Karol Szymanowski: Correspondence, Volume 1: 1902–1919

The present publication is the first of a number of volumes in which the whole of the surviving correspondence to and from Karol Szymanowski, from 1902 until his death in 1937, will be made available in English translation. This first volume covers the years 1902–1919, the earliest letters dating from the composer’s student years in Warsaw. The collection goes on to cover his attempts to establish a place for himself in Polish, German and Austrian musical circles in the years leading up to the outbreak of the First World War. It also provides a record of his travels in Europe and North Africa, his experiences during the First World War, during which time Szymanowski was confined to Russian territories, and finally the turmoil of the Bolshevik Revolution, the ensuing civil war, and his desperate attempts to find a way to the newly independent Poland, a goal only realized in the final days of 1919. It is a compelling narrative which throws invaluable light on this epic phase of European history, as well as affording insights into the maturation of one of the most significant composers of the first half of the twentieth century.

A number of illustrations and musical examples are included, along with explanatory footnotes. The edition also contains a bibliography, personalia section and indexes.

Karol Szymanowski: Correspondence

Volume 1: 1902–1919

Edited and Translated by

ALISTAIR WIGHTMAN

Published at Smashwords

Copyright 2016 Alistair Wightman

All rights reserved

Table of Contents

Blurb

Title and Copyright Page

List of Illustrations

Quick Links to the Letters

Preface

Explanatory Notes

1902–1905: Letters 1–11

1902: Letter 1

1903: Letters 2–3

1904: Letters 4–7

1905: Letters 8–11

1906: Letters 12–17

1907: Letters 18–29

1908: Letters 30–38

1909: Letters 39–55

1910: Letters 56–92

1911: Letters 93–141

1912: Letters 142–184

1913: Letters 185–225

1914: Letters 226–284

1915: Letters 285–289

1916: Letters 290–322

1917: Letters 323–349

1918: Letters 350–374

1919: Letters 375–401

Bibliography

Personalia

Addressees of Szymanowski’s Letters

Writers of Letters to Szymanowski

Index

Index of Works

About Alistair Wightman

List of Illustrations

Stanisław Szymanowski, the composer’s father

Karol Szymanowski (c.1905)

Anna Klechniowska (Hanna)

Teatr Wielki, Warsaw (c.1865)

Adolf Chybiński (1906), portrait by Maria Chybińska

Zdzisław Jachimecki

Stefan Spiess (c.1910)

Grzegorz Fitelberg (1905)

Anna Szymanowska, the composer’s mother

Natalia Davidova

The King’s Palace, Warsaw (c.1865)

Paweł Kochański

Stanisław Ignacy Witkiewicz (Witkacy)

Jarosław Iwaszkiewicz

Karol Szymanowski (c.1919)

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Preface

This first volume of Karol Szymanowski’s correspondence comprises all letters to and from the composer written in the years 1903–1919. The earliest letters survive from Szymanowski’s student years in Warsaw, and the collection goes on to cover the era of the Young Poland in Music movement and his successful attempts to establish a place for himself in German and Austrian musical circles in the years leading up to the outbreak of the First World War. They also provide a record of his travels in Europe and North Africa, his experiences during the First World War, during which time Szymanowski was confined to Russian territories, and, finally the turmoil of the Bolshevik Revolution, the ensuing civil war, and his desperate attempts to find a way to the newly independent Poland, a goal only realized in the final days of 1919. It is a compelling narrative which throws invaluable light on this epic phase of European history, as well as affording insights into the maturation of one of the most significant composers of the first half of the twentieth century.

Szymanowski’s earliest years were spent in the Ukraine where the family possessed houses in Elizavetgrad, situated approximately 200 miles south-east of Kiev, and a country estate at Tymoszówka, where the composer was born on 3 October 1882 to Stanisław Bonawentura Maria Szymanowski and Dominika Teodora Anna, née Taube.¹ He was the third of five children, all of whom were artistically gifted. The eldest, Anna (Nula) studied art, Feliks was a pianist and composer, Stanisława a singer and leading interpreter of her brother’s works, and the youngest, Zofia, provided the composer with texts for his Songs of a Fairy Princess and was the author of an account of the family’s life at Tymoszówka.

The family was also connected by marriage with other prominent musicians in the region, notably the Neuhauses and Blumenfelds, and it was with Gustav Neuhaus, the father of the celebrated pianist and teacher, Henryk Neuhaus, that Szymanowski studied music after receiving his earliest tuition on the piano from his father. Szymanowski’s musical education with Neuhaus centred on the masters of the central European tradition, notably Bach and Beethoven, but also took in Chopin, Schumann and Brahms. From his early teens, Szymanowski was also aware of Wagner’s work, and by the time he left for Warsaw in 1901, he was fully acquainted with all the major music dramas through his systematic study of piano reductions. By this time, he had revealed a precocious talent, evident in songs, operas and sonatas. These works were lost in the destruction of the family home during the Bolshevik Revolution, but the Nine Preludes for Piano, Op. 1, also written at this time, survive, along with extant pieces of poetry which point to the composer’s literary flair.

Szymanowski was educated at home because of an injury to his leg, sustained at the age of three, and passed the school matriculation examination in Elizavetgrad as an external student in 1900. Possession of this qualification meant that he could have studied anywhere in the Russian Empire, but instead of Moscow, St. Petersburg or Kiev, the family decided on Warsaw, despite its relatively undeveloped musical life, partly because it was the heart of old Poland, and partly because of family connections there (during the early Warsaw years he stayed at the house of his aunt, Maria Zbyszewska, on Ulica Krucza).

