Voilà une bien curieuse musique que celle du polonais Tadeusz Szeligowski. Une sonatine toute en truculences, insolences, ironie et pied de nez bien que datant de 1940 ; et une sonate beaucoup plus sérieuse, digne des grandes œuvres avec son mouvement central poignant composée après la guerre. La première passe comme un feu follet, dans la seconde une lumière s'est éteinte. On trouvera stylistiquement un peu de mélange de Castelnuovo-Tedesco et de Tansman. Szeligowski a connu à Paris, Paul Dukas qui lui a enseigné l'instrumentation et Nadia Boulanger la composition. Les petites pièces complémentaires dénotent un art de la concision tout à fait personnel et bienvenu. Elzbieta Tyszecka continue son exploration du répertoire de son pays natal (voir notamment ses Tansman) mais est victime d'une qualité sonore pas toujours au rendez-vous. (Nicolas Mesnier-Nature)
Tadeusz Marian Szeligowski was born in Lvov. From an early age, the parents of the future composer carefully introduced him to the world of music, through attending concerts and the opera. From 1910–1914, Szeligowski completed his musical training at the Galician Conservatory, and after graduating, became a student of the Department of Law at the University of Vienna. After World War I, he was able to continue the next stage of his law studies in Lvov, and then later at the Jagiellonian University, where the composer was to receive his diploma in 1922, and the title of PhD. Simultaneously, thanks to his contact with Boleslaw Wallek-Walewski, he began his co-operation with the Opera in Kraków. He co-created the International Contemporary Music Society – Vienna Department, and the Vienna Philharmonic Society. At the Vilnius Conservatory he gave classes in music theory and music history. Szeligowski applied for and was successful in obtaining a scholarship to study in Paris, which he undertook in 1929 to study composition with Nadia Boulanger and instrumentation with Paul Dukas. Tadeusz Szeligowski survived World War II in Vilnius, working with the Lithuanian Radio Symphonic Orchestra, and giving private music lessons. Lithuanian Jesuits also helped the composer by hiring him as an organist in the church of St. Casimir and by harbouring his entire family in the temple’s catacombs during the battle for Vilnius in July 1944.