Meyer Krzysztof, *11 August 1943 Kraków, Polish composer. He comes from a family with musical passions and traditions; his grandmother, Stanisława Abłamowicz-Meyer, was a pianist and teacher. Meyer learned to play the piano from the age of 5, first at the private experimental school of J. J. Vobořil and from 1952 with H. Ekierówna. From 1954, he learnt in the field of composition from S. Wiechowicz; in 1957–1962, he studied at the F. Chopin State Music High School in Kraków, and in 1961, he made his debut as a composer with the String Quartet (destroyed) performed by the E. Umińska Kraków Quartet. In 1962, he began his studies at the State High School of Music in Kraków in the composition and theory class of S. Wiechowicz, and after his death (1963) – of K. Penderecki; in 1965, he obtained a diploma in composition and in 1966, a diploma in theory in the class of A. Frączkiewicz. In 1964 and 1966, he participated in the summer course of N. Boulanger at the Conservatoire Américain and the École des Beaux Arts in Fontainebleau, and in 1968, he studied under her supervision in Paris; he also received private consultations from W. Lutosławski, and their cooperation developed into a lasting friendship. In 1964, the premiere of Meyer’s Symphony No. 1 took place at the Kraków Spring of Music festival, and in 1965, his String Quartet No. 1 was performed at the Warsaw Autumn festival. Meyer’s acquaintance with D. Shostakovich, whose work was particularly close to him, also dates back to 1965. Meyer was also active as a pianist. In the years 1965–67, he gave concerts with the MW2 ensemble at the Polish Department of Musicology at the Adam Mickiewicz University in Poznań. In 1991, Meyer was composer-in-residence of the Cologne Philharmonic, and in 1996 at the Seattle Festival.
Awards: 1966 1st Prize at the Concours des Jeunes Compositeurs in Fontainebleau; 1966 2nd Prize at the Polish Composers’ Union Youth Competition (for Symphony No. 1); 1967 distinction (for Symphony No. 2) and 1968 1st Prize at the G. Fitelberg Competition in Katowice (for Symphony No. 3); 1970 Grand Prix “Prince Pierre de Monaco” (for the opera Cyberiada); 1970 and 1976 distinction at the Tribune Internationale des Compositeurs UNESCO in Paris (for String Quartet No. 2 and No. 3); 1972 2nd Prize at the A. Malawski Competition in Kraków (for Concerto da camera); 1974 1st Prize at the K. Szymanowski Competition (for Symphony No. 4); in 1973 and 1975 he was a laureate of the MKiS award, in 1975 and 1977, he received a medal of the Brazilian government (for String Quartet No. 4 and Concerto retro), in 1984 he was awarded the Gottfried-von-HerderPreis in Vienna; in 1993 he received the A. Jurzykowski Foundation Award in New York, in 1996 the J. Stamitz Award in Mannheim, in 2006 the Cross of Merit on the Ribbon of the Order of Merit of the Federal Republic of Germany, and in 2010 the Gold Medal for Merit to Culture – Gloria Artis. Meyer is a member of the Freie Akademie der Künste in Mannheim and, since 2011, of the Polish Academy of Arts and Sciences.
Meyer made his debut at a time when avant-garde ideas dominated music. Having achieved technical maturity early, he used the dodecaphonic technique in his first opused works (e.g. Piano Sonata No. 1, String Quartet No. 2) as well as a pointillist post-Webern texture, and his search for new sound qualities brought him closer to K. Penderecki, H.M. Górecki, W. Kilar and K. Serocki. The first four string quartets, as well as the Quartettino, in particular, are distinguished by their striving to achieve unusual colours through the differentiation of texture, sophisticated articulation, contrasting dynamics, percussion effects, the use of quarter tones and detuning of strings. However, from the beginning, the composer’s sonoristic interests were accompanied by a clear concept of form, such as indicated by the titles of the movements in String Quartet No. 1: Tesi – Antitesi – Sintesi. Among the orchestral works, the richness of colours is noted in Symphony No. 1, Fireballs, and Flute Concerto. Aleatoric appears, among others, in the Trumpet Concerto, and the collage technique in the Cyberiad. In turn, Symphony No. 2 “Epitafium S. Wiechowicz in memoriam” and Symphony No. 3 “Symphonie d’Orphée,” created under the influence of extra-musical inspirations, represent the genre of a one-part vocal symphony, in which the choir appears in the final phase.
In Meyer’s works from the 1970s (e.g. in Symphony No. 4, String Quartet No. 5), sonorism recedes into the background. The composer aims to renew ties with the tradition of the great masters of European classics, including the classics of the 20th century. He refers to old aesthetic patterns: order, solid construction, symmetry, balance of the components of the work, and beautiful sound. If in this attitude we find points of contact with earlier neoclassicism, in Meyer’s case the synthesis of a new musical language with traditional assumptions of form was derived from the experiences of the avant-garde of the 1950s and 1960s. It is not so much old architectural schemes, techniques or textural patterns that become important for the composer, but the very thinking in categories of closed form, form understood as a dramatic process in which phases of different densities of musical substance appear. These are (using the composer’s terms) the initial phase, the fundamental phase (the basic idea of the piece, e.g. theme, harmonic structure or colour, which is the starting point for further development), the transitional phase (preparatory or discharging), the phase of special importance (climax or contrasting episode) and the final phase. The bond with tradition is also expressed in the selection of symphonic and chamber music genres: symphony, concerto, trio, quartet, quintet, and sonata. Meyer also practices traditional genres of vocal-instrumental music, such as opera, solo song with orchestra or with piano, and mass.
