausanne-Basel-Berlin-Warsaw-Kraków). Buried in the Crypt of the Meritorious in the church Skałka in Kraków (Pauline monastery)

 

Periodisation

The changes in Szymanowski’s musical thinking resulted in three periods generally being distinguished in his work. The first one (1899–1913) can be described as a phase of maturation, assimilating the existing norms of the musical language. Stylistically, the composer was then stuck in the late Romantic circle, but his ideological stance was formed under the influence of literary modernism. In the second period (1914–19), inspired by oriental and ancient cultures, Szymanowski’s style acquires individual features, both in terms of musical language and artistic awareness (his own interpretation of the “Dionysian myth”). The third period (1920–37) is characterised by a re-evaluation of existing artistic concepts and the foundation of a new national style, based on folklore, but at the same time innovative in terms of compositional techniques. The boundaries of these periods are, however, conventional, as some works of the first period herald harmonic innovations developed in works dating back to World War I. Work on King Roger, which began in the second period, extended until 1924, and in parallel, from 1920, works representing the characteristics of the third period were created (including Słopiewnie and Children’s Rhymes). The fundamental breakthrough in Szymanowski’s music occurs between the second and third periods and is associated with changes in both the musical language and creative aesthetics. However, the year 1914 was a turning point only in terms of compositional techniques, while Szymanowski’s aesthetic attitude, rooted in modernism, did not change. The schematic division into periods does not deny the existence of common features in all of Szymanowski’s work, which have their source in his creative imagination and approach to the composing process. Regardless of style changes, Szymanowski’s music has always featured an emotional attitude, both when he was looking for a personal statement and when he was part of the “anti-romanticism” trend. In turn, the composer’s attention to the laws of construction and form in music meant that emotion was controlled by the intellect.

Romantic heritage (1899–1913)

First compositions

Szymanowski’s earliest preserved works, Preludes and Etudes Op. 4, are testimony to a spontaneous talent, modelled on Chopin, but directed towards the present day, as the influence of Scriabin can also be seen in them. Preludes Op. 1 by Szymanowski does not form a compact cycle but is a collection of miniatures, lyrical in mood and, except for one (in D-flat major), in minor keys. Their form comes from Chopin, based on the development of one musical phrase, modified by harmonic means. Similar features can be observed in the Etudes Op. 4 but with the use of sharper harmonic means and a more extensive, linear texture. The most famous Etude in B-flat minor is related in texture and type of melodic expression to the Etude in B-flat minor Op. 8 No. 11 by Scriabin.

The piano pieces, written during studies with Z. Noskowski, have more academic features but are characterised by significant harmonic inventiveness, skilful variation technique and pianistic virtuosity (Variations in B-flat minor Op. 3, Variations in B minor Op. 10). Sonata No. 1 in C minor Op. 8 – four-part, based on the traditional model, with a minuet as the third movement and a three-voice fugue in the finale – is the first testimony of the young composer’s attempt to tackle the great cyclical form. In the Sonata Op. 9 for violin and piano, the individual melodic features and sensitivity to sound became more clearly visible. The composer turned to Wagnerian-Straussian musical ideas in the Concert Overture Op. 12, which was originally based on a poetic programme (introduction to the poem Witeź Włast by T. Miciński), as well as in Fantasy Op. 14 for piano, which is probably (according to T. Chylińska) a musical implementation of the Szkic do mego Kaina written by Szymanowski, originally planned as a text for a piece for solo voices, choir and orchestra. From the formal point of view, the three-part Fantasy is close to symphonic poems and Liszt’s Sonata in B minor by combining all parts with homogeneous motivic material. The most personal character at this time is visible in songs to words by Young Poland poets: K. Tetmajer (Op. 2), W. Berent (Swan Op. 7) and T. Miciński (Op. 11). They are dominated by atmospheric and contemplative lyrics with themes of loneliness, longing, regret, and metaphysical anxiety. The music, emphasising the expressive atmosphere and meanings conveyed by the verbal text, is characterised – similarly to H. Wolf’s songs – by subtle shading of harmonic means and clearly outlined melodic and rhythmic motifs, forming the basis of the musical narrative of the piano part. However, in Three Fragments from Poems by Jan Kasprowicz Op. 5 (to texts composed of fragments of the Hymns cycle), catastrophic visions and Promethean rebellion against divine judgments are combined with the dramatic expression of music and a turgid gesture, softened by the prayerful supplication of the church song Holy God.

Modernist breakthrough

Significant changes in Szymanowski’s style took place in 1906–08. Contacts with the circles of Berlin and Leipzig, closer knowledge of German modernism, as well as the internal need to reevaluate traditional compositional principles, directed his attention to post-Wagnerism. The choice of such a creative path seems understandable, considering that in the first decade of the 20^th century, the cult of Wagner became strongly visible in the circle of Young Poland literary thought. His idea of a synthesis of arts, on par with Baudelaire’s poetry, became a source of new artistic explorations. The works of Wagner and R. Strauss, with their exuberant expression and metaphysical overtones, seemed to indicate prospects for further development also for the composers of Young Poland. The autonomy of art, understood in the Nietzschean sense as freedom from all utilitarianism, became a counterweight to the positivist slogans of the “national” idea, treated as a patriotic duty.

Szymanowski discovered modernist German poetry during this period. Poems by R. Dehmel, A. Mombert, O.J. Bierbaum and others became the basis for the song cycles Op. 13, 17 and 22. Characteristic textual threads – loneliness, dreams, wandering, erotic experience – connect sensory experience with the sphere of the unknowable. “Tristan’s” chromaticism, loose functional connections between chords, unstable tonality, dense linear texture blurring of the clarity of chords – these are the features that bring Szymanowski’s songs closer to the style of vocal lyricism of A. Schoenberg and A. Berg from these years. Despite the generally unfavourable assessment of these songs by critics, their harmonic innovation should be emphasised, which contributed to the development of the composer’s new sound language. These features were further deepened in the song cycle Op. 20 to the words by T. Miciński.

Symphony No. 1 Op. 15 (only two parts preserved), which the composer described as a “contrapuntal-harmonic-orchestral monster,” and Pentezilea Op. 18 were kept in the Wagnerian-Straussian idiom. Both works testify to the first attempts to rebuild tonal assumptions and the composer’s struggles with sound matter. He probably found the results unsatisfactory, since he withdrew Symphony No. 1 Op. 15 from the list of his compositions, and a similar fate befell the Trio Op. 16, not preserved even in sketches. By learning the technical means of new German music, Szymanowski modernised his compositional skills and at the same time strengthened his attitude of openness to new artistic ideas.

Great classical forms

From experiment, the composer moved on to synthesis, which he realised in Symphony No. 2 Op. 19 and Piano Sonata No. 2 Op. 21. Both works have a similar architectural concept, incorporating a four-part cycle into the framework of two parts (sonata-allegro and theme with variations). In the second movement of Sonata No. 2, after the presentation of the theme and the first three variations, further variations appear, the connection with the theme becoming loose – Allegretto scherzando e capriccioso, sarabande, minuet and Largo espressivo (slow movement) and the final fugue with the theme derived from the 4^th variation. The first theme of the first movement of the Sonata appears twice in the coda, closing the cycle. In Symphony No. 2, the theme of the 2^nd movement and the first variations replace the slow movement, the 4^th variation (according to the 1^st version of the work) has the character of a scherzo (with a reminder of the theme of the 1^st movement), and in the dance parts – gavotte and minuet – new themes are introduced, similarly to Largo maestoso (appearing only in the 1^st version). In the final five-theme fugue, the theme was derived from the theme of the first movement and the theme of the variations. As in Sonata No. 2, the first theme of the first movement returns at the end.

Even before World War I, the first signs of changes in Szymanowski’s artistic awareness appeared. In 1913, he was getting familiar with Stravinsky’s ballets from stage performances and piano reductions. His annual trips to Italy (1905, 1908, 1910, 1911, 1914) drew his attention to the culture of antiquity. He used German translations of poetry by Hafiz, a Persian lyricist from the 13^th century, as a base of songs Op. 24; at that time he was still composing the opera Hagith, which Straussian style bore hard on him. Archaic orientalism and an erotic theme were supposed to make the work attractive, but it was too associated with Salome and the “Straussian manner” that Szymanowski complained about, concerned not only the subject matter but also the style of harmony and the type of instrumentation.

New aesthetic ideas. Szymanowski’s individual style (1914–19)

The years of World War I spent in Ukraine (Tymoshivka, Kyiv, Elysavet) were a period of extraordinary creative intensity for Szymanowski. Deepened intellectual reflection was accompanied by broadening the scope of compositional experience and rethinking the principles of musical construction. In these years, non-musical inspirations came to the fore most strongly in his work, triggered by memories of trips to Sicily and Arab countries. Impulses flowing from outside became the starting point for musical ideas, subjected to technical procedures, so the entire symbolism contained in the works, and sometimes even the “iconicity” of sound, do not deny the coherence or even structural independence of the work. Apart from pieces with lyrics, purely instrumental pieces also contain programmatic overtones: e.g. in Masques Op. 34 titles of individual parts recall characters from literary works: the heroine of the fairy tale One Thousand and One Nights, Scheherazade, Tristan dressed as a jester (based on an episode from E. Hardt’s drama Tantris der Narr), and Don Juan. The title of the series suggests that the composer was inspired by the “insincerity” of the characters’ situation, hiding their true intentions and feelings under a mask. In turn, in Violin Concerto No. 1 Op. 35 the hidden programme is the poem Noc Majowa by T. Miciński. Two thematic threads dominate Szymanowski’s works: the exoticism of the Orient and the Dionysian myth, both of which come together in King Roger.

