Tomasz Sikorski’s oeuvre is much more extensive than people usually think. In addition to this best known and highly valued works, there is also a large group of less popular compositions which are yet to be properly recognised. There is also an unexpectedly large set of works which either have remained in manuscript form or the manuscripts of which have been lost, and we learn about their existence only from the composer’s accounts (mostly CVs and various forms in which he had to include lists of his works) or from other documents. In Sikorski’s case the lost manuscripts are not only, as often happens, those of youthful works, less appreciated by composers, works that make them slightly embarrassed or mortified, but also those of works he wrote as a mature artist.

In order to maintain chronological order, the list will open with his youthful compositions – i.e. those he wrote in high school or as a student – which have not survived. They are:

  • Sonata for piano, 
  • Symphony for string orchestra, 
  • Triptych for piano (1955), 
  • Little Triptych for piano (1955),
  • Five Miniatures for piano (1955), 
  • Reed Trio (1958),
  • Variants for piano and four percussion groups (1960),
  • Echoes I for piano and percussion (1961),
  • Echoes II for five performers (1961-62),
  • Sketches for string quartet (1962),
  • Strettas for chamber choir and instruments (1962).

Later works that can be regarded as lost are:

  • Musique Diatonique II for 20 wind instruments, 8 tam-tams and piano (1970),
  • Etude for Orchestra (1972),
  • Moderato Cantabile for cello solo (1986)

Works with unknown or uncertain dates of composition are:

  • Two Etudes for orchestra,
  • Four Pieces for Orchestra, 
  • Invocation for 28 wind instruments, choir, piano and chimes,
  • Musica Concertante for piano and orchestra,
  • Music for brass, tam-tams and chimes,
  • Tabula Rasa for reciter, choir, two pianos and tape,
  • Third Orchestral Piece for orchestra,
  • Three Sketches for symphony orchestra.

Tomasz Sikorski may have also written, in 1971, Hommage à Kandinsky for orchestra. However, information about the piece can be found in just one, not very reliable source.

Most of the above manuscripts of works written after graduation were taken out from the Sheet Music Library of PWM Edition in Warsaw (at that time the Central Sheet Music Library) by the composer himself (between 1975 and 1983). Only the composer had the right to borrow (take out from the Library) deposited manuscripts on the pretext of introducing changes or corrections. Unfortunately, he never returned the manuscripts. He borrowed the biggest number of manuscripts (no fewer than six) on 18 April 1978. The causes behind both borrowing and not returning the manuscripts remain unknown. Sikorski never mentioned the situation to anyone. Nor was the situation exceptional. It was common for composers to make changes, corrections or prepare their scores for a new performance or edition. Of course this work was not done in the Library, but in the privacy of their home studios.

Sikorski was probably displeased with the pieces he took from the Library and wanted to withdraw them ‘effectively’. He may also – like in the case of Recitativo ed Aria and La Notte – have used substantial fragments of them in other compositions. However, owing to a lack of material for comparison, we cannot be certain of that.

After the composer’s death his apartment at Plac Konstytucji was cleared by the building manager without the presence of the family (Sikorski’s sister was still alive then). In such circumstances most of his personal belongings and manuscripts were probably lost. Sikorski spent the last few years of his life in solitude. He cut himself off from the world and did not let anyone near him. It is, therefore, difficult to say what really happened with the manuscripts. Did he destroy them before he died, during another mental breakdown? Did they end up in the dustbin in front of the building together with what remained of the furniture after the composer finished clearing the apartment of bugging equipment? We can hardly hope that they will ever be found. However, there is always a chance that a copy has been accidentally preserved somewhere.