Noskowski Zygmunt, *2 May 1846 Warsaw, †23 July 1909 Warsaw, Polish composer, conductor, teacher and music publicist. He was the tenth of eleven children of the notary Józef Łada-Noskowski and Amelia de Salis (Salisch), who came from the French-German aristocracy, polonised at the end of the 18th century. Noskowski’s parents had been materially supporting A. Towiański’s emigration activities since the 1940s and they raised his five children, as well as they made their house the main centre of Towianism in Warsaw. Noskowski himself, having rejected the mysticism and phraseology of Towiański’s teachings in adulthood, remained faithful to the ideas of patriotism, internal improvement and effective action for society until the end of his life.
In 1851, Noskowski entered the real junior high school in Warsaw and began learning the piano, and soon afterwards the violin (with J. Hornziel). At first, he only participated in modest home music making, which omitted the works of Chopin, who was sceptical about Towianism. Noskowski established contact with artistic works around 1860 through the works of Moniuszko (Home Songbooks, operas Flis and The Countess). This first, profound musical experience coincided in time with the shock for Noskowski of the pogrom of the patriotic demonstration in Warsaw by the Russian army (27 February 1861), and with a practical lesson in history and native nature – a trip to Krakow and the Tatra Mountains in August 1861. Noskowski’s first compositions date back to this year, of which a Christmas carol has survived to a patriotic text by M. Romanowski. After his father’s death (23 June 1863), Noskowski probably took part in the January Uprising. In 1864, he entered the Institute of Music in Warsaw, where he became a student of A. Kątski (violin playing) and S. Moniuszko (counterpoint, choral singing); after graduating from high school and abandoning his apprenticeship at the Treasury Commission (1865), he devoted himself to music. In 1865, he participated in the premiere of the cantata Widma by Moniuszko, who in the same year gave his opinion on Noskowski’s Carol with a new text by S. Rzętkowski for publication in “Tygodnik Ilustrowany.” In 1867, Noskowski graduated with the second prize from the Music Institute and began working as an orchestral violinist at the Grand Theatre (until 1869), a tutor in E. Ciaffei’s solo singing class at the Music Institute (until 1870) and a choir director at the Institute of the Deaf and Blind (1871–72), where he created a musical notation system for the blind. From December 1872, thanks to a WTM scholarship, he studied composition at the Akademie der Künste in Berlin with F. Kiel; at his graduation concert (April 1875), he presented his Symphony No. 1 in A major, which was well received by Berlin critics. After returning to Warsaw, despite the success of the First Symphony, and especially the Morskie Oko overture at the composer’s concert on 10 November 1875, he did not find employment. At the end of the year, he married Stanisława Segedy and went to Konstanz in southern Baden, where, on the recommendation of F. Kiel, he became the city director of music and conductor of the Bodan singing company, which under his direction gained the reputation of the best in the duchy, while Noskowski himself, free from material worries, devoted himself to composition. Written then, among others, the first cycle of Krakowiaki for piano was appreciated by F. Liszt and, at his request, it was published in 1878 in Leipzig by C. Kahnt as Op. 2. The success of the work, received with distrust by Polish critics, paved the way for Noskowski to German and Swiss publishing houses. In 1878, Noskowski rejected an offer to become a professor at the Institute of Music in Warsaw; in 1879, he published a series of articles in “Echo Muzyczne” entitled Signposts, and in 1880, a critical essay O prozodii w pieśniach Moniuszki, which caused consternation among Warsaw musical and literary circles. In May 1880, he went to a musicians’ convention in Baden-Baden, met Liszt there and played his Krakowiaki Op. 7 for 4 hands; he probably also visited Leipzig and Weimar, where Liszt performed the Piano Quartet Op. 8. In November, Noskowski came to Warsaw in connection with his composer’s concert organised by the WTM (premiere of the Second Symphony on 25 November), and on 21 November, he accepted the position of music director of this institution and in January 1881, he settled in Warsaw permanently.