Each of Meyer’s pieces is an individual approach to the genre idiom. For example, returning particularly willingly to the genre of the string quartet, symphony or concerto, the composer approaches the problems of shaping the form and texture differently each time. The differences concern the number of parts (from 1-part pieces to 5-part cycles), as well as the variable ordering of parts in slow and fast tempos, with the most important phases of the musical action falling in any part, e.g. in the 5-part String Quartet No. 5 it is the second part, in the 3-part Quartet No. 6 – the last, and in the 5-part Symphony No. 5 the most important in terms of dramaturgy are parts II and V. Individual parts or phases in 1-part pieces refer to the old symphonic cycle: parts resembling the function of the old allegro, slow episodes and scherzos. A special role is played by finales, which are often the terrain of recapitulation and synthesis of thematic material, as well as the place of the main climaxes. Meyer builds form from embryonic musical ideas, developing and transforming them in a long-term narrative. He attaches great importance to integrating form using leading motifs, which are a kind of motto for the composition, or themes that run through all parts of the cycle (e.g. String Quartet No. 5, 8, 9 and 10, Symphony No. 5 or Piano Trio). The last part is often a reference to the first one (e.g. String Quartet No. 8, Sonata for cello and piano).
The golden proportion rule is very often used in the division of form in Meyer’s music, with the points designated by it falling on important moments of development (e.g. the main climax or caesuras before the introduction of new thematic ideas). Proportion and symmetry also play an important role in terms of rhythm, dynamics, harmony, and even texture. Sometimes the structural idea of a piece is connected with the combinatorics of numbers, e.g. in String Quartet No. 7 the number 12 is repeated (a 12-minute piece, composed of 12 sections, each of which contains the same number of rhythmic units). In turn, in Hommage à Johannes Brahms the melodic motif was created from the letters of the surname corresponding to the notes or their solmisation equivalents (B-rea-h-mi-si).
In terms of harmonic and tonal aspects, Meyer returns in his later works to the principle of a sound centre, which determines the hierarchy and regularity of the musical progression. It is often the note C with its tritone, which, like in Bartók, is the determinant of the axis around which other notes and chords are grouped. The principle of the centre takes on particular significance in the 24 piano preludes, which are arranged, like in Chopin, according to the key of the circle of fifths alternating with parallel minor keys. The sonority material of Meyer’s works is distinguished by various types of symmetrical chords, from the simplest, built from identical intervals, to more complicated ones, varied in intervals, but symmetrically distributed on both sides of the axis (sometimes with small deviations, e.g. a minor second instead of a major second).
In some pieces (e.g. in the piano preludes), the means of polyphonic technique gain great importance: imitation in strict form (canon) and free form, motivic correspondence, inversion, and retrograde movement. In other cases, e.g. in the Clarinet Quintet in the first movement, the linearly led voices are independent in terms of melody, rhythm and articulation.
However, creative discipline and the logic of musical development, and even a preference for numerical combinatorics, remain in Meyer’s music in balance with the wealth of sonoristic means, instrumental virtuosity and varied expression. The composer skilfully uses contrasts of movement and colour, types of intervals and chords, and variations of texture to achieve different expressive qualities, but generally without any hidden extra-musical meanings; for example, in String Quartet No. 8 the movements are provided with titles indicating the type of expression itself: Tranquillo, Furioso, Infemale, Drammatico, Tranquillo.
Meyer sometimes referred to the music of past composers in his compositions. The Symphony in the Style of Mozart, a pastiche of the Viennese master’s style, is a musical joke. In turn, in Canti Amadei, quotes from famous works by Mozart (including the theme of the fugue from Requiem, motifs from Eine kleine Nachtmusik, and Symphony in G minor) were used as counterpoints to their own themes. In Caro Luigi, quotes from Boccherini’s works appear, although they are used in an unusual way, e.g. in the introduction, it is the very formula of the accompaniment. The culmination of the piece is a kind of happening: the second double bassist enters with the instrument on his back and begins to play Boccherini’s minuet in a caricatural way in a high register in 4/4. In turn, Concerto retro is a stylisation of late Baroque instrumental music. Another type of stylisation is presented by Symphony No. 6 “Poland”: the reference to early music is expressed in this piece not only in the citation of Polish song melodies (Bogurodzica, Boże, coś Polskę, Rota Nowowiejskiego) but also like the melody (modality) and rhythm, in the organic fourth-fifth sounds, in the contrapuntal technique. Archaisation also plays an important role in choral works (e.g. Mass in two versions: for mixed choir and organ or orchestra). Meyer’s connections with Shostakovich’s work have a separate character. Shostakovich’s Sonata for violin and piano in Meyer’s interpretation (op. 86) is not only a re-instrumentation of the work, but also its new development and development. Meyer also completed Shostakovich’s opera The Gamblers, supplementing Act I and composing Acts II and III in the composer’s Russian style.
Among Meyer’s theoretical and historical works, the most important is the extensive monograph on D. Shostakovich, translated into several languages. Together with D. Gwizdalanka, he also prepared a two-volume biography of Lutosławski, presenting the composer’s life against the background of historical, political and artistic events, his connections with outstanding figures of the era, as well as insightful analyses of works and characteristics of musical language. Meyer presented his memories of personal contacts and friendly meetings with Lutosławski in the book Mistrzowie i przyjaciele. He is the author of numerous articles devoted to 20th-century composers (including K. Szymanowski, I. Stravinsky, D. Shostakovich, W. Lutosławski, T. Baird, K. Penderecki) and current events in musical life, including reviews, polemics and statements in surveys. The composer’s theoretical interests focus on the issues of closed form, considered from the point of view of the laws of perception (Forma muzyczna w aspekcie psychologicznym).