At the time the narrative encapsulated in these letters begins, Szymanowski had commenced his studies in Warsaw a few months earlier. Rather than enter the Conservatory, he took private lessons in harmony with Marek Zawirski and underwent a more systematic course in counterpoint and composition with Zygmunt Noskowski. Noskowski was at the time Poland’s leading composer, but there are early hints in the correspondence that Szymanowski was already growing impatient of his teacher’s conservative, step-by-step approach. Clearly, Szymanowski was much more interested in Strauss and Reger than in following Noskowski’s rather Mendelssohnian approach. His musical horizons were to expand still further to take in Mahler and Schreker once he began to spend more time in Berlin and Vienna. This outward-looking attitude reflected his need to come to an accommodation with the best of European music in general – and so to go beyond the bounds of Polish music, of necessity restricted by the effects of partition. But it led some, including his father, to worry that his commitment to Poland and Polish culture was less than total. The tension between new music and moribund nationalism is a recurring theme in Szymanowski’s correspondence, and his critical attitude to Paderewski, for example, has much to do with the latter’s use of hackneyed folkloristic formulae.

The early letters also throw light on his connections with other Polish musicians of his generation. These contacts included fellow composers in the Publishing Group of Young Polish Composers (Young Poland in Music), namely Apolinary Szeluta, Ludomir Różycki, and Prince Władysław Lubomirski – who would eventually be instrumental in helping Szymanowski secure his publishing contract with Universal Edition, Vienna – but most of all Grzegorz Fitelberg, who in later years came to be known more as a conductor than a composer. Szymanowski’s relationship with Fitelberg was sometimes tempestuous, and his dependence on the latter, six years his senior, left him open to powerful, and not always benign, influences.

Other contacts included the pianist Artur Rubinstein and violinist Paweł Kochański, and for many years he enjoyed the friendship and support of the Spiess family. It was with Stefan Spiess that Szymanowski travelled in Italy, Sicily and North Africa – expeditions which were to leave a lasting impression on his art and aesthetic views. In the first decade of the century, Szymanowski also forged links with Poland’s leading writers and intellectuals, notably the novelist Stefan Żeromski, the poet and dramatist Tadeusz Miciński, and the painter and novelist Stanisław Ignacy Witkiewicz (Witkacy). Among musicologists, Szymanowski soon attracted the attention of Adolf Chybiński, based in Lwów, and Zdzisław Jachimecki in Kraków, both of whom were to produce studies of his work. As time went on, the correspondents also numbered Russian friends, notably the Davidovs, who were near neighbours in the Ukraine, and the many musicians he encountered in St. Petersburg and Moscow. Finally, the letters to and from Jarosław Iwaszkiewicz must be mentioned. A cousin of the composer, he was to become a major novelist, poet and dramatist in future years, and it is to Iwaszkiewicz that we are indebted for a string of invaluable reminiscences covering the Ukraine years as well as the final melancholy stages of Szymanowski’s career in Spotkania z Szymanowskim [Meetings with Szymanowski], published in 1947. Some of the most precious letters in the present volume are to do with Iwaszkiewicz’s collaboration on the libretto of King Roger, and the exquisite song cycle, Songs of the Infatuated Muezzin.

It is impossible to neglect the wider geopolitical situation prevailing in this part of Europe in the years leading up to the outbreak of the First World War. This period saw the final phases of the struggle to achieve once again independent Polish nationhood. Some hints of the difficulties faced in coping with the occupying powers can be gleaned from the earlier letters, but such problems were to seem as pinpricks in the light of the catastrophic upheavals which accompanied the disintegration of the Russian, German and Austrian empires and the emergence of Poland from the wreckage. The collection provides invaluable source material regarding the impact of these events and their tragic aftermath in the Ukraine. The final pages indeed constitute a moving elegy for the extinction of the old Europe and its values, and the irretrievable sense of loss experienced by those caught up in the turmoil.

The earliest attempts at the collection of materials connected with Szymanowski’s life and work, including correspondence, were made by Stanisław Golachowski in the years immediately following the composer’s death in 1937. Eventually, his Tablice chronologiczne do życie i twórczości Karola Szymanowskiego [Chronological Table of the Life and Work of Karol Szymanowski] was included in Z życia i twórczości Karol Szymanowskiego. Studia i materiały [Regarding the Life and Work of Karol Szymanowski: Studies and Materials], edited by J. M. Chomiński (PWM, 1960). An initial selection of letters (Z listów, edited by Teresa Chylińska) was published by PWM in 1958, and this was followed by two further collections: Dzieje przyjaźni [Story of a Friendship], published in 1971, and Między kompozytorem i wydawcą [Between Composer and Publisher], dating from 1978. These volumes were also edited by Chylińska, the first consisting of correspondence between the composer and his close friends, the violinist Paweł Kochański and his wife, Zofia, and the second a record of his dealings with the Viennese publishing house, Universal Edition. This second volume presented these materials in Polish translation, but Universal also published many of the original German texts the same year in Briefwechsel.

In 1982, the first of four volumes of Szymanowski’s letters was published, and this volume was supplemented in 2007 with more recently discovered items. Although most of the correspondence was conducted in Polish, a number of letters were written also in French, German and Russian. Szymanowski generally wrote in French to Russian friends such as Natalia Davidova, and only rarely resorted to Russian, while, as has been already noted, he regularly wrote in German to his publisher and some other German friends. Inevitably, the collection contains more of the composer’s letters to friends than correspondence which he received himself. Most of the letters he had amassed over the years, somewhat self-consciously as he became increasingly aware of the importance his correspondence would have for future biographers, were lost in the destruction of the family home at Tymoszówka in 1917.

The translations are based on the text of the letters given in the first volume of the composer’s correspondence, edited by Teresa Chylińska,² to whom the present editor is profoundly grateful for elucidation of numerous points, and to whom an enormous debt is owed by students and enthusiasts of Szymanowski’s work for her supererogatory work in the preparation of the complete collected edition of the music as well as the composer’s literary writings and letters. I also wish to thank Maria Lloyd for her help in clarifying some textual details, and Melissa Dobson for her invaluable assistance in the editing of this volume and its preparation for ebook publication.

