Stolpe, Alojzy (mł.)
Stolpe Antoni the younger, *23 May 1851 Puławy, †7 September 1872 Meran (now Merano, Tirol), pianist and composer, son of Edward. He began learning the piano in Puławy under his father’s supervision, and from 1862 he continued it in his father’s class at the Music Institute in Warsaw; he also studied composition with A. Freyer, and in 1866–67 with S. Moniuszko. In 1867, he graduated with the “grand prize” for playing the piano and the first prize for progress in learning counterpoint. He made his debut on 17 July 1867 at Resursa Obywatelska (social club) among the awarded students of the Music Institute, playing a Chopin etude and his own Mazurka in B minor. On 22 March 1868, he gave his first “own” concert in the hall of A. Hoffer’s piano factory in Warsaw, presenting five compositions: Sextuor in E minor, Ouverture in E minor in a version for piano for 4 hands and string quintet, Scène dramatique, 3 Songs in the Form of an Etude and Singing to the words of V. Hugo for voice with the accompaniment of a string quintet. At the concerts on 11 December 1868 and 14 May 1869, the proceeds of which he donated to his studies in Berlin, Antoni Stolpe performed as a pianist and conductor, also presenting his new works, including Concert Overture, Hommage à Mendelssohn, Piano Trio, Ave Maria, 2 Songs, as well as works by F. Chopin, K. Kurpiński, Z. Noskowski, F. Liszt and G. Meyerbeer; these concerts were also attended by, among others, Z. Noskowski and the singer Józefa Turowska-Leśkiewiczowa, sister of Stolpe’s mother. In June 1869, he went to Berlin to study with F. Kiel, who on 5 February 1870, considered his education completed and emphasised the student’s special talent and progress in the certificate. Also Th. Kullak, with whom Stolpe began learning piano at the Neue Akademie der Tonkunst, soon entrusted him with one of the piano classes at this academy. In Berlin, Stolpe probably presented his Warsaw compositions, and it is also known that he continued to compose and perform new works; he played the 1st part of Sonatas in D minor for piano played at the show of the higher classes of the Academy and – with professors of this university – Mendelssohn’s Piano Trio in C minor. In 1872 he received a WTM scholarship. A recurrence of tuberculosis, which he inherited from his ancestors, forced him to return to Warsaw; treatments in Sąlzbrunn (now Szczawno-Zdrój in Lower Silesia) and Meran turned out to be overdue.
Almost all reviewers of Antoni Stolpe’s three Warsaw concerts and later critics noticed his great talent as a composer and pianist; Z. Noskowski emphasised his “complete independence and maturity of thought,” W. Żeleński called him a “complete master,” A. Poliński considered him more talented than J. Zarębski and A. Rutkowski. Stolpe’s music is characterised by youthful fantasy, great dynamism, but also respect for the classical tradition. He had a sense of the drama of musical form, which he built transparently; he often referred to the starting material at the end of the piece (e.g. in Variations for String Quartet). He freely assimilated the features of the style of contemporary European music, mainly of Chopin (both sonatas, Variations in D minor, etudes, Andante in A-flat major), Schumann (Allegro appassionato in C minor for piano and songs), Mendelssohn (especially the scherzo model; Piano Trio, Sextuor in E minor), as well as Wagner (e.g. in Concert Ouverture No. 3 in G minor). He used various means to make the narrative more dynamic, using variational, transformational and polyphonic techniques; his works are characterised by varied tempo and rhythm, varied texture (saturation of the middle voices) and virtuoso instrumental recitatives (e.g. the famous cello recitatives in Scène dramatique); clearly outlined themes are characterised by melodiousness. In chamber works, he individualised the parts of individual instruments, and in symphonic works, he introduced instrumental solos (Andante in C major), so his works stood out against the background of the common epigonism of the Moniuszko era. Stolpe considered himself a symphonist first and foremost, as evidenced by the instrumental entries and the morphology of some chords in chamber works (Sextuor). His orchestra is extensive, especially in the group of wind instruments (e.g. ophicleide in Hommage…); the preserved scores prove the great haste in which he performed his works and also allow us to capture the process of his artistic development, which took place in only three years (1869–72). He was an excellent pianist, and in his childhood, he acquired skills attributed to “child prodigies.” After Stolpe’s death, his music was quickly forgotten, and only the Sonata in D minor for piano was published posthumously, a work of outstanding pianistic value, performed by J. Wieniawski. Stolpe’s violin sonata, which Noskowski called his most beautiful work, is unknown. Approx. 20 of Stolpe’s works can be considered complete, but they are generally manuscripts left in notebooks. The composer’s great talent predestined him to make an individual contribution to the image of European music in the 19th century, but his premature death ended these chances.
