Karol Szymanowski (1882-1937)

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201101A Composer For Poland20111010Following Chopin's death in 1849, Poland was on the lookout for a worthy successor. When, some fifty years later, Karol Szymanowski produced some preludes at the age of only 14, it seemed as if a new talent had emerged that could unite Poland's musical past with a musical future. But although Szymanowski wanted to release Polish music from what he identified as its lethargy and provincialism, his vision of music exceeded purely geographical boundaries. An inveterate and keen traveller, his music would find references in Debussy, Wagner and Richard Strauss, Scriabin, and Stravinsky, as well as the rhythms of his native country. The politics of history played its part in Szymanowski's musical development. When he was born in 1882, Poland as we know it didn't really exist, it had been carved up by Russia, Austria and Prussia, effectively wiped off the map, at the end of the 18th century. Szymanowski grew up in the Ukraine, in an area that had been part of the kingdom of Poland's eastern borderlands. These days it's still the Ukraine, to the east of a line due south from Kiev to Odessa, on the Black Sea.

Donald Macleod focuses on the years Szymanowski spent at Tymoszowka and his Stabat Mater.

201102The Wandering Years20111011Donald Macleod focuses on the period following the death of Szymanowski's father in 1904.
201103The War Years20111012Unable to take part in the war because of a childhood injury, Szymanowski retired quietly to the family estate in the Ukraine where he experienced one of his most productive periods, dipping into Islamic culture to produce his seductive and sumptuous Third Symphony and a work for violin and piano inspired by Greek legends. Presented by Donald Macleod.

With Donald Macleod. Unable to take part in the war, Szymanowski retired to the Ukraine.

201104The Crisis Years20111013The October Revolution of 1917 resulted in the destruction of Szymanowski's family estate in the Ukraine. Returning to Warsaw, now the capital city of a newly independent Poland, Szymanowski struggled to find a place for himself in the nation's regeneration. Feeling undervalued, he looked to the international community to disseminate his music. Presented by Donald Macleod.

With Donald Macleod. After the October Revolution of 1917, Szymanowski returned to Warsaw.

201105 LASTA Music For Poland20111014Szymanowski spent long periods of time in Zakopane, situated at the foot of the Tatra mountains. Having immersed himself in the customs of the local people, he published articles and wrote music which reflected these studies, with the aim of affirming a contemporary Polish musical language. Presented by Donald Macleod.

With Donald Macleod. Szymanowski spent long periods of time in Zakopane.

202001Tymosz\u00f3wka20200120Donald Macleod explores the richly stimulating artistic environment in which Szymanowski grew up and thrived on his family estate.

The reshaping of Europe at the end of the First World War had a defining effect on Karol Szymanowski. As Europe was being reapportioned, the comfortable world he'd known up to that point vanished for good. His family's comfortable and cultured life disappeared, their assets wiped out by the October Revolution. From that point on, Szymanowski ceased to be a man of some privilege, able to compose in the relative seclusion of his family's estate in what was then part of Ukraine. He needed to support himself and his mother and sisters but he found himself ill-equipped temperamentally to deal with this dramatic change in his lifestyle. He became increasingly weighed down by illness, quite probably tuberculosis. That, coupled with a chain-smoking habit and struggles with alcoholism, were to take their toll. He died in poverty at the age of just 54 in 1937.

Across the week, Donald Macleod explores five distinct influences on Szymanowski's music, starting with his formative years growing up in a family with a passion for the arts. As a young student, his studies in Warsaw led him towards the language of Richard Strauss and Max Reger, while his love of travel directed him towards impressionism, the ancient world and the Orient. Meeting Stravinsky in Paris and hearing the Ballets Russes was another turning point, as was in his later years in particular, his commitment to establishing a national musical voice for the newly formed country of Poland.

Szymanowski's interest in the arts was encouraged by his father. Described by those who knew him as something of a Renaissance man, by the time he was in his teens, Karol was already a skilled linguist, fluent in French, Russian and German. He was a voracious reader, and interested in philosophy, all of which found its way into his vocal and instrumental music.

Study in G flat major, Op 4 No 2

Martin Roscoe, piano

The Swan, Op 7

Piotr Beczala, tenor

Reinild Mees, piano

L'le des sir耀nes (M退topes, Op 29)

Piotr Anderszewski, piano

Violin Concerto No 1, Op 35

Nicola Benedetti, violin

London Symphony Orchestra

Daniel Harding, conductor

Songs of a Fairytale Princess, Op 31

Izabella Klosi?ska, soprano

Orchestra of the Polish National Opera

Robert Satanowski, conductor

Donald Macleod explores Szymanowski's cultured background, growing up on his famiy estate.

202002From Warsaw To Berlin20200121Donald Macleod traces Szymanowski's passion for the music of Richard Strauss to his student years in Warsaw.