¹ For further information on the composer’s ancestry and early upbringing, the reader is referred to A. Wightman, Karol Szymanowski: His Life and Work (Aldershot: Ashgate, 1999), and A. Wightman (ed.), Szymanowski on Music: Selected Writings of Karol Szymanowski (London: Toccata Press, 1999).

² T. Chylińska (ed.), Karol Szymanowski Korespondencja: Tom 1, 1903–1919 [Karol Szymanowski Correspondence, Volume 1, 1903–1919] (Kraków: Polskie Wydawnictwo Muzyczne, 1982).

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Quick Links to the Letters

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100 | 110 | 120 | 130 | 140 | 150 | 160 | 170 | 180 | 190

200 | 210 | 220 | 230 | 240 | 250 | 260 | 270 | 280 | 290

300 | 310 | 320 | 330 | 340 | 350 | 360 | 370 | 380 | 390 | 400

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Explanatory Notes

With the exception of ‘Warsaw’, Polish place names have been retained, including ulica (street). In addition, commonly accepted transliterations of Russian names and locations have been employed.

At this time, the rate of exchange was approximately 10 roubles to the pound sterling.

In these final years of partition, Warsaw was under Russian control, Kraków and Lwów (Lemberg) were part of the Austro-Hungarian Empire, and Poznań, at the heart of the western area of modern Poland, was subject to Germany.

Until 1918, old style (Julian calendar) dates were used in Russian territories. To avoid ambiguity, both old style and new style (Gregorian) dates, which were in advance of the Julian calendar by 13 days, are given: the old style date inserted in brackets if not provided by the writer. Letters written to or from locations outside Russia were usually in the new style, and here no additional changes have been made.

Further explanations are provided as necessary in footnotes, and biographical information regarding the various figures who appear in the course of this volume is given in the personalia section.

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~ 1902–1905 ~

Stanisław Szymanowski, the composer’s father

~ 1902 ~

1

Karol Szymanowski to Bronisław Gromadzki in Warsaw

[Written in pencil on a visiting card]

[Warsaw, 1902?]

Dear Bronek¹ – I’m waiting for you at Aunt Mynia’s² with Gustav[?]. I’m deliberately not going out this morning on your account.

Karol Korwin-Szymanowski

¹ Bronisław Gromadzki (1883–1944), friend of the composer from Elizavetgrad.

² Maria Zbyszewska, sister of the composer’s father. Szymanowski stayed with the Zbyszewskis on arriving in Warsaw to continue his studies.

~ 1903 ~

2

Stanisław Szymanowski to Karol Szymanowski

Elizavetgrad, Wednesday [16]/29 IV 1903

I received your lengthy letter, yesterday, my dear boy. I kiss you warmly for this scrawl, though, to tell the truth, you grub around like a chicken in the dirt, and furthermore (I must complain immediately so as not to return to this question later) you put yourself in the wrong, not because of absence of news, but an evident lack of focus which you should always try to avoid in correspondence. – You are right to doubt whether I have free time for a longer correspondence; my mind really is so occupied with various matters, chiefly asphalt¹ – which at any rate, thank God, is beginning to get under way – that my head is swimming in some sort of pitchy soup. Anyway, my dear Katociński, I will write just enough to you to form a starting-point for extensive chatty responses which, God grant, you will send. –

Well: I am to a certain extent a believer in the principle: tout comprendre c’est tout pardonner.² – I say to a certain extent, because it does not exclude, in my view, free will and, following on from this, responsibility. – Whether with justification I do not know, but I even claim to possess the skill of judging everyone and everything completely objectively, even when it involves people who are very close to me. I myself have gone through that stage of life when one first destroys and then rebuilds, and for a competent resolution of deeper questions I consider that to be unavoidable. In this destruction and rebuilding, a fact will emerge in the future which has often impressed itself upon me: it will turn out that more than one building you erect will be totally rebuilt from its foundations, while others you have destroyed will be rebuilt with scarcely a change. – I say all this so that you can understand that even were your views diametrically opposed to mine, I should attempt to accept this without undue distress so that you would be able to discuss everything completely freely with me – even religious questions, for example. The most painful thing for me would be to observe in you an absence of love for your country, and I frankly admit to you that there was a time when I was a little fearful of this. But a couple of remarks in your letter to Marcin [Szymanowski]³ have put my mind at rest in this respect; right, Katociński?

That is enough for now, because I must shave and dress, and afterwards go to the Town Council who want to order wire from me for the summer hospital huts – then for an exhibition at the pavilion, which I can’t finish on account of that cursed vodka, would to God it had never left hell. Buy the scores – I have written about this to Mama. My boy, when do you intend finishing in Warsaw and coming to the country? Felczyn [Feliks Szymanowski], whom I embrace warmly, ought to be here by now. Why hasn’t he arrived? Kiss Aunt Myncia’s [Zbyszewska] hands warmly from me. Hugs for the boys.⁴ How I should enjoy spending just a few days with you there! But it’s not to be. Stay fit, my beloved boy, and write for the orchestra. I will tell no one of this – rest assured.⁵

Your StSzym

¹ This item is the only surviving letter from the composer’s father. The reference here is to an unsuccessful attempt to establish a factory for the manufacture of asphalt for use as a roof-sealant. The factory, with a large chimney-stack, was situated at the back of one of the Szymanowskis’ town-houses, and seems to have caused some considerable nuisance to residents before it became clear that the manufacturing method, patented by Stanisław, was impracticable.

² To understand all is to forgive all.

³ Stanisław Szymanowski’s brother.

⁴ Feliks and Hieronym Zbyszewski, sons of Maria (Mynia).

⁵ Perhaps a reference to the Concert Overture, Op. 12.

3

Karol Szymanowski to Marcin Szymanowski

[Note written on MS copy of the song ‘Jestem i płaczę’ [‘I am and I weep’] from Three Fragments from Poems by Jan Kasprowicz, Op. 5]

Tymoszówka 21 VII 1903

Dear Uncle, For the moment I am sending one item – because I don’t have time to transcribe more! Perhaps I’ll bring the rest in August. It seems best to leave it in this key – because at a lower pitch it would have to be sung 8ve higher.