Eastern inspirations

The composer’s fascination with Eastern culture was influenced not only by his personal travel experiences but rather by the modernist literary patterns he knew and examples from the music of other composers – Debussy, Ravel, and Stravinsky. Szymanowski did not conduct any studies on Arabic music, like, for example, B. Bartók. According to his travelling companion, S. Spiess, he only listened to the chants of muezzins and songs performed during Muslim holidays. In his works, he conveyed the intuitively captured sound side of Eastern music. He did it in a surprisingly insightful way, prompting researchers (Z. Jachimecki, and A. Wightman) to compare his stylised melodies and rhythms with examples of Arabic and Persian music. A particularly important role in the melody of oriental songs is played by the semitone–minor third, resembling the interval structure of some maqamas. Szymanowski also tried to get closer to Eastern culture from the inside, from the side of its spiritual content. He looked for ideas that were close to him and helped him understand the intricacies of his own experiences. Evoking the atmosphere of the East serves to express metaphysical ecstasy (Symphony No. 3 “Song of the Night” Op. 27, to the text by T. Miciński, which is a paraphrase of a poem by Jalāl al-Dīn Muḥammad Rūmī). In the cycles of “oriental” songs (Love Songs of Hafiz Op. 26, Songs of a Fairy Tale Princess Op. 31, Four Songs to Lyrics by Rabindranath Tagore Op. 41, Songs of the Infatuated Muezzin Op. 42), the eastern colour in the lyrics and music only creates a background for the inside content. All the texts of these songs have an erotic theme in common – a passionate feeling, bordering on the deification of the beloved being, which is a transposition of love for the omnipresent God, manifesting himself in nature and material bodily beauty. Musically, the eastern element is most clearly visible in the dances (songs Op. 26 No. 3, Op. 31 No. 4, Op. 42 No. 4, the middle movement of Symphony No. 3, ending of 2^nd act of King Roger). The orientalisation of the musical layer concerns intervals (cell: semitone-minor third, augmented seconds), melic formulas (descending motifs) and rhythmic formulas (dance rhythms), as well as the manner of performance (decoration, melismas), timbre and expression. The originality of Szymanowski’s compositional inventiveness consists in embedding oriental elements into a new style and aesthetics of sound, not associated with the major-minor system. The composer processed Eastern content and musical themes in line with Western musical thinking.

Ancient themes

Szymanowski’s Italian travels were inseparably accompanied by the shadows of ancient culture. The famous metopes from Selinunte, seen in the museum in Palermo, gave the title to the cycle of three pieces Op. 29, the individual parts of which bring to mind the adventures of Odysseus (The Island of Sirens, Calypso, Nausicaa). The memory of a spring in Syracuse called the Arethusa Spring, inspired the 3-part cycle of Mithes Op. 30, giving the title to the first track. Two other cantatas have a different character: Demeter Op. 37 bis and Agave Op. 38. The first of them contains one substantive motif – the journey of Demeter, mourning her lost daughter. Agave is an expressive contrast to Demeter. The text, referring to Euripides’ The Bacchae, describes a scene of orgiastic Dionysian mysteries, during which, in a frenzy of possession, the Bacchae tore King Pentheus to pieces, and Agave recognised him as her own son.

The selection of text in vocal-instrumental works and the titles of instrumental pieces, indicating the source of inspiration, reveal the composer’s intentions. Exotic scenery expresses a longing for inaccessible lands, more fairy-tale than real; evoking myth opens the world of ancient Arcadia. The dominant erotic theme, seemingly presented differently each time, is always based on love longing, the suffering caused by lack of fulfilment, a sense of splitting and the search for completeness by striving for union with the object of love, or rather with the ideal it embodies. From here it’s just one step to King Roger.

Musical language

Harmonics – texture – form

In Szymanowski’s works from the middle period, the major-minor tonal system with functional relationships between chords, the opposition of consonance and dissonance, and the third factor of chords lose their impact. The basis of melody, chords and figuration is a twelve-tone scale. Although selected sound material can be distinguished in many fragments of works in the form of changing arrangements of scales (e.g. pentatonic, whole-tone scale) or superimposition of scales (e.g. the beginning of Nauzykai Op. 29 No. 3, the polytonal third movement of String Quartet No. 1 Op. 37), however, they do not regulate the whole of works. The initial melodic material, most often limited to a section of a twelve-note scale, is gradually expanded. Similarly, there are no uniform rules in the construction of chords; there are euphonic major and minor triads and their layered thirds, as well as chords containing both major and minor triads, seventh and pentatonic tetrads, and chords based on uniform intervals (fourths, fifths, seconds); most often, however, the chords are composed of various intervals, often strongly dissonant (with tritones and minor seconds), and their connections are not influenced by the old cadence assumptions. The chord ceases to function as a regulator of vertical and horizontal courses as a result of the new type of texture. In elaborated, often multi-layered sound complexes, the interval structure is more important than vertical harmonic patterns. However, the tonal centre still acts as a kind of gravitational point, mainly creating the bass basis (single sounds, chords, ostinato figures). Particularly noteworthy is the presence of tritone axes, which create reference systems for sound progressions (single, e.g. C–F-sharp, or double, e.g. C–F-sharp–A–E-flat). Tritone sound combinations often appear with their resolution (“outside,” e.g. C–F-sharp and B–G, and “inside,” e.g. C–G-flat and D-flat–F).

The harmonic-tonal structure itself does not determine the change in Szymanowski’s style. A new treatment of texture, colourful instrumentation and a modern, sensual aesthetics of sound became an important factor. In this way, the composer came closer to the impressionism of Debussy and Ravel. At that time, it has much in common with the style of I. Stravinsky (The Nightingale), as well as with the late style of A. Scriabin. Calling the work of the middle period “impressionistic” would therefore narrow down the essence of the changes, undoubtedly related to the style of the era, but ultimately creating an individual compositional idiom.

The piano texture in Szymanowski’s works becomes extremely diverse thanks to the wealth of sound arabesques scattered over a wide scale of registers. The enormous mobility of sound planes, achieved by tremolos, trills, and figurations in small rhythmic values or arpeggiated chords, serves to bring out a sound shimmering with rich colours, full of subtle dynamic nuances. Szymanowski does not give up the primary role of melody, which remains mainly a means of expression. In the multi-layered, quasi-orchestral texture, one can distinguish melodic motifs (single or conducted in two planes), moving sound figures of varying density, scrolling from the lower to the highest register, consonances, a bass base, and sometimes also rhythmic motifs. The earliest such texture appears in Metopes Op. 29. In Mithes, the colour becomes more intense not only as a result of the virtuoso interaction of the two instruments but also thanks to the sophisticated means of violin articulation (single and double trills, glissando shifting of chords with a simultaneous tremolo, flageolets, the use of quartertones). The music here represents the sonic phenomena suggested by the titles: the delicate murmur of water in The Fountain of Arethusa or the flageolets in the solo violin on the unfolded triad in Dryads, imitating the sound of the Pan flute.

Szymanowski’s orchestral style is also changing. When writing a score, he no longer “instruments” a piano sketch as in the previous period. Compositional sketches (e.g. Agave) indicate that all themes, figurations, ornaments, and rhythmic motifs were immediately intended for specific instruments and adapted to their capabilities and sound character. Szymanowski differentiates the functions of the ensemble by contrasting the melodic planes, which move successively to different groups of instruments, with a colourful, undulating sound background obtained by the tremolo of repeatedly divided strings or harp glissandos (Symphony No. 3). Modification of the sound of instruments through means of articulation also plays an important role: the use of dampener, playing sul tasto and sul ponticello, flageolets in strings, flutter-tonguing on wind instruments. The diversity of sound is intensified by variable instrumental sets and dialogue between groups of instruments, with smaller ensembles contrasted with massive tutti at the climaxes.

The selection of musical genres did not change significantly compared to the previous period, but Szymanowski was constantly looking for new, individual solutions in the dramaturgy of the cyclic form. The common idea of the great forms composed in these years (Violin Concerto No. 1, Symphony No. 3 “Song of the Night,” Piano Sonata No. 3) is their double formal order: an externally single-movement arrangement with a specific dramaturgy, determined by the dynamics of thematic development and the distribution of climaxes, containing parts of a four-part cycle. The pattern of the sonata-allegro exists in the background, present in the thematic contrast and the principle of processing the material. The phases of exposure and processing intertwine, and modifications of topics lead to changes in expression. Symphony No. 3 has a single-movement arrangement with three phases: the two extremes, with the participation of a solo tenor and choir, surround the orchestral phase. Each of them has a specific dramatic function. The first one is introductory, “expository” in nature, and the middle one is a kind of scherzo, maintained at a lively pace, with dance rhythms referring to Eastern music, with ornamental melody and motifs persistently returning in various variants. The colour and vitality of this phrase differ from the mysterious mood and depth of the vocal part; on the semantic side, it introduces retrospective elements, evoking the atmosphere of the world of the day with an allusion to the “marketplaces” mentioned in the text. The third phase is a kind of ecstatic mystery in which the secret of being is revealed. However, the statement of the three-part structure does not specify the internal form in which traces of thinking in terms of sonata allegro and cyclical structure can be found. Part I contains two thematic groups (vol. 1–11 and from vol. 45–46), subject to processing; part II, instrumental, has the character of a dance and a scherzo at the same time; part III is not a reprise, but has the features of a symphonic adagio, with the main climax at the end and an echo of the first theme of the first part (vol. 418) and a coda (from vol. 495). Also in Concerto No. 1 one can distinguish coefficients corresponding to the allegro form and the sonata cycle: the introduction and exposition of two themes along with their development, separated by a contrasting scherzando-like link, the scherzo proper (from vol. 260), which includes the slow movement (vol. 428– 486 with a new lullaby theme), the return of the scherzo and the finale, preceded by a virtuoso cadenza, recapitulating the entire thematic material. Closer to the traditional pattern is Piano Sonata No. 3 Op. 36. One movement includes a sonata-allegro with two expressively contrasted themes and development, but without a reprise, passing into two middle movements: Adagio and Scherzando, and as a finale there is a fugue, the theme of which contains elements of the earlier themes. In the middle of the fugue, the second theme of the first movement returns, counterpointed by the leading motif of the theme. In turn, the three-part String Quartet No. 1 Op. 37 in terms of the structure of the cycle does not differ from traditional models, although it lacks the final fugue, planned but never written.