Literatura: Krzysztof Meyer. Do i od kompozytora, ed. M. Jabłoński, Poznań 1994, extended German ed. entitled Ein Komponistenporträt, ed. M. Jabłoński, M. Homma, Poznań-Cologne 1998; T. Weselmann Musica incrostata, Poznań 2003; My String Quartet No. 2, “Polish Music” 1969 no. 4; auto-presentation in: “Res Facta” 5, 1971; Comments on My Fourth Symphony, “Polish Music” 1976 no. 1; My 24 Piano Preludes, “Polish Music” 1979 no. 3; Moje spotkania z Szostakowiczem, “Res Publica” 1992 no. 1–2; Autoportret polskiej muzyki współczesnej, interview, “Współczesność” 1971 no. 10, reprint in: J. Cegiełła Szkice do autoportretu polskiej muzyki współczesnej, Kraków 1976; Dennoch sehe ich mit Optimismus in die Zukunft, interview in: Eine Sprache der Gegenwart. Musica viva 1945–1995, ed. R. Ulm, Mainz 1995; Zwischen Musik und Macht. Der Fall Schostakowitsch, interview, “Universitas” 1995; Ich mache Musik für die Menschen, interview, “Die Künstlergilde” 1996 no. 1 (Esslingen); Piękno dźwięku jest moim drogowskazem, interview, “Klasyka” 1998 no. 9; ZK. M. o tworzeniu świata, RM 2000 nr 11; Nie chcę porywać mas, interview, “Kwarta” 2000 no. 7; Należę do tych, którzy kochają muzykę, “Muzyka21” 2001 no. 10; Forma zamknięta, interview, “Tygodnik Powszechny” 2004 no. 4; Komponowanie to połączenie pracy intelektualnej z wyobraźnią, interview, in: A. Lewandowska-Kąkol Dźwięki, szepty, zgrzyty, Warsaw 2012; Ich liebe das Französische, interview, “Düsseldorfer Symphoniker” from 11 January 2013; Niezapomniane chwile – mój Lutosławski, interview, “Muzyka w Mieście” 2013 no. 4 and 5; L. Rappaport Symfonie Krzysztofa Meyera, “Muzyka” 1975 no. 1; B.M. Maciejewski 12 Polish Composers, London 1976; M. Podhajski Symfonie Krzysztofa Meyera – problemy formy i ekspresji and II Symfonia Krzysztofa Meyera, «Zeszyty Naukowe PWSM w Gdańsku» no. 15, 1976; T.A. Zieliński Kwartety Krzysztofa Meyera, “Ruch Muzyczny” 1976 no. 15 and String Quartet No. 4 by Krzysztof Meyer, “Polish Music” 1976 no. 4; S. Welanyk 24 preludia Krzysztofa Meyera, “Ruch Muzyczny” 1979 no. 14; L. Lesle Konzert für Trompette und grosses Symphonieorchester and Orchestermusik von Krzysztof Meyer, “Das Orchester” 1981 no. 4 and 1991 no. 6; L. Lesle Krzysztof Meyer Komponistenporträt, “Neue Zeitschrift für Musik” 1981 no. 6; B. Mańturz Twórczość wiolonczelowa Krzysztofa Meyera, in: Polska literatura wiolonczelowa XIX i XX wieku, Warsaw 1986; B. Smoleńska-Zielińska Kameralistyka Meyera, “Ruch Muzyczny” 1987 no. 12; K. Piątek Symfonie Krzysztofa Meyera, in: Krakowska Szkoła Kompozytorska 1888–1988, ed. T. Malecka, Kraków 1992; L. Lesle Beobachtungen zu Form und Stil in der Instrumentalmusik Krzysztof Meyers and W. Malinowski Zwei Werke oder zwei Fassungen eines Werkes? Das erste (1972) und das zweite (1995) Cellokonzert von Krzysztof Meyer, in: Warschauer Herbst und Neue Polnische Musik, ed. V. Kalisch, Düsseldorf 1998; L. Lesle Spaltpilz im Stoffwechsel des Musiklebens, “Neue Zeitschrift für Musik” 1998 no. 3; T. Błaszkiewicz „I” i „II Sonata fortepianowa” Krzysztofa Meyera. Język dźwiękowy a konstrukcja formalna, «Muzyka Fortepianowa» XI, in: «Prace Specjalne Akademii Muzycznej w Gdańsku» no. 56, 1998; M. Królak-Radziejewska Aspekt dramaturgiczny symfonii Krzysztofa Meyera, «Zeszyty Naukowe Akademii Muzycznej w Bydgoszczy» no. 12, 1999; W. Malinowski „Schöpfung” – oratorium Krzysztofa Meyera, “Ruch Muzyczny” 2001 no. 1; B. Literska Substancja i forma muzyczna w kompozycjach fletowych Krzysztofa Meyera, in: Polska kultura muzyczna XX wieku, ed. I Brodniewicz, H. Kostrzewska and J. Tatarska, Poznań 2001; E. Büning Auf dem dritten Weg, “Frankfurter Allgemeine Zeitung” from 11 August 2003; T. Cyz Muzyka między dźwiękami and Symfonia przemijającego czasu, “Tygodnik Powszechny” 2003 no. 33 and no. 44; M. Gmys Czas przemijający, czas syntezy. Po prawykonaniu „VII Symfonii” Krzysztofa Meyera, “Ruch Muzyczny” 2003 no. 24; J. Humięcka-Jakubowska Krzysztof Meyer – „VI Kwartet smyczkowy”, in: Scena słuchowa muzyki dwudziestowiecznej, Poznań 2006; W. Malinowski Krzysztof Meyer. Bez grymasu negacji, nie na szczudłach przeszłości, “De Musica” IV–V, Kraków 2009; F. Kluge Krzysztof Meyer – D. Schostakowitsch. Ein Beispiel polnisch-russischer Musikbeziehungen, in: “Ost-West Europäische Perspektiven” 2011 book 1; E. Schreiber Symfonia o nieobecnych, “Ruch Muzyczny” 2011 no. 5; M. Podhajski „Symphony no 7” by Krzysztof Meyer. Strategy of Building the Form, Expressivity of the Work, «Interdisciplinary Studies in Musicology» X, ed. J. Humięcka-Jakubowska and P. Podlipniak, Poznań 2011.
