the foremost Polish composer of the early 20th century.

Szymanowski began to compose and play the piano at an early age. In 1901 he went to Warsaw and studied harmony, counterpoint, and composition privately until 1904. Finding the musical life in Warsaw limiting, he went to Berlin, where he organized the Young Polish Composers' Publishing Co. (1905–12) to publish new works by his countrymen. His compositions from this period, which include the opera Hagith (1913), show the influence of Strauss, Wagner, and Scriabin.

The advent of World War I caused Szymanowski to return to his homeland. Isolated from the European musical community during the period from 1914 to 1917, he composed copiously and studied Islāmic culture and ancient Greek drama and philosophy. Szymanowski's works from this period, which include Mity (1914; “Myths”), Metopy (1915; “Metopes”), and Maski (1916; “Masques”), show great originality and diversity of style. He softened his dynamic extremes, employed coloristic orchestration, and used polytonal and atonal material while retaining the expressive melodic style of his earlier works.

With the establishment of an independent Polish state in 1918, Szymanowski became deeply interested in the Polish folk idiom and tried to create a Polish national style, a task unattempted since Chopin. He also became more conservative, abandoning his atonal vocabulary. Living in Zakopane, the regional centre of the Tatra mountain people, he adopted their tonal language, syncopated rhythms, and winding melodies in his new style. Notable works from this period include 20 Mazurkas (1924–25) for piano and the ballet-pantomime Harnasie (1923–31). Szymanowski also traveled widely, promoting his works in London, Paris, and the United States and receiving international acclaim for his operas Hagith and Król Roger (1918–24; “King Roger”). In 1927 he settled in Warsaw to assume the directorship of the Warsaw Conservatory for five years with the aim of improving musical education in Poland. During the 1930s Szymanowski retreated from the direct use of folk music in his compositions, and though he continued to use folk music material, his forms and orchestration recall those of his earlier works. Among the major works from this last period are the Symphony No. 4 (1932) and the choral works Veni Creator (1930) and Litania Do Marii Panny (1930–33; “Litany to the Virgin Mary”).