Cycles of programmatic works (Metopes, Mithes, Masques) are a novelty in Szymanowski’s work from this period They are not held together by a common thematic material; in each of the three works included in a given cycle, the title suggests a different approach to the same idea, connecting the whole from the semantic side. The new type of texture leads to the establishment of sound planes, static in nature, although internally mobile and saturated in colour. Their arrangement and modification create a multi-threaded action, full of expressive and colour contrasts. It combines moods of hidden anxiety, lyrical reverie, and violent passions, as well as buffoonery and grotesque.

King Roger is the culmination of the work of the middle period. The work combines the features of opera and Wagnerian musical drama, but a certain static nature of the action makes it take on the character of a mystery play (in Act 3). Although J. Iwaszkiewicz was the co-creator of the libretto, he limited himself mainly to implementing the composer’s instructions, who also independently reworked its text and completely changed the original ending of Act 3. In this work, the external action, relatively undeveloped, becomes only a pretext to express the internal conflicts of the characters and the composer himself. The roots of the religiosophical concept of opera lie in the aesthetics of Polish and Russian modernism (V. Ivanov, F. Sologub and I. Anniensky, whose play Famira Kifaried Szymanowski saw in Kyiv). There is also a visible impact of T. Zieliński’s works regarding the ancient sources of Christianity, P. Muratov’s book Images of Italy, from which Szymanowski gained knowledge about the Norman ruler of Sicily in the 12^th century, Roger II, and especially Nietzsche’s philosophy (The Birth of Tragedy). The basis of King Roger’s libretto was the thought of the secret “kinship of Christ and Dionysus” (letter to Iwaszkiewicz of 27 October 1918); it is therefore about a new reading of Christ’s message. Roger is initiated and, in mystical rapture, learns about the divine unity of Christ and Dionysus. The internal content of the work concerns the spiritual transformation of Roger, who initially rejects the Shepherd, although he is clearly fascinated by his beauty and sensuality (the idea taken from Euripides’ The Bacchae – from the meeting of King Pentheus with Dionysus); interrupting the ceremonial dance (end of Act 2), Roger appears as ruler for the last time. In Act 3, Roger is looking for the Shepherd-Dionysus (the thread of longing, foreboding, unfulfilled love). It is an echo of Plato’s concept of the original androgyny of man (taken up in the period of modernism, e.g. by W. Bierdiajew, also by S. Przybyszewski). The splitting of this unity is a source of suffering and the pursuit of reunification as spiritual fullness. This is the meaning of Roger’s meeting with Dionysus, taking place in the dreamlike aura of the mysteries. The hero’s split personality is then integrated, achieving spiritual perfection, which is the source of creative power. The sea and the rising sun at the end of the opera symbolise the achievement of this fullness, Roger’s sacrifice expresses his transformation and elevation.

The symbolism of the text is expressed in the music and in the scenography planned by the composer. The contrasts of three acts (Act 1 – Byzantine, 2 – Oriental, 3 – Hellenic) create a background that corresponds visually to the main ideas of the textual and musical layer. The music contributes to the distinct colour of the three acts, but above all expresses the internal action using leitmotifs that form the basis of all acts, which gives the work the characteristics of a coherent symphonic formation. Szymanowski introduced two motifs of the Shepherd (act 1, vol. 283–287, act 1, vol. 529–532): the first – symbolising his spiritual nature (a “concave” motif) and the second, reflecting the sensual side (“convex,” using Z. Jachimecki’s terms). The combination of drawings of these motifs creates the figure of a circle, expressing fullness and perfection. Roxana’s motif (act 2, vol. 243–244, act 2, vol. 251–252) is a transformation of Shepherd’s motifs, so it turns out to be independent, like the heroine herself, and her nature is determined by the nature of the melody (oriental melismas) and instrumentation (wind instruments wooden, harps). Roger’s theme (act 1, vol. 513–514) reflects the hero’s inner conflict, the brutal power of the ruler, but also anxiety and uncertainty (sharp, dissonant sounds, zigzag line of the melody, broken rhythms, the sound of brass instruments). The ending of the opera therefore has its “completion” in the music. From vol. 482, there is a gradual transformation of Roger’s motif in the string part until, from a “zigzag” line, it takes on a “convex” form (vol. 488–489), while at the same time, the trumpets play a “concave” motif (vol. 487–488). The whole thing ends with a C major chord (a musical symbol of the fullness of the universe). The ending of King Roger coincides with the ending of Efebos – the finding and full understanding of Korab and Al Łowicki (the composer’s two alter egos) becomes the beginning of unity and harmony; “Efebos ended with such a majestic finale (in C major!)” (Iwaszkiewicz).

Folklore-national trend. Synthesis of creativity (1920–37)

The nature of the changes

After arriving in Poland, Szymanowski, fully aware of the tasks facing artists in the reborn homeland, became involved in building the foundations of a new artistic program. During this period, he created his own concept of the nation style, rooted in folklore, but at the same time innovative, “Polish” or rather “Lechitic” (according to Jachimecki’s expression), but also “European” in terms of the assumptions of the modern musical language. The work of the last period, called “national,” shows relative uniformity in terms of compositional techniques and creative aesthetics; for this reason, subsequent phases are not separated. It includes both folklore trends, songs inspired by religious texts, and stylistic syntheses represented by songs in classical forms. During this period, Szymanowski moved away from the “baroque” texture and dense chromaticism that characterised the works of previous years. However, it introduces scale material, either taking over ready-made phrases from folk music or giving the melody its tonal features. The most important is the so-called Podhale scale (C–D–E–F-sharp–G–A–B-flat) with the finale on the 1^st or 2^nd degree and scales with an augmented fourth, but there are also pentatonic scales or scales modelled on church scales, transposed to various degrees of the chromatic scale. In songs, scales with different centres quickly change and interlock with each other, and within one basic scale there are chromatically changed degrees, e.g. an augmented fourth next to a pure fourth, a minor seventh next to a major. The density of these varieties causes the occurrence of all sounds of the chromatic scale as a result of the overlapping of various types of scale elements. The harmonic layer is based on chords that are materially independent of the scale, with a structure that goes beyond the rule of thirds, with a preference for sharp, dissonant intervals, and often empty fifths as drone sounds.

Chronologically, the earliest work of this period is the ballet-pantomime Mandragora, commissioned by the directors of the Polish Theatre in Warsaw, R. Bolesławski and L. Schiller. This work, referring to commedia dell’arte, light and humorous, with simple musical means and deliberately conventional ways of musical imagery, but treated with an ironic distance, is a proposal of comedy musical theatre (initiated earlier with the operetta Lottery for Husbands). However, Szymanowski did not continue this genre, and in 1928 he did not take up the offer to write music for A. Auerbach’s libretto Eva spielt mit Puppen.

Vocal lyricism

A breakthrough in Szymanowski’s work is the song cycle Słopiewnie, which is a return to the native, Proto-Slavic culture. The neologisms of Tuwim’s poems, dating back to the primary sources of Polish speech, inspired the composer to create their musical equivalents in the form of melodic formulas derived from calling, wailing or imitating birdsong. The song Saint Francis contains phrases from Podhale songs (the so-called “sabałowa” melody), which later appear as “wandering” motifs in other songs (Harnasie). Lullabies op. 48 is also related to this simple style of song. In the next song cycle Children’s Rhymes Op. 49, the composer did not introduce folk motifs, but referring to simple patterns of children’s songs, he used characteristic intonations of Polish speech, especially the child’s voice. He compensated for this simplicity of melody with a variety of moods and situations illustrating the world of childhood experiences. It is in the song genre (taking into account also soldier songs and folk song stylisations) that Szymanowski’s new attitude towards the text can be noticed. He no longer identified himself with the lyrical subject, but spoke on behalf of “someone else” – a child, a commoner, a collective entity, a narrator. Only in Songs on Words by James Joyce Op. 54, he returned to the personal tone of love lyrics, but the type of melodic declamation and the transparency of the piano texture confirm the new principle of the song style. Sensitivity to the semantic side of texts and their expression meant that the composer, as in the songs of previous years, always ensured full harmony between text and music. It differed from the method represented by, for example, Stravinsky, of subordinating the verbal text to music, without regard to the meaning aspect.

Back to the roots. Folklore styling

Szymanowski’s acquaintance with the art of Podhale, songs, dances and the sound of highlander bands, as well as contacts with folklore researchers (A. Chybiński, J. Zborowski, S. Mierczyński), influenced the composer’s fascination with the originality, “barbarism” and extraordinary expression of the music of the Tatra highlanders. Already in 1920, in Lviv, Szymanowski became interested in the notations of folk melodies by A. Chybiński, who drew his attention, especially to the oldest of them – “sabałowa.” Its motifs have already been woven into Słopiewnie. The composer saw the archaisms of Podhale folklore as relics of the ancient, mythical culture of the Proto-Slavics, which would be preserved in an uncontaminated form in this remote region. Although this can be seen as a kind of idealisation of the highland culture, on the other hand, the composer paid attention to the perfection of the highland art form, inspiring the “renewal” of musical means. In Szymanowski’s music, we find various ways of artistic processing of folklore. He used quotations from melodies in crudo, treating them as completed musical creations (Harnasie, Songs from Kurpie Op. 58 and Six Songs from Kurpie for mixed choir). He also showed other possibilities, shaping the melody on a folk model or introducing dance rhythms (the so-called imaginary folklore in Słopiewnie and Mazurkas Op. 50 and 62). In large cyclical forms, however, motifs from folklore become the material for individually developed musical ideas and shaping larger formal wholes (so-called universal folklore).