Compositions:
for orchestra:
Symphony No. 1 Op. 10, 1964, performed in Kraków 12 June 1964, Krakow Philharmonic Orchestra, conducted by M. Tunicka, published in 1970 PWM; 2nd version, 1966, Wrocław 20 January 1968, WOSPR, conducted by W. Ormicki
Symphony No. 4 Op. 31, 1973, performed in Zagreb 14 May 1975, WOSPRiT, conducted by J. Maksymiuk, published in 1977 PWM, 1979 Peters
Fireballs Op. 37 for orchestra, 1976, performed in Warsaw 20 April 1978, Polish National Philharmonic Orchestra, conducted by A. Markowski, published in 1982 PWM
Symphony in D major in the Style of Mozart Op. 41, 1976–77, performed in Poznań 1 April 1977, Poznań Philharmonic Orchestra, conducted by R. Czajkowski, published in 1984 PWM
Symphony No. 5 Op. 44 for string chamber orchestra, 1978–79, performed in Białystok 17 September 1979, Polish Chamber Orchestra, conducted by J. Maksymiuk, published in 1984 PWM
Marsz Wojska Polskiego Op. 47 for wind orchestra, 1979
Symphony No. 5 “Polish” Op. 57, 1982, performed in Hamburg 25 November 1982, Norddeutscher Rundfunkorchester, conducted by Ch. Keene, published in 1988 PWM
Hommage à Johannes Brahms Op. 59 for orchestra, 1982, performed in Hamburg 15 May 1983, Hamburger Symphoniker, conducted by H. Beissel, published in 1984 Sikorski, 1985 Peters
Musica incrostata per orchestra Op. 70, 1988, performed in Cologne 6 June 1988, Chur Cölnisches Orchester, conducted by H. Beissel, published in 1990 Sikorski, 1991 Brevis
Caro Luigi per quattro violoncelli ed orchestra d’archi Op. 73, 1989, performed in Stuttgart 29 September 1989, Stuttgarter Kammerorchester, conducted by Ch. Halffter, published in 1991 Brevis, 1992 Sikorski
Carillon Op. 80 for orchestra, 1992–93, performed in Flensburg 5 August 1993, WOSPRiT, conducted by A. Wit
Muzyka Pożegnalna / Farewell Music for orchestra Op. 88, 1997, performed in Warsaw 20 February 1998, Polish National Philharmonic Orchestra, conducted by Ph. Entremont, published in 1997 Sikorski
Symphony No. 7 “Sinfonia del tempo che passa” Op. 97, 2002–03
Fanfara dla Filharmonii Wrocławskiej for orchestra, 2004
Musique scintillante Op. 108 for chamber orchestra, 2007
Musique de la lumière et de la pénombre Op. 118 for chamber orchestra, 2012
Kontredanse Op. 119 for two orchestras, 2013
for instrument/s solo and orchestra:
Concerto da camera per flauto, percussione e archi Op. 6, 1964, performed in Kraków 25 June 1965, flute B. Świątek, Krakow Philharmonic Orchestra, conducted by Z. Drobner, published in 1968 Moeck, 1977 PWM
Concerto for violin and orchestra Op. 12, 1964–65, performed in Poznań 22 March 1969, violin J. Kaliszewska, Poznan Philharmonic Orchestra, conducted by Z. Szostak, published in 1973 PWM
Concerto da camera per oboe, percussione ed archi Op. 29, 1972, performed in Zielona Góra 24 May 1984, oboe Z. Adamski, Zielona Góra Philharmonic Orchestra, conducted by M. Ogarek, published in 1974 Peters, 1974 PWM
Concerto for trumpet and large symphonic orchestra Op. 35, 1975, performed in Poznań 2 April 1976, trumpet T. Dokschitzer, Poznan Philharmonic Orchestra, conducted by R. Czajkowski, published in 1978 PWM, piano reduction 1979 PWM
Piano Concerto Op. 46, 1979, performed in Wrocław 21 February 1984, piano T. Żmudziński, Wroclaw Philharmonic Orchestra, conducted by M. Pijarowski; 2nd version, 1988–89, performed in Cologne 12 June 1992, piano P. Gililov, Philharmonia Hungarica, conducted by A. Wit, published in 1994 Sikorski
Concerto for flute and large symphonic orchestra Op. 61, 1983, performed in West Berlin 1 December 1984, flute A. Nicolet, Sinfonieorchester des Senders Freies Berlin, conducted by P. Gülke, published in 1991 Sikorski
„Canti Amadei” – Concerto da camera per violoncello ed orchestra Op. 63, 1983–84, performed in Kraków 19 December 1984, cello I. Monighetti, Cappella Cracoviensis, conducted by S. Gałoński, published in 1993 PWM
Concerto da camera per arpa, violoncello ed orchestra d’archi Op. 64, 1984, performed in Cologne 7 October 1987, harp and cello H. and K. Storck, Rheinisches Kammerorchester, conducted by J. Corazolla, published in 1984 Sikorski
Concerto retro Op. 39a for flute, harpsichord and string orchestra (2nd version), 1986, performed in Kraków 10 April 1988, flute K. Kurowska, harpsichord M. Wolak, Cappella Cracoviensis, conducted by S. Gałoński, published in PWM 1996
Concerto for alto saxophone and string orchestra Op. 79, 1992, performed in Stuttgart 12 January 1994, saxophone J.E. Kelly, Süddeutscher Rundfunk, conducted by H. Schiff, published in 1995 Sikorski
