Szymanowska
Author
Danuta Gwizdalanka [+–]
Musicologist
Danuta Gwizdalanka is a Polish musicologist. She is the author of textbooks, works on the social contexts of musical culture (gender, politics), chamber music (a guide to compositions and the history of performance practice) and biographies (of Witold Lutosławski, Mieczysław Weinberg, Karol Szymanowski).
Translated by
Halina Maria Boniszewska [+–]
Halina Maria Boniszewska was born in the UK to Polish parents. She studied at the universities of London, Oxford and Warwick, as well as the Intermediate Department at the Royal Academy of Music in London. She has translated (from Polish into English) Komeda: A Private Life in Jazz by Magdalena Grzebałkowska (Equinox, 2020), and Desperado: An Autobiography by Tomasz Stańko as told to Rafał Księżyk (Equinox, 2022). She has also translated a chapter from Ewa Winnicka’s Angole which has appeared in A Tale of Two Londons: Stories from a Fractured City, ed. Claire Armitstead, (OR Books) and Krystian Brodacki’s chapter on Polish Jazz in History of European Jazz (Equinox, 2018). In 2016 she translated a musical for International Catholic Youth Day in Krakow, based on the life and works of cleric and poet, Edmund Bojanowski. She is a former student of the Royal Academy of Music in London.
As the first Polish pianist to achieve European fame, Maria Szymanowska (1789-1831) is an extraordinary figure and still far too little-known, even in music circles. A confident, independent woman, and mother of three children, the poet Adam Mickiewicz called her the “queen of tones.” Goethe praised her talent, her contemporaries considered her almost a goddess, and she was supported by the greatest composers, such as Cherubini and Rossini.
A talented pianist from an early age, she studied in Paris, and had already gained a reputation for her concert performances when she returned to Poland to marry a wealthy landowner. But she had the urge to perform, and after publishing her Twenty Exercises and Preludes in 1820 (much admired by Robert Schumann), she decided to separate from her husband and support her children by giving piano recitals. This made her a pioneer of female concert performing in Europe, and —even before Clara Schumann — she became famous for playing difficult works from memory. She also continued to compose, before deciding to stop touring and base herself in St Petersburg, where she lived from 1927. Her salon in the city was famous as a meeting place for some of the finest composers and performers of the age. During her touring years, her performances aroused admiration and adoration wherever she appeared — ranging from Warsaw to St. Petersburg, Moscow and Kyiv, but also to London and Paris, as well as major German and Italian musical
centres.
This biography of Szymanowska presents in an accessible, but at the same time academically rigorous way, the fate of this independent self-made woman.
Series: Women in Music