The first ideas for the Harnasie ballet were created in 1923 during Szymanowski’s stays in Zakopane. Work on the libretto was initially undertaken by J. Iwaszkiewicz, and then M. Rytard presented his project. However, while composing the piece, Szymanowski only retained the idea of the ballet, creating an outline of his own plot concept. As a result of these changes and due to the loss of Rytard’s libretto, the only known text of the libretto (published in the complete works, vol. 24) was written by the composer. The stylisation of highland music in Harnasie concerns many planes: 1. in the melodic plan, these are quotations of authentic melodies, often put together by montage, or imitation of melodic features of highland folklore; 2. in the tonal plan – frequent use of the so-called the Podhale scale (C–D–E–F-sharp–G–A–B-flat), which characterises the oldest highland melodies (this scale had almost mythical significance for Szymanowski) and the emphasis on the Lydian fourth mode; 3. in the harmonic plan – stylisation of highland diaphony, consisting in doubling the basic melody in upper or lower thirds or in fifths, with the following cadences: third-unison, also fifth-unison, or fifth-third-unison; 4. in the rhythmic plan – the use of highlander dance rhythms with their characteristic double beat and syncopations; 5. in the articulation plan – imitating highlander performance manners, i.e. strong emphasis on the upper notes of the melody and glissando descents in cadences; 6. in the instrumentation plan – a reference to the sound of a highlander band, with the orchestral apparatus being used to fulfil the function of the instruments in a highlander band (the upper voice performs the melody, the so-called second voice accompanies it heterophonically, and the bass is based on fifth chords); 7. in the content plan – the ballet is a presentation of the rituals and customs of the Tatra highlanders, their legends and tales. For the composer, elements of folklore became only the material for his individual tonal, harmonic and sound concepts. The Harnasie’s harmonics is dissonant and sharp; intervals of tritones, seconds and empty fifths emphasise the features of the Podhale scale. The composer contrasted the melodic diatonic with chromatic chords, often creating bitonal combinations.

In the Mazurkas Op. 50, and then in Op. 62, Szymanowski consciously referred to Chopin’s tradition, but this is not a stylistic pastiche, but a new approach to the genre. His innovativeness is determined, on the one hand, by impulses coming from the Podhale folklore, and, on the other hand, by 20^th-century compositional techniques. Mazurka rhythms are foreign to highlander music; however, by imposing its melodic features on a tripartite rhythm, the composer achieved new qualities. Szymanowski’s mazurkas are comparable to Chopin’s in terms of tempo diversity and richness of expressive characters.

Original folk melodies became the basis for two cycles of Kurpie Songs (Op. 58 for voice and piano and for mixed choir); they were taken from W. Skierkowski’s work Puszcza kurpiowska w pieśni. Szymanowski quoted the melody only in the arrangements of the first stanzas of the song, not always literally, but in the later stanzas he modified and developed the melodic material, creating elaborate wholes with original harmonic patterns. Inspired by folk texts, he brought out a wide range of moods, from the lyrical reflection and drama of the song Lecioły zórazie to the vital strength of Bzicem kunia, he pointed out key ideas and graduated the sound colour. Folk motifs also appear in works inspired by religious texts and in cyclical forms – in String Quartet No. 2 Op. 56, Symphony No. 4 Op. 60 and in Violin Concerto No. 2 Op. 61.

Religious inspirations

Even before accepting B. Krystall’s commission (1924) to compose a requiem, Szymanowski was thinking about a work combining folk and religious features, which he provisionally called Chłopskie Requien. In May 1925, the first mention of Stabat Mater appears in the composer’s letter. The Polish translation of the medieval sequence published in “Święto” by J. Jankowski, folk-simple, even “naïve” (according to Szymanowski), corresponded to the composer’s idea of combining the well-known liturgical text with the Polish religious tradition. The religious-folk atmosphere of the piece results from the nature of the melody, related to chorale melodies to the text of Stabat Mater (not so much the sequence, but the later hymn) and their paraphrases in Polish religious songs (e.g. Stała Matka boleściwa, Gorzkie Żale). Szymanowski did not introduce faithful quotations but placed diatonic chorale phrases in a more developed, chromatic melodic progression. In terms of genre, Stabat Mater can be described as a 6-part cantata, but without typical arias and recitatives. The cast of solo voices, choir and orchestra in individual parts was varied, according to the expressive character – the lyrical melodiousness of parts 1, 3 and 4 and the dramatic solemnity of movements 2, 5 and 6. The type of text meant that Szymanowski broke modern assumptions of compositional technique using early music stylisation, manifested in the diatonic basis of the melody, in the use of empty fourth-fifth sounds and simple triads, as well as in the texture of the choirs (especially in movement 4).

A continuation of the Stabat Mater style, but without its characteristic subtlety and prayerful focus, is the anthem Veni Creator to the text by S. Wyspiański, written for the ceremonial opening of the Higher School of Music in Warsaw. The patriotic meaning of the text and its pathos resulted in the use of an increased performing apparatus and bright instrumentation, which Szymanowski commented on in a letter (2 September 1930) to Z. Kochańska with the words: “such a very solemn and impressive nonsense.” What draws attention in this piece is the opening melodic phrase, intoned by the wind instruments and then taken up by the choir, based on a descending scale with an augmented fourth (E–D-sharp–C-sharp–B–A). This motif shows clear affinities with the melody of the introduction to Harnasie, as well as with the themes used in String Quartet No. 2.

​However, Litany to the Virgin Mary to the words of J. Liebert has a different character. The work consists of two parts, although the composer planned it as a five-part cantata, in which the existing fragments were to constitute parts 2 and 4.

The lyrical softness and subdued emotion refer to some parts of Stabat Mater but without its folk intonation. The means of archaization were used to a lesser extent, manifesting themselves only in the choral part (prayerful recitatives, shifting of parallel triads and quart-sixth chords). The orchestra part, divided into smaller, solo components, is characterised by a delicate sound, modified by the means of articulation (mutes, flageolets, pizzicato of the strings). New features can be noticed in the melody, which is extremely flexible, developing in wide arcs, rich in melismas, and is the main medium of expression. The piece signals a new tone of religious emotion in Szymanowski’s music, different from the existing Franciscan themes in songs and the religious-folk atmosphere of Stabat Mater.

Stylistic syntheses in cyclical forms. String Quartet No. 2 Op. 56, Symphony No. 4 Op. 60 and Violin Concerto No. 2 Op. 61 constitute a synthesis of the works of the third period. Each of these works is different in terms of the detailed implementation of the assumptions of a large cyclical form, but they share many common features, such as folk inspirations or the connection of the whole with a homogeneous thematic substance. Folk material appears most clearly in String Quartet No. 2, in which one can find motifs of Podhale songs taken from Harnasie (in the second movement and the fugue theme of the third movement). In Symphony Concertante No. 4, folk inspirations are visible only in the 3^rd movement, maintained in the rhythm of an oberek, while the melody of this movement resembles the imaginary folklore of piano mazurkas. Similarly, in Violin Concerto No. 2, the folk character is manifested in the melodic intonations containing an augmented fourth (Lydian), as well as in the vitality and “barbaric” severity of the second movement (Allegramente); these works are therefore an example of the universalization of folklore.

In terms of its cyclical structure, the closest to traditional patterns is Symphony Concertante No. 4, in three movements, with a two-theme sonata-allegro in the first movement, a slow middle movement and a final rondo. The counterbalance to the expressive contrasts of 1^st and 2^nd parts is the linking of the themes by a common interval cell of a minor third and a semitone (in the first and second themes of the first part; also in the second theme of the second part). In turn, the first theme of Part 2 repeats the rhythm of the second theme of Part 1, and at the end of Part 2, the first theme of Part 1 is quoted. In the three-movement String Quartet No. 2, modifications to the formal scheme apply to the first movement, which has an ABA1 structure; the only reminder of the sonata-allegro is the development work after the presentation of the theme. Part 2 has the character of a lively scherzo, while 3 (fugue) combines the features of the slow movement and finale, with the fugue theme being derived from one of the Podhale motifs of the second part. In Violin Concerto No. 2, the composer returned to the single-movement form (as in Violin Concerto No. 1, Symphony No. 3 or Piano Sonata No. 3), but composed of two separate sections separated by a violin cadenza. The first section is in the form of a sonata-allegro, and both themes are connected by an initiating interval (minor third), directly leading into episodes referring in character to the slow movement and the scherzo; the second section can be described as a rondo, at the end of which the initial theme of the first section returns.

The presence of classical forms in this period is not due to the influence of neoclassicism. Looking for a renewal of musical means at the beginning of the 1920s, Szymanowski’s workshop solutions were closer to Bartók and Stravinsky from the period of Russian ballets. The points of contact between his artistic awareness and the aesthetics of neoclassicism lie mainly in emphasising the role of the compositional craft and the formal and structural values, which he saw as having transcendent importance. The return to classical forms has its source in Szymanowski’s work from previous periods and results from the continuity of the classical tradition, present in his music from the beginning, and the synthesis of the work of the last period is highly individual. The composer did not accept the fashion for dry and anti-emotional music promoted in the 1920s or for the persiflage of old styles. Although he wrote about “anti-romanticism” as an attitude corresponding to the needs of the “new man,” modernity appealed to him only when there was room for emotion and a spiritual message, as features inextricably linked to great art. He always maintained the attitude of an aristocrat in spirit, appreciating the highest culture and believing in the truth of art.

Musical writings (1920–36)

The sources for reconstructing Szymanowski’s artistic awareness until 1920 are his literary works, letters, and, above all, the music itself. The composer began to practice music journalism only in the last period of his career; the views formulated in the articles do not reflect the entirety of his aesthetic thought. Szymanowski spoke mainly on the following topics: 1. National style in music and Chopin traditions, 2. Contemporary trends in music, 3. Tradition of Romanticism and 4. The role of music in society.