Concerto for cello and orchestra Op. 85, 1994–95, performed in Düsseldorf 25 October 1996, cello B. Pergamenshikov, Düsseldorfer Sinfoniker, conducted by J. Kaspszyk, piano reduction published in 1998 Sikorski
Sonata for violin and piano of Dmitri Shostakovich Op. 86 for violin and symphonic orchestra, 1995, performed in Seattle 20 June 1996, violin D. Sitkowiecki, New European Strings, conducted by L. Harrel
Concerto No. 2 for violin and orchestra Op. 87, 1996
Concerto for clarinet and orchestra Op. 96, 2001
Concerto for violin, cello and orchestra Op. 105, 2005–06
Concerto for guitar, timpani and strings Op. 115, 2010–11
chamber:
Introspekcja Op. 2 for 5 cellos, 1960, performed in Kraków 28 May 1961, H. Zarzycki, S. Chmiel, M. Bańdur, Z. Grzymek, L. Grabarkiewicz
Music for 3 cellos, timpani and piano Op. 4, 1961–62, performed in Kraków 9 May 1963, cello H. Zarzycki, M. Wasiółka, K. Bromboszcz, timpani S. Towpasz, piano K. Furmanowicz, published in 1980 AA
String Quartet No. 1 Op. 8, 1963, performed in Warsaw 26 September 1965, Kwartet Warsztatu Muzycznego, 1967 PWM
Interludio statico Op. 11 for clarinet and 4 cellos, 1963–64, performed in Poznań 19 April 1967, clarinet R. Gusnar, cello: Z. Michowski, J. Raatz, A. Bartoszewicz, K. Sperski, published in 1977 AA
Hommage à Nadia Boulanger Op. 17 for flute, viola and harp, 1967, published in 1992 Sonoton; 2nd version, 1970–71, performed in Zagreb 14 May 1971, flute B. Świątek, viola W. Tomaszewski, harp U. Mazurek, published in 1976 AA; 3rd version, 1991
String Quartet No. 2 Op. 23, 1969, performed in Warsaw 28 September 1969, Società Cameristica Italiana, published in 1971 PWM
Quattro colori Op. 24 for clarinet, trombone, cello and piano, 1969–70, published in 1977 AA
String Quartet No. 3 Op. 27, 1970–71, performed in Warsaw 28 September 1973, Kwartet Wilanowski, published in 1975 PWM
String Quartet No. 4 Op. 33, 1974, performed in Curitiba 29 January 1975, Kwartet Wilanowski, published in 1979 PWM
Concerto retro Op. 39 for flute, violin, cello and harpsichord, 1976, performed in Curitiba 4 February 1977, flute E. Gajewska, violin T. Gadzina, cello Z. Kubala, harpsichord Krzysztof Meyer, published in 1978 AA
Three pieces for percussion and tape Op. 40, 1976, performed in Copenhagen 8 June 1977, Malmö Percussion Ensemble, published in 1980 Peters
String Quartet No. 5 Op. 42, 1977, performed in Białystok 10 March 1978, Kwartet Wilanowski, published in 1983 PWM
Interludio drammatico Op. 48 for chamber ensemble, 1979–80, performed in Leipzig 19 January 1981, Gruppe Neue Musik, conducted by H. Haenchen, published in 1983 Peters
Piano Trio Op. 50, 1980, performed in Wrocław 16 April 1985, T. Gadzina, M. Wasiółka, J. Łukowicz, published in 1992 PWM
String Quartet No. 7 Op. 51, 1981, performed in Płock 1 June 1982, Kwartet Wilanowski, published in 1987 PWM
Skrzypcowy kramik Op. 55 for violin and piano, 1981, performed in Łódź 17 November 1984, published in 1983 Sikorski
Canzona Op. 56 for cello and piano, 1981, performed in Cologne 1 November 1982, cello D. Geringas, piano T. Schatz, published in 1984 PWM
Pezzo capricioso per oboe e pianoforte Op. 60, 1982, performed in Princeton 18 April 1983, oboe H. Holliger, piano S. Ritter, published in 1987 PWM
Sonatina Op. 55a for violin and piano, 1981–83, performed in Łódź 19 June 1987, violin S. Meyer, piano A. Urbańczyk, published in 1984 Sikorski
Sonata No. 1 Op. 62 for cello and piano, 1983, performed in Klagenfurt 22 November 1984, cello D. Geringas, piano K. Meyer, published in 1986 Sikorski, 1987 PWM
String Quartet No. 7 Op. 65, 1985, performed in Wrocław 16 April 1985, Kwartet Wilanowski, published in 1988 PWM
String Quartet No. 8 Op. 67, 1985, performed in Munich 16 March 1986, Kwartet Wilanowski, published in 1991 Brevis, 1995 PWM
Quartet Op. 65a for 4 saxophones (transcription of String Quartet No. 7), 1986, performed in Santa Cruz 24 June 1988, Rashér Saxophone Quartet, published in 1992 Contemp-Art
Clarinet Quintet Op. 66, 1986, performed in Ulm 2 November 1986, clarinet E. Brunner, Kwartet Wilanowski
Capriccio per sei strumenti Op. 69, 1987–88, performed in Lanaudiére (Canada) 10 June 1989, piccolo flute, flute, alto flute E. Gajewska, violin T. Gadzina, viola R. Duś, cello M. Wasiółka, published in 1990 AA
Wittener Kammermusik for flute, oboe and clarinet, 1988, performed in Witten 22 April 1989, flute J. Schmitz, oboe A. Leek, clarinet J. Moog
