Witold Lutosławski (January 25, 1913 – February 7, 1994) was one of the major European composers of the 20th century, and one of the preeminent Polish musicians during his last three decades. This work, together with the Five songs of 1956–57, saw the significant development of Lutosławski's harmonic and contrapuntal thinking as he introduced his twelve-note system, the fruits of many years of thought and experiment.
Get exclusive access to content from our 1768 First Edition with your subscription. He also received numerous international prizes, including the UNESCO Prize (in 1959 and 1968), the French Order of Commandeur des Arts et des Lettres (1982), the Grawemeyer Award (1985), the Royal Philharmonic Society Gold Medal (1986), and the Inamori Foundation Prize for his outstanding contribution to contemporary European music. One of his first memories was his father being taken away for execution in Moscow in 1918; his brother didn't survive the second world war, and he spent his war away from his military duties playing in a piano duet with his fellow composer After the war, Lutosławski had to play a delicate game of creative cat-and-mouse with the communist regime in Poland. As he commented, "[...] it was for those functional compositions of mine that the authorities decorated me [...] I realised that I was not writing indifferent little pieces, only to make a living, but was carrying on an artistic creative activity in the eyes of the outside world. Lutosławski started piano lessons in Warsaw for two years from the age of six. and founder of Odessa conservatory (1913). Taken prisoner as an officer cadet, he escaped and returned to Warsaw, spending the war years performing in ‘unofficial’ concerts and recitals, often with the composer Andrzej Panufnik. In 1977 he received the Order of the Builders of People's Poland. In café Aria, where they played, Lutosławski met his future wife Maria Danuta Bogusławska, a sister of the writer Stanisław Dygat.Lutosławski left Warsaw with his mother a few days before the Warsaw Uprising of 1944, salvaging only a few scores and sketches—the rest of his music was lost during the destruction of the city, as were the family's Drozdowo estates. He was cremated; his devoted wife Danuta died shortly afterwards.Lutosławski's works up until and including the Dance Preludes clearly show the influence of Polish folk music, both harmonically and melodically. The year 1958 saw the first performance of his Muzyka żałobna (Musique funèbre, or "Music of mourning"), which was written to commemorate the 10th anniversary of the death of Béla Bartók, but which took the composer four years to complete; this work brought international recognition, the annual ZKP prize and the UNESCO prize in 1959. The marriage was a lasting one, and Danuta's drafting skills were of great value to the composer: she became his copyist, and she solved some of the notational challenges of his later works.In 1947, the Stalinist political climate led to the adoption and imposition by the ruling Polish United Workers' Party of the tenets of Socialist realism, and the authorities' condemnation of modern music which was deemed to be non-conformist. Now, we're perilously close to the boundaries of our self-imposed criteria for this whole series with the Polish composer So let's start, obviously, at the end. During his lifetime, Lutosławski earned many international awards and prizes, including the Order of the White Eagle, Poland's highest honour.During his youth, Lutosławski studied piano and composition in Warsaw. Simultaneously, he pursued composition with Witold Maliszewski (a pupil of Nikolai Rimsky-Korsakov) and piano with Jerzy Lefeld.
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