1970
Palester becomes less and less active in the Radio Free Europe. Only 11 radio programmes have surived from that year. The composer is interested in the 8th Chopin Competition. A radio programme devoted to Zofia Lissa’s book Beethovenian Polonica contains a very calm assessment of the achievements of a once hated writer. On the other hand, a programme about Mieczysław Jastrun becomes for Palester an opportunity to tackle the subject of censorship and limits of freedom.
1971
Palester finishes Piano Sonata no. 1. The piece is the first in a series of piano works that will end with Piano Sonata no. 2 written in 1980.
Significantly, Palester’s programmes presented on the Radio Free Europe raise hardly any topics with any political content. The composer’s carries out a very thorough analysis of the National Edition of All Works by Fryderyk Chopin, is enchanted by King Jan III Sobieski’s letters to his wife Marysieńka, remembers Zbigniew Drzewiecki and describes Nałkowska’s Diaries.
1972
After twenty years of working for the Radio Free Europe, Palester retires and settles with his wife in Paris. In that year he will still present 10 programmes. He ends a programme devoted to Alexander Skriabin with the following words:
It seems that the last half a century has been somewhat unjust to this artist, who deserves a standing more serious than the one accorded to him by the authors of music history textbooks. For his art is a subtle flower and smells like a unique drug. As I have said, the atmosphere of this music is a bit stifling owing to the excessive, constantly high musical tension, but this is not a reason to dismiss a very special artist and a man of great creative talent. Polish musicians in particular should probably think about Skriabin more often, first of all because he had a huge influence on Szymanowski in the entire first period of his creative life. Though we have to admit that Polish musicologists devote more attention to the extraordinary figure of Skriabin than their French or German peers. But he is still frowned upon by fellow artists – he does not enjoy universal recognition easily accorded to other, sometimes much lesser artists.
Palester begins his collaboration with the Centre of Dialogue of the Pallotine Fathers.
He writes Variations for piano and the second, much more expanded version of Symphony no. 4
1973
19 April – Stanisław Skrowaczewski conducts the new version of Palester’sSymphony no. 4 in Minneapolis.
Palester writes Passacaglia for piano.
1974
Having retired Palester devotes more and more time to reviewing his earlier works in addition to writing new compositions. As a result, new versions of old works emerge and often they differ substantially from their originals. In the same year Palester writes the second version of String Quartet no. 3.
1975
Palester completes the Espressioni piano cycle. He also writes the first version of Songs to words by Miłosz and an idea for a Concerto for violaplanned with Stefan Kamas in mind.
1976
Though Palester does not work for the Radio Free Europe anymore, he still occasionally appears on its programmes. In that year he presents, for instance, a programme devoted to Mieczysław Karłowicz.
1977
The ban on Palester’s works in Poland is lifted in connection with the celebrations of the 50th anniversary of the Paris Association of Young Polish Musicians. Therefore, Palester’s works return to Polish concert halls. Bohdan Wodiczko tries to obtain permission to present Death of Don Juan, but a performance of this work at the Warsaw Autumn Festival will not take place for another two years.
Palester completes Three poems by Czesław Miłosz for soprano and 12 instruments.
1978
Palester completes the second version of Concertino for alto saxophone and string orchestra and Concerto for viola. He also writes Monograms, a chamber concerto for soprano and orchestra to words by Kazimierz Sowiński.
The first articles devoted to Roman Palester’s works, written by Stefan Kisielewski and Piotr Wierzbicki, are published in Poland.
1979
The premiere of Concerto for viola at the Warsaw Autumn proves to be one of the Festival’s highlights.
Palester writes Te Deum dedicated to John Paul II.