Ad 1. Szymanowski linked the future of Polish music with the national trend, based, however, on the highest achievements of European music. Already in his first article, Uwagi w sprawie współczesnej opinii muzycznej w Polsce, he opposed the epigonism and parochialism of native music, which often hide academicism and emptiness under the labels of national art and social service. He emphasised the need for creative freedom for an artist taking on new tasks in an independent country. He understood national music as a style expressing the “soul of the nation,” but functioning within the framework of pan-European culture and bringing new values to it. He assigned a special role in creating this distinctiveness to folk music. However, he was not interested in the exoticism of folklore, because in his opinion folklore reveals “the deepest original features of a given race in relation to the sphere of aesthetic impressions.” The phrases “racial distinctiveness” or “racial properties” used by Szymanowski in the articles were probably taken from H. Taine’s Philosophy of Art, although this name is not quoted by the author. According to the understanding of the French philosopher, race means permanent spiritual features, a set of predispositions and primary properties, reaching a layer deeper than the properties of the nation. It was no coincidence that he saw in the music of the Tatra highlanders the “purity of the expression of the race,” i.e. the most primitive features (the issue of “folksiness” in relation to contemporary music). The reference to Podhale folklore in his own music was therefore intended to bring out the most primitive “racial properties.”

According to Szymanowski, the art of great masters is based on “the dependence of a creative individual on the properties of his race, on the unchanging ground.” For him, the best example of such a relationship was Chopin’s music. In his sketches about Chopin, Szymanowski wanted to show his great predecessor in a new light; he assumed that romantic musicography gave birth only to exalted legends that did not lead to true knowledge of his art. In Chopin’s music, people primarily noticed the features of subjective expressiveness, pathos and lyricism, which, although they were evidence of his spiritual connection with the Romantic era, did not constitute his greatness. Szymanowski therefore emphasised those moments that connect Chopin with the music of the 20^th century, “ageless,” i.e. structural and formal qualities, and mastery of craftsmanship. It is this timeless value of Chopin’s works that allows us to see them as a living force influencing the development of music.

​Ad 2. Szymanowski was always characterised by great openness to various phenomena of world music – past and present, he was a lover and expert of art, and he felt heir to the great European tradition, recognising that “the history of humanity is actually the history of its art” (Wychowawcza rola kultury muzycznej w społeczeństwie). He noticed the groundbreaking nature of phenomena in the music of the 1920s and 1930s and followed various aspirations. However, he rejected extremes – Schoenberg’s innovative ideas (in an untitled sketch on contemporary music) and excessive simplification of style in the works of the representatives of the Group of Six in France (Z życia muzycznego w Paryżu). He attributed the greatest importance to Stravinsky, calling his music “a magical formula suddenly showing with certain certainty the further direction of evolutionary paths” (I. Stravinsky). He had in mind the Russian period of Stravinsky’s work but did not comment on his neoclassicism, only mentioning the “turn” that took place in his music in the 1920s. Apart from Stravinsky, other composers representing national schools were close to him: B. Bartók and M. de Falla. Moreover, his attention was directed towards French music. He appreciated the innovation of Debussy’s and Ravel’s music, the perfection of their compositional métier and the nobility of emotions. He repeatedly expressed his admiration for French culture.

Ad 3. The composer’s departure from the German tradition meant that his reflections on romanticism in music, provoked by a survey of the monthly “Muzyka,” have a bit of a coming to terms with his own past, for example when he states that despite “the deepest admiration for the genius of Ryszard Wagner” to him he owes “all his bad musical addictions” (Romantyzm w dobie współczesnej). With all respect for the 19th-century artists, he accused them of “emotional talkativeness, pathetic sentimentalism […] dilettante formal neglect in favour of ‘ideas,’ forgetting about the self-sufficiency of music, histrionic gestures.” Szymanowski’s judgments, sometimes exaggerated, turned in a hidden way against the romantic epigonism still present in Polish music of the 1920s. He stated that “everything weak, uncooked, immature and irresponsible towards the organic, essentially creative tasks of today’s free life is smuggled into Polish art under the “banner” of romanticism.” Emphasising the “anti-romanticism” of contemporary music, he drew attention to the primary importance of structural and formal factors, but at the same time noted the unity of form and content in music, and treated emotional qualities as an inherent component of truly great art.

Ad 4. Szymanowski presented the dissertation Wychowawcza rola kultury muzycznej w społeczeństwie as rector of the Higher School of Music in Warsaw. He attributed to music a great power that can influence the spiritual life of a nation thanks to its ability to influence the sphere of “human affection.” The point of reference in Szymanowski’s considerations was always music of the highest quality. He was definitely against banal pop music, which was downright destructive and destroyed the aesthetic sensitivity of the recipient. When writing about the “democratic” nature of art, Szymanowski was far from “social philanthropy,” that is, from attempts to adapt art to the level of an unsophisticated recipient. According to Szymanowski, the contemporary democratic character of art is expressed by its three features: “universality,” “unifying force” (common recipient experience) and “organising force” (teams of performers). In music, the factor of selflessness manifested itself most strongly, consisting in moving away from direct utility. The social role of music is not that it imposes an image of the world through its content, but that it triggers creative instincts, discovers the world of “a supra-personal idea inextricably linked with all manifestations of beauty,” and thus directs thought to higher matters; from the thought of art’s ambivalence towards the morality of the previous period, the composer came to justify its ethical function.

Szymanowski’s views contain many similarities with the artistic programs of the 1920s, especially with the concepts of the Formists. What connects him with this group is primarily a new perspective on folk art as a model for new form shaping and a source of inspiration for renewing the language of art. The new political situation of independent Poland had a strong impact on the way of thinking about art and the creation of new aesthetics. Art was supposed to be a response to the new reality, it was supposed to express the spiritual needs of modern man.

Reception

Szymanowski’s continuators

The influence of Szymanowski’s compositional technique and aesthetic attitude was most pronounced in the works of the young generation of Polish composers in the interwar period. Szymanowski had his followers and continuators who developed his ideas. They took over the concept of combining Polish tradition with new musical thinking, rooted in contemporary European trends. Szymanowski’s reminiscences and patterns can be seen in terms of technical solutions, especially in the combination of melodies based on folk patterns with new tonal and harmonic means. Young composers drew inspiration – just like their master – from Podhale folklore (e.g. M. Kondracki in Mała symfonia góralska „Obrazy na szkle”) and Kurpie folklore (R. Maciejewski Pieśni kurpiowskie), but also Hutsul folklore (R. Palester in Taniec z Osmołody), Orava (Orawska Suite for male choir by Z. Kassern), and even Belarusian and Lithuanian (T. Szeligowski); however, they generally avoided quotations in crudo. When composing piano mazurkas, they followed Chopin’s form as well as Szymanowski’s harmonics (among others A. Szeluto, B. Woytowicz, P. Perkowski, A. Gradstein, R. Maciejewski). The style of Szymanowski’s Stabat Mater was another type of creative impulse, especially in those works in which religious content, pointing to the universal sources of the Christian tradition, came to the fore by evoking the Polish past (e.g. Z. Kassern’s motets Septem sidera to the words of M. Copernicus in Polish translation by J. Kasprowicz or Psalm No. 5 by R. Palester to the Polish translation by W. Kochowski). Examples of Szymanowski’s direct influence include some works by J. Maklakiewicz (Symphony No. 2 “Holy God,” Cello Concerto), B. Szabelski (Symphony No. 2), Z. Kassern (Concerto for voice and orchestra), T. Szeligowski (Epitaph on the Death of Karol Szymanowski), Z. Mycielski (5 Wedding Songs to the words of B. Jasieński, Lamento di Tristano in memory of K. Szymanowski) and G. Bacewicz (Stained-Glass Window for violin and piano).

In the first decade after the war, the demands of socialist realist aesthetics, bringing to the fore the works based on folklore, resulted in Szymanowski’s “tradition” consisting exclusively of works from the national period, approved by the regime’s cultural policy. They also became a starting point for all composers looking for a compromise between the officially proclaimed socialist realist slogans and a high level of creativity. There are, for example, visible connections between Wierchy by A. Malawski and Violin Concerto No. 3 by G. Bacewicz with the highland culture and Harnasie. Szymanowski’s compositional technique is also continued in W. Lutosławski’s Folk Melodies and Bucolics for piano, as well as works by Z. Mycielski (Polish Symphony) and S. Wiechowicz.

During the period of domination of the avant-garde, starting from the second half of the 1950s, Szymanowski’s style was denied by composers concerned with the ideas of innovation, however, some referred to the legacy of his creative thought, “artistic morality” (Z. Mycielski) or kinship in an emotional sphere (T. Baird). Szymanowski’s return to tradition was marked in the 1970s by a renewed search for inspiration in highland folklore in the works of W. Kilar (Krzesany), as well as in the combination of folk and religious themes in H.M. Górecki (Symphony No. 3). Another example of the vitality of Szymanowski’s legacy may be works inspired by the Mazurka Op. 62 No. 2, written especially for the concert “Hommage & Karol Szymanowski” organised by the Polish Society of Contemporary Music on the occasion of the hundredth anniversary of the composer’s birth (pieces by, among others, Z. Bargielski, W. Kotoński, A. Krzanowski, Z. Mycielski, Z. Rudziński, P. Szymański).