Literature: J. Kleczyński Ruch muzyczny, “Bluszcz” 1868 No. 51; J. Sikorski Wiadomości literackie, artystyczne i naukowe, “Gazeta Polska” 1868 No. 275; A. Münchheimer Przegląd muzyczny, “Biblioteka Warszawska” 1868 vol. 2; Z. Noskowski Antoni Stolpe. Wspomnienie pośmiertne, “Tygodnik Ilustrowany” No. 249, 1872; Sprawozdanie Komitetu Towarzystwa Muzycznego Warszawskiego za rok 1872, Warsaw 1873; W Żeleński Przegląd muzyczny, “Kłosy” No. 520, 1875; A. Poliński Nasz świat muzykalny. Ant. S., “Kłosy” No. 1192, 1888; S. Golachowski Antoni S. Szkic biograficzny, “Muzyka Polska” 1935 No. 7 (concerns the entire Stolpe family); T. Bronowicz Twórczość fortepianowa Antoniego S. (1851–1872), master’s thesis, typescript, Jagiellonian University, 1953; T Strumiłło Szkice z polskiego życia muzycznego XIX wieku, Kraków 1954; W. Terlecki Nieznane utwory symfoniczne Antoniego S., master’s thesis, typescript, Warsaw University, 1971; A. Rutkowska Rola społeczna Instytutu Muzycznego Warszawskiego i znaczenie jego działalności dla polskiej kultury muzycznej, Warsaw 1980.
Instrumental:
orchestra:
Symphony in A minor 1867, autograph of the score and piano reduction Jagiellonian Library (4th part, Finale Allegro, known only in piano reduction), 2nd part arranged in 1969–71 for performance. W. Terlecki, manuscript PWM Library Warsaw
Overture in A minor for orchestra, 1867, performed in Bydgoszcz 1970, autograph of the score and piano reduction Jagiellonian Library, 1969–71 arranged for performance, W. Terlecki, manuscript PWM Library Warsaw
Overture in E minor [No. 1] for orchestra, performed in Warsaw 22 March 1868, semi-autograph in a version for piano for 4 hands and string quintet Jagiellonian Library
Overture in D minor before 30 June 1868, sketch in: Album autografów Antoniego Stolpe, autograph PWM Library
Overture No. 2 for orchestra, performed in Warsaw 1869
Concert Overture No. 3 in G minor, performed in Warsaw 14 May 1869, semi-autograph of orchestra voices, Jagiellonian Library, 1969–71 arranged for performance, W. Terlecki, manuscript PWM Library Warsaw
Hommage à F. Mendelssohn-Bartholdy. Grande Marche pour l’orchestre par… 1868–69, performed in Warsaw 1869, autograph of the score Jagiellonian Library
Fantesie [sic] pour le violoncelle. Partition d’orchestre for cello and orchestra, 1868, semi-autograph of the score Jagiellonian Library, 1969–71 arranged for performance W. Terlecki, manuscript PWM Library Warsaw
Lied… for horn and orchestra or piano, after 30 June 1869, a fragment of a manuscript Jagiellonian Library
Andante in C major for orchestra, uncompleted, autograph of the score Jagiellonian Library
Menuetto in C major for orchestra, sketch of a piano reduction Jagiellonian Library
Mazur in C major for orchestra, sketch (2-voice) in: Album autografów Antoniego Stolpe, autograph PWM Library
Lied. Récit[ativo] i Cantilena for cello and orchestra, a sketch of a piano reduction Jagiellonian Library
chamber:
Polonez in A-flat major for piano and string quintet, 1866, autograph of the score and copy of voices Jagiellonian Library
Sextuor in E minor for piano, 2 violins, alto, cello and string bass, 1867, performed in Warsaw 22 March 1868, 1st and 2nd parts performed in Warsaw 20 December 2003, Warsaw 2003 Pro Musica Camerata, a manuscript of the score of the 1st and 2nd parts Jagiellonian Library, a fragment of the 3rd part (?), sketch in G minor in Album autografów Antoniego Stolpe, autograph PWM Library, 2nd part arranged in 1969–71 for performance by W. Terlecki, manuscript PWM Library Warsaw
