Lutosławski, Witold (Roman)

(b Warsaw, 25 Jan 1913; d Warsaw, 9 Feb 1994). Polish composer.

1. Life, 1913–45.
2. Life, 1945–94.
3. Works up to 1956.
4. The period of transition, 1956–60.
5. Stylistic maturity, 1960–79.
6. The late works, 1979–94.
WORKS
WRITINGS
BIBLIOGRAPHY

CHARLES BODMAN RAE

Lutosławski, Witold

1. Life, 1913–45.

He was born into a distinguished family of the Polish landed gentry which had
its estates in and around Drozdowo, on the river Narew, north-east of Warsaw.
He was the youngest son of Józef Lutosławski (1881–1918), an accomplished
amateur pianist who had taken lessons with Eugene d'Albert. Together with
four of his brothers, Józef was active in the politics of the National Democracy
Party, Endecja, which sought to align Poland with Imperial Russia in order to
counter the expansionism of Imperial Germany. On the outbreak of World War
I, many Poles associated with Endecja sought refuge in Russia. The
Lutosławski family, who found themselves directly in the path of the invading
army, left for Moscow, where Witold spent his next three years of childhood: he
later recalled witnessing the commotion in the streets at the time of the 1917
February and October revolutions. Both before and during the revolutionary
period, Józef Lutosławski was away from Moscow helping to organize the
formation of Polish military units under the cover of the Imperial administration.
But after the October revolution, the Poles found themselves in direct conflict
with the victorious Bolsheviks. Józef and his brother Marian were arrested and,
in September 1918, executed by firing squad. After her husband's death Maria
Lutosławska left Moscow with her three sons, taking refuge at her family home
in the Ukraine. Once the German occupation of Warsaw had ended on 13
November 1918, the family returned briefly to Drozdowo, the estates of which
had been ravaged during the occupation, before settling again in the centre of
Warsaw.

It was in Warsaw that Witold's musical education began. At the age of six he
started to have lessons with a well regarded piano teacher, Helena Hoffman,
who gave him a secure grounding in piano technique and music theory. His
mother's financial difficulties, however, forced her to curtail the lessons after
two years. In 1921, the family returned to Drozdowo, and Lutosławski resumed
piano lessons with a local teacher. The training was not of the same calibre as
that provided by Hoffman; nevertheless he was encouraged to compose, and,
by the age of nine, had produced his first piano piece.

In 1924 Maria and her sons returned to live in Warsaw, where Lutosławski
entered the prestigious Stefan Batory high school and continued his piano
studies with Józef Śmidowicz (1888–1962). Two years later, in 1926, he began
violin studies with an eminent teacher, Lidia Kmitowa (1888–1967), and, after
six years, had gained sufficient proficiency on the instrument to be able to
perform solo works by Bach, as well as Mozart concertos and the Franck
sonata. Perhaps the most significant musical experience from his adolescence
was a 1924 concert performance in Warsaw of Szymanowski's Symphony no.3
‘Song of the Night’ (1914–16). This was apparently his first exposure to the live
orchestral sound in that rich, post-Debussian harmonic vocabulary
characteristic not only of Szymanowski but also of Ravel and early Stravinsky.
These figures, together with Debussy, were to influence the development of
Lutosławski's sound language. Some aspects of Szymanowski's musical
aesthetic, such as his ‘orientalism’ and his effusive emotionalism, were later to
repel him. Lutosławski's cooler, more controlled temperament was inclined
more to the anti-Romanticism of Stravinsky than the post-Romanticism of his
compatriot.

In 1927 Lutosławski entered the Conservatory as a part-time student, while still

attending the Stefan Batory high school, but had to suspend his studies there
after a year because of the combined pressure of schoolwork and violin
studies. In the meantime, however, he had made sufficient progress in
composition to write a Poème for piano, on the strength of which he was
accepted as a private composition pupil of Maliszewski. He then proceeded, in
1930, to write Taniec Chimery (‘Dance of the Chimera’), for piano, which was
his first publicly performed piece. His first attempt at an orchestral piece, a
Scherzo, also dates from that year, but, like the piano pieces, it has not
survived. Maliszewski's teaching in the area of musical form was to prove one
of the strongest and most enduring influences on Lutosławski. His approach,
taught through analysis of the works of Haydn and Beethoven in particular,
was to examine musical forms as different kinds of abstract drama. He
identified four basic kinds of musical ‘character’ within a large-scale form:
introductory, transitional, narrative, and concluding. The psychological journey
through the piece would be analysed according to the interaction of these
types of formal function. Lutosławski's recollection of Maliszewski's teaching
that ‘only in the Narrative is content the most important thing to be perceived,
while in all the other three the role of the given section in the form of the music
is more important than the content’ provides a vital clue to understanding his
own approach to large-scale form. Maliszewski's four basic ‘characters’ can be
identified in many of Lutosławski's large-scale forms; in certain works, such as
Jeux vénitiens and Livre pour orchestre, they can be associated directly with
the individual movements of a four-movement form.

After passing his final high school examinations in 1931, Lutosławski enrolled
at Warsaw University to study mathematics, while continuing to study privately
with Maliszewski, Kmitowa and Śmidowicz. That year he composed incidental
music for a dramatization of Haroun al Rashid. In 1932, he formally entered
Maliszewski's composition and analysis class at the Warsaw Conservatory; he
also discontinued his violin studies in order to concentrate on the piano,
enrolling at the Conservatory as a student of Jerzy Lefeld (1898–1980). The
following year he curtailed his studies of mathematics, withdrawing from
Warsaw University in order to devote himself fully to a musical career.

The most immediate result of his new concentration on composition was the
first performance of an orchestral piece (lost at the end of the war): a revised
version of a dance from Haroun al Rashid was conducted by Józef Ozimiński
at the Warsaw Philharmonic Hall. The most significant piece from these
student years is also his earliest extant work, the Piano Sonata, completed in
December 1934. Lutosławski gave several performances of the piece himself,
notably in Riga and Wilno (now Vilnius) in 1935. It was at one of the Riga
performances that he had his one and only meeting with Szymanowski.