Criticism and scientific research. Starting with the first concerts in Warsaw and Berlin, Szymanowski’s work aroused considerable interest among Polish and foreign critics, although it also became the subject of constant controversy and polemics. They were visible both in the period before World War I and during independence. Szymanowski, appreciated by some and considered the greatest Polish artist of his time, was misunderstood and attacked by others for his reformatory activities at the Higher School of Music. However, he could not enjoy the fame of the one who restored Polish music to a European level for long. After World War II, during the period of domination of socialist realism, Szymanowski’s music was assessed one-sidedly, giving value only to works based on folklore stylisations, which were considered the pinnacle of the composer’s creative evolution. This led to the depreciation of earlier works, including Symphony No. 3 and King Roger, so for a long time the musicological literature held opinions about “overcoming” mysticism and “atonal chaos” in the last period of his work. The concept of national style created by Szymanowski was distorted in the spirit of Marxist ideology, and Harnasie was considered a pioneering work of musical realism. Paradoxically, however, and contrary to these assessments, Szymanowski’s works were constantly included in the concert repertoire of orchestras and soloists during the first ten years, were recorded on CDs and published in print by PWM (including the first editions of the 2^nd version of Symphony No. 2, 3 Songs on Words by Dmitri Davydov Op. 32, 7 Songs on Words by James Joyce Op. 54, Litany to the Virgin Mary Op. 59 to words by J. Liebert, also many reissues of works published in the Vienna Universal Edition). Numerous press articles, especially on the 10^th anniversary of Szymanowski’s death, unbiasedly assessed the composer’s role in the “Europeanisation” of Polish music and contributed a lot to the research on his life and work (including essays by J. Iwaszkiewicz, S. Golachowski, S. Kisielewski, Z. Drzewiecki, Z. Mycielski, J. Prosnak, also memories of Z. Jachimecki, M. Rytard, and Z. Nałkowska). Scientific research developed, starting before the war with the works of Z. Jachimecki (the first monograph on Szymanowski’s life and work from 1927), J.M. Chomiński and S. Łobaczewska. From 1940, S. Golachowski collected and secured Szymanowski’s autographs, documents and souvenirs. The collection, initially stored in the Golachowski family’s apartment in Łódź, was transferred in 1961 to the Music Collections Department of the University of Warsaw Library, where it is constantly expanded with new exhibits. In 1948, a small monograph on Szymanowski by S. Golachowski was published, and the materials collected by him for the biography were published in 1960 (Z życia i twórczości Karola Szymanowskiego, edited by J.M. Chomiński). S. Łobaczewska’s work, published in 1950, was a summary of knowledge about the composer’s life and work, but at the same time, it was this researcher who contributed mainly to the socialist realist interpretation of the folkloric-national trend in Szymanowski’s music. A three-part series of analytical studies Studia nad twórczością Karola Szymanowskiego (1936, 1948) by J.M. Chomiński also was completed. The rhythm of the composer’s birth and death anniversaries constantly brought new publications, scientific conferences and dissertations devoted to his works. Over time, however, views regarding Szymanowski’s importance for the development of Polish music changed. In particular, the 30^th anniversary of Szymanowski’s death became an opportunity to revise the assessments. From the point of view of the avant-garde, Szymanowski’s music seemed almost anachronistic compared to the work of his contemporaries: Webern and Varèse. B. Schaeffer (“Współczesność” 1967) expressed the opinion that “with his powerful individuality, Szymanowski even blocked the path of younger composers’ search for new values, and thus delayed the development of Polish music.” This extreme view, by no means universal, but a kind of “sign of the times,” did not prevent further, intensive research on Szymanowski’s life and work. A breakthrough in this regard was the initiative to publish the composer’s complete works (edited by T. Chylińska in cooperation with, among others, Z. Helman, A. Neuer, A. Walaciński, A. Wightman) in two series: Polish (PWM) and German-English (PWM in co-production with UE and M. Eschig). The monumental edition of Szymanowski’s correspondence (1982–2002, 2007), as well as his Pisma muzyczne [Musical Writings] (1984) and Pisma literackie [Literary Writings] (1989), is a summary of the research and a true compendium of knowledge in the field of the composer’s biography and the reception of his music until 1937.

In 1974, thanks to a social campaign initiated by J. Waldorff, the Atma villa in Zakopane was bought and donated to the National Museum in Krakow. The opening of the Karol Szymanowski Museum in Atma took place on 6 March 1976. In March 1977, the Karol Szymanowski Music Days were inaugurated in Zakopane to begin the celebration of the 40^th anniversary of the composer’s death. In 1978, the Karol Szymanowski Music Society was established in Zakopane; in 1996, on the initiative of Z. Szakiewicz (husband of Szymanowski’s niece, Krystyna née Grzybowski, daughter of Zofia), the Karol Szymanowski Foundation was established, awarding an annual award named after him.

Workmanship

In the post-war period, Szymanowsk’s entire work gradually entered the concert repertoire in Poland and worldwide and was recorded on radio and CDs. Many people contributed to this, including conductors like G. Fitelberg, W. Rowicki, J. Krenz, K. Stryja, S. Rattle, and A. Wit; violinists: W. Wiłkomirska, H. Szeryng, D. Oistrakh, K.A. Kulka, K. Jakowicz, K. Danczowska, F.P. Zimmerman; pianists: S. Richter, T. Żmudziński, J. Godziszewski (recording of all piano works), P. Anderszewski, J. Lefeld, J. Marchwiński, W. Malicki, Reinild Mees (initiator and producer of the recording of all Szymanowski’s songs); singers: S. Woytowicz, K. Szczepańska, J. Gadulanka, G. Pisarenko, T. Żylis-Gara, U. Kryger, A. Hiolski, A. Bachleda, M. Kwiecień and many others.

In literature, visual arts and film

Szymanowski as an artist, but also as an extraordinary personality, inspired and still inspires the imagination of writers, poets, painters and film directors. In fiction, he is either mentioned as a composer or appears as a literary figure. The novel by S.I. Witkiewicz 622 upadki Bunga, czyli Demoniczna kobieta (1910–11, published in 1972) mentions, for example, specific works by Szymanowski: Piano Sonata No. 1 in C minor Op. 8 (dedicated to the writer), the Violin Romance and Piano Sonata No. 3 (written later). In the following novels – Pożegnanie jesieni (1927), Nienasycenie (1930), Jedyne wyjście (1931–33, published 1968) – Witkacy equips his characters with some of Szymanowski’s personality traits and his works are allusively mentioned in a parodic tone, such as 58^th Symphony or Stabat Vater. Also T. Miciński mentions Szymanowski’s works in his – in Xiądz Faust (published in 1913), Szymanowski’s symphony is mentioned in the context of Song of the Night by Jalāl al-Dīn Muḥammad Rūmī (Symphony No. 3 was written only in 1914–16), and in Termopile polskie (ca. 1913–14) in the instructions staging, the author recommends playing Szymanowski’s symphony in Intermezzo. However, the greatest influence of Szymanowski’s personality and music was on J. Iwaszkiewicz. He was the co-author of the libretto of King Roger, the author of the lyrics of the composer’s songs (Songs of the Infatuated Muezzin Op. 42 and Lullabies Op. 48), as well as a translator of texts by Rabindranath Tagore, D. Davidov, J. Joyce (songs Op. 41, 32, 54 ), author of memoir books, numerous music reviews, and studies on Szymanowski’s relationship with literature. In addition to direct cooperation with the composer, Iwaszkiewicz dedicated a number of his poems to him (including two poems from the Sonety Sycylijskie series and Słuchając muzyki Karola Szymanowskiego). Szymanowski was also a prototype (camouflaged) of one of the characters in the novel Sława i chwała by the composer Edgar Szyller, and the novel’s descriptions of his compositions seem to refer to Szymanowski’s authentic works. Hidden allusions to the composer’s character are also found in Iwaszkiewicz’s story Koronki weneckie I, written in 1937, after receiving news of Szymanowski’s death. Moreover, poems dedicated to Szymanowski were written by, among others: M. Jasnorzewska-Pawlikowska, J. Lechoń, A. Słonimski, K. Iłłakowiczówna, W. Sebyła, K.I. Gałczyński.

Szymanowski’s numerous images in paintings, drawings, sculptures and medals include four portraits by S.I. Witkiewicz (1922, 1930, two from 1931), two portraits by Dora Przyschowska, a drawing by O. Boznańska (1922), an oil portrait by Cz. Rzepiński (1953), a watercolour by M. Berezowska (1972), a woodcut by Peter Reinhold (1980), four sculptures by A. Karny (1957), as well as two monuments: by S. Horno-Popławski in Słupsk and by E. Szczech-Siwicka and H. Siwicki in Bydgoszcz.

Several pre-war documentaries from the 1930s have survived, including the recording of Szymanowski’s funeral at Skałka in Kraków. Post-war film documentation comes mainly from various celebrations honouring Szymanowski but also includes reminiscence material and performances by artists playing his works. There are fewer films about Szymanowski’s life and work; these include the films Karol w Pradze (directed by P. Szalsz), Karol Szymanowski. Wspomnienia i refleksje (dir. L. Perski) and Song of the Night (dir. P. Maniura, BBC), cf. Literature.

Literature: 

Documentation — K. Michałowski Dyskografia Karola Szymanowskiego, “Muzyka” 1957 no. 4; K. Michałowski Karol Szymanowski 1882–1937. Katalog tematyczny dzieł i bibliografia, Kraków 1967; T. Chylińska Karol Szymanowski, album, Kraków 1962, 4^th ed. 1982, English ed. New York 1973, Kraków 2^nd ed. 1982; W. Bogdany-Popielowa Rękopisy Karola Szymanowskiego w zbiorach Biblioteki Narodowej, “Rocznik Biblioteki Narodowej” vol. 12/13, 1976/77, published in 1979; K. Michałowski Dyskografia Karola Szymanowskiego 1967–1981, “Ruch Muzyczny” 1982 no. 1; Karol Szymanowski. Most Neglected Composer of the Twentieth Century, ed. W. Wilk, «Polish Music History Series» I, Los Angeles 1982 (list of works, bibliography, discography); E. Jasińska-Jędrosz Rękopisy utworów muzycznych Karola Szymanowskiego, catalogue, Warsaw 1983; M. Pinkwart Muzeum Karola Szymanowskiego „Atma”, Kraków 1988; W. Bogdany-Popielowa, E. Jasińska-Jędrosz, G. Serdak Karol Szymanowski w zbiorach polskich. W 50. rocznicę śmierci, catalogue, Warsaw 1990; K. Michałowski Karol Szymanowski. Bibliografia 1967–1991, Dyskografia 1981–1991, Kraków 1993. 

