Karol Maciej Szymanowski (Polish pronunciation: [ˈkarɔl ˈmat͡ɕɛj ʂɨmaˈnɔfskʲi]; 3 October 1882 – 29 March 1937) was a Polish composer, pianist and writer. He was a member of the modernist Young Poland movement that flourished in the late 19th and early 20th century. Szymanowski's early works show the influence of the late Romantic German school as well as the early works of Alexander Scriabin, as exemplified by his Étude Op. 4 No. 3 and his first two symphonies. Later, he developed an impressionistic and partially atonal style, represented by such works as the Third Symphony and his Violin Concerto No. 1. His third period was influenced by the folk music of the Polish Górale people, including the ballet Harnasie, the Fourth Symphony, and his sets of Mazurkas for piano. King Roger, composed between 1918 and 1924, remains Szymanowski's most popular opera. His other significant works include Hagith, Symphony No. 2, The Love Songs of Hafiz, and Stabat Mater. Szymanowski was awarded the highest national honors, including the Officer's Cross of the Order of Polonia Restituta, the Order of Merit of the Republic of Poland and other distinctions, both Polish and foreign.

King Roger (Polish: Król Roger, Op. 46) is an opera in three acts by Karol Szymanowski to a Polish libretto by the composer himself and Jarosław Iwaszkiewicz, the composer's cousin. The score was finished in 1924. The opera received its world premiere on 19 June 1926 at the Grand Theatre, Warsaw, with the cast including the composer's sister, the soprano Stanisława Korwin-Szymanowska, as Roxana. The "Sicilian drama", as he called it, originated from Szymanowski's enthusiasm for Mediterranean culture as a melting pot of different peoples and religions. He spent much time travelling in that area in 1911 and in 1914, and shared his love of the region with Iwaszkiewicz. In the summer of 1918 at Odessa, Szymanowski and Iwaszkiewicz conceived the project, and composed the opera over the period of 1918 to 1924. Szymanowski's lost novel Efebos dealt with mystical themes similar to those that inspired this work; Szymanowski labelled it a "Misterium". Jim Samson has placed King Roger in a musico-psychological analysis of Szymanowski's compositional struggles. Alistair Wightman has briefly discussed Szymanowski's stylised treatment of Arabic musical idioms in the score. Stephen Downes has analysed in detail the themes of "duality" and "transformation" expressed in the music of the opera.

Below is a sortable list of compositions by Karol Szymanowski. The works are categorized by genre, Michałowski catalogue number, opus number, date of composition, titles and scoring.