In 1936 Lutosławski received his piano diploma from the Warsaw

Conservatory, and in the following year he was awarded his composition
diploma on the basis of a portfolio that included two fragments of a requiem,
Requiem aeternam and Lacrimosa, of which only the latter survives. He had in
the meantime begun work on the Symphonic Variations, which he completed,
after his compulsory year of military service, in 1938. They received their first
performance in a Polish Radio broadcast in April 1939, and their first concert
performance two months later in Kraków by the Polish RSO under Grzegorz
Fitelberg, who became a significant champion of Lutosławski's work. Since his
graduation in 1937, Lutosławski had hoped to continue his studies with Nadia
Boulanger in Paris; but military service had already intervened once, and by
the middle of 1939 general mobilization was ordered and Lutosławski found
himself back in uniform as an officer cadet in the signals and radio unit. He was
eventually taken prisoner by the German Wehrmacht near Lublin, but after
eight days in captivity, managed to escape and make his way back to Warsaw.
(His less fortunate brother Henryk was taken captive by the Red Army and died
in the Gulag Archipelago in 1940.) Lutosławski remained in Warsaw until 1944,
earning his living by performing in cafés, first with a cabaret group and later in
a piano duo with his composer contemporary Panufnik. Together they made
numerous arrangements for two pianos: Lutosławski's set of Variations on a
Theme by Paganini (1941), based on the famous A minor Caprice, dates from
this period. Just before the launch of the heroic but ill-fated Warsaw uprising of
August–October 1944, Lutosławski and his mother left the city to seek refuge
with relatives at Komorów. He was able to take only a handful of works,
including his sketches for the First Symphony, a few student pieces (including
the Piano Sonata), the Two Studies for piano, the Symphonic Variations and
the Paganini Variations. All his other scores were left in Warsaw where they
perished during the final destruction of the city. While in Komorów, Lutosławski
occupied himself by writing a series of contrapuntal studies, mostly canons and
interludes for wind instruments. Elements of this material were to find their way
into the First Symphony as well as a Wind Trio.

Lutosławski, Witold
2. Life, 1945–94.

With the absence of musical life in Warsaw in 1945, cultural and artistic activity
transferred to Kraków where there was still an infrastructure. From 29 August
to 2 September the first congress of the new Polish Composers' Union (ZKP)
was held, together with a festival of new music, at which Lutosławski's Wind
Trio was first performed. He was elected secretary and treasurer of the ZKP
and held these honorary positions until the political deterioration of 1948. For a
brief period immediately after the war, Lutosławski held the position of music
director at Polish Radio. He also embarked on a series of projects for Polskie
Wydawnictwo Muzyczne (PWM), the new Polish publishing house for music,
based in Kraków. In 1946 he wrote incidental music for two films, one of which,
Suita Warszawska, is a particularly good example of his deft treatment of folk
sources and imaginative use of small orchestral resources.

On 26 October 1946 Lutosławski married Danuta Bogusławska, daughter of

the architect Antoni Dygat, and sister of the writer Stanisław Dygat. They
moved into a cramped apartment with their respective mothers and the son
from his wife's first marriage. In order to support this extended family,
Lutosławski composed a large quantity of ‘functional music’ of various kinds,
including children's songs (primarily for Polish Radio), songs and instrumental
pieces based on folk material, commissioned by PWM; popular songs and
dances under the pseudonym ‘Derwid’, and much incidental music for the
theatre (principally the Teatr Polski in Warsaw) and for radio plays. It is
important to distinguish between these modest but numerous functional
pieces, and the concert pieces, especially cantatas and other vocal works,
which other composers wrote in order to satisfy the criteria of socialist realism.
(This issue re-emerged during the politically turbulent period of the early
1980s, when an attempt was made to discredit Lutosławski by falsely
suggesting that he had composed a ‘cantata’ in praise of the Stalinist regime.)
Lutosławski's use of folk material after the war was not a response to the new
political climate: indeed the folk-influenced pieces he composed in 1946
predated the political pressures, which began in earnest only in 1948. He soon
became a victim of those pressures nonetheless. In November 1948 he was
dropped from the committee of the Polish Composers’ Union, and in August
1949 his First Symphony became the first significant Polish composition to be
branded as ‘formalist’ and thus proscribed. It was not performed again in
Poland until the late 1950s.

During the 1950s Lutosławski survived the changes in political climate by

pursuing three parallel strands of activity. The first of these involved a
substantial output of functional pieces for immediate consumption (including
many little popular pieces written under the pseudonym ‘Derwid’). The second
yielded a small number of modest concert pieces, based on folk material,
which were far removed from the ‘serious’ musical projects on which he would
have preferred to work. The third strand was hidden from public view, and
concerned his private investigations into new elements of compositional
technique. Aspects of these techniques were tested in a few of the functional
pieces (for example, his technique of melodic interval-pairing, which appeared
in certain children's songs), but his more radical techniques of pitch
organization (such as 12-note chords) were not able to progress beyond his
private sketch materials. It is thus entirely misleading to suggest, as did many
western European commentators in the 1960s and 70s, that Lutosławski
changed his style as a result of the post-Stalin ‘thaw’ and the events that
followed (such as the establishment of the Warsaw Autumn Festival in 1956).
His sketches show that his style and technique were continuing to develop
throughout the late 1940s and 1950s, but the political circumstances of the
time prevented him from applying the elements of his new harmonic language
in concert pieces until works of the late 1950s, such as the Five Iłłakowicz
Songs, and in Muzyka żałobna (Musique funèbre, 1954–8). The folk-music
period reached its high point with the Concerto for Orchestra (1950–54), and
its conclusion with the Dance Preludes (1954).

The Concerto for Orchestra established Lutosławski's reputation in Poland as

the leading composer of his generation, especially since Panufnik, his most
eminent contemporary, had defected to England. Four years later, his Musique
funèbre brought him international acclaim, an acclaim that was further
enhanced in 1961 by Jeux vénitiens, the first piece to adopt his particular
approach to aleatory techniques. In 1963 Lutosławski returned to the podium
as conductor of the orchestra in the first performance of his Trois poèmes
d'Henri Michaux. His previous experience of conducting had been in radio
studios with broadcasting orchestras, but from 1963 he was to be increasingly
active conducting his own works in concert performances. His main motivation
for doing this was to overcome difficulties presented by his aleatory technique.
He was thus able to explain in rehearsal how such sections should operate
and could direct the ensemble with his technique of left-hand and right-hand
cues (as distinct from conventional, metred conducting). Not only did his work
as a conductor enable him to promulgate internationally his particular approach
to ensemble coordination in aleatory passages, but it also fed back into his
work as a composer. Perhaps paradoxically it led, from the mid-1970s until the
end of his career, to a gradual reduction in his use of aleatory techniques in his
orchestral works. The promotion of his music outside Poland and the Soviet
bloc was also furthered by his signing in 1966 with the Chester publishing
house in London. The hard-currency royalties yielded by the new contract
enabled the composer and his wife to buy a detached house in the exclusive
Żoliborz area of north Warsaw, which was to provide Lutosławski with the ideal
working conditions he enjoyed for the rest of his life, away from the noises and
disturbances of flat-dwelling.