Fanfare for 8 trombones, 1989
String Quartet No. 9 Op. 74, 1989–90, performed in Cologne 28 December 1991, Kwartet Wilanowski
Piano Quintet Op. 76, 1990–91, performed in Cologne 25 May 1992, Kwartet Wilanowski, published in 1996 Sonoton
Pezzo per Mauro Op. 77 for flute, saxophone, trombone, piano, double bass and percussion instruments, 1991, performed in Cologne 19 January 1992, flute C. Levine, saxophone M. Riessler, trombone V. Globokar, piano K. Becker, percussion W. Gütler
Trio Op. 78 for flute, viola and guitar, 1992, performed in Kempen 3 November 1992, flute I. Grafenauer, viola G. Caussé, guitar E. Fisk
Trio Op. 81 for violin, viola and cello, 1993, performed in Munich 6 March 1994, Deutsches Streichtrio
String Quartet No. 10 Op. 82, 1993–94, performed in Poznań 3 October 1994, Kwartet Wilanowski
Misterioso Op. 83 for violin and piano, 1994, performed in Hanover 2 November 1994, violin A. Stolov, piano A. Kajn, published in 1994 Sikorski
Au delà d’une absence Op. 89 for string quartet, 1997, performed in Hamburg 5 July 1998, Quatuor Danel, published in 1997 Sikorski
Trio Op. 90 for clarinet, cello and piano, 1997, performed in Hitzacker 31 July 1999, clarinet U. Rodenhäuser, cello C. Kanngiesser, piano F. Rieger, published in 2000 Sonoton
Les Sons Rayonnants for 2 pianolas and computer, 2000
Capriccio interrotto Op. 93 for violin and piano, 2000
Cinque colori Op. 94 for flute, violin, cello, percussion and piano, 2001
String Quartet No. 11 Op. 95, 2001
Trio Op. 98, for oboe, bassoon and piano, 2002
Sonata No. 2 Op. 99, for cello and piano, 2003–04
Epitaph Op. 100, for 3 cellos and piano, 2004
Duetti concertanti Op. 101 for bassoon and piano, 2004
Metamorphoses Op. 102 for saxophone and piano, 2004
String Quartet No. 12 Op. 103, 2004–05
Duets Op. 110 for two violins, 2008
Quartet Op. 112, for violin, viola, cello and piano, 2009
String Quartet No. 13 Op. 113, 2009–10
Imaginary variations Op. 114 for violin and piano, 2010
Sonata breve Op. 117 for cello and piano, 2012
for piano:
Aforyzmy Op. 3, 1961, performed in Kraków 20 June 1962, K. Meyer
Piano Sonata No. 1 Op. 5, 1962, performed in Katowice 26 April 1962, K. Meyer, published in 1969 PWM
Piano Sonata No. 2 Op. 7, 1963, performed in Kraków 3 June 1963, K. Meyer, published in 1966 PWM
Piano Sonata No. 3 Op. 13, 1964–66, performed in Kraków 18 May 1966, K. Meyer, published in 1974 PWM
Piano Sonata No. 4 Op. 22, 1968, performed in Kraków 5 June 1969, M. Mietelski, published in 1974 PWM
Czarodziejskie obrazki Op. 21a, 1975, performed in Kraków 18 May 1976, K. Meyer, published in 1978 PWM
Piano Sonata No. 5 Op. 32, 1975, performed in Katowice 19 January 1977, M. Mietelski; 2nd version, Op. 32a, 1996–97
Children’s Suite Op. 25a, 1978, performed in Kraków 23 November 1978, K. Meyer, published in 1980 PWM
24 Preludes Op. 43, 1977–78, performed in Stalowa Wola 17 May 1979, K. Meyer, published in 1986 Pro Nova-Sonoton
Impromptu multicolore Op. for 2 pianos, 2000
Quasi una fantasia Op. 104, 2005
No. 6 “Sonata breve” Op. 106, 2006
6 Intermezzi Op. 121, 2013
for other instruments solo:
Sonata Op. 1 for cello, 1959–61, performed in Kamień Pomorski 15 August 1969, R. Suchecki, published in 1979 PWM
Sonata Op. 30 for harpsichord, 1972–73, performed in Paris 28 October 1974, E. Chojnacka, published in 1976 PWM
Sonata Op. 36 for violin, 1975, performed in Poznań 22 April 1977, J. Kaliszewska, published in 1978 PWM
Moment musical for cello, 1976, performed in Katowice 1984, R. Jabłoński, published in 1977 Peters, 1982 PWM
Sonata Op. 52 for flute, 1980, performed in Darmstadt 30 March 1985, B.G. Schmitt, published in 1984 PWM
Six Preludes for violin, 1981, published in 1984 PWM
Fantasia Op. 75 for organs, 1990, performed in Berlin 15 June 1991, F. Herz, published in 1992 Sikorski
Monologue for cello, 1990, performed in Hamburg 5 October 1991, D. Geringas, published in 1993 Sikorski
Burlesca all’Ongarese, 2006
Sonata Op. 109 for cello, 2007
Memento for carillon, 2022 (commissioned for the carillon of the Main Town Hall by the city of Gdańsk and the Gdańsk Museum), dedicated to L. Wałęsa, premiered in Gdańsk 9 September 2023, performed in M. Kaźmierczak (carillon), published in Kraków 2023 PWM
Vocal and vocal-instrumental:
Pieśni rezygnacji i zaprzeczenia Op. 9 for soprano, violin and piano, text by J. Szczeblowska, 1963, performed in Prague 28 April 1966, Ars Cameralis Ensemble: Z. Horejsi, L. Baburkowa, K. Slavik, published in 1969 PWM
