The Polish composer and conductor Witold Lutoslawski is awarded The Polar Music Prize, 1993. The Award Committee’s motivation is as follows: In Witold Lutoslawski, the Committee’s choice has fallen upon one of the pioneers of contemporary European art music.

Chapter: Early years

Early years

Born in Warsaw, Poland in 1913, the young Witold Lutoslawski showed great musical talent from an early age, writing his first compositions in 1922. He went on to study violin, piano and composition at the Warsaw Conservatory, graduating with diplomas in the latter two subjects in 1937. During World War II, the German occupiers greatly repressed Polish cultural expressions and restricted large gatherings; Lutoslawski supported himself during these difficult years by performing with different musical groups in less formal settings such as cafés.

Warsaw in the early 20th century. (Photo: via Wikimedia Commons)
Memorial plaque in Warsaw. (Photo: By Tadeusz Rudzki)
Polish folk music - a great influence on many of Lutoslawski's early works.
Chapter: Formalism in the Soviet Union

Formalism in the Soviet Union

Formalism is an artistic concept wherein a work’s artistic value is based on its compositional elements and form instead of its context and content. In post-war Poland, as throughout the Soviet Union, the Stalinist regime insisted that composers and artists adopt Socialist realism in order to convey the ideas and goals of the regime in a “realistic” light. Painters were expected to depict happy, muscular workers in factories and on collective farms, while composers were expected to compose glorious hymns and vivid, happy music to reflect the desired sense of progress and collective spirit of the proletariat. The Zhdanov decree of 1948 specifically targeted formalism in music, persecuting a number of prominent Soviet composers whose works did not conform to the Soviet cultural policy.

Soviet politician Andrei Zhdanov (far left), who developed the Zhdanov Doctrine. Here with Stalin and Molotov signing the Teriyaki pact. Source: Wikipedia Commons

This included Lutosławski who had performances of his works banned in Poland because they were considered to be formalist. To sustain himself, Lutosławski turned to writing what he called “functional music” for radio, film and theatre, as well as arranging folk songs and composing music for children. Another Polar Music Prize Laureate, Mstislav Rostropovich, was an outspoken critic of the anti-formalism campaign and eventually collaborated artistically with Lutosławski.

Prokofiev, Shostakovich and Khachaturian. Three of the Soviet composers who were persecuted during the anti-formalism campaign. via Wikimedia Commons
Lutosławski with the Polish composer Andrzej Panufnik in 1990. (Photo: via Wikimedia Commons)
Chapter: Polish folk music influences

Polish folk music influences

Lutosławski’s Concerto for Orchestra marked an important culmination of his early Polish folk music influences and established him as an important composer of art music. The conductor Witold Rowicki originally commissioned the work in 1950 for the newly reconstituted Warsaw Philharmonic Orchestra, which performed the piece for the first time on November 26, 1954.

Witold Lutosławski circa 1953. Via Wikimedia Commons
Witold Rowicki (Photo: via Wikmedia Commons)
Lutosławski: Concerto for Orchestra
Chapter: The Lutosławski signature

The Lutosławski signature

In the years following Concerto for Orchestra, Lutosławski expanded greatly upon his compositional style, departing significantly from his earlier folkloristic pieces to instead explore new harmonic and contrapuntal ideas and develop what would become his twelve-tone system. This new composition style is most evident in his pieces 5 Songs from 1956-57 and Muzyka żałobna (also know as Musique funèbre or Funeral Music) from 1958.

Lutosławski at home in Warsaw. Photo courtesy of W. Pniewski and L. Kowalski

He continued to explore new compositional techniques, and with 1961’s Jeux Vénitiens, he introduced chance into his music by loosening the time relationships between sounds. These different compositional techniques became important cornerstones of the signature compositional style that would come to define his subsequent works.

Lutosławski's signature works.
Lutosławski conducting "Chain I", London Sinfonietta.
Chapter: Experimentation


Lutosławski’s oeuvre is filled with examples of experimentation that helped contribute towards a renewal of the contemporary orchestral vocabulary, something that has made his music an indispensable part of today’s orchestral and chamber music repertoire. Moreover, his uncompromising stance and moral courage in times of severe intellectual repression, helped maintain Polish music’s relevance on the international stage.

One of Lutosławski's many awards was the Order of the White Eagle, Poland's highest honour. (Photo: Maciej Szczepańczyk, via Wikimedia Commons)
Kronos Quartet's recording of Lutosławski's String Quartet.
Chapter: The Polar Music Prize

Stockholm May 1993

Witold Lutosławski received the Polar Music Prize the same year as late bebop legend Dizzy Gillespie.

Lutosławski on stage with Wynton Marsalis (representing Dizzy Gillespie) at the prize ceremony. (Photo: © Polar Music Prize)
The 1993 Polar Music Prize Laureates and the Swedish Royal Family at the prize ceremony in Stockholm. Far left Lutosławski's wife Danuta Lutosławska, and Gudrun and Stig Anderson to the right. (Photo: © Polar Music Prize)
Lutosławski receiving the Polar Music Prize from H.M. King Carl XVI Gustaf of Sweden. (Photo: © Polar Music Prize)
Peter Jablonski and the Swedish Radio Symphony Orchestra performing Lutosławski’s "Variations on a Theme of Paganini" at the prize ceremony.