The decade from the late 1970s to the late 80s witnessed the birth,
suppression and ultimate victory of the Solidarity movement in Poland.
Lutosławski's position in relation to the events of this period is significant in that
he found himself among an élite group of internationally acclaimed Polish
figures in whom a kind of unofficial moral leadership became invested. His
address to the Congress of Culture in early December 1981 included open
references to the damage caused by the Stalinist cultural dictates of the 1950s
(under which he and many others had suffered). During the period of severe
oppression which followed the imposition of martial law that same month,
Lutosławski was one of the most high-profile figures to observe the artists’
boycott of the state media, and he remained true to it throughout the decade
by refusing to conduct his music in Poland, declining to meet government
ministers and refusing offers of state prizes and other financial inducements.
The integrity of his stance was recognized by the award of the Solidarity Prize
in 1983. Only after the suppression of Solidarity was lifted, leading to the free
elections of 1988–9, did Lutosławski end his boycott, resuming his participation
in Polish public life and joining a number of advisory committees set up by the
newly-elected president, Lech Wałęsa. Wałęsa's presidency saw the
reintroduction of the Order of the White Eagle, an award which had not been
made during the communist period. The first recipient was Pope John Paul II;
the second, in January 1994, a month before his death, was Lutosławski.

Lutosławski, Witold

3. Works up to 1956.

Tracing Lutosławski's early development is problematic, given the small

number of pieces which survived the war. Of those that did, the Piano Sonata
and the Symphonic Variations are the most substantial. The Piano Sonata
(1934) exists only in manuscript; except for the war it might have been
published, but by 1945 Lutosławski evidently felt that it was no longer
representative of his style and so consigned it to his bottom drawer, where it
remained except for a single postwar performance. The sonata is cast
conventionally in three movements, the first of which is in sonata form. The
piano writing is accomplished and idiomatic, and foreshadows later works in its
characteristic partitioning of registral space into three layers, each with
particular harmonic characteristics. The harmonic language of the piece is
post-Debussian, and shows a clear affinity with the music of Ravel, a
composer whose influence was largely absent from his music of the 1960s and
70s, not re-emerging until such late works as the Piano Concerto and the
song-cycle Chantefleurs et chantefables. If Debussy and Ravel were the
principal influences on the Piano Sonata, the Symphonic Variations (1936–8)
bear the unmistakable imprint of early Stravinsky. That imprint is again
apparent in the first movement of the First Symphony (1941–7). The slow,
second movement, on the other hand, alludes to three different composers:
Bartók, in the curling chromatic lines which result from the manipulation of
intervallic cells; Prokofiev, in the parodied march theme for clarinets; and
Roussel, the slow movement of whose Third Symphony it resembles both
dramatically and structurally as well as in its harmonic idiom. The scherzo and
trio features a 12-note melodic line, but it is not treated serially.

The proscription of the First Symphony as ‘formalist’ prompted Lutosławski to

concentrate on producing functional music together with some modest pieces
based on folk material. The Concerto for Orchestra (1950–54) grew out of this
work on folk music, and was originally intended as a piece on a more
ambitious scale than the Little Suite (1950), but not the grand work that it
turned out to be. It is a summation of Lutosławski's technique up to this time,
but without the 12-note pitch techniques on which he was now working in
private. The first section of the finale is a passacaglia which provides the first
example of the so-called ‘chain technique’ which he explored in more
thoroughgoing fashion in the 1980s. After the Concerto for Orchestra,
Lutosławski composed the set of five Dance Preludes, for clarinet and piano
(1954), which he described as his ‘farewell to folklore’.

Lutosławski, Witold

4. The period of transition, 1956–60.

The Five Songs (1957, orchd 1958), to poems by Kazimiera Iłłakowicz, mark a
radical change of style and compositional technique, and were his first pieces
to employ 12-note chords. 12-note chords, used as structural elements in their
own right without recourse to serial techniques, were to remain the cornerstone
of his compositional technique for the rest of his career. Lutosławski's most
characteristic 12-note sonorities are those in which the musical space is
subdivided into three musical registers (high, middle, low), each containing
particular kinds of four-note chord configuration (according to the principle of
pitch complementation, whereby three four-note chords provide 12 pitches
without duplication). The songs are studies in this type of harmony.

In his next work, Musique funèbre, Lutosławski reserved the full density of
vertical 12-note harmony for the third section of the piece (Apogeum). In the
piece as a whole it is the influence of Bartók, to whose memory the work is
dedicated, that underlies both the dramatic shape and the distinctive intervallic
vocabulary. The dramatic unfolding of the piece resembles that of the first
movement of Bartók's Music for Strings, Percussion and Celesta, which also
reaches its climax close to the point of the Golden Section. Whereas the
Bartók is fugal, the Lutosławski is canonic, at least in the first and fourth
sections. Both pitch and rhythm are tightly organized, the pitch organization
being governed in the canonic sections by a 12-note row consisting exclusively
of alternating tritones and semitones. Lutosławski had experimented with this
type of interval-pairing in several earlier pieces, such as the Dance Preludes,
but never before had he used it as the primary material for a whole work.
Moreover the use of the technique in conjunction with a 12-note row makes
Musique funèbre a significant landmark in Lutosławski's career. After
completing the work he embarked on another orchestral project: the Postlude
no.1 (1958–60), which turned out to be another Bartókian piece, both in terms
of its manipulation of intervallic cells and its dramatic shape (which climaxes at
the Golden Section). But while working on the project Lutosławski, now with
highly developed and sophisticated resources for harmonic organization, found
himself dissatisfied with his handling of rhythm and polyphony. The suggestion
of a way out of this impasse came from an unexpected source.