Noskowski began his activity at WTM by giving free lessons in choral singing and music principles; in this way, he reconstructed a mixed choir, which he led until 1896. In May 1881, he created – partly at his own expense – a symphony orchestra, with which he performed Polish music, among others; he invited S. Barcewicz and A. Michałowski as soloists. After the orchestra’s collapse (1882), he founded chamber ensembles; he performed with them as a violinist, violist and pianist, presenting, among others, works by his private students – K. Henisz and A. Rutkowski, as well as E. Pankiewicz and I.J. Paderewski. In 1886, he created another orchestra and performed with it, among others, on 13 June 1887 at a concert of Polish music organised as part of the WTM, performing, among others, works by L. Grossman, M. Hertz, P. Maszyński, A. Münchheimer, W. Żeleński and his own; this event made Polish music critics aware of the scale of achievements of Polish artists. Noskowski usually devoted his summer holidays to composition in Zakopane, and in later years in Czatkowice Górne (near Kraków). He presented his works at annual composers’ concerts in Warsaw, as well as in Krakow and Lviv, and achieved success; only the operetta Varsovians Abroad (performed in 1886) was a failure. In 1885, together with W. Wiślicki and P. Maszyński, Noskowski founded a music school at WTM, where he taught composition and instrumentation. In September 1888, he also took up the position of professor of composition at the Institute of Music. In 1890, he formed a children’s choir at WTM, with which he performed the Children’s Songbook written a year earlier.
The celebration of the 25th anniversary of Noskowski’s compositional work (17 January 1891) became an opportunity for the Polish society and artistic circles to pay him a tribute that had never been experienced by any Polish composer before. In 1893, Noskowski submitted several old works to the composition competition of the Carillon Music Society in Brussels and won 8 prizes, including the 1st prize for the Symphony No. 1 and Le Grand Prix d’Honneur. He also took up M. Bałakirew’s appeal to create a memorial site for F. Chopin in Żelazowa Wola and on 14 October 1894 – on the 45th anniversary of the composer’s death – he organised the first-anniversary celebration of its kind in Poland, combined with the unveiling of Chopin’s monument and a concert for 2,000 listeners; for this occasion, he wrote the cantata Nad Utratą, performed with the participation of the Lira student choir, which he founded and led until 1902. An event of great artistic importance was the premiere of the symphonic poem Step (Warsaw, May 1896), repeated in Krakow and Lviv, and in 1903 also in Paris; this success was not shared by Noskowski’s long-awaited opera Livia Quintilla (performed in Lviv on 15 February 1898). At that time, Noskowski published an article about the works of Chopin and Moniuszko; in 1897–1900, he constantly tried to establish a permanent orchestra in Warsaw, trying to maintain the regular rhythm of symphony concerts; these attempts contributed to the establishment of the Warsaw Philharmonic (1901), but attempts to merge it with the Warsaw Philharmonic led to a crisis in 1902 and Noskowski’s resignation from the position of director of the WTM and professor of the Society’s music school.
From 1902, Noskowski was associated with the Philharmonic as a conductor; in 1903–04, he organised a series of 12 broadcasts devoted to the history of musical forms and genres, and in 1903–05, he published over 50 discussions of works from the current repertoire in “Echo Muzyczne, Teatralne i Artystyczne.”.In 1904, commissioned by the Philharmonic, he wrote Symphony No. 3 “From Spring to Spring.” In April 1905, he succeeded E. Młynarski as artistic director of the Philharmonic; during the events of 1905, as a result of which the tsarist authorities closed Warsaw universities, Noskowski selflessly continued his teaching duties. On 6 February 1906, he attended the concert of the Publishing Company established by his most outstanding students (Szymanowski, Różycki, Fitelberg, Szeluta); in the same year, he staged his opera Judgment in Warsaw, which was received coldly. In 1907, he participated in the merge of the Philharmonic and the Opera and became the artistic director of both institutions; inevitable compromises with their unpopular administrative director A. Rajchman exposed Noskowski to conflicts with the younger generation of Polish composers. Noskowski resigned as artistic director in September 1908. Despite his progressive heart disease, he continued to run Halka performances in Łódź; he performed for the last time at the Philharmonic in January 1909. He also completed the piano reduction of the opera Revenge according to A. Fredro, the premiere of which, with the unfortunate orchestration by A. Gużewski, took place only on 10 April 1926. Noskowski’s funeral at the Powązki Cemetery in Warsaw (27 July 1909) was a manifestation; many concerts and academies across the country were dedicated to the composer’s memory, but it was only in 1925 that a modest monument for the composer’s grave was funded from public contributions. Some of his manuscripts became the property of WTM; some of them disappeared during World War II; most of the manuscripts of published works were dispersed or remained in publishing archives.