Karol Szymanowski

~ 1904 ~

4

Karol Szymanowski to Marcel Dobrowolski in Kraków

Zakop.[ane] 29 I [1904]

Dear Marcel,¹

I am sorry not to have written to you immediately – but I received such news by telegram from home that though I wanted to go straightaway (to be in Kraków) I couldn’t. Just imagine, poor dear Uncle Marcin Sz. has died. I cannot get it into my head! Regarding Barabasz,² I should gladly like to undertake this – only I don’t know whether it involves male or mixed chorus? With accompaniment, or without – etc. Various technical questions, besides which I do not have a Kolberg,³ and I cannot vouch for the result because I’ve never written anything like this – but I should like to try it with pleasure. Perhaps he could directly get in touch with me. I intend to be in Kraków for some 10 days at the end of February. I apologize for not yet discharging my debt, but I am constantly under financial pressure.

Affectionately yours,

K.

¹ Marceli Nałęcz-Dobrowolski, an art historian, distantly related by marriage to the Szymanowski family.

² Wiktor Barabasz (1855–1928), a pianist, conductor and teacher. He was at this time artistic director of the Music Society in Kraków and the organizer of a mixed choir. Szymanowski did not write any choral works at this stage of his career.

³ Oskar Kolberg (1814–90), Polish ethnographer, responsible for a series of publications devoted to the music and folklore of different regions of Poland. Szymanowski evidently intended to draw on folk-songs taken from these collections.

5

Karol Szymanowski to Bronisław Gromadzki in Warsaw

[Zakopane?] March 1904

Dear Bronek,

Our association with each other gave me more than it seemed to you – may this modest work¹ be an expression not only of affection but my gratitude to you.

KSzymanowski

¹ Violin Sonata in D minor, Op. 9, which bears the dedication: To my friend, Bronisław Gromadzki.

6

Karol Szymanowski to Bronisław Gromadzki in Zakopane

[Kraków 9 IX 1904]

Friday morning. I am madly bored – tomorrow at 6 I leave straight for home. I’ve fallen so low I was at Bitwa Racławska¹ – but what’s the alternative when there is nothing else on – you can imagine I did not sit it out to the end. Terrible rubbish. Today I’ll perhaps seek out some quasi-music-hall. I was at that young lady’s from Płonk, most delectable. I also bought this hideous postcard par amour pour l’art from a gorgeous 15-year-old girl at the Sukiennica – it’s the only reason to keep me here.

Affectionately your

KS

Kiss your mother’s hand.

Dire straits at Zachęta² – apart from Malcz. some Italian trash.

¹ The Racławska Battle: perhaps a reference to a theatrical piece by W. L. Anczyc, staged at the Słowacki Theatre.

² This was the Palace of Art. The Sukiennica is the wool-hall in Kraków’s Market Square.

7

Karol Szymanowski to Władysław Żeleński in Kraków

[Kraków, after 17 XI 1904]

Dear Mr Director,¹

I arrived this morning from Warsaw unfortunately only for one day, as I am compelled to go on to Zakopane.

I am leaving here a letter of introduction from Professor Noskowski – unfortunately I did not succeed in finding you at home. I hope to make up for this disappointment after returning to Kraków, which will be in a couple of weeks.

With deepest regards

Karol Korwin-Szymanowski

¹ Władysław Żeleński (1837–1921), composer, conductor and director of a recently established Conservatory of Music in Kraków.

~ 1905 ~

8

Karol Szymanowski to Henryk Neuhaus in Elizavetgrad

[Tymoszówka, 20 VIII/2 IX 1905]¹

Dearest Harry,

The reason for my silence is total absorption in forced work on my Overture² in recent days, sometimes sitting at it for 5–7 hours; it led to such terrible spiritual impotence that once it was finished I almost contemplated suicide. I am still not back to normal and mainly kill time as best I can copying scores, smoking and reading stupid novels and the Romantics, as a result of which I have convinced myself that I hate Krasiński³ and that Słowacki⁴ is sometimes stupid and as stuck up as a peacock! And so your letter did not arrive at quite the right time, and I am now reading it again properly. I am most pleased at the bare fact that you are thinking seriously of what I consider to be the only way out for you, that is writing and that it will be in greatest accord with what you wrote in your letter concerning your relationship to me, only on a grand scale, for how many like me can there be in the world?⁵ (V. d. Schenkenden Tugend⁶) Be merciful and write to me if you can (I am interested in what you wanted to add?), without waiting for a longer letter from me, because really the way I am in my present (I hope temporary) state, whatever I wrote would not be worth reading?! The only thing that pleases me at present is my realization that I have a capacity for self-contempt, even though this seems to be paradoxical. At the same time I have come to the conclusion that, with regard to my creative work, I must plunge myself into one huge Grablied⁷ – I will write more extensively of this to you later – I am plagued at night by visions of Salome and other spectres, to which I must bid a dignified farewell. I dream of your and Dora’s⁸ visit – when can you manage it? Think about this. Perhaps you aren’t presently in the right state? Your distress worried me. It is good that Berlin is turning out well. Affectionately yours – please pass on good wishes to your people. I await a letter, or yourself.

K. Szymanowski

¹ By the time this letter was written, Szymanowski had completed his studies in Warsaw, made his first trip to Italy, and attended the Bayreuth Festival. Plans for the formation of the Publishing Group of Young Polish Composers were also being drawn up.

² Concert Overture, Op. 12

³ Zygmunt Krasiński (1812–59), poet and dramatist.

⁴ Juliusz Słowacki (1809–49), poet and dramatist who exerted a strong influence on the writers of the Young Poland era (c.1890–1910).

⁵ This part of the letter perhaps refers to Neuhaus’s unrealized plans to write on the polarity of mathematics and music in the make-up of the human spirit.