The reshaping of Europe at the end of the First World War had a defining effect on Karol Szymanowski. As Europe was being reapportioned, the comfortable world he'd known up to that point vanished for good. His family's comfortable and cultured life disappeared, their assets wiped out by the October Revolution. From that point on, Szymanowski ceased to be a man of some privilege, able to compose in the relative seclusion of his family's estate in what was then part of Ukraine. He needed to support himself and his mother and sisters but he found himself ill-equipped temperamentally to deal with this dramatic change in his lifestyle. He became increasingly weighed down by illness, quite probably tuberculosis. That, coupled with a chain smoking habit and struggles with alcoholism, were to take their toll. He died in poverty at the age of just 54 in 1937.

Across the week, Donald Macleod explores five distinct influences on Szymanowski's music, starting with his formative years growing up in a family with a passion for the arts. As a young student, his studies in Warsaw led him towards the language of Richard Strauss and Max Reger, while his love of travel directed him towards impressionism, the ancient world and the Orient. Meeting Stravinsky in Paris and hearing the Ballets Russes was another turning point, as was in his later years in particular, his commitment to establishing a national musical voice for the newly formed country of Poland.

Szymanowki's interest in German culture stemmed from childhood lessons with his uncle Gustav Neuhaus, who introduced his young nephew to Schopenhauer and Nietzsche. On his arrival as a young man in Warsaw this immersion into German art forms took on a musical shape as it began to percolate into his own compositions.

Mazurka, Op 50 No 11

Roland Pontinen, piano

Desires; The infatuated east wind; Dance (Love Songs of Hafiz, Op 26)

Ryszard Minkiewicz, tenor

Orchestra of the Polish National Opera

Robert Satanowski, conductor

Concert Overture in E major, Op 12

BBC Symphony Orchestra

Edward Gardner, conductor

Piano Sonata No 2 in A major, Op 21 (2nd movement)

Martin Roscoe, piano

Symphony No 2 in B flat, Op 19 (1st movement)

London Philharmonic Orchestra

Leon Botstein, conductor

Donald Macleod traces Szymanowski's fascination with Strauss and German Romanticism.

202003From Italy To Africa20200122Donald Macleod surveys the musical impact of Szymanowski's travels to Italy, Sicily and Algeria, including on his Third Symphony, inspired by medieval Islamic poetry.

The reshaping of Europe at the end of the First World War had a defining effect on Karol Szymanowski. As Europe was being reapportioned, the comfortable world he'd known up to that point vanished for good. His family's comfortable and cultured life disappeared, their assets wiped out by the October Revolution. From that point on, Szymanowski ceased to be a man of some privilege, able to compose in the relative seclusion of his family's estate in what was then part of Ukraine. He needed to support himself and his mother and sisters but he found himself ill-equipped temperamentally to deal with this dramatic change in his lifestyle. He became increasingly weighed down by illness, quite probably tuberculosis. That, coupled with a chain smoking habit and struggles with alcoholism, were to take their toll. He died in poverty at the age of just 54 in 1937.

Across the week, Donald Macleod explores five distinct influences on Szymanowski's music, starting with his formative years growing up in a family with a passion for the arts. As a young student, his studies in Warsaw led him towards the language of Richard Strauss and Max Reger, while his love of travel directed him towards impressionism, the ancient world and the Orient. Meeting Stravinsky in Paris and hearing the Ballets Russes was another turning point, as was in his later years in particular, his commitment to establishing a national musical voice for the newly formed country of Poland.

The stimulation of visiting foreign lands enriched Szymanowski with a wealth of new ideas and a change in direction, with his music evoking the exotic sounds of the Orient, tales of antiquity and the shimmering Mediterranean sun.

La fontaine d'Ar退thuse (Mythes, Op 30)

Kaja Danczowska, violin

Krystian Zimerman, piano

S退r退nade de Don Juan (Masques, Op 34)

Piotr Anderszewski, piano

Demeter, Op 37b

Anna Malewicz-Madej, contralto

Polish State Philharmonic Chorus and Orchestra

Karol Stryja, conductor

String Quartet No 1 in C major, Op 37 (3rd movement)

Apollon Musag耀te Quartet

Symphony No 3, Op 27: The Song of the Night

Jon Garrison, tenor

City of Birmingham Symphony Orchestra Chorus

Simon Rattle, director

Donald Macleod assesses the musical impact of Szymanowski's years of travel.

202004Sicily's Antiquities20200123Donald Macleod charts Szymanowski's struggles to complete his only opera, King Roger - a philosophical and psychological masterpiece - as the Great War changed Europe's destiny and his life irrevocably.