Noskowski’s creative aesthetics was shaped by the works of Moniuszko and Dobrzyński; he discovered Chopin’s music only as a mature artist, and although he developed a cult following it, he was not influenced by it. He shared with Moniuszko a sensitivity to the melorhythmic properties of Polish folk music and the ability to generalise them into a stylistically uniform quality, which he demonstrated already in his youthful Christmas Carol. For him, Dobrzyński was an example of an artist who was the first to tackle the problem of a symphony in the national spirit. This genetic connection with the tradition, which in Polish music never reached the rank of the Chopin tradition, distinguished Noskowski from the composers of his generation and influenced the assessment of his work.
Mastering the compositional technique to perfection allowed Noskowski to develop in 1875–84 his work in the field of large instrumental forms (symphonies, overtures, quartets) and piano music (Krakowiak cycles). His orchestral and chamber works have a classical structure and are characterised by broad developments of thematic material, often having melodic and rhythmic features of Polish folk and national music (1st and 4th movements of Symphony No. 1). The stylization sometimes covers entire sections, which modifies the traditional arrangement of the sonata cycle (3rd movement of Symphony No. 1 – oberek, finale of the Piano Quartet – krakowiak). The links with the classical tradition are emphasised by the use of polyphonic technique (the finales of Symphony No. 2 and the String Quartet No. 2), while in String Quartet No. 3 (before 1884), subtitled “Fantasia,” Noskowski’s tendency to freely shape the course of the links is revealed. The central position in this group of works is occupied by Symphony No. 2 “Elegiaic,” based entirely on material with distinctly Polish melorhythmic features. Noskowski referred here to Dobrzyński’s Symphony No. 2 “Characteristic” (slow movement in the convention of elegy, thematic similarities), trying to give continuity to the tradition of Polish symphonic music; the national message is emphasised by the Krakowiak stylization in the scherzo and a hidden quote from Dąbrowski’s Mazurka in the finale. The dramaturgy of the cycle is highlighted by the multi-thematic structure of the first part and internal motivic connections. The once-famous concert overture Morskie Oko (1875), set against the background of the loud dispute over the Tatra lake, belongs to the circle of numerous works created at that time apotheosing the nation, landscapes and historical mementoes (Smetana, Borodin). In Krakowiak piano songs addressed more broadly, Noskowski found expressive possibilities far from the stereotype defined by the principles of the genre. Using refined harmonies, varied textures and a wide range of agogic means, he created contrasting, colourful cycles of alternating vital and lyrical images, close to Dvořák’s Slavic Dances.
Within a few years after returning to Warsaw (1880), Noskowski completely changed the profile of his work, subordinating it to the needs of the developing centres of musical life and wide audiences. Numerous cantatas, choral and solo songs, piano miniatures and stage pieces in the form of the so-called folk paintings gained enormous popularity, but at the same time, they were also the result of Noskowski’s resignation from his previous artistic aspirations. Noskowski achieved a compromise between the requirements of art and the accessibility of the work in the dramatic cantata Świtezianka, based on Moniuszko’s patterns, to the words by A. Mickiewicz (1886–88), and in impressive suites for choir and orchestra (Wędrowny grajek, Powrót). The cantata Rok w pieśni ludowej and the ballad Jasio in the form of variations are also similar, both based on melodies and folk texts from the collections of M. Mioduszewski and O. Kolberg. The simplicity of folk songs is also characterised by the melodies of the Songbook for Children, written by M. Konopnicka, originating from the composer’s invention, and characterised by extraordinary subtlety. This 50-song depiction of the seasons in children’s songs is unrivalled in all world literature. Other songs with lyrics by Konopnicka are also successful (including Stach) and song fragments from scenes and folk paintings (e.g. Magda’s Song from the music to the play Przeklęty dorobek, popularised under the title The Lark is Singing [Skowroneczek śpiewa]); the rest are generally of a salon character, just like the series of piano miniatures. An interesting feature of the latter is the juxtaposition of Polish and foreign dance motifs (e.g. in Moments de danses Op. 40 – siciliana with krakowiak, polonaise with bolero).
