Baird takes part in the Prague Spring Festival as an observer on behalf of the Polish Composers’ Union.
The National Philharmonic Orchestra under Witold Rowicki goes on a concert tour of Switzerland and Austria, during which it performs Baird’s Four Essays. The composer accompanies the orchestra.
Henryk Mikołaj Górecki writes a piece for orchestra entitled Scontri.
Krzysztof Penderecki composes Anaklasis and Threnody for the Victims of Hiroshima.
The Prague Spring Festival features a performance of Baird’s Four Essays .
The composer travels to West Germany for a performance of his Erotic Poems.
Grażyna Bacewicz writes Pensieri notturni .
Györgi Ligetti composes Atmosphères.
Penderecki writes Polymorphia.
Tadeusz Baird is again appointed member of the Culture and Art Council.
He travels to London for a performance of his Erotic Poems.
Wojciech Kilar writes Riff 62 .
Bolesław Szabelski composes Aphorisms 9.
Igor Stravinsky composes the cantata The Flood.
Olivier Messiaen writes the song cycle Haïkaï.
Tadeusz Baird receives the City of Cologne Music Prize.
The composer again comes first at UNESCO’s International Rostrum of Composers in Paris, this time with his Variations without a Theme for orchestra.
Bacewicz composes Symphony No. 3.
Messiaen writes Couleurs de la Cité Celeste.
Kazimierz Serocki writes A piacere for piano.
Witold Lutosławski writes Trois poèmes d'Henri Michaux.
The MW2 ensemble, specialising in performances of very experimental contemporary music, is founded in Kraków.
Baird visits the Prague Spring Festival, which features a performance of his Variations without a Theme.
The composer travels to Hamburg to attend the 4th International Congress of the International Music Council.
Baird receives the State Prize, 2nd class, and the Commander’s Cross of the Order of Polonia Restituta.
The Wiener Festwochen features a performance of Baird’s Variations without a Theme.
The ISCM festival in Copenhagen features a performance of Baird’s Epiphany Music (no fewer than 4 compositions by Polish composers were performed during the festival).
Górecki writes another work – Choros I.
Lutosławski composes his String Quartet – a model example of the so-called controlled aleatoricism, in his new concept of two-part form.
Terry Riley writes In C, a masterpiece of repetitivism.
Baird becomes a member of the jury at the ISCM Competition in Madrid and at the International Competition for Composers in Abbaye de Royaumont.
Górecki composes the Refrain.
Grażyna Bacewicz writes her last string quartet – String Quartet No. 7.
Penderecki finishes his St. Luke Passion, in which he draws on the great tradition going back to Bach.
Boulez composes Eclat.
Tadeusz Baird receives the annual Prize of the Polish Composers’ Union for lifetime achievement.
Baird’s one-act musical drama, Tomorrow, is premiered during the Warsaw Autumn Festival.
Four Dialogues for Oboe and Orchestra receives the 1st Prize at UNESCO’s International Rostrum of Composers in Paris (the third such prize for Baird).
Premiere of Penderecki’s Passion in Münster.
Dmitri Shostakovich composes Cello Concerto No. 2.
Lutosławski writes his Symphony No. 2, in which he continues to develop the two-part form used in the String Quartet (the work will be finished in 1967).
Ligeti composes Lux eterna.
Tadeusz Baird goes to Moscow on an official visit as a representative of the Polish musical world.
The composer’s first trip to the USA (Hanover), where his Four Novelettes will be premiered (on 16 July).
Baird travels to Canada.
Towards the end of summer I was going to Canada and we agreed with Poświatowska that when I was back in Poland and she had had her operation, we would meet personally. Her last postcard was more cheerful than many of the previous ones, and I said that I’d visit her – as a convalescent – with a big bouquet of flowers.
Unfortunately, when the composer returned to Poland, the poet had already died. She died after another heart surgery, on 11 October in Warsaw.
When I bought a local paper in Gdynia, I read a note that Halina Poświatowska had died the day before. Over a fortnight or so, working almost without a break, feeling great tension, I composed 5 songs for mezzo-soprano and chamber orchestra to her poems.
I wasn’t fortunate enough to meet Halina Poświatowska in person, but I felt her death as a big loss. It’s strange: so many years have passed and I still think about it.
Henryk Mikołaj Górecki writes Musiquettes I-III.
Krzysztof Penderecki composes the oratorio Dies irae.
Steve Reich writes Piano Phase and Violin Phase, in which he manifests the so-called phasing technique.
Baird’s opera Tomorrow is performed at the Prague Spring Festival.
The composer’s visit to Budapest as part of a project of collaboration between universities.
Baird’s visits Cuba under a cultural exchange programme organised by the Ministry of Culture and Art. He writes to Alina Sawicka:
Greetings from this beautiful and bizarre country under the – worse – sun. I’ll have so much to talk about.
Baird receives the Serge Koussevitzky Prize for his “outstanding contribution to music of our times”.
Karlheinz Stockhausen composes his Stimmung and begins a huge cycle called Aus den sieben Tage.
Luziano Berio writes his Sinfonia.
Baird’s composer concerts at the National Philharmonic Hall. The ISCM Festival in Hamburg features a performance of Four Novelettes.
Baird goes to Cologne for some concerts (their programmes will feature his Symphony No. 3).
The composer decides to resign from the Repertoire Committee of the Warsaw Autumn.
Grażyna Bacewicz dies in Warsaw.
Her aesthetics was and is very far from mine; when she was alive, there was so much that divided us: age, type of temperament and sensibility, references to different musical traditions. However, there are things more important than generational and aesthetic differences. In the end, it always turns out how important purely human values, some unchanging principles are also (perhaps above all) in art, values like talent, artistic integrity, respect and tolerance for other people’s attitudes, knowledge and professional ability. Not all of these features facilitate quick and impressive success; perhaps this is why Grażyna Bacewicz’s music has not – in spite everything – enjoyed the recognition it truly deserves.
Messiaen completes La Transfiguration de Notre Seigneur Jésus-Christ, a work that requires about 200 performers.
Penderecki writes his first opera: The Devils of Loudun.