Lutosławski, Witold

5. Stylistic maturity, 1960–79.

Lutosławski's decision to adopt aleatory techniques was prompted in part by

hearing a radio broadcast of the Concert for Piano and Orchestra by John
Cage, and he expressed his gratitude to his American colleague by presenting
him with the autograph manuscript of Jeux vénitiens, the work in which he first
employed them. However, the nature of Cage's influence on Lutosławski's
techniques has often been misconstrued. Some commentators have
erroneously associated them with more general principles of indeterminacy
when in fact they involve no improvisation, nor any opportunity for players to
choose what or when to play during a performance. In Lutosławski's aleatory
passages pitch material is fully specified, as is the rhythmic material of each
individual part. Only the rhythmic coordination of parts within the ensemble is
subject to an element of chance. For this reason the technique is often
described as ‘aleatory counterpoint’, and this remains the most accurate term
for it. Along with its characteristic notation of conducted cues (both hands for
the beginnings and endings of tutti sections, and left-hand cues for the
entrances and exits of individual parts or groups of parts), it has been
extensively imitated and adapted by other composers, particularly those of
younger generations. It has become part of the stock-in-trade of advanced
compositional studies both in Poland and abroad. His techniques of pitch
organization, however, have hitherto been less well explored and exploited by
others.

In each of Lutosławski's works from the 1960s the aleatory and textural
elements nonetheless form only part of the total picture and are at the service
of a serious treatment of formal considerations. In Jeux vénitiens (1960–61),
for example, the often discussed aleatory ‘game’ which he played in the first
movement can be seen as a variant of the scheme of refrains and episodes
which he later explored in several other works. The progress of the fourth
movement, which unfolds through a succession of overlapping textural blocks,
functions in a broader sense as the climactic phase of the four-movement
design.

The range of possibilities opened up by aleatory counterpoint was explored to

different ends in Lutosławski's next two major works. The Trois poèmes d'Henri
Michaux (1961–3) is the only choral work of Lutosławski's mature style, and
also the only work in which pitch is not always specified within aleatory
sections, the voices here being required not only to sing, but also to recite,
speak, whisper and shout. The second work, the String Quartet (1964), has
earned a place as one of the most outstanding contributions to the quartet
literature since Bartók. Lutosławski's neglect of chamber music during the
1960s and 70s, to which the quartet constitutes the singular exception, can be
explained by his desire to explore fully the possibilities of aleatory technique in
works for medium or large forces. Yet paradoxically, the quartet uses aleatory
technique more extensively than any of his other works. Because of this the
composer found it difficult to produce a full score; it had been conceived and
composed in separate parts.

The quartet was the first of Lutosławski's works to be composed according to

his characteristic two-movement form, whereby the first movement is
introductory, hesitant and episodic, and the second is developmental, goal-
orientated and climactic. Here the two movements are simply subtitled
‘introductory movement’ and ‘main movement’, whereas in the Second
Symphony (1965–7), the two movements are given subtitles, ‘Hésitant’ and
‘Direct’, which encapsulate the dialectical principle of contrast at the heart of
the scheme. The first movement uses the form of refrains and episodes which
occurs in various guises in many of Lutosławski's works. The second
movement, on the other hand, moves inexorably towards a colossal, awe-
inspiring climax. There is nothing conventionally ‘melodic’ in this symphony,
unlike in each of the other three. The first movement exploits contrasts of
timbre between distinct instrumental groupings and the complementation of
pitch sets, while the second concerns the gradual movement of sound masses,
long-range rhythmic acceleration, climax and subsidence. The form becomes
the content. In spite of the rather overlong first movement, and some
excessively dense textures in the second, the work is rightly regarded as one
of the finest symphonic achievements of the late 20th century.

Lutosławski's next orchestral work, Livre pour orchestre (1968), rather than
adopting the two-movement scheme, reworks the four-movement structure
used in Jeux vénitiens. The orchestral writing is less dense than in the Second
Symphony, with fewer ‘sound masses’ and more clearly defined harmonic
sonorities in the different registers. This new harmonic clarity was achieved
thanks to a refinement of Lutosławski's technique of constructing 12-note
chords. From Livre onwards, these chords tend to be subdivided into three
complementary subsets, with particular types of four-note chord characterizing
each register. The development of characteristic harmonies based on a limited
number of interval classes opened up new possibilities of harmonic contrast
and differentiation. In Preludes and Fugue (1970–72) for 13 solo strings,
sections governed by tritones and semitones alternate with others identified by
the pairing of whole tones and perfect 4ths or 5ths. This technique of
contrasting different types of interval-pairing might be viewed as providing,
within the context of an atonal language, an analogy (and compositional
substitute) for the functions of key change in a tonal language. Preludes and
Fugue is another example of the two-movement scheme. The fact that the
seven preludes can be played in any predetermined order is made possible by
the ingenious device of overlapping complementary pitch sets at the
beginnings and ends of the pieces (rather like the ‘chain’ technique which he
was to explore in the 1980s); the work can also be played in an abridged form,
with certain preludes or sections of the fugue omitted. In its complete version it
is, at around 35 minutes, the longest of Lutosławski's large-scale works.

Two of the works of the mid-1970s rank among Lutosławski's finest

achievements: Les espaces du sommeil, for baritone and orchestra (1975);
and Mi-Parti (1975–6) for orchestra. Though Robert Desnos's poem was
chosen as much for its abstract formal and dramatic structure as for its poetic
content, the work, like the earlier settings of Jean-François Chabrun in Paroles
tissées, succeeds in conjuring up a surreal dreamscape. The slow, central
section of the work is one of the most beautiful passages in Lutosławski's
output, and this is due, in part, to the way the pitch material used for the wind
and percussion group is separated from the pitches used by the strings and
the voice. Although Mi-Parti, with its hauntingly beautiful coda, is undeniably
one of his finest works, the composer was troubled, when conducting it during
the late 1970s, by what he saw as a lack of differentiation (in the opening
phases especially) between harmonic background and melodic foreground.
After the Novelette (1978–9), another work for large orchestra, Lutosławski set
himself to address this problem, initially in the context of chamber music.
Lutosławski, Witold

6. The late works, 1979–94.

It was Epitaph (1979) for oboe and piano that marked the turning point towards
Lutosławski's late style, which was marked above all by more transparent
harmony (with 12-note chords reserved for significant staging posts in the
form) and restraint in the use and extent of aleatory technique. The
simplification of harmony made possible an increasing use of lyrical,
expressive melodic lines projected as foreground material, while the fact that a
larger proportion of each work was written in conventional metre (rather than
aleatory counterpoint) resulted in greater rhythmic pace and energy. Many of
the late-period works allude to formal or textural aspects of Baroque music.
Lutosławski also looked back within his own output, making allusions to works
he had composed before 1960 and realizing compositional projects which had
remained unfulfilled since his youth.