Correspondence — Karol Szymanowski. Z listów, ed. T. Bronowicz-Chylińska, Kraków 1958; Karol Szymanowski and J. Smeterlin. Correspondence and Essays, translation, glosses, ed. B.M. Maciejewski and F. Aprahamian, London 1969; Dzieje przyjaźni. Korespondencja Karola Szymanowskiego z Pawłem i Zofią Kochańskimi, ed. T. Chylińska, Kraków 1971; Między kompozytorem i wydawcą. Korespondencja Karola Szymanowskiego z Universal Edition, ed. T. Chylińska, Kraków 1978, German ed. as Karol Szymanowski Briefwechsel mit der Universal Edition 1912–1937, Vienna 1981; Karol Szymanowski. Korespondencja. Pełna edycja zachowanych listów do i od kompozytora, ed. T. Chylińska, vol. 1 (1903–19), Kraków 1982, supp. Kraków 2^nd ed. 2007, vol. 2 in 3 parts (1920–26), Kraków 1994, vol. 3 in 4 parts (1927–31), Kraków 1997, vol. 4 in 7 parts (1932–37), Kraków 2002.

Memories, biographical studies — Z. Jachimecki Karol Szymanowski, “The Musical Quarterly” 1922 no. 1; A. Tansman Karol Szymanowski, “Le Revue Musicale” 1922 no. 7; G. Pannain Karol Szymanowski, “II Pianoforte” 1925 no. 11 (Turin); Z. Szymanowska Opowieść o naszym domu, Lviv-Warsaw 1935, Warsaw 2^nd ed. 1947, Kraków 3^rd ed. 1977; S. Korwin-Szymanowska Jak należy śpiewać utwory Karola Szymanowskiego, Warsaw 1938, Kraków 3^rd ed. 1982, English ed. Kraków 1982; S. Golachowski Pierwsza podróż do Ameryki. Z materiałów do biografii Karola Szymanowskiego, “Ruch Muzyczny” 1947 no. 5; S. Kisielewski O twórczości Karola Szymanowskiego, “Twórczość” 1947 issue 4; J. Iwaszkiewicz Spotkania z Szymanowskim, Kraków 1947, 4^th ed. 1986; J.M. Rytard Wspomnienia o Karolu Szymanowskim, Kraków 1947, 2^nd ed. 1982; K. Dąbrowska Karol z „Atmy”, Warsaw 1958, 3^rd ed. 1982; J. Iwaszkiewicz Książka moich wspomnień, 1958, 4^th ed. 1983; L. Gradstein, J. Waldorff Gorzka sława, Warsaw 1960; B. Maciejewski Szymanowski w Londonie, “Ruch Muzyczny” 1962 no. 7; B. Maciejewski Szlakiem Szymanowskiego, “Ruch Muzyczny” 1962 no. 18; S. Spiess, W. Bacewicz Ze wspomnień melomana, Kraków 1963; Szymanowski w Bydgoszczy, Bydgoszcz 1966; Karol Szymanowski we wspomnieniach, ed. J. Smoter, Kraków 1974; Zakopiańskie dni Karola Szymanowskiego 1894–1936, Kraków 1975, 4^th ed. 1982, published by T. Chylińska; Wiersze o Szymanowskim. Antologia, ed. J. Opalski, Kraków 1979, 3^rd ed. 1986; T. Chylińska Kiedy urodził się Karol Szymanowski?, “Ruch Muzyczny” 1980 no. 9; T. Chylińska Śladami Szymanowskiego w Stanach Zjednoczonych, “Ruch Muzyczny” 1980 no. 21–22, 24–25, “Ruch Muzyczny” 1981 no. 1–3; T. Chylińska Śladami Szymanowskiego w Paryżu, “Ruch Muzyczny” 1982 no. 9–11; T. Chylińska Karol Szymanowski et la Suisse Romande, “Revue Musicale de la Suisse Romande” 1982 no. 4; M. Pinkwart Zakopiańskim szlakiem Szymanowskiego, Warsaw 1982, 2^nd ed. 1988; J. Iwaszkiewicz Pisma muzyczne, Warsaw 1983; O Karolu Szymanowskim. Antologia, ed. Z. Sierpiński, Warsaw 1983, English version Warsaw 1986, German version Warsaw 1986; P. Szalsza Karol Szymanowski w Pradze, «Prace Specjalne Akademii Muzycznej w Katowicach» no. 4, 1985; T. Chylińska O genealogii Karola Szymanowskiego, “Ruch Muzyczny” 1988 no. 18; T. Chylińska Szymanowski. A Witness of History. Sidelights on Karol Szymanowski’s Correspondence. 1920–1926, „Musica lagellonica” vol. 2, Kraków 1997; T. Chylińska Dom rodzinny Karola Szymanowskiego, “Kresy”, literary quarterly, 2004 no. 1–2 (57–58); E. Boniecki Ostatnie listy Karola Szymanowskiego, „Twórczość” 2004 no. 2/3; H. Feicht O Karolu Szymanowskim. Teksty znane i nieznane, “Polski Rocznik Muzykologiczny” vol. 6, 2007/08; T. Chylińska Karol Szymanowski i Maria Freund. Na marginesie nieznanego listu kompozytora, “Ruch Muzyczny” 2011 no. 6; J. Stankiewicz Ostatnie dni Szymanowskiego, “Ruch Muzyczny” 2012 no. 23.

Monographs, composite works — Z. Jachimecki Karol Szymanowski. Rys dotychczasowej twórczości, “Przegląd Współczesny” VI, 1927 no. 60–62, print Kraków 1927; S. Golachowski Karol Szymanowski, Warsaw 1948, Kraków 2^nd ed. 1956, 4^th ed. 1982; S. Łobaczewska Karol Szymanowski. Życie i twórczość (1882–1937), Kraków 1950; Z życia i twórczości Karola Szymanowskiego. Studia i materiały, ed. J.M. Chomiński, Kraków 1960; Karol Szymanowski. Księga Sesji Naukowej poświęconej twórczości Karola Szymanowskiego, Warsaw 23–28 March 1962, ed. Z. Lissa, Warsaw 1964; J. Iwaszkiewicz „Harnasie” Karola Szymanowskiego, Kraków 1964, 2^nd ed. 1979; B. Maciejewski Karol Szymanowski. His Life and Music, London 1967; J.M. Chomiński Studia nad twórczością Karola Szymanowskiego, Kraków 1969 (collection of dissertations); T. Chylińska Szymanowski i jego muzyka, Warsaw 1971, 2^nd ed. 1980, 3^rd ed. 1990; J. Opalski Chopin i Szymanowski w literaturze dwudziestolecia międzywojennego, Kraków 1980; J. Samson The Music of Szymanowski, London 1980; Ch. Palmer Szymanowski, London 1983, French ed. Szymanowski: un compositeur à la croisée des chemins, Arles 1987; Karol Szymanowski. Wospominanija, statji, publikacyi, ed. I. Nikolska and J. Krejnina, Moscow 1984; M. Bristiger, R. Scruton, P. Weber-Bockholdt Karol Szymanowski in seiner Zeit, Munich 1984; S. Tamura [Karol Szymanowski – życie i twórczość], in Japanese, Tokio 1991; M. Komorowska Szymanowski w teatrze, Warsaw 1992; T. Chylińska Szymanowski. His Life and Works, «Polish Music History Series» V, Los Angeles 1993; T.A. Zieliński Szymanowski. Liryka i ekstaza, Kraków 1997; M. Tomaszewski Nad pieśniami Karola Szymanowskiego. Cztery studia, Kraków 1998; Szymanowski i Ukraina/Szymanowski a Ukraina, ed. A.P. Kaleniczenko, Kirovohrad 1998; A. Wightman Karol Szymanowski. His Life and Work, Aidershot 1999; Z. Helman, A. Morawińska Karol Szymanowski, «Composers and the Art of Their Time», Warsaw 2001 (with CD); B. Dąbrowski Mit dionizyjski Karola Szymanowskiego, Gdańsk 2001; Pieśń w twórczości Karola Szymanowskiego i jemu współczesnych, ed. Z. Helman, Kraków 2001, English version as The Songs of Karol Szymanowski and His Contemporaries, ed. Z. Helman, T. Chylińska and A. Wightman, «Polish Music History Series» VII, Los Angeles 2002; Wokół kategorii narodowości, wielokulturowości i uniwersalizmu w muzyce polskiej, ed. A. Matracka-Kościelny, Warsaw 2002; Karol Szymanowski w perspektywie kultury muzycznej przeszłości i współczesności, Z. Helman’s festschrift, ed. Z. Skowron, Kraków-Warsaw 2007; T. Chylińska Karol Szymanowski i jego epoka, 3 volumes, Kraków 2008; D. van Moere Karol Szymanowski, Paris 2008; S. Keym Symphonie-Kulturtransfer. Untersuchungen zum Studienaufenthalt polnischer Komponisten in Deutschland und zu ihrer Auseinandersetzung mit der symphonischen Tradition 1867–1918, Hildesheim 2010; Karol Szymanowski, ed. D. van Moere, M. Winiarska et al., Brussels 2011 (in French and Flemish).

Special issues of magazines — “Muzyka” 1937 no. 4/5; “Muzyka Polska” 1937 issue 4; “Muzyka Współczesna” 1937 no. 4/5; “Prosto z mostu” 1937 no. 17; “Wiadomości Literackie” 1938 no. 1; “Odrodzenie” 1947 no. 12; “Muzyka” 1952 no. 3/4, 1957 no. 4; “Ruch Muzyczny” 1957 no. 2, 1962 no. 6; “L’Avant-Scène Opéra” no. 250 (Le Roi Roger), 2009; “Musicology Today” V (Karol Szymanowski. Works-Reception-Contexts), 2008.