⁶ Of the bestowing virtue – the title of the last of Zarathustra’s discourses from the first part of Nietzsche’s Also sprach Zarathustra.

⁷ Grave-song.

⁸ Dora Przyszychowska, a cousin of the composer, daughter of Maria Blumenfeld.

9

Karol Szymanowski to Henryk Neuhaus in Elizavetgrad

[Tymoszówka, 30 VIII/12 IX 1905]

Dearest,

You caused me grave disappointment by not coming. I still cherish a faint hope that you will change your mind – you will have ideal conditions for work (apart from Neger) in my room – which presently I am not using. I am staying almost the whole time at home and writing out the Overture in haste, and a stay at Tymoszówka would do your health a power of good. Perhaps you could mull this over and come. Dixi.

Concerning my card, you must understand this, that travelling along the road I’m taking, in tiny steps to the Überwindung¹ of art – about which we’ve talked in any case – life in your atmosphere would be fatal for me – or at any rate impossible – you know me – and what the consequences would be?! I must withdraw reflectively into art and use my talent as best I can, leaving aside elevated words, relying naturally on the help of art (otherwise I cannot proceed) – I already have vague ideas about further plans for the future. At present it is necessary to compose. But do not take this in the worst sense. – From what you write, I realize this clearly enough and often think of this. Understand my Grablied this way, anyway we’ll talk about this sometime.

Now returning to propriety – to practical questions. Your project is marvellous. My only concern is that I must be in Warsaw for the concert. Dora told me that this lady could wait for a couple of weeks – is this true? Write and let me know about this. And finally – 1st October, is this new or old style? From 1st to 17th is more than two weeks I would have to pay for – and my presence at the concert would be very good for my career (Ha! Ha!). So again I am waiting for you, or else a letter. Affectionate greetings from everyone …

KS.

¹ Conquest.

10

Karol Szymanowski to Henryk Neuhaus in Elizavetgrad

[Tymoszówka, 5/18 IX 1905]

Dear Harry,

Our cards constantly cross in the post. You must by now have received my card, in which I expressed indescribable pleasure at your project, and I even wanted to write to F.[itelberg]¹ myself immediately; later it seemed to me that it would not be appropriate, but today, after your card, I have again thought it over and have convinced myself that I should act in a totally natural manner (writing to him about this question), and that he ought not be surprised or angry; the more so as I am not certain whether the Overture will come to anything 1) because of (perhaps) poor orchestration, 2) great complexity and difficulties in the texture. I will immediately sit down and write to him ausführlich.²

I have only just finished writing out the score, and will send it off tomorrow. In general I am going through a wretched time anticipating a response from Fitelberg, because I imprudently increased the number of instruments, and perhaps may not have acquitted myself in a very distinguished fashion – devil only knows?! The absolutely Benedictine task of writing out 72 pages of tiny notes has left me mentally fatigued; for this reason I’m availing myself but little of Dora’s company, which depresses me. I have had a letter from Bronek [Gromadzki]. He merely mentions some misunderstanding with the company; he is terribly worried – this much is evident from his letter. I will write to him immediately, asking what it’s about – as he has given me the right to do so.³ I am sorry for him, and am certain that he is not to blame in this affair – which is what he himself writes. Aunt Marysienka mentioned something about your coming? In any case, I’ll expect you. Ficio wrote that the concert is to be 17th October, but Gustav the 4th.⁴ Which is correct? Write to let me know when, near about, I should go?

I hug you all.

KS

Has Talcia [Neuhaus]⁵ left?

¹ Grzegorz Fitelberg (1879–1953), conductor and composer, the instigator of the Publishing Group of Young Polish Composers (Young Poland in Music).

² Comprehensively.

³ Probably a reference to some business affair of Gromadzki.

⁴ A reference to the first Young Poland concert, which in the event did not take place until February 1906.

⁵ Natalia Neuhaus, sister of Harry Neuhaus, dedicatee of Four Studies, Op. 4.

11

Karol Szymanowski to J. Gromadzki in Warsaw

[Elizavetgrad 12/25 IX 1905]

D.O.M. Stanisław Korwin-Szymanowski, having received the Holy Sacrament, after a short, severe illness, died at Tymoszówka on 29 September [12 October new style] 1905, at the age of 63. The funeral will be on 4 October [17 October new style] in Elizavetgrad, Chersoński Government.

God have mercy on this most upright and noble soul.

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~ 1906 ~

Karol Szymanowski (c.1905)

12

Karol Szymanowski and others to Adolf Chybiński in Munich

[On a postcard with a view of Jagdschloss Grunewald]

[Berlin, Halensee 5 IV 1906]

Warm greetings

G. Fitelberg, A. Szeluta, Tala Neuhaus, Karol Szymanowski,

F. Szymanowski, Hari Neuhaus

13

Karol Szymanowski to Bronisław Gromadzki in Halle

Tymoszówka, 13/26 VI 1906

Dearest Bronek!

I returned to Tymoszówka only yesterday¹ and found your letter of a few weeks ago (with a description of Salome).

I thank you warmly!

You cannot imagine what a voice from afar means in heavy times!

I did not find Felcio here; he is in Elizavetgrad. Felo,² who is presently helping him in the management of the estate has gone out to the fields. I am completely alone in the house. Bronek, you have no idea what it is like when peace and silence speak! Perhaps you have read sometime the novel Milczenie [Silence] by Andriejew. Ah, you do not know how terribly burdensome it is for me now! What would I give were you able to be with me at this moment. Involuntarily, I am creeping around so as not to frighten the silence away. It is not the time to write letters in which one does not want to say much to anyone. But I am absolutely unable to be alone, and so I am writing to you now. – But this is weakness on my part – incidentally, in a few days’ time when I am a little calmer, I will write you a more lucid letter again, with more substance.

I am afraid that writing this may seem like a complaint and a search for pity, but you know this is not so – and you also know that at present I would not be able to write to anyone else – only to you – and perhaps to Dora – especially on account of the last month she spent here last year.