Both Epitaph and Grave (1981) for cello and piano were written as memorial
tributes for friends. The more restricted palette of the duo medium appears to
have focussed the composer's attention on the relationship between melodic
foreground and harmonic accompaniment, and prompted a simpler kind of
harmony, still based on 12-note fields but less dense than in previous works.
Both Epitaph and Grave feature the alternation of sections based on
contrasted interval pairings, making particular use of the tritone-semitone
pairing which had determined the funereal character of his earlier Bartók
tribute. The form of the two pieces differs, however: Epitaph follows the pattern
of refrains and episodes which had been applied in other works, while Grave
has a scheme of ‘metamorphoses’ (corresponding to the work's subtitle) which
echoes the procedure in the second section of Musique funèbre. Epitaph acted
as a kind of compositional study for the concertante piece which followed it.
The Double Concerto (1979–80) for oboe and harp, written for Heinz and
Ursula Holliger, has some connection with the Baroque concerto grosso in its
first movement scheme of ritornello and episodes, while the final movement's
parody of a march theme, with its echoes of Prokofiev, relates back to the slow
movement of the First Symphony.

The Third Symphony (1981–3) also brings together past and present moments
within Lutosławski's creativity, incorporating as it does material conceived and
sketched during the mid- to late-1970s. It thus has a slightly hybrid quality,
whereby some passages have the more melodic focus of the late style,
whereas others represent the more dense, textural approach of the earlier
phase. Though conceived in terms of the same two-movement scheme as the
Second Symphony, it differs greatly from its predecessor, above all in that the
most memorable material comes after the climax, in the epilogue. The greater
melodic focus of the composer's late style contributes to the work's
accessibility – it has become one of the most widely performed of late-20th-
century symphonies – and helps to project a more sustained thematic
argument. In this respect it represents a return to a more traditional approach
to the form, though there are no traces of neo-romanticism, either in terms of
the work's aesthetic or its content.
The principal formal process of Lutosławski's late style was that for which he
coined the term ‘chain’ technique, to signify a form in which the beginnings and
ends of sections or strands of material overlap and interlock like the links in a
chain. Chain 1 (1983) was written for the 14 solo players of the London
Sinfonietta and thus has something of the character of large-scale chamber
music. Chain 2 (1984–5), on the other hand, is a violin concerto in all but
name. The chain technique comes in the second movement, where
successive, overlapping sections of the form are identified with strongly
contrasting intervallic combinations. Chain 2 was conceived and composed
alongside another violin work, the Partita (1984), one of the finest works of his
late period. It exists in two versions: the original, for violin and piano duo; and a
later, concertante version for violin and orchestra. It is in five movements, the
second and fourth of which are aleatory interludes which provide episodes of
repose and relaxation separating the three main movements. The title
acknowledges Lutosławski's fondness for music of the Baroque era, and
aspects of the musical content – especially as regards rhythm, phrasing and
rhythmic patterning – establish aural connections with music of that period. For
the première of Chain 2, Paul Sacher, the work's dedicatee, engaged Anne-
Sophie Mutter as soloist. So impressed was Lutosławski by her playing that he
orchestrated the Partita so that she could perform both works in the same
programme. Sacher then commissioned a short orchestral Interlude (1989) to
link the two concertante pieces. As a triptych they last some 40 minutes in
performance and occupy a unique position in the solo violin repertory.

Chain 3 (1986) is of interest principally because of the way chain technique is

applied in the first stage of the form. There are 12 overlapping ‘links’ in the
chain, and these are differentiated both by contrasted instrumental groupings
and by complementation of pitch sets. While Chain 3 was the last work to bear
Lutosławski's new generic designation, it was not the last instance in his output
of chain technique, which was featured again in the finale of his next major
work, the Piano Concerto (1987–8). Lutosławski had tried to write a piano
concerto both before and just after the war, but other projects had intervened.
Now, having composed Grave and Partita, with their prominent piano parts, he
felt able to tackle a large-scale concertante work for the instrument. The
concerto was received by some commentators as marking a turn towards neo-
romanticism (with alleged references to Rachmaninoff and others). But while
there are similarities of harmonic sonority to the music of Ravel (as there are in
the song cycle Chantefleurs et chantefables which followed in 1989–90), and
some of the pianistic gestures invite comparison with those of the Romantic
repertory, neither the content nor the aesthetic of the piece is neo-romantic.
Indeed there are Baroque echoes in certain passages of rhythmic figuration
(as in the Partita), as well as in the final movement's chaconne procedure
(which recalls more directly the finale of the Concerto for Orchestra).

The last major work which Lutosławski was to complete was the Fourth
Symphony (1988–92). Like the Second and Third, it is in two movements, the
second following the first without a break. Stylistically, however, it is more
homogeneous than the Third Symphony, and while most of its first movement
(like that of its predecessor) is introductory and episodic in character, it does
not open in his customary ‘hesitant’ manner, but with material of primary,
 thematic significance (solo woodwind lines against sustained strings, above a
slowly pulsating bass line). The second movement, by contrast, is
developmental and climactic: its memorable features include a long, powerful,
cantando line, which unfolds sequentially, and passages of sophisticated
rhythmic layering, which superimpose in Bachian fashion three metrical layers
moving at different rates.

After this final symphonic essay, Lutosławski turned once more to the violin.
The last work he completed was Subito (1992), a four-minute test piece for the
1994 Indianapolis International Violin Competition. While recalling stylistically
the outer movements of Partita, it has more in common structurally with
Epitaph in its treatment of the refrain-episode principle. He then set to work on
a violin concerto for Mutter. The surviving bundles of sketches indicate that the
piece was to be for large orchestra (unlike Chain 2) and suggest a four-
movement structure, but the material is for the most part too fragmentary to
admit the possibility of a reconstruction. The composer left instructions that the
piece should not be completed.