Symphony No. 2 “Epitafium Stanisław Wiechowicz in memoriam” Op. 14 for mixed choir and orchestra, text by J. Tuwim, 1966–67, performed in Wrocław 15 February 1969, Polish Radio Orchestra and Choir in Krakow, conducted by S. Has, published in 1971 PWM
Quartettino Op. 16 for soprano, flute, cello and piano, text by J. Tuwim, 1966, performed in Szczecin 11 September 1966, soprano B. Niewiadomska, flute B. Świątek, cello J. Klocek, piano A. Kaczyński, published in 1969 PWM
Five Chamber Pieces Op. 18 for mezzo-soprano, clarinet, violin and viola, without text, 1967, performed in Kraków 17 April 1969, mezzo-soprano H. Łazarska, clarinet S. Przystaś, violin J. Frydrych, viola Z. Polonek, published in 1969 PWM
Symphony No. 3 “Symphonie d’Orphée” Op. 20 for mixed choir and orchestra, text by P. Valéry, 1968, performed in Warsaw 16 September 1972, Polish National Philharmonic Choir and Orchestra, conducted by M. di Bonaventura, published in 1972 PWM
Pieśń poety, 6 songs for soprano and orchestra (manuscript destroyed, text by W. Broniewski, 1971
Śpiewy polskie Op. 34 for soprano and orchestra, text by J. Tuwim, 1974, performed in Bydgoszcz 9 September 1977, soprano S. Woytowicz, Orkiestra Filharmonii Pomorskiej, conducted by M. Nowakowski, published in 1980 PWM
Lyric Triptych Op. 38 for tenor and chamber orchestra, text by W.H. Auden, 1976, performed in Aldeburgh 22 June 1978, tenor P. Pears, Contrapuncti Ensemble, conducted by M. Lancaster
9 fraszek Op. 45 for soprano and piano, S.J. Lec, 1979, performed in Baranów Sandomierski 7 September 1979, soprano H. Łazarska, piano K. Meyer
Colloquium niedzielne na ulicy Op. 54 for baritone and piano, text by J. Tuwim, 1981, performed in Kraków 26 March 1987, baryton J. Mechliński, piano E. Knapik
Mass Op. 68 for mixed choir and organ, 1987–92, performed in Cologne 24 January 1993, organ B. Mulack, Kammerchor der Reformationskirche, conducted by Ch. Collum; 2nd version for mixed choir and orchestra, 1995–96, performed in Kraków 13 December 1996, Choir and Orchestras of the Krakow Philharmonic, conducted by W. Ponkin
Wieliczalnaja Op. 71 for mixed choir, 1988, performed in L’Hermitage 15 May 1989, Poznański Chór Chłopięcy, conducted by J. Kurczewski
Te Deum Op. 84 for mixed choir, 1995, performed in Kiel 5 May 1995, Chór Kameralny Szkoły Muzycznej w Bydgoszczy, conducted by J. Stanecki
Stworzenie świata Op. 91 for voices solo, mixed choir and orchestra, text by G. Engelsberg, 1998–99
Nehmt hin die Welt! Op. 120 for mixed choir, text by F. Schiller, 2013
Symphony No. 8 “Sinfonia da requiem” Op. 111, text by A. Zagajewski, 2008–09
Chansons d’un rêveur solitaire Op. 116 for soprano and orchestra, 2011–12
Scenic:
Cyberiada Op. 15, opera fantastique, in 3 acts (11 pictures), libretto by the composer after S. Lem, 1967–70, staged (1st act) in TV Polska 12 May 1971, ballet, choir and orchestra PRiTV in Warsaw, conducted by A. Wicherek; 2nd version, 1985, staged Wuppertal 11 May 1986, ballet and choir of the Wuppertal symphonic orchestra, conducted by J.F. Monnard
Gracze [The Gamblers] Op. 53 (supplement of Act I, composition of Acts II and III of D. Shostakovich’s opera), libretto by the composer after N. Gogol, 1980–81, staged in Wuppertal 12 June 1983, Wuppertal symphonic orchestra, conducted by T. Schick
Klonowi bracia Op. 72, children’s opera, in 2 acts, libretto by the composer after E. Szwarc, 1988–89, staged in Poznań 3 March 1990, Grand Theatre, Warsaw, conducted by M. Niesiołowski
Hrabina, ballet in one act on the motives of S. Moniuszko’s opera, 1980, staged in Poznań 14 November 1981, Grand Theatre, Warsaw, conducted by J. Kulaszewicz
music for theatre plays:
Król Edyp for Sophocles’ tragedy, 1967–68, staged in Kraków 6 April 1968, Polish Radio Choir and Krakow Philharmonic Orchestra, conducted by K. Meyer, directed by L. Zamkow
Róża for S. Żeromski’s drama, 1968, staged in Kraków 4 May 1968, Krakow Philharmonic Ensemble, conducted by K. Meyer, directed by I. Babel
Fircyk w zalotach for F. Zabłocki’s comedy, 1970, staged in Kraków May 1970, Krakow Philharmonic Ensemble, directed by I. Babel
Kordian for J. Słowacki’s drama, 1970, staged in Kraków 4 November 1970, Krakow Philharmonic Ensemble, conducted by K. Meyer, directed by I. Babel
Bolesław Śmiały, 1973
Judyta for J. Giraudoux’s tragedy, 1974, TV Polska 26 April 1974, Krakow Philharmonic Ensemble, conducted by K. Meyer, directed by I. Babel