Detailed studies (creativity, aesthetic views, reception) — J.M. Chomiński Studia nad twórczością Karola Szymanowskiego, part 1: Problem tonalny w „Słopiewniach,” “Polski Rocznik Muzykologiczny” 1936, part 2: Zagadnienia konstrukcyjne w sonatach fortepianowych, “Kwartalnik Muzyczny” 1948 no. 21/22 and no. 23, part 3: Chóralne „Pieśni kurpiowskie”, “Kwartalnik Muzyczny” 1948 no. 24; J.M. Chomiński Fortepianowa twórczość Karola Szymanowskiego, “Muzyka Polska” 1936 no. 5; K. Regamey Karol Szymanowski i jego twórczość religijna, “Verbum” 1937 issue 2; K. Regamey Ideologia artystyczna Szymanowskiego, “Muzyka Polska” 1937 no. 4; A. Chybiński Karol Szymanowski a Podhale, “Wierchy” XVI, 1938, reprint Kraków 1958, 3^rd ed. 1980; S. Zetowski Erosowe wzloty Karola Szymanowskiego, “Przegląd Klasyczny” 1939 no. 6/8; S. Jarociński Z poglądów estetycznych Karola Szymanowskiego w świetle jego publicystyki, “Muzyka” 1957 no. 4; Z. Lissa Karol Szymanowski a marksistowska teoria sztuki, “Muzyka” 1962 no. 3; J.M. Chomiński Skrjabin i Szymanowski, in: Russko-polskije muzykalnyje swiazi, ed. I. Bełza, Moscow 1963, Polish version in: J.M. Chomiński Studia nad twórczością Karola Szymanowskiego, Kraków 1969 (collection of dissertations); Z. Helman Wpływ Chopina na wczesną twórczość Karola Szymanowskiego, The Book of The First International Musicological Congress, devoted to the Works of F. Chopin 16th–22nd February 1960, ed. Z. Lissa, Warsaw 1963; A. Poszowski Materiał dźwiękowy i środki harmoniczne Karola Szymanowskiego w utworach o tematyce orientalnej, «Zeszyty Naukowe PWSM w Gdańsku» no. 5, 1967; J. Mendysowa Nieznany rękopis Karola Szymanowskiego w zbiorach muzycznych Biblioteki Uniwersyteckiej w Warszawie, “Muzyka” 1967 no. 4; J. Paclt Karol Szymanowski i czeska kultura muzyczna, “Muzyka” 1967 no. 2; T. Chylińska Karol Szymanowski – nicht bloss Komponist, “Österreichische Musikzeitschrift” 1967 no. 7; L. Markiewicz Właściwości tonalno-harmoniczne fug Szymanowskiego, “Muzyka” 1969 no. 2; Z. Helman Koncepcja modalna w twórczości Szymanowskiego, “Muzyka” 1969 no. 4; N.R. Kotler Impressionisticzeskije czerty stila Karol Szymanowski, «Problemy Muzykalnoj Nauki. Sbornik Statiej» II, Moscow 1973; S. Olędzki Niektóre problemy faktury fortepianowej Karola Szymanowskiego, “Muzyka” 1973 no. 3; J. Opalski Karol Szymanowski w kręgu literatury międzywojennej, “Pamiętnik Literacki” 1974 issue 3; A. Neuer Nowo odnalezione pieśni Szymanowskiego, “Ruch Muzyczny” 1977 no. 7; J. Samson Szymanowski and Tonality, „Studi musicali” 1978 no. 1/2; Z. Helman Les traditions de la Commedia dell’arte dans le théâtre du XXe siècle (exemple de Mandragora de Karol Szymanowski), “Quadrivium” XIX/1, 1978; T. Chylińska Karol Szymanowski a Tadeusz Miciński, in: Studia o Tadeuszu Micińskim, ed. M. Podraza-Kwiatkowska, Kraków 1979; S. Dąbek Pieśni Karola Szymanowskiego do słów J. Joyce’a, “Muzyka” 1979 no. 1; T. Chylińska „Młoda Polska” w muzyce – mit czy rzeczywistość, in: Muzyka polska a modernizm, Kraków 1981; A. Wightman Szymanowski, Bartók and the Violin, “The Musical Times” 1981 no. 1657; M. Podhajski Relacja przeciwstawności pomiędzy tematami form sonatowych w sonatach fortepianowych Karola Szymanowskiego and A. Poszowski Mazurki Karola Szymanowskiego jako wyraz przemian w harmonice początków XX wieku, «Muzyka Fortepianowa» IV, in: «Prace Specjalne PWSM w Gdańsku» no. 25, 1981; K. Tarnawska-Kaczorowska Karol Szymanowski – Trzy pieśni op. 32 do słów D. Dawydowa w przekładzie J. Iwaszkiewicza, in: Muzyka polska a modernizm, Kraków 1981; H. Barraud, M. Pazdro, H. Halbreich Regards sur Szymanowski, “L’Avant-Scène Opéra” no. 43, 1982; C. Dahlhaus O pieśniach Karola Szymanowskiego do słów R. Dehmela, also in German, A. Wightman Szymanowskiego pisma o muzyce – studium porównawcze, also in English, and P.E. Carapezza Król Roger między Dionizosem a Apollinem, «Res Facta» 9, 1982 (original version Re Ruggiero tra Dioniso e Apollo, in: Storia dell’arte, C. Brandi’s festschrift, Florence 1980); H. Kajetanowicz Inspiracje literackie muzyki Szymanowskiego, “Przegląd Humanistyczny” 1982 no. 1/2; J. Stęszewski Karol Szymanowski’s Stellung im polnischen Musikschaffen, “Studia Musicologica” vol. 24, 1982 (supplement); A. Wightman Karol Szymanowski a kraj i kultura angielska, J. Samson Przegląd modeli analitycznych i próba ich zastosowania do analizy języka harmonicznego Karola Szymanowskiego, K. Meyer Szymanowski z perspektywy dzisiejszej. Próba innego spojrzenia and J. Stęszewski Dlaczego Karol Szymanowski nie skomponował więcej pieśni kurpiowskich, “Muzyka” 1983 no. 2; A.K. McNamee Bitonality, Mode and Interval in the Music of Karol Szymanowski, “Journal of Music Theory” 1985 no. 29; P. Cadrin Music about Music. The First String Quartet, Opus 37, in C, by Karol Szymanowski, “Canadian University Music Review” 1986 no. 7; D. van Moere Szymanowski et le groupe de Six, “Revue Internationale de Musique Française” no. 20, 1986; J. Kadłubiski Maski op. 34 i Mazurki op. 50 – dwa oblicza muzyki fortepianowej Karola Szymanowskiego, «Muzyka Fortepianowa» VII, in: «Prace Specjalne Akademii Muzycznej w Gdańsku» no. 42, 1987; A. Neuer Na księżycu czarnym, pieśń op. 20 no. 1 do słów VOL. Micińskiego (1909), in: Forma i ekspresja w liryce wokalnej 1808–1909. Interpretacje, ed. M. Tomaszewski, Kraków 1989; E. Boniecki W orszaku Dionizosa. Mit dionizyjski Szymanowskiego i Iwaszkiewicza, “Pamiętnik Literacki” 1989 issue 1; E. Boniecki Jak pisać o Chopinie? Wokół kontrowersji Szymanowski – Iwaszkiewicz, “Ruch Literacki” 1991 issue 6; S.C. Downes Szymanowski as Post-Wagnerian. The Love Songs of Hafiz Op. 24, New York 1994; Z. Helman Karol Szymanowski face à dilemme. Opéra national ou universel?, in: L’Europe et son combat pour la liberté à travers le théâtre et l’opéra, ed. I. Mamczarz, Paris 1996; A. Wightman The Book of King Roger. Szymanowski’s Opera in the Light of His Novel Efebos, “Musica Iagellonica” vol. 2, 1997; A. Chwilek Struktura i funkcja fugi z cyklu sonatowego w twórczości Karola Szymanowskiego, “Muzyka” 1997 no. 3; Z. Helman Modernistyczna poetyka „Pięciu pieśni” op. 13 Karola Szymanowskiego, I. Nikolska Mieczysław Karłowicz i Karol Szymanowski. Portret podwójny we wnętrzu europejskiego symbolizmu and J. Makosz Kilka uwag o sztuczności instrumentacji I Koncertu skrzypcowego Karola Szymanowskiego w świetle teorii Jürgena Maehdera, in: Muzyka w kontekście kultury, ed. M. Janicka-Słysz, T. Małecka and K. Szwajgier, Kraków 2001; W. Malinowski K. Szymanowskis unbekanntes Manuskript und Stück, in: Music in the World of Ideas, ed. H. Geyer, M. Jabłoński and J. Stęszewski, Poznań 2001; D. van Moere Des Bacchantes d’Euripide au Roi Roger de Szymanowski, in: Livret d’opéra, ed. G. Zaragoza, Paris 2002; S.C. Dowes Szymanowski, Eroticism and the Voices of Mythology, Aldershot 2003; D. van Moere Harnasie de Karol Szymanowski et la critique française. Etude de reception, “Revue de littérature comparée” no. 307, 2003; D. van Moere “La Mandragore” ou “Le Bourgeois” de Szymanowski, “Recherches et Travaux” (Université Stendhal-Grenoble 3) no. 67, 206; E. Boniecki Muezin rażony strzałą Kupidyna, “Twórczość” 2006 no. 2; E. Boniecki Hasło „Roger”. Bohater opery Karola Szymanowskiego „Król Roger” w teatrze duszy T. Micińskiego, Z. Helman Motywy przewodnie w „Królu Rogerze” and K. Dadak-Kozicka Ewolucja rodzimości w postawie twórczej Karola Szymanowskiego, “Polski Rocznik Muzykologiczny” VI, 2007/08; M. Dziadek Karol Szymanowski i reforma szkolnictwa muzycznego. Epizod z dziejów warszawskiego konserwatorium, in: Między muzykologiczną refleksją a pedagogiczną pasją, L. Markiewicz’s jubilee book, ed. G. Darłak et al., Katowice 2008; M. Gmys Mistrz i uczniowie? Kompozytorzy Młodej Polski wobec Z. Noskowskiego, S. Keym The Tradition of „per aspera ad astra ” in Polish Symphonic Music from Z. Noskowski to K. Szymanowski and B. Dąbrowski Scena fantazji i żałoba. Figury wyobraźni młodego Szymanowskiego, “Muzyka” 2009 no. 3/4; M. Janicka-Słysz Karola Szymanowskiego drogi twórczej linia prosta i zakręty, “Res Facta Nova” 11 (20), 2010; W. Lovell What Kind of a Symphony? Szymanowski’s „Pieśń o nocy”, Opus 27, “Muzyka” 2011 no. 2.