Approx. 1895, Noskowski returned to more ambitious compositional projects, including 2 operas (Livia Quintilla from 1898 and Judgment from 1906), which did not stay on stage longer, mainly due to the weakness of the librettos, but also due to the lack of clear genre features. The ballet Święto ognia (1901) is a development of the idea of earlier vocal-instrumental suites. Noskowski once again focused on symphonic music, but he gave it a clearer national message than before, using quotations from commonly known melodies and reaching for literary commentaries; new orchestration also appeared in works from this period (including a triple composition of woodwind instruments and dense divisi of strings). Such works include the first Polish symphonic poem Step (1896), generally considered to be Noskowski’s greatest work; it takes the form of an extended overture with contrasting themes characterising the sides of the Polish-Cossack conflict with a battle scene in the adaptation. The main value of this composition is the melody with an extremely wide scope, in this case, coming entirely from the creator’s invention. The repeatedly emphasised connections between Step and the novel With Fire and Sword by Sienkiewicz indicate that this work was written “to comfort hearts.” A similar intention is behind the 12 symphonic variations From the Life of Nation (1901), performed under the title From the Life due to censorship. It is a cycle of transformations of Chopin’s Prelude in A major using refined harmonic, textural and colour means, consistent with the late Romantic convention.
The ideological and artistic apogee of Noskowski’s work was Symphony No. 3 “From Spring to Spring” – an apotheosis of native nature and customs, based on the theme of the change of seasons, once again taken up by Noskowski, to which individual links of a coherent work correspond. The composer used quotations from ceremonial folk songs (Oj, Janie Zielony and Plon niesiemy, plon) and religious songs (Kto się w opiekę odda Panu swemu and Kiedy ranne wstają zorze), achieving a particularly solemn mood. This work, which is one of the most outstanding of Noskowski’s achievements and is a consequence of his creative path, was created in a period of rapid changes in European music and did not achieve significance equal to its artistic rank.
Noskowski was characterised by thinking in large wholes, hence his symphonic, chamber and large vocal-instrumental works are of the greatest importance. The basic role here is played by long-breathing, freely developing melody, displaying generalised scale features of Polish folk music; the composer skilfully carried out coherent motifs throughout the entire space of formal units, with the main means of transforming the material being the variation technique, close to the practice of folk music, or a modified development technique with variant features. Comprehensive thinking is related to Noskowski’s ability to maintain constant harmonic movement at a specific level of intensity, which ensures the continuity of form development. Noskowski’s meloharmonic system is in the late Romantic convention, with a tendency to expand tonality not through chromaticity, as in the New German school, but through achromaticity, sometimes interpreted as a manifestation of modality – similarly to Dvořák and other representatives of national schools. Therefore, Noskowski’s harmonics contain whole-tone trills and consonances of fourths and major seconds, which are attached to third-chord structures, temporarily causing tonal ambiguities, and delaying the resolution of tensions. Metrorhythms play an equally important role in shaping broad plans. The structure of phrases is characterised by constant shifts of accents, causing smooth irregularity and metrical ambiguity of the course; in symphonic works, irregular phrases of individual parts interlock, creating a kind of elision orchestral polyphony. As a result of all these workshop procedures, Noskowski gained complete control over the form as a means of expression, using solutions and caesuras at precisely planned points in the course.