Lutosławski is generally regarded as the most significant Polish composer

since Szymanowski, and possibly the greatest Polish composer since Chopin.
It was not always thus. During the postwar years his contemporary, Andrzej
Panufnik had a much higher profile in Poland. This prominence caused
Panufnik many difficulties and contributed to his decision to defect to England
in 1954. At about the same time Lutosławski's reputation in Poland was
enhanced by the success of his Concerto for Orchestra. During the 1960s his
name was often linked with that of Penderecki, 20 years his junior, on account
of their use of aleatory procedures, together with textural and gestural effects.
However the term ‘Polish School’, under which both composers were
assimilated by critics outside Poland, belied the stylistic disparity between their
approaches. Comparisons with Penderecki, whose reputation, unlike
Lutosławski's, declined after the 1970s, are perhaps ultimately less fruitful than
with Panufnik, who had much in common in his treatment of intervallic cells
and his productive assimilation of Bartók's influence. Since his death the
assessment of Lutosławski's creative achievement has remained much as it
was during his last years: he is now acknowledged as one of the major
European composers of the 20th century.

Lutosławski, Witold

WORKS

orchestral

Scherzo, 1930, lost

Haroun al Rashid, incid music, 1931, lost
Double Fugue, 1936, lost
Symphonic Variations, 1936–8
Symphony no.1, 1941–7
Odra do Baltyku [Via the Oder to the Baltic] (film score, dir. S. Możdeńskí), 1945
Suita Warszawska [Warsaw Suite] (film score, dir. T. Makarczynski), 1946
Overture, str, 1949
Little Suite, chbr orch, 1950
Concerto for Orchestra, 1950–54
Muzyka żałobna (Musique funèbre), str, 1954–8
Dance Preludes, cl, orch, 1955 [version of chbr work]
Three Postludes, 1958–63
Jeux vénitiens, chbr orch, 1960–61
Symphony no.2, 1965–7
Livre pour orchestre, 1968
Cello Concerto, 1969–70
Preludes and Fugue, 13 solo str, 1970–72
Mi-Parti, 1975–6
Novelette, 1978–9
Double Concerto, ob, hp, chbr orch, 1979–80
Symphony no.3, 1981–3
Grave: Metamorphoses, vc, str, 1982 [version of chbr work]
Chain 2: Dialogue, vn, orch, 1984–5
Chain 3, 1986
Fanfare for Louisville, 1986
Piano Concerto, 1987–8
Partita, vn, orch, 1988 [version of chbr work]
Symphony no.4, 1988–92
Interlude, 1989
Prelude for GSMD, 1989 [for Guildhall School of Music and Drama]

vocal

Vocal-orch: Lacrimosa, S, opt. SATB, orch, 1937 [frag. of requiem]; Requiem

aeternam, chorus, orch, 1937, lost [frag. of requiem]; Tryptyk Śląski [Silesian
Triptych] (Silesian folk texts), S, orch, 1951; Wiosna [Spring] (cycle of children's
songs, W. Domeradzki, J. Korczakowska, H. Januszewska, L. Krzemieniecka),
Mez, chbr orch, 1951, nos.2, 4, arr. 1v, pf, no.4 arr. SSA, pf; Jesień [Autumn] (4
children's songs, Krzemieniecka), Mez, chbr orch, 1951; [4] children's songs, 1v,
chbr orch, 1954; Spijze, śpij [Sleep, Sleep] (Krzemieniecka), Idzie nocka [Night is
Falling] (J. Osińska), Warzywa [Vegetables] (J. Tuwim), Trudny rachunek [Difficult
Sums] (Tuwim); 5 Songs (K. Iłłakowicz), 1v, orch, 1958 [arr. of songs for 1v, pf]; 3
poèmes d'Henri Michaux, chorus, orch, 1961–3; Paroles tissées (J.F. Chabrun), T,
chbr, orch, 1965; Les espaces du sommeil (R. Desnos), Bar, orch, 1975; 20 Polish
Carols (M. Mioduszewski, O. Kolberg, trans. C.B. Rae), S, female chorus, chbr
orch, 1984–9 [version of 20 koled, 1v, pf]; Chantefleurs et chantefables (Desnos), S,
chbr orch, 1989–90
Songs (1v, pf, unless otherwise stated): 2 songs (Iłłakowicz), S, pf, 1934, lost:
Wodnica [Water-Nymph], Kolysanka lipowa [Linden Lullaby]; Pieśni walki
podziemnej [Songs of the Underground Struggle] (S. Dobrowolski, A. Maliszewski,
Z. Zawadzka, anon.), 1942–4; 20 kolęd [20 Carols] (Mioduszewski, Kolberg), 1946;
6 piosenek dziecinnych [6 children's songs] (Tuwim), 1947; 2 children's songs
(Tuwim), 1948; Spózniony słowik [The Overdue Nightingale], O Panu Tralalińskim
[About Mr Tralaliński]; Lawina [The Snowslide] (A. Pushkin), 1949; Słomkowy
łańcuszek i inne dziecinne utwory [Straw Chain and other Children's Pieces] (song
cycle, trad., J. Porazińska, T. Lenartowicz, Krzemieniecka), S, Mez, wind qnt, 1950–
51; 7 Songs (T. Urgacz and others), 1950–52, no.4 arr. unacc. male chorus, 1951,
nos.2, 4, 5, arr. unacc. mixed chorus, 1951
10 polskich pieśni ludowych na tematy żołnierskie [10 Polish Folksongs on Soldiers'
Themes] (Kolberg, anon.), male chorus, 1951; 2 children's songs (A. Barto), 1952,
arr. Mez, chbr orch, 1953: Srerbna szybka [Silver Window-Pane], Muszelka
[Cockle-Shell]; 3 pieśni żołnierskie [3 Soldiers' Songs] (S. Czachorowski, A.
Rymkiewicz, M. Dołega), 1953; Children's Songs, 1953: Pióreczko [Little Feather]
(Osińska), Wróbelek [Little Sparrow] (Krzemieniecka), Pozegnanie wakacji
[Goodbye to Holidays] (Krzemieniecka), Wianki [Wreaths] (S. Szuchowa); 5 pieśni
(Iłłakowicz), S, pf, 1957, orchd 1958; 3 children's songs (R. Pisarski), 1958, unpubd:
Na Wroniej ulicy w Warszawie [On Wronia Street in Warsaw], Kuku, kuku, [Cuckoo,
Cuckoo], Piosenka na prima aprilis [Song on April Fools' Day]; Piosenki dziecinne
[Children's Songs] (J. Porazińska), 1958; 3 piosenki dziecinne (B. Hertz), 1959,
unpubd; Nie dla ciebie [Not for You] (Iłłakowicz), 1981; Tarantella (H. Belloc), Bar,
pf, 1990

