Maria Szymanowska (1789–1831)
Maria Szymanowska, endowed with extraordinary talent and intelligence, was able to establish and maintain connections with the most important figures of her time. She was born in Warsaw on December 14, 1789, into a noble family as the daughter of Barbara and Franciszek Wołowski. At her baptism, she was given the names Marianna Agata, with the second name chosen at the specific request of her godmother, Agata Grabowska. As a child, she was known as Marynia, but over time, she began using the name Maria.
From an early age, she displayed a great passion for music. Aleksander Brückner wrote about her impressive piano playing as early as the age of eight. The Wołowski family hosted an open artistic salon, welcoming both Polish and foreign artists, many of whom traveled to St. Petersburg.
Maria’s first public performance was scheduled for August 3, 1806, during the opening of the Resursa Muzykalna. Although her debut was initially postponed, it marked the beginning of a remarkable career. She was set to play a piano concerto by Daniel Steibelt but withdrew at the last moment, with her cousin, Tekla Wołowska, replacing her. According to sources, to calm her nerves, she began playing pieces from memory—a rare skill at the time, which only heightened admiration for her talent.
At a young age, Maria met Józef Elsner, a renowned musician and educator, who evaluated her early compositions and provided valuable guidance. While her work bears traces of Elsner’s influence, she later met other prominent composers such as Karol Kurpiński and Franciszek Lessel. However, it remains unknown who her primary piano teacher was. Maria herself once remarked that she was unfortunate when it came to finding good instructors.
Though often associated with John Field, Szymanowska was never his student. Her interests extended beyond music—she collected autographs of famous individuals, documenting her interactions with the intellectual and artistic elite. While traveling across Europe, she formed important connections, including with Luigi Cherubini, who dedicated his “Fantasy for Piano” to her.
Her private life was marked by a marriage to Józef Szymanowski, which turned out to be a mistake. Despite having three children, the marriage ended in separation, and Szymanowska raised the children alone while embarking on a professional music career. She found inspiration in her acquaintance with Angelica Catalani, who encouraged her to dedicate herself entirely to music and the arts. Thanks to Catalani’s influence, Szymanowska boldly chose to become Europe’s first professional female pianist.
Between 1810 and 1820, Szymanowska’s career flourished. She undertook extensive concert tours and developed a close friendship with Johann Nepomuk Hummel. Deeply impressed by her talent, Hummel composed “Adagio for Piano and Orchestra” in her honor, premiering the piece in St. Petersburg, with Szymanowska as the soloist and Hummel conducting. From then on, they frequently performed together, including Jan Dussek’s “Concerto for Two Pianos”. Szymanowska became a leading interpreter of Hummel’s works, prompting him to remark that he would compose while she would perform his music.
At the height of her career, Szymanowska befriended Julian Ursyn Niemcewicz, who hosted her at his estate in Ursynów. He invited her to collaborate on “Śpiewy…”, a project she eagerly accepted, knowing that her contributions to the famous poet’s album would boost her recognition. This collaboration introduced her to influential figures such as Maria Wirtemberska, who immortalized her in the novel “Malwina, czyli domyślność serca”. Szymanowska composed music for several songs, though not all were published.
During her time in Russia, Szymanowska met numerous prominent artists, including John Field, Mikhail Glinka, and leading Russian scholars and writers. Tsar Alexander I honored her with the title of “First Pianist of Their Majesties the Empresses”. A concert in Kyiv with Karol Lipiński was another milestone in her career. Lipiński even dedicated one of his Caprices for Solo Violin to her. Before the concert, a newspaper published a notice urging the audience not to stand on chairs and benches, fearing damage from the excitement. Although Lipiński was the more famous musician at the time, Szymanowska invited him to perform together, leading to a highly successful concert. By then, she had reached the peak of her popularity and recognition.
Szymanowska cultivated friendships with many renowned poets and writers. However, the most significant meeting of her life occurred in 1823 when she met Goethe. The German poet was captivated by her intelligence, charm, and musical talent. He even dedicated his poem “Reconciliation” to her and spoke of her with fondness for the rest of his life. Throughout her travels, she also became acquainted with Gioachino Rossini, Felix Mendelssohn-Bartholdy, Friedrich Kalkbrenner, Franz Liszt, Alexey Lvov, Giacomo Meyerbeer, Muzio Clementi, Michał Kleofas Ogiński, Adam Mickiewicz, Alexander Pushkin, and many other distinguished artists and scholars from across Europe.
In the early 19th century, Szymanowska met Prince Antoni Radziwiłł, a well-known patron of the arts, amateur cellist, and composer of music for Goethe’s Faust. In gratitude for her dedication of Serenade to him, Radziwiłł gifted her a composition for voice, viola, and two cellos, inscribing it with:
“A true admirer of your talent, I take great pleasure in placing my humble work alongside the greatest talent Poland has ever boasted, as a token of my respect and admiration for you.”
In 1827, Maria Szymanowska left Poland intending to settle in St. Petersburg. Along the way, she stopped in Kyiv and Moscow, where she stayed for an extended period before her children joined her. According to the diary of her daughter Helena, life in Moscow was demanding but lively. Their home was constantly visited by people scheduling lessons or inviting Szymanowska to perform. Helena noted that their doors were always open to guests, including Adam Mickiewicz, Prince Pyotr Vyazemsky, Alexander Pushkin, and John Field. One diary entry records:
“Field and Prince Vyazemsky visited us before noon… In the evening, Field and his son came again, very cheerful and witty. He signed our autograph albums […]. He played his nocturnes and the Seventh Concerto as only Field could.”
Szymanowska’s time in St. Petersburg was highly successful. She developed her talent, gave lessons, performed concerts, and composed. Through hard work and skill, she achieved financial stability, securing a comfortable life for herself and her children. In St. Petersburg, she reached the peak of her fame. Her daughters actively participated in the city’s artistic and social circles—Celina met Adam Mickiewicz there, while Helena became acquainted with Franciszek Malewski. However, their idyllic life was disrupted by the 1831 cholera epidemic, which devastated the city. Maria Szymanowska succumbed to the disease on July 25, 1831, at the age of just 42.
Source: Lithograph based on a portrait of Maria Szymanowska by Jozef Oleszkiewicz, 1825. Framed print from the collection of Bibliotheque Polonaise in Paris
Compositions
Szymanowska left behind numerous piano pieces, songs, and chamber works. Her compositions were written in the brillant style, which bridged the gap between Classicism and Romanticism.
Source: Anna Wróbel, Women in Polish Music, Polihymnia, 2024.