The texture of Noskowski’s works remains related to the means of performance and the purpose of the work. Homophonic and dialogical in choral songs, freer and with colourful effects in vocal-instrumental suites and piano Krakowiaks, sometimes artfully polyphonic in the finales of larger forms (fugue ending Psalm 91 for choir and orchestra), in symphonic works it remains purely functional, highly orchestral, subordinated to the overall thinking. In individual voices, there are unresolved sevenths and leading notes, which is related to the elision concept of the musical flow. A characteristic textural device is a fanciful, colourful figurative counterpoint with a lot of foreign sounds, usually located above the main melodic line, closer to heterophony than to the classical rules of voice guidance. The instrumentation of Noskowski’s pieces is also functional, devoid of flashy effects; the division of thematic parts within the orchestra corresponds to the standards of the era, but there is a specific system of doubles and mixtures performed in groups of wind instruments (clarinet with horns or flutes, rarely with oboes combined with bassoon); as a result, sound clarity was achieved.
Noskowski was one of the most outstanding Polish composers of the 19th century, but his music has long been outside the cultural circuit. During his lifetime, he gained fame in Poland with cantatas and songs with patriotic or national themes, but his representative symphonic and chamber works – apart from programme pieces – were not successful and most of them remained in manuscript. After Noskowski’s death, his work was overshadowed by the works of the Young Poland composers, it was also denied any individual characteristics (A. Chybiński), so it gradually disappeared from the repertoire and has not been scientifically interpreted until today. The only documentation of Noskowski’s life and achievements was prepared (W. Wroński). The cursory views in general studies of the history of Polish music have perpetuated a simplified image of Noskowski solely as the creator of the first Polish symphonic poem (Step), a composer who is talented but creates too easily, whose works, occupying an important place in Polish music from a historical point of view, have no significance in the context European music. The superficial knowledge of both Noskowski’s music and the European context reduced to the antinomy of Brahms-Wagner and later Strauss-Debussy meant that Noskowski was not included among the ranks of outstanding European creators of national music, such as Smetana, Borodin, Dvořák, Grieg, Elgar, Sibelius, whose music was also outside the interests of Polish researchers, and whose works became a permanent part of the world repertoire as a heritage of great value. Against this background, Noskowski’s best compositions occupy an equal artistic position.
Noskowski devoted his entire life and talent to Polish music, sometimes putting it ahead of his own artistic aspirations. As a publicist, he fought for the proper assessment of Polish composers of previous generations: Dobrzyński, Moniuszko, and Chopin; in his writings, he discussed current aesthetic issues and current problems of Polish musical life, and promoted the work of his peers (including Żeleński) and young composers (Paderewski), including his students. He continued these activities as a performer and concert organiser. He created the foundations for the functioning of several key music institutions in Poland and spared no effort and material resources to provide them with conditions for development. He educated several generations of Polish composers (nearly 60 people), including P. Maszyński, E. Pankiewicz, A. Rutkowski and the entire generation from the years of Young Poland and later (H. Melcer, F. Szopski, P. Rytel, L.M. Rogowski). Noskowski’s teaching activity places him among the most outstanding composition teachers on a European scale, because although – apart from M. Čiurlionis – he had only Polish students, his achievement is in laying the foundations for the development of Polish music as a collective phenomenon, important in European culture to this day.
Literature: A. Chybiński Zygmunt Noskowski (1846-1909). Syntetyczny szkic, “Przegląd Muzyczny” 1909; A. Sutkowski Zygmunt Noskowski, Kraków 1957; W. Wroński Zygmunt Noskowski, Warsaw 1960 (contains a chronicle of his life and work, a list of compositions and works, and a complete bibliography up to 1950).