The reshaping of Europe at the end of the First World War had a defining effect on Karol Szymanowski. As Europe was being repartitioned, the comfortable world he'd known up to that point vanished for good. His family's comfortable and cultured life disappeared, their assets wiped out by the October Revolution. From that point on, Szymanowski ceased to be a man of some privilege, able to compose in the relative seclusion of his family's estate in what was then part of Ukraine. He needed to support himself and his mother and sisters but he found himself ill-equipped temperamentally to deal with this dramatic change in his lifestyle. He became increasingly weighed down by illness, quite probably tuberculosis. That, coupled with a chain smoking habit and struggles with alcoholism, were to take their toll. He died in poverty at the age of just 54 in 1937.

Across the week, Donald Macleod explores five distinct influences on Szymanowski's music, starting with his formative years growing up in a family with a passion for the arts. As a young student, his studies in Warsaw led him towards the language of Richard Strauss and Max Reger, while his love of travel directed him towards impressionism, the ancient world and the Orient. Meeting Stravinsky in Paris and hearing the Ballets Russes was another turning point, as was in his later years in particular, his commitment to establishing a national musical voice for the newly formed country of Poland.

Unfit for military service due to a childhood injury, Szymanowski spent the war years in seclusion at his family's homes, surrounded by books and his music, living in a world where culture could still reign supreme.

Study in B flat minor, Op 4 No 3

C退dric Tib退rghien, piano

Penthesilea, Op 18

Iwona Hossa, soprano

Warsaw Philharmonic Orchestra

Antoni Witt, conductor

Th耀me vari退 'Caprice No 24' (Three Paganini Caprices, Op 40)

Thomas Zehetmair, violin

Silke Avenhaus, piano

King Roger, Act 1 (excerpt)

Robert Gierlach, bass, Archbishop

Jadwiga Rapp退, contralto, Deaconess

Thomas Hampson, baritone, Roger

Philip Langridge, tenor, Edrisi

Elzbieta Szmytka, soprano, Roxana

City of Birmingham Symphony Chorus, Youth Chorus and Symphony Orchestra

Simon Rattle, conductor

King Roger Act 2 (excerpt)

Elzbieta Szmytka, soprano Roxana

Ryszard Minkiweicz, tenor, Shepherd

Mazurkas, Op 50 Nos 1, 3, 6

Artur Rubinstein, piano

Donald Macleod charts Szymanowski's struggles to complete his only opera, King Roger.

202005 LASTThe Rebirth Of Polish Music20200124Donald Macleod considers Szymanowski's study of Polish culture in his efforts to define a national identity in his music, with works including his ballet Harnasie and Stabat Mater.

The reshaping of Europe at the end of the First World War had a defining effect on Karol Szymanowski. As Europe was being reapportioned, the comfortable world he'd known up to that point vanished for good. His family's comfortable and cultured life disappeared, their assets wiped out by the October Revolution. From that point on, Szymanowski ceased to be a man of some privilege, able to compose in the relative seclusion of his family's estate in what was then part of Ukraine. He needed to support himself and his mother and sisters but he found himself ill-equipped temperamentally to deal with this dramatic change in his lifestyle. He became increasingly weighed down by illness, quite probably tuberculosis. That, coupled with a chain smoking habit and struggles with alcoholism, were to take their toll. He died in poverty at the age of just 54 in 1937.

Across the week, Donald Macleod explores five distinct influences on Szymanowski's music, starting with his formative years growing up in a family with a passion for the arts. As a young student, his studies in Warsaw led him towards the language of Richard Strauss and Max Reger, while his love of travel directed him towards impressionism, the ancient world and the Orient. Meeting Stravinsky in Paris and hearing the Ballets Russes was another turning point, as was in his later years in particular, his commitment to establishing a national musical voice for the newly formed country of Poland.

Experiencing a sense of artistic freedom in the aftermath of the First World War, Szymanowski became absorbed by writing music that reflected not only a Polishness but also a modern musical language.

Wanda, Op 46b No 5

Iwona Sobotka, soprano

Reinild Mees, piano

Whip on the horse, Op 58 No 4

Russian State Symphonic Cappella

Larissa Nikishina, soprano

Olga Loboda mezzo soprano

Valery Polyansky, conductor

String Quartet No 2 (2nd movement)

Amati Quartet

Harnasie, Op 55 (Tableau 1: In the mountain pasture)

Timothy Robinson, tenor

City of Birmingham Symphony Orchestra

Simon Rattle, conductor

Symphony No 4, Op 60, 'Sinfonie concertante' (1st movement)

Louis Lortie, piano

BBC Symphony Orchestra

Edward Gardner, conductor

Stabat Mater (excerpt)

Elzbieta Szmytka, soprano

Florence Quivar, mezzo soprano

John Connell, baritone

City of Birmingham Symphony Chorus and Orchestra

Mazurka, Op 62 No 1

Martin Roscoe, piano

Producer Johannah Smith

Donald Macleod explores Szymanowski's interest in defining a Polish identity in his music.