I really cannot concentrate my thoughts so as to write anything proper. I do not know whether I will work, or whether in general it will be possible to work in the face of such disturbances in the country.³ My state of mind is heavy beyond all expression, and portends nothing good. It has a minimal good side in that it compels me to occupy myself with real questions and to keep paying attention during the prevailing state of tension. But there can be such disturbances where the consequences are completely incalculable. At any rate we shall see.

There are no good prognostications at all. It is not worth racking one’s brains.

Dear Bronek! Write to me without fail as often as you possibly can! You have no idea what it means to me.

Where is Wertheim? If he has left Warsaw, then send me his address. I like him enormously – even more – Remind him (if you correspond with him) that it would give me unheard-of pleasure were he to write to me. And that I should be very grateful if he would. It is terribly difficult now for me to write, and so I am not going to start anything more now.

For the moment, goodbye Bronek – I will perhaps write again in a few days.

Warm thanks for your letter.

Your K.S.

¹ This was the first time Szymanowski was in Tymoszówka since the death of his father the previous year. It was during this stay that he wrote Ostatnie pożegnanie [The final farewell], describing the emotional distress he suffered during this period.

² Feliks Zbyszewski, cousin of the composer, who acted as book-keeper at Tymoszówka.

³ Szymanowski here refers to civil disturbances throughout the Russian Empire following the Russo-Japanese conflict of 1905.

14

Karol Szymanowski to Hanna Klechniowska in Parypsy

Tymoszówka, 11/[24] VII 1906

Dear Hanka,¹

I could only collect myself together today to write to you. I had left a host of letters unanswered, some boring, others more pleasant, and I had par force to answer them. Unfortunately, my trip to you, of which there was talk, is impossible for many reasons – at any rate, among others, my resolve to make up for lost time, which weighs heavily on my conscience, so (how strange!) I have set to work. I now have the first movement of the [First] Symphony ready in sketch form, and tomorrow will start on the orchestration. It will be something of a contrapuntal-harmonic-orchestral monster, and I look forward to the prospect of the Berlin critics being carried from the hall with curses on their livid lips. You’ll enjoy this with me! Won’t you? We’ll be together! On the other hand, I see no reason why you and Janek [Zbierzchowski] should not come to us? – since you do nothing systematically – admit it! – apart from drinking of course. You will visit Hala [Przyszychowska] and perhaps meet Harry Neuhaus who, at any rate, is the great attraction² in our family. There would be a lot for you to do, but say when?

We would have splendid chats – I am absolutely incapable of writing letters – I write nothing but banalities – and I just cannot tattle away in letters the way we did in Lwów (you making cigarettes – that was always the best). À propos Lwów – could you send me the addresses of Adamowicz, the priest [Plewka-Plewczyński?] (this summer – somewhere in Izdebnia or something?) and Skrzydlewski;³ I’ve lost them all of course. How is Janek feeling? Perhaps he can drink now? Perhaps he has put on as much weight as Czeszer?⁴ I am sending you my picture – looking à la Byron against a country background. Are you working a bit? On music? German? Write some more to me, and take no notice of my irregular replies as I am a little unfocused from writing the symphony. Love to you and Janek.

Your Karol

(What a comical name for a village – Parypsy? I don’t know whether I’ve written it correctly.)

¹ Hanna (Anna Maria) Klechniowska (1888–1973) began her musical studies in Warsaw, where she was involved in a students’ strike in 1905, before moving on to Lwów to train with Mieczysław Sołtys. Latterly she studied in Leipzig with Stephan Krehl (composition) and J. Penbauer (piano).

² In English in the original.

³ Jan Skrzydlewski, a pianist, composer and teacher who ran a music school in Lwów.

⁴ Celebrated Lwów lawyer.

15

Karol Szymanowski to Hanna Klechniowska [in Leipzig?]

Tymoszówka, 17/30 IX 1906

My dear Hanka,

Your last letter upset me so terribly that I simply could not decide how to reply to you, not being able at the time to give you any good advice. I have pondered over your circumstances continually, and have come to the following conclusions.

Well, your family have unconditionally placed an obstacle in the way of your development which is difficult to remove¹ – but that this should throw you off-balance immediately, as is evident from your note, is not at all in keeping with your heroic character; and it was terrible for me to read that phrase about the free command of your life. Come now, you should be ashamed, Hanka, such questions ought only to arise in the case of a deep conviction of spiritual collapse, of the extinction of the flames of real life. Apart, from this, never! In your case there is still one way of overcoming the idiocies of external life. Remember that I am being absolutely frank in what I am about to say: your inner, vital strength is so unbelievably great – that having realized this I was simply amazed and delighted! You are one of humanity’s rarities – and I know scarcely any of these – and it is this which so irresistibly draws me to you and even impresses me – because when taking stock of you, I repeatedly became convinced (you remember our conversations and making cigarettes for me!!) that you possess intuitively what often I have to strive for bitterly. You could be as good a painter or doctor of philosophy as you are a musician – for me you would be the same, because you possess in yourself that which I prize above all art and philosophy – the real substance of life. You should not be talking of command of life, etc. This is only a moment of weakness – remember! But I shall return to practical matters. Well, it is indeed a major catastrophe – but something can be suggested. What about this: return to Lwów.

You have Halka [Przyszychowska] there and in general many sympathetic people. Besides this, your father will perhaps agree to send you some money (and possibly you could earn a bit). As for your work, you would have [Wacław] Kochański, from whom you could still learn much. Skrzydełko [Skrzydlewski] and the priest [Plewka-Plewczyński], though not composers, are very knowledgeable (especially the priest) and could offer you a lot. I will certainly be in Lwów a couple of times in a few weeks – you could work with me a little, e.g. on form (fugue, sonata etc.) and general musical things (alas, I do not feel competent regarding harmony and counterpoint). Besides this – and this is most important, you know much good music (in this respect believe me and not Bogus and his spontaneous generation of art). Simply subscribe to a lending library and …

[The rest of the letter has been lost.]