Compositions
Instrumental:
orchestra:
Symphony No. 1 in A major, 1874–75, performed in Berlin April 1875, manuscript in WTM Library (some of the manuscripts from the WTM Library collection are available in the form of microfilms at the National Library; the manuscripts of most of Noskowski’s works are considered lost)
Morskie Oko, concert overture Op. 19, 1875, performed in Warsaw 10 November 1875, published in Wrocław before 1888 Hainauer
Symphony No. 2 in C minor “Elegiac,” 1875–79, performed in Warsaw 25 November 1880, manuscript in WTM Library
Solemn March for string orchestra and percussion instrument, 1881, performed in Warsaw 8 May 1881, manuscript in a private collection
Variations in E minor on an Original Theme for orchestra, before 1883, manuscript in WTM Library
Ballet music from “Chaty za wsią:” Taniec cygański / Zigeunertanz, Kołomyjka / Ukrainischer Tanz Op. 16, 1884, published in Wrocław before 1888 Hainauer, published simultaneously in a version for piano for 2 and 4 hands, manuscript in WTM Library
Elegiac Polonaise for orchestra (interlude entitled W starym dworku to a folk painting Dziewczę z chaty za wsią), an orchestra version of Polonaise èlègiaque from 3 pieces for violin and piano Op. 22, 1886, piano clipping published in “Echo Muzyczne, Teatralne i Artystyczne” No. 151, 1886 (musical note addition)
The Highlander Fantasy for orchestra, an orchestra version of The Highlander Fantasy for piano for 4 hands, before 1888, published in Leipzig 1888 Kistner, manuscript in WTM Library
Barcarolle for orchestra, an orchestra version of Vogue la galère z Aquarelles for piano Op. 20, published in Wrocław before 1888 Hainauer, manuscript in WTM Library
4 Krakowiaki for orchestra, an orchestra version of Krakowiaki for piano Op. 25 (issue III: 5. in A-flat major, 6. in D-flat major, issue IV: 7. in A-flat major, 8. in F major), published in Wrocław 1889
Dumka for small orchestra, circa 1890, manuscript in WTM Library
Romans for small orchestra, circa 1890, manuscript in WTM Library
Step, symphonic poem Op. 66, 1896, performed in Warsaw May 1896, published in Warsaw circa 1900 Gebethner and Wolff, 1950 PWM, fragment of the manuscript in WTM Library
Marcia funebre “Cieniom Asnyka” for orchestra Op. 53, 1897, performed in Zakopane 6 August 1897, manuscript in WTM Library
From the Life of Nation. Symphonic Variations on Chopin’s Prelude in A Major (Op. 28 No. 7 F. Chopin) for orchestra, 1901, performed in Warsaw February 1902, manuscript in WTM Library
Symphony No. 2 in F major “From Spring to Spring”, 1903, performed in Warsaw 15 January 1904, manuscript in WTM Library
Odgłosy pamiątkowe, 1904–05, performed in Warsaw October 1905, piano clipping ed. Warsaw circa 1906 Gebethner and Wolff; manuscript in WTM Library
Babia Góra. Pieśń ludowa for orchestra
chamber:
Variationen und Fuge über ein Thema von I.B. Viotti for a string quartet, 1873, performed in Warsaw October 1883, manuscript in WTM Library
Sonata in A minor for violin and piano, before 1875, published in 1992 PWM; manuscript in WTM Library
Piano Quartet in D minor Op. 8, before 1879, performed in Weimar 1880 (according to some sources, this performance with the participation of F. Liszt was preceded in the same year by a premiere in one of the other German cities), published in Leipzig 1880 Kahnt
String Quartet No. 1 in D minor Op. 9, 1875–80, performed in Warsaw 1881, published in Leipzig 1885 Leuckart