chamber and solo instrumental

2 Sonatas, vn, pf, 1927, lost; 50 contrapuntal studies, ww, 1943–4, unpubd; Trio,
ob, cl, bn, 1944–5, unpubd, lost; Recitative e arioso, vn, pf, 1951; Bukoliki
[Bucolics], va, vc, 1962 [arr. of pf work]; Dance Preludes, cl, pf, 1954, orchd, 1955,
arr. 9 insts, 1959; Str Qt, 1964; Sacher Variation, vc, 1975; Epitaph, ob, pf, 1979;
Grave: Metamorphoses, vc, pf, 1981, orchd, 1982; Mini-Ov., hn, 2 tpt, trbn, tuba,
1982; Chain 1, chbr ens, 1983; Partita, vn, pf, 1984; Fanfare for CUBE, 1987 [for
Cambridge University Brass Ensemble]; Przezrocza [Slides], chbr ens, 1989;
Fanfare for Lancaster, brass ens, side drum, 1989; Subito, vn, pf, 1992
Pf (solo unless otherwise stated): Prelude, 1922, lost; Poème, 1928, lost; Taniec
Chimery [Dance of the Chimera], 1930, lost; Sonata, 1934, unpubd; Prelude and
Aria, 1936, unpubd; 2 Studies, 1940–41; Wariacje na temat Paganiniego [Variations
on a Theme by Paganini], 2 pf, 1941; Melodie Ludowe [Folk Melodies], 12 easy
pieces, 1945; Bukoliki, 1952; Miniatura, 2 pf, 1953; 3 Pieces for the Young, 1953;
Invention, 1968
Incid music, radio scores, songs and inst pieces based on folk material

MSS in CH-Bps, PL-Wn

Principal publishers: Chester, Moeck Verlag, Polskie Wydawnictwo Muzyczne

Lutosławski, Witold

WRITINGS

‘Tchnienie wielkości’ [Breath of greatness], Muzyka polska, iii (1937), 169–70

[on Szymanowski]
‘O Grzegorzu Fitelbergu’, Muzyka, v/7–8 (1954), 26–33
‘Kompozytor a odbiorca’ [The composer and the listener], Ruch muzyczny, iv/4
(1964), 3–4; Eng. trans. in Nordwall (1968), 119–24
‘O roli elementu przypadku w technice komponowania’ [On the role of the
element of chance in compositional technique], Res facta, i (1967), 34–8;
 Eng. trans. in G. Ligeti, I. Lidholm and W. Lutosławski: Three Aspects of
New Music (Stockholm, 1968), 45–53
Notes on the Construction of Large-Scale Forms (c1969) [lecture]
‘Nowy utwór na orkiestrę symfoniczną’ [A new work for symphony orchestra],
Res facta, iv (1970), 6–13 [on Symphony no.2]; Eng. trans. in The
Orchestral Composer's Point of View, ed. R. Hines (Norman, OK, 1970),
128–51
‘O rytmice i organizacji wysokości dźwięków w technice komponowania z
zastosowaniem orgraniczonego działania przypadku’ [Rhythm and the
organization of pitch in composing techniques employing a limited element
of chance], Muzyka w kontekście kultury: Baranów 1976, 76–87; Eng.
trans. in Polish Musicological Studies, ii (1986), 37–53 [contains
typographical errors]; Ger. trans. in Witold Lutosławski, Musik-Konzepte,
nos.71–3 (1991), 3–32
‘Kilka problemów z dziedziny rytmiki’ [Some problems in the area of rhythm],
Res facta, ix (1982), 114–28
Lutosławski, Witold

BIBLIOGRAPHY

A Life and works, monographs on music. B Collections of essays, symposia. C

Individual works. D Other studies.

a: life and works, monographs on music

S. Jarociński: Witold Lutosławski: materialy do monografi [Materials for a

monograph] (Kraków, 1967)
O. Nordwall, ed.: Lutosławski (Stockholm, 1968)
B. Pociej: Lutosławski a wartość muzyki [Lutosławski and the value of his
music] (Kraków, 1976)
S. Stucky: Lutosławski and his Music (Cambridge, 1981)
P. Gantchoula: Hésitant–direct: l’oeuvre de Witold Lutosławski (diss., Paris
Conservatoire, 1985)
T. Kaczyński: Lutosławski: zycie i muzyka [Lutosławski: life and music]
(Warsaw, 1994)
C. Bodman Rae: The Music of Lutosławski (London, 1994, enlarged 3/1999)
D. Rust: Lutosławski’s Symphonic Forms (diss., Yale U., 1995)
M. Homma: Witold Lutosławski: Zwölfton-Harmonik, Formbildung,
‘aleatorischer Kontrapunkt’ (Cologne, 1996)
J. Paja-Stach: Witold Lutosławski (Kraków, 1996)
J. Paja-Stach: Lutosławski i jego styl muzyczny [Lutosławski and his musical
style] (Kraków, 1997)

b: collections of essays, symposia

Witold Lutosławski: Kraków 1980

Witold Lutosławski: Warsaw 1984
Witold Lutosławski, Musik-Konzepte, nos.71–3 (1991) [incl. M. Homma:
‘Vogelperspektive und Schlüsselideen’, 33–51, ‘Chronologisches
 Werkverzeichnis, Auswahlbibliographie, Auswahldiskographie’, 198–223;
A. Michaely: ‘Lutosławskis III Sinfonie’, 63–92]
Muzyka, xl/1–2 (1995) [Lutosławski issue, incl. K. Baculewski: ‘Lutosławski:
jedna technika, jeden styl?’ [Lutosławski: one technique, one style?], 25–
39; M. Homma: ‘O przestrzenj muzycznej w harmonice dwunastotonowej
W. Lutosławskiego’ [On musical space in Lutosławski's 12-note harmony],
85–110; A. Jarzębska: ‘Problem kształtowania kontinuum formy w IV
Symfonii W. Lutosławskiego’ [The problem of building a form continuum in
the fourth symphony by Lutosławski], 135–54; D. Krawczyk: ‘Koncepcja
czasu Witold Lutosławskiego’ [Lutosławski's conception of time], 111–33;
K. Meyer: ‘Kilka uwag na temat organizacji wysokości dźwięków w
muzyce Witolda Lutosławskiego’ [Some observations on the subject of
pitch organization in the music of Lutosławski], 3–24; I. Nikolska: Niektóre
zasady konstruowania melodii w twórczości W. Lutosławskiego z lat
1960–80’ [Some principles for contructing melodies in Lutosławski's works
from the years 1960–80], 59–84; J. Paja-Stach: ‘Witold Lutosławski:
documentacja’, 155–222; C. Bodman Rae: ‘Organizacja wysokości
dźwięków w muzyce Witolda Lutosławskiego’ [Pitch organization in the
music of Lutosławski], 41–58]
Z. Skowron, ed.: Lutosławski Studies (Oxford, 2000) [incl. essays by J.
Casken, S. Stucky, M. Homma, C. Bodman Rae, A. Thomas, A. Whittall, I.
Nikolska, J. Paja, A. Tuchowski]