¹ Klechniowska’s father had stopped funding his daughter’s studies in Leipzig.

16

Karol Szymanowski to Hanna Klechniowska in Leipzig

Tymoszówka, 28 X 1906

My dear Hanka,

It is shameful that I did not write to you immediately on receiving your letter. This was disgraceful egotism and human sloth: I was reassured regarding your fate and for the present didn’t write. First of all, I must tell you that we shall have many opportunities to talk together because for many reasons I also intend to base myself in Leipzig. I shall arrive there around 15th December, or earlier, depending on various things. I was terribly delighted with your letter. What kind-hearted relatives!¹ That’s rare. And I was still more delighted about your enrolling at the Conservatory. I am interested in the composition examination and that concert you put on with Janek.

Your beloved Ukraine is now so dreadful and wretched – cold, damp etc. I am only sitting it out here, far away from all temptations and amusements, in order to finish the symphony – although I shan’t succeed in doing this in the country – two movements at best, the third will have to wait until winter. You know, I don’t like it – or rather, I only like the last – very light-hearted – I have an idée fixe which undermines specifically artistic work for me – anyway it depends on a certain perspicacity which other artists have not acquired. I do not want to write about this. Perhaps I will tell you about it sometime, perhaps not even then – to spare you the various unpleasant psychological vicissitudes through which I continually blunder. Well, either one is an artist, or one is not, and often on that account one philosophizes with true obstinacy about life and art. I fear I am not well disposed towards that type.

But enough of this. Business matters to finish with. Hala must certainly have told you about Feliks Zbyszewski, our mutual cousin – and at any rate a very good, sympathetic fellow who has an unfortunate, and in my view, grotesque view of the theatre. It is possible that he may even be very talented – but in general, I do not like attitudinizers. In spite of this, I am very attached to him and should like him to succeed. Dora Przysz[ychowska] was at the Solskis’² last year, and they promised her they would help him. (do not tell anyone about what I am writing to you.) You know them (the Solskis) well, so perhaps you could remind them about this at a suitable moment – which would facilitate matters splendidly. But not now – only when I ask you – in a couple of weeks or so. In the meantime, write again to me at Tymoszówka about what in general you are able to do. For the present, I bid you farewell, my love. I hope you will write to me, quite apart from this business.

Your K. Szymanowski

¹ These relatives had agreed to fund Klechniowska’s studies in Leipzig.

² Irena and Ludwik Solski lived in Kraków, where Solski was director of the Teatr Miejski [Civic Theatre].

17

Karol Szymanowski to Hanna Klechniowska in Leipzig

Tymoszówka, 1/[14] XI 1906

Hanka!

I am only writing a few words. I want to talk with you – in other words I do not want to write. This is the only reason for my replying to your letter with a few seemingly cold words. Do you understand what a terrible thing it is to write when one can talk! Not long now! Perhaps three or four weeks at the most. I’m not angry – you can be sure of that. I should like to tell you about lots of things.

Hanka! No one knows better than I the meaning of [the] words: too late and for ever – that is my life in its entirety. You do not know of what I speak. I will explain sometime. For the moment, goodbye. I told my cousin that you have agreed to write. He is terribly grateful to you. His name is Feliks Zbyszewski. He acted in Warsaw at the Folk Theatre. He is 25. Write in 10 days or so to the S.[olskis]. In the meantime we are going to Lwów, and then Leipzig. Embraces. Write to me.

Your Karol

Back to Table of Contents

~ 1907 ~

Anna Klechniowska (Hanna)

18

Karol Szymanowski to Hanna Klechniowska in Leipzig

Lwów 5 I 1907

My dear Hanka!

It is undeniably a great crime that I’ve not written to you before, but primo I’ve been expecting you here the whole time and secundo, you yourself know what it’s like in Lwów: one person arrives and takes a seat, another somewhere demands a visit, etc., etc., enough to say there is never any time for anything. To tell the truth, I’ve now had quite enough of all this and could cheerfully decamp to the West! But everything is so tediously complicated that I do not know when this can happen. Mama left yesterday to celebrate Christmas at home¹ for a couple of weeks – I have promised not to leave until she arrives back. I am afraid that something will keep her for a longer time at home, and thus I’ll be detained here. I have recently been making many sarcastic remarks about our Lwów folks, and I will repeat these to you. The worst of it is that they are all such kind-hearted old people who like me very much, otherwise I would pick them to pieces – but say nothing of this, Hanka! I’m missing you! What more can I say to you! I should so like to talk to you. I have various compositional plans – but too little energy to do anything about them. You know that Janek played me your concerto. Naturally, I saw at a glance that Janek’s role was quite minimal. Everywhere one can sense you, and that is the best! You advance in seven-league boots. I should really like to get to know your latest things. I should very much like you to write me a detailed letter about how your work is going.

Keep writing to me until we see one another. You know why I do not like to write – to people who are closest to me? It seems to me that the tone of my letters is unsympathetic. I always have the feeling that you, for example, reading my letter, feel a certain disappointment, don’t you? There is some intellectual imprecision – a difficulty in putting thoughts together in the process of writing. And so I prefer to talk to you. How is your health? Look after yourself, Hanka, there is a terrible influenza around. Write to me. For the present I send you embraces.

Your Katot

¹ The Szymanowskis celebrated Christmas in the Ukraine according to the Orthodox calendar (6 January).

19

Karol Szymanowski to Hanna Klechniowska in Leipzig

[Lwów 28 II 1907]

Dear Hanka!

I received your letter through Konrad. Sincere thanks. I cannot reply more extensively at present. Listen, Hanka, do not think of leaving Leipzig before our concert (15 March), you have to be there, you can return to Lwów later. I must go straight to Berlin now, but it is close and we can arrange a meeting. I will let you know about my future plans. For the moment I send warm embraces. Write to let me know whether you can stay in Leipzig till 15 March? You could return to Lwów via Berlin, a small detour. Goodbye.