Scène dramatique for cello and string quintet, 1867, performed in Warsaw 22 March 1868 and 2 December 2003, Warsaw 2003 Pro Musica Camerata, autograph of the score and some voices Jagiellonian Library
String Quintet in D major for 2 violins, 2 altos and cello, 1868, sketches to adagio and the final part (fragment fugato) in: Album autografów Antoniego Stolpe, autograph PWM Library
String Quartet in C minor, 1866, sketch Jagiellonian Library
String Quartet in A minor before 30 June 1869, sketch in: Album autografów Antoniego Stolpe, autograph PWM Library
Fugue for [string?] quartet, before 30 June 1869
Variations for a String Quartet in G major after 30 June 1869, performed in Warsaw 1872 and 2 December 2003, Warsaw 2003 Pro Musica Camerata, S. Golachowski’s duplicate (score) in A. Wróbel’s collection, Warsaw
Romance. Duettino for violin, cello and piano, 1866, performed in Warsaw 13 November 2004, autograph of a score and S. Golachowski’s duplicate (score and voices) Jagiellonian Library
Piano Trio, performed in Warsaw 14 May 1869, lost
Sonata for violin and piano, 1872, lost
for solo instrument:
Sonate in A minor for piano, 1866–67, uncompleted, autograph Jagiellonian Library
Sonate in D minor for piano, 1870, performed in Warsaw 27 May 1875, Warsaw 1876 WTM, Kraków 2nd ed. 1957 PWM, autograph Jagiellonian Library
Variations in D minor for piano, 1870, autograph Jagiellonian Library
Several fugues, including:
Fugue in G major for piano, circa 1866, fragment manuscript Jagiellonian Library
Praeludium and Fugue in C major for piano, 1866–67, autograph Jagiellonian Library
Praeludium and Fugue in C minor for piano, sketch in: Album autografów Antoniego Stolpe, autograph PWM Library
Zweistimmige Fugue in E minor for piano, after 30 June 1869, uncompleted, sketch Jagiellonian Library
Fugue from the overture to the opera Otton Łucznik A. Münchheimera for piano, before 30 June 1869, fragment of a manuscript Jagiellonian Library, sketch in Album autografów Antoniego Stolpe, autograph PWM Library
Kanon 2 motywowy in C major for piano, before 30 June 1869, sketch in Album autografów Antoniego Stolpe, autograph PWM Library
around 8 mazurkas, including:
Mazourka in G major for piano, 1866 (?), fragment of a manuscript Jagiellonian Library
3 mazurkas in B minor for piano: No. 1, performed in Warsaw 17 July 1867, autograph Jagiellonian Library, No. 2, fragment of a manuscript Jagiellonian Library, No. 4 1867 (?), fragment of a manuscript Jagiellonian Library
Allegretto No. 1 A major for piano and Allegretto No. 2 A-flat major for piano, performed in Warsaw 22 March 1868 as etudes, manuscript Jagiellonian Library
3 song in a form of an etude for piano, performed in Warsaw 1868
Etude for piano, dedicated to the composer’s father, 1869
Andante in A-flat major for piano, before 30 June 1869, autograph Jagiellonian Library
Allegro appassionato c-moll for piano, 1869, autograph Jagiellonian Library
Une valse in B-flat major for piano, before 30 June 1869, autograph Jagiellonian Library
Moment musical, Variations for piano, 1869-1870, Kraków 2019 PWM
Caprice-étude de concert for piano, Fantaisie-étude for piano, Impromptu-étude for piano, Chant sans paroles for piano, Nocturne for piano, Polka for piano, all listed in the catalogue of works prepared by Antoni Stolpe, including the title and cast, lost
Menuetto (crossed out and changed to Scherzo) C major, autograph Jagiellonian Library
Vocal-instrumental:
Wyprawa, song for voice and piano, 1866 (?), sketch Jagiellonian Library
O Salutaris Hostia Op. 5 (crossed out and changed to Op. 4) for 4-voice mixed choir, string quintet and organ, dedicated by Stolpe to: “…Warsaw Music Institute…on 1 February 1866”, performed in Warsaw 13 November 2004, semi-autograph of a score, fragment of the organ voice and the score by S. Golachowski (as Op. 4) Jagiellonian Library, in the catalogue of works prepared by Antoni Stolpe containing the title and instrumentation, a version for mezzo-soprano and organ is also listed
Veni Creator Op. 6, hymn for male choir and orchestra, 1866, autograph of the score and sketches Jagiellonian Library, also version for men’s choir, string quintet and organ, manuscript and an autograph of the piano reduction Jagiellonian Library, in the catalogue of works prepared by Antoni Stolpe, containing the title and scoring, also mentioned 2-to Veni Creator for 4 male voices a cappella
Modlitwa do Najświętszej Maryi Panny (“Serdeczna Matko”) Op. 4 for contralto and organ or piano, performed in Warsaw 1866, text from the supplement from 1842 to Śpiewnik kościelny by M.M. Mioduszewski (Kraków 1838), autograph Jagiellonian Library
Ubóstwienie, song for voice and piano, ok. 1867, sketch Jagiellonian Library
Credo for 4 solo voices or choir, string quintet and organ, 1867, performed in Warsaw 13 November 2004, autograph of the score, autograph and semi-autograph of voices Jagiellonian Library, based on catalogues made by Antoni Stolpe, containing the title and cast, comes from Msza konkursowa (with orchestra)
Rozstać się z tobą, song for voice and piano, 1868 (?), fragment of a manuscript Jagiellonian Library
Śpiew for tenor and orchestra, lyrics V. Hugo, translation W. Ordon (actually W. Szancer), 1868, sketch Jagiellonian Library, also version for voice and piano, sketch in: Album autografów Antoniego Stolpe, autograph PWM Library
aria Bella Nice and mazurka Brzóska [sic], both for mezzo-soprano and string quintet, lyrics J. Czeczot, before 30 June 1869, listed in the catalogue of works prepared by Antoni Stolpe, containing the title and instrumentation, missing, also a version for voice and piano, manuscript Jagiellonian Library
Dumka, song for voice and piano, before 30 June 1869, autograph in: Album autografów Antoniego Stolpe, autograph PWM Library
“Nie otwierasz? świta już” (incipit), song for voice and piano, no title, before 30 June 1869, autograph in: Album autografów Antoniego Stolpe, autograph PWM Library
“.. .pełne czarów chwile”, song for voice and piano, without the title and beginning, before 30 June 1869, fragment of the autograph Jagiellonian Library
Ave Maria for contralto and string quintet, performed in Warsaw 14 May 1869
Ojcze nasz for 4-voice choir and organ, before 30 June 1869
Romans, lyrics Th. Gautier (?) and Sonet, lyrics Miron (actually A. Michaux), songs for voice and piano, both after 30 June1869, sketch in: Album autografów Antoniego Stolpe, autograph PWM Library
Lied in A-flat major, song for voice and piano, after 30 June 1869, autograph Jagiellonian Library
Pater noster for 4 voices
Valse in B-flat major, song for voice and piano, without the beginning, sketch Jagiellonian Library
Modlitwa Op. 6, uncompleted, autograph Jagiellonian Library, may be identical to Hymn do Boga Rodzicy for alto solo and organ
instrumentation:
Andante z sonaty cis-moll Beethovena instrumentowane przez… [Op. 27 No. 2], for orchestra or chamber band (originally Adagio)