2 pieces for violin and piano Op. 3: 1. Melody, 2. Burlesque, before 1880, published in Winterthur 1880 Rieter-Biedermann, published simultaneously in a version for cello and piano and for horn and piano
Lulluby for violin and piano Op. 11, before 1880, published in Wrocław circa 1882 Hainauer; 1951 Czytelnik
String Quartet No. 2 in E major 1879–83, performed in Kraków 16 January 1883 (part 1, 3 and 4), Warsaw 1883 (whole), manuscript in WTM Library
Intermezzo for string quartet (can be identical with 2nd part of String Quartet No. 1 in D minor Op. 9), performed in Kraków 2 May 1883
String Quartet No. 3 in E minor “Fantasia”, before 1884, Warsaw 4 May 1884, manuscript in WTM Library
2 pieces for violin and piano Op. 21: 1. Melodia, 2. Fantaisie-Mazourka de concert, before 1885, published in Wrocław circa 1885 Hainauer; manuscript in WTM Library
Melody op. 21 nr 1 for violin and piano, before 1885, published in Kraków 2002
3 pieces for violin and piano Op. 22: 1. Chanson / Dumka, 2. Danse d’Ukraïne / Trepak, 3. Polonaise élégiaque, circa 1885, published in Wrocław circa 1885 Hainauer, published simultaneously in a version for small orchestra, cello and piano, for piano solo; No. 3 in orchestra version entitled Elegiac Polonaise
3 pieces for violin and piano Op. 24: 1. Chanson ancienne, 2. Chanson moderne, 3. Caprice à la bourrée, circa 1885, published in Wrocław circa 1885 Hainauer, published simultaneously with No. 1 in a version for piano as Op. 24 No. 1a
Humorous Quartet ‘Whichever Way You Like It’ for 2 violins, alto and cello, po 1887, manuscript in WTM Library (voices)
solo:
Variations on F minor on an Original Theme for piano Op. [1], circa 1870, manuscript in WTM Library
Krakowiaki, 8 pieces for piano in 3 issues Op. 2, 1876–77, dedicated to Franz Liszt, Leipzig 1878 Kahnt
3 Krakowiaki for piano Op. 5, 1878–79, dedicated to Józef Ignacy Kraszewski, published in Winterthur 1879 Rieter-Biedermann
Krakowiaki, 6 pieces in 2 issues for piano for 4 hands Op. 7, 1878–80, dedicated to Aleksander Herder, published in Winterthur 1880 Rieter-Biedermann
2 pieces for piano Op. 15: 1. Zadumka, 2. Oberek, circa 1880, dedicated to Aleksander Michałowski, published in Wrocław 1884 Hainauer
Polish Suite for piano Op. 28: 1. Polonez, 2. Kujawiak, 3. Mazur, 4. Kujawiak, 5. Oberek, 6. Kujawiak, 7. Polonez, 8. Mazur, circa 1880, dedicated to Stanisław Ciechomski, published in Wrocław 1890 Hainauer (for 2 and 4 hands)
Highlander Fantasy Op. 17 for piano for 4 hands, 1885, published in Leipzig 1888 Kistner, manuscript in WTM Library; also version for orchestra
Les sentiments for piano Op. 14: 1. L’inquiétude, 2. Consolation, 3. Résignation, 1886, published in Leipzig 1886 Leuckart
Aquarelles for piano Op. 20: 1. Caprice, 2. Cantique d’amour, 3. Valse en miniature, 4. Impromptu, 5. Vogue la galère,
6. La gitana, before 1888, Wrocław before 1888 Hainauer, No. 5 in a version for orchestra entitled Barcarolle
2 Polish dances for piano Op. 23: 1. Cracovienne mélancolique, 2. Mazourka, circa 1888, published in London 1890 Augener
Szkice węglem, nowela muzyczna w formie uwertury w łatwym układzie for piano Op. 23 (wrong opus number), 1888, dedicated to Bolesław Noskowski, published in Kraków 1889 Krzyżanowski
Krakowiaki for piano Op. 25, issue 1: 1. F-sharp major, 2. B-flat minor, issue 2: 3. B minor, 4. G major, issue 3: 5. A-flat major, 6. D-flat major, issue 4: 7. A major, 8. F major, circa 1889, published in Wrocław 1889 Hainauer (for 2 and 4 hands), No. 5–8 published simultaneously in a version for orchestra; manuscript No. 6 and 7 in WTM Library