[Unsigned]

20

Karol Szymanowski to Zdzisław Jachimecki in Kraków

Berlin 1 III 1907

Dear Sir,

I received your letter a moment ago and am replying immediately. Naturally, it is with the greatest pleasure that I am complying with your request.¹ I have heard much about you, and have also frequently read your musical correspondence and reviews, the more so as I am interested in your opinion of my works. Unfortunately, I am unable to send you my compositions (the Studies for piano and the Variations on a Folk Theme) along with a photograph until Monday as I don’t have them with me at present; but I think this will be in time. Regarding the brief biography, I reckon the following will be more than sufficient:

I was born in 1883² in the Ukraine, where I completed my secondary schooling. In 1901 I went to Warsaw where I studied harmony under the direction of Professor Zawirski as well as counterpoint and composition with Professor Noskowski. Besides the published compositions for piano – Preludes, Studies and Variations on a Folk Theme – I have the following in my portfolio: two sonatas³ and a Fantaisie for piano, a sonata for violin and piano, numerous songs for solo voice with piano accompaniment to words by Tetmajer (of which two will shortly be published in Warsaw by Gebethner – I will send them to you straightaway), Miciński (W mroku gwiazd [‘In the twilight of the stars’]), Kasprowicz (fragments from Święty Boże [‘Holy God’], Salome and Moja pieśń wieczorna [‘My evening song’]) and Berent, as well as a few Germans (Dehmel, etc.).

Besides these, there is the Concert Overture for Orchestra, performed last year in Berlin and Warsaw under Fitelberg’s direction, and a symphony which – or rather, the finale of which – will be performed this year at our concert.

If you want detailed information, please do not hesitate to ask me. I will also send you a copy of ‘The Musical Courier’, where you will find a lot of information about the whole of our Group,⁴ and also extracts from Berlin and Warsaw reviews.

Thanking you for thinking of me; please accept expressions of deep and sincere regard.

Karol Szymanowski

¹ Jachimecki had approached Szymanowski for biographical information for an article on Polish music to be published in Lwów in 1907 as part of a collection of contributions on various aspects of Polish culture.

² Throughout his life Szymanowski maintained that he was born in 1883. Surviving documentation reveals however that his date of birth was 21 September (old style) or 3 October (new style) 1882.

³ Sonatas in G minor and F sharp minor, and a Violin Sonata in E, all written before 1898 and no longer extant.

⁴ The Publishing Group of Young Polish Composers, which included Grzegorz Fitelberg, Apolinary Szeluta and Ludomir Różycki besides Szymanowski. They were joined the following year by Mieczysław Karłowicz and were supported by Prince Władysław Lubomirski.

21

Karol Szymanowski to Hanna Klechniowska in Leipzig

Berlin [5 III 1907] Tuesday

Dear Hanka,

Important matters prevent me from leaving for Leipzig at present. Primo – a total lack of funds, secundo, I am rather heavily occupied at present, tertio, with a very pleasant… but this is stupidity in the long run. – But I should very much like to see you. God, how useless this light music is! Go 10 versts out of Berlin, and it is impossible to get to an interesting concert. You know, Hanka, if you are not at our concert, it will be simply swinish. I do not know whether you will cure my unhappiness? I hug you warmly – write immediately.

[On reverse of postcard:] Come without fail and write straightaway. KS

22

Karol Szymanowski to Bronisław Gromadzki in Warsaw

Berlin 27 III 1907

Dear Bronek,

It is terrible of me, just writing a few formal words, but I am going away the day after tomorrow and have much to do. I will write at greater length from Lwów. I have received the letter written to Harry – all is in order. Thank you.

The concert in Warsaw is on 5 April; I will certainly not be there because I must return to Lwów and then go home. Of my things, they are playing the Overture again – and various bits of the Symphony, of which more later.

Our concert went off more or less successfully. It was not possible to play the symphonies by Ficio and myself because they proved too difficult. Nor did Zawiłowski¹ come to anything – lots of difficulties about which I’ll write. For the present, I embrace you.

[In the margin:] Artur [Rubinstein] and Julek [Wertheim] weren’t here. Julek did not reply to my letter.

[On reverse of card:] 28 Thursday. I’ve learned today that our Warsaw concert has been postponed until 19 April – perhaps I’ll stay here until 15th and in that case return home via Warsaw.

Embraces

KS.

¹ Perhaps a reference to a proposed chamber music concert.

23

Karol Szymanowski to Zdzisław Jachimecki in Kraków

Berlin 2 IV 1907

Dear Sir,

I am really ashamed that I have taken so long to write to you to thank you for sending me your songs. This was because we were terribly occupied with our latest concert, correction of scores, parts etc. After which, of course, we took it easy during the holidays. I have at last had a free day today, and have finally been able to get better acquainted with them. I was highly delighted to find that there is no dilettantism about them, nor a cheap questing after native oberek-idyllic ideas. I consider that this style has dominated our contemporary music too much and that we have finally had enough of the Niewiadomskis e tutti quanti. When will our artists finally understand the true roots of race in music? I most like Humoresque and Tęsknica [‘Yearning’].¹

I read on one occasion your enthusiastic review of Salome.² Since it made an extraordinary impression on me, I delightedly subscribe to your opinion of it, and have more or less the view of it which you demand of contemporary music.

In the hope that we will sometime succeed in talking together about music, I close with expressions of sincere regard and esteem.

KSzymanowski

¹ Songs by Jachimecki.

² Richard Strauss’s one-act opera, first performed in 1905.

24

Karol Szymanowski to Grzegorz Fitelberg in Geneva

Warsaw 1 V 1907

Dear Ficio,

I am sending you our protest and the letter Poliński’s reply.¹ You see what a blackguard he is. I’ve been terribly depressed by all this. I wanted to write again, but Godecki and various well-wishers dissuaded me. Perhaps they are right. In the end Poliń.[ski] as ever would have the last word,