c: individual works

Z. Lissa: ‘Koncert na orkiestrę Witolda Lutosławskiego’ [Witold Lutosławski's

Concerto for Orchestra], Studia muzykologiczne, v (1956), 196–299
W. Brennecke: ‘Die Trauermusik von Witold Lutosławski’, Festschrift Friedrich
Blume zum 70. Geburtstag, ed. A.A. Abert and W. Pfannuch (Kassel,
1963), 60–73
A. Thomas: ‘A Deep Resonance: Lutosławski's Trois Poèmes d'Henri
Michaux’, Soundings, i (1970), 58–70
M. Stanilewicz: ‘Organizacja materiału dzwiękowego w Muzyce żałobnej
Witolda Lutosławskiego’ [Pitch organization in Muzyce żałobna], Muzyka,
xx/4 (1975), 3–27
S. Stucky: ‘Lutosławski's Double Concerto’, MT, cxxii (1981), 529–32
A. Thomas: ‘Jeux vénitiens: Lutosławski at the Crossroads’, Contact, no.24
(1982), 4–7
M. Homma: ‘Witold Lutosławski: Mi-Parti’, Melos, xlvii/3 (1985), 22–57
T. Zielinski: ‘Witold Lutosławski's Chain 1’, Polish Music, nos. 1–2 (1985), 17–
24
I. Balázs: ‘Macht und Ohnmacht der Musik: Witold Lutosławskis Cellokonzert
und seine gesellschaftlichten Zusammenhänge’, NZM, Jg.147, nos.7–8
(1986), 40–47
M. Homma: ‘Unerhörtes Pathos: Witold Lutosławski, III Symphonie’,
MusikTexte, no.13 (1986), 7–12
P. Gantchoula: ‘La 3ème symphonie de Lutosławski: synthèse d'un itinéraire
créateur’, Analyse musicale, no.10 (1988), 68–74
C. Bodman Rae: ‘Ambition Attained: the Background to Lutosławski's New
[Piano] Concerto’, The Listener (27 July 1989)
M. Homma: ‘Gleichzeitigkeit des Ungleichartigen: Witold Lutosławskis Vierte
Sinfonie – Syntheses seines Schaffens’, MusikTexte, no.54 (1994), 51–6

d: other studies

E. Dziębowska: ‘Pieśń masowa w twórczości Witolda Lutosławskiego’ [The

mass song in the work of Lutosławski], Muzyka, v/7–8 (1954), 38–44
M. Piotrowska: ‘Aleatoryzm Witolda Lutosławskiego na tle genezy tego
kierunku w muzyce współczesnej’ [Lutosławski's aleatorism in the context
of this trend in contemporary music], Muzyka, iv/3 (1969), 67–86
E. Cowie: ‘Mobiles of Sound’, Music and Musicians, xx/2 (1971–2), 34–40
T. Kaczyński: Rozmowy z Witoldem Lutosławskim [Conversations with
Lutosławski] (Kraków,1972, 2/1993; Eng. trans., 1984)
J. Casken: ‘Transition and Transformation in the Music of Witold Lutosławski’,
Contact, no.12 (1975), 3–12
B.A. Varga: Lutosławski Profile (1976) [interview]
J.-P. Couchoud: La musique polonaise et Witold Lutosławski (Paris, 1981)
[interview]
P. Petersen: ‘Über die Wirkung Bartóks auf das Schaffen Lutosławskis’, Béla
Bartók, Musik-Konzepte, no.22 (1981), 84–117
K. Meyer: ‘O muzyce Witolda Lutosławskiego’, Res facta, ix (1982), 129–40
Z. Helman: Neoklasycyzm w muzyce polskiej XX wieku [Neo-classicism in
Polish music of the 20th century] (Kraków, 1985)
M. Homma: ‘Horizontal-vertikal: zur Organisation der Tonhöhe bei Witold
Lutoslawski’, ‘Materialen zur Arbeit von Witold Lutoslawski’, Neuland, v
(1985), 91–112
C. Bodman Rae: ‘Lutosławski's Golden Year’, MT, cxxvii (1986), 547–51
K. Baculewski: Polska twórczość kompozytorska 1945–1984 [The Work of
Polish Composers 1945–84] (Kraków, 1987)
A. Panufnik: Composing Myself (London, 1987)
C. Bodman Rae: ‘Lutosławski's Late Style’, The Listener (26 Jan 1989)
J. Paja: ‘The Polyphonic Aspect of Lutosławski's Music’, AcM, lxii (1990), 183–
91
C. Bodman Rae: ‘Lutosławski's Late Violin Works’, MT, cxxxi (1990), 530–33
A. Chłopecki: ‘Zeugnis zerfallender Werte: Witold Lutoslawskis Abschied von
der Moderne’, MusikTexte, no.42 (1991), 45–50
P. Petersen: ‘Bartók–Lutosławski–Ligeti: einige Bemerkungen zu ihrer
Kompositionstechnik unter dem Aspekt der Tonhöhe’, HJbMw, xi (1991),
289–309
I. Nikolska: ‘Symfonizm Witolda Lutosławskiego’ [The symphonism of
Lutosławski], Muzyka, xxxvii/3 (1992), 37–51
A. Chłopecki: “‘Tombeau” einer Epoche: Witold Lutosławski, eine Würdigung’,
MusikTexte, no.54 (1994), 47–50
I. Nikolska: Conversations with Witold Lutosławski (1987–92) (Stockholm,
1994)
C. Bodman Rae: ‘Witold Lutosławski’, The Independent (9 Feb 1994)
[obituary]
A. Thomas: ‘Your Song is Mine’, MT, cxxxvi (1995), 403–9 [on popular songs
and dances pubd under pseudonym ‘Derwid’]
T. Kaczyński: ‘Witold Lutoslawski vu à travers sa correspondance’,
Mitteilungen der Paul Sacher Stiftung, ix (1996), 11–13