“I seek for love everywhere—ceaselessly”
Karol Szymanowski: 4 Etudes, Op. 4
Karol Szymanowski: Myths, Op. 30
Unsuitable for military service, he composed a substantial number of works between 1914 and 1917. Szymanowski studied Islamic culture, Greek drama and philosophy, and produced musical works of great originality and diversity of style, yet the October Revolution and the destruction of estate brutally confronted him with the realities of war and disease, with the “cynical force of brutal facts.” He wrote to a friend, “Can you imagine, I cannot compose now. I am writing a bit, of course without any literary aspirations, simply to get things off my chest.” He was in fact writing on the full-length novel Ephebe, which takes erotic love, and especially a love that is independent of all norms of public opinion as the central theme. Only fragments of this literary work survive, including a chapter translated into Russian by Boris Kochno. Szymanowski had been deeply in love with the 15-year old Kochno in 1919, and wrote four explicitly gay poems for him. Unfortunately, Boris became the secretary, librettist, collaborator and lover of Sergei Diaghilev only a year later, seriously troubling the relationship between Szymanovski and the impresario.
Karol Szymanowski: Masks, Op. 34
The opera Król Roger (King Roger) was first conceived by Szymanowski and his distant cousin Jaroslav Iwaszkiewicz in June 1918. The subject of the opera is the conflict between King Roger, Norman ruler of Sicily, who falls in love with the Shepherd, revealed finally as Dionysus himself. In the event, the composition took almost seven years and the complete opera was first performed in Warsaw in June 1926. King Roger is a piece that conjures a sound world, a drama and musical vision that is rooted in the hyper-expressivities of early 20th century modernism, but it’s also a dangerously intoxicating music drama.” The plot echoes the conflict between Dionysus and Apollo, the wild and orgiastic as opposed to the serene in Greek art. It has been suggested that the character of Roger embodies Szymanowski’s own internal and external struggles. At ease with his homosexuality, Szymanowski writes some of the most ecstatic music ever written for the opera house. Bathed in an expressive certainty of blinding musical colors, it represents some of the most powerful music written in the early 20th century.
Karol Symanowski: King Roger, excerpts