film music:
Złoto północy, short, directed by Z. Bochenek, TV Polska 2 March 1972
Klakier, directed by J. Kondratiuk, Warsaw 17 October 1983
Works:
Z zagadnień tematyzmu u Szostakowicza, in: Polsko-rosyjskie miscellanea muzyczne, ed. Z. Lissa, Kraków 1967
Szostakowicz, Kraków 1973, 2nd ed. 1986, German ed. D. Schostakowitsch, Leipzig 1980
Związki pomiędzy muzyką Mahlera i Szostakowicza, “Muzyka” 1974 no. 4
Marek Stachowski and His String Quartet No. 2, “Polish Music” 1976 no. 4
Mahler und Schostakowitsch, in: Gustav Mahler. Sinfonie und Wirklichkeit, ed. O. Kolleritsch, Graz 1977
„Muzyka w muzyce” w twórczości D. Szostakowicza na przykładzie „XV Kwartetu smyczkowego es-moll” Op. 144, in: «Spotkania muzyczne w Baranowie», vol. 2 part 1, ed. T. Malecka, L. Polony, Kraków 1980, German transl. in: Internationales D.-Schostakowitsch-Symposion Köln 1985, Regensburg 1986
Zbigniew Bujarski. A Sketch to a Portrait, “Polish Music” 1980 no. 3
O muzyce Witolda Lutosławskiego, “Res Facta” 9, 1982
„Quartette per archi nr 2” Krzysztofa Pendereckiego, in: Współczesność I tradycja w muzyce Krzysztofa Pendereckiego, ed. R. Chłopicka, K. Szwajgier, Kraków 1983
Szymanowski z perspektywy dzisiejszej. Próba innego spojrzenia, “Muzyka” 1983 no. 2
Dlaczego napisałem o Szymanowskim, “Ruch Muzyczny” 1984 no. 6
„Znaleźć drogę do serca narodu”. Sąd nad D. Szostakowiczem w 1948 roku, “Res Publica” 1990 nr 10
Forma muzyczna w aspekcie psychologicznym, “Muzyka” 1992 no. 1
Prokofiew und Schostakowitsch, in: Bericht über das internationale Symposion „Sergej Prokofiew, Aspekte seines Werkes und der Biographie”, Köln 1991, ed. K.W. Niemöller, Regensburg 1993
Uwagi do monografii o Webernie (review), “Res Facta” 10, 1994
Witold Lutosławski, Poznań 1994
Kilka uwag na temat organizacji wysokości dźwięków w muzyce Witolda Lutosławskiego, “Muzyka” 1995 no. 1–2, reprint in: «Zeszyty Naukowe Akademii Muzycznej w Bydgoszczy» no. 8, 1995
Schostakowitsch. Sein Leben, sein Werk, seine Zeit, Bergisch Gladbach 1995, Mainz 3rd ed. 2008; French ed. Paris 1994, 2nd ed. 2009, Dutch ed. Amsterdam 1996, 2nd ed. 2006, Spanish ed. Madrid 1997, 2nd ed. 2011, Russian ed. St. Petersburg 1999, Moscow 2nd ed. 2006, Polish ed. Warsaw 1999
Symfonia sprzed półwiecza (o „I Symfonii” W. Lutosławskiego), “Zeszyty Literackie” 1998 no. 3
Witolda Lutosławskiego stosunki z awangardą, “Zeszyty Literackie” 1998 no. 4
Czy droga okazała się ślepym zaułkiem?, in: Muzykolog wobec dzieła muzycznego, commemorative book of E. Dziębowska, ed. Z. Dobrzańska-Fabiańska and M. Woźna-Stankiewicz, Kraków 1999
W pierwszą rocznicę śmierci. Adam Rieger, “Ruch Muzyczny” 1999 no. 8
Moralny inaczej?, “Ruch Muzyczny” 2002 no. 2
Phänomenale Schönheit, in: Begegnungen mit Bach. Eine Anthologie zugunsten der Berliner Bach-Autographe, ed. F. Kluge, Kassel 2002
Einige Bemerkungen über das Schaffen Prokofjews am Beispiel seiner 6. Symphonie, in: Symphonik 1930–1950. Gattungsgeschichte und analytische Beiträge, ed. W. Osthoff and G. Schubert, Mainz 2003
Lutosławski, with D. Gwizdalanka, vol. 1: Droga do dojrzałości, Kraków 2003, 2nd ed. 2005, vol. 2: Droga do mistrzostwa, Kraków 2004, 2nd ed. 2005
Siergiej Prokofiew – w 50. rocznicę śmierci, “Ruch Muzyczny” 2003 no. 6
Zawsze wierny w przyjaźni. O F. Dąbrowskim, “Res Facta Nova” 7 (16), Poznań 2004
Stanisław Wiechowicz – by nie zaćmił czas, in: Stanisław Wiechowicz – by czas nie zaćmił i niepamięć, ed. E. Mizerska-Golonek, Kraków 2005
Wspominając rozmowy z Witoldem Lutosławskim o muzyce, “Forum Muzykologiczne” II, Warsaw 2005
Dźwiękowe drogi, “Ruch Muzyczny” 2007 no. 2
Muzyczne fascynacje Marka Stachowskiego, in: Marek Stachowski i jego muzyka, ed. L. Polony, Kraków 2007
Einige Gedanken über W. Lutosławski und seine künstlerische Anschauungen, in: „Melos” a „Étos”: včera, dnes, …zajtra?, materials from a symposium, ed. N. Hrčková, Bratislava 2009
O Chopinie, in: Chopinspira. Współcześni kompozytorzy polscy o Chopinie, ed. K. Droba, B. Bolesławska-Lewandowska and E. Szczepańska-Lange, Warsaw 2009
O potrzebie profesjonalizmu, “De Musica” IV–V, Kraków 2009
Im Schatten Schostakowitsch – über M. Wajnberg, Schumann und Chopin, “Opernwelt”, July 2010
Mistrzowie i przyjaciele, Kraków 2011
Pan Lutosławski. Erinnerungen an meinen Lehrer und Freund, “Osteuropa” 2012 no. 11/12
Samotny wilk, “Tygodnik Powszechny” 2013 no. 4, special issue entitled Światy Witolda Lutosławskiego