Melodie ukraińskie / Mélodies rutheniennes for piano for 4 hands Op. 33, issue 1 No. 1: 1. Cantique et Kołomyjka, 2. Chanson, 3. Cantique varié , 4. Danse ruthenienne, issue 2: 5. Romance et chansonette, 6. Trepak, 7. Zadumka, 8. Danse rustique circa 1890, published in London 1891 Augener; manuscript No. 7 in a version for orchestra in WTM Library
3 pieces for piano Op. 26: 1. Krakowiak, 2. Chansonette d’Ukraïne, 3. Polonaise, 1890, published in Wrocław 1890 Hainauer, No. 2 published simultaneously in ed. for violin and piano as Op. 26 No. 2a
Images for piano Op. 27, z. I: 1. à l’improviste, 2. Picador, 3. Monologue, z. II: 4. Cracovienne, 5. Idylle, 6. Zingaresca 1890, published in Wrocław 1890 Hainauer, No. 2 published in ed. for violin and piano Warsaw no year Gebethner and Wolff
Impressions for piano Op. 29: 1. En automne, 2. Espiègle, 3. Dumka, 4. Cracovienne gracieuse, circa 1890, published in London circa 1890 Augener
En pastel for piano Op. 30: 1. Au printemps, 2. Valse sentimentale, 3. Berceuse mélancolique, circa 1890, dedicated to F. Jawdyński, published in Wrocław circa 1890 Hainauer
Pieśni i tańce krakowskie, 6 pieces for piano Op. 31, circa 1890, published in London circa 1890 Augener
Causeries for piano Op. 32: 1. Nostalgie, 2. Mazourka , 3. Canzonetta , 4. Barcarolle , 5. Rondo (d’après une mélodie villageoise), circa 1890, published in Wrocław circa 1890 Hainauer, manuscript in WTM Library
3 utwory for piano Op. 35: 1. Conte d’hiver, 2. Duma, 3. Valse dolente, circa 1890, published in London 1891 Augener
Contes for piano Op. 37:1 Moment lyrique, 2. Chant de berceau, 3. Mazourka ardente, 4. Chansonette d’hiver, 5. Caprice, circa 1890, dedicated to Eugène d’Albert, published in Wrocław 1891 Hainauer
Mazurs for piano Op. 38: 1. Mazur in A major, 2. Mazur in D major, 3. Mazur in G minor, 4. Mazur in E-flat major, 5. Mazur in A minor, 6. Mazur in F major, circa 1890, dedicated to King Umberto I, published in London circa 1890 Augener; manuscript No. 1 in a version for orchestra in WTM Library, No. 5 and 6 in PWM Library
Petit rayon for piano Op. 39: 1. Rêverie, 2. Champêtre, 3. Polonaise mélancolique, 4. Cantilène, circa 1890, published in London circa 1891 Augener
Moments de danses for piano Op. 40: 1. Sicilienne, 2. Krakowiak, 3. Valse sérieuse, 4. Polonaise, 5. Danse d’Ukraïne, 6. Bolero, circa 1890, dedicated to Natalia Janotha, published in Wrocław 1892 Hainauer
Diversités, 3 pieces for piano Op. 41, circa 1890, published in London circa 1891 Augener
Moments mélodiques for piano Op. 36: 1. Les larmes, 2. Gondolière, 3. Chanson mélodique, 4. Sérénade du printemps circa 1891, published in London 1891 Augener; No. 1 published simultaneously in ed. for violin and piano and for cello and piano Warsaw no year Gebethner and Wolff, No. 3 published simultaneously in ed. as above Warsaw no year Gebethner and Wolff
6 polonaises for piano for 4 hands Op. 42: 1. Méditation, 2. Espérance, 3. Elégie, 4. Consolation, 5. Mélancolie, 6. Triomphale, circa 1891, published in London 1893 Augener; manuscript of No. 6 in a version for orchestra in WTM Library
Danses exotiques, 7 pieces for piano for 4 hands Op. 49, circa 1900, manuscript in WTM Library
Pensées lyriques for piano Op. 43: 1. Mélodie méridionale, 2. Morceaux grotesque, 3. Nocturne, 4. Mazourka impromptu, 5. Danse cosaque circa 1893, dedicated to Józef Urnias, published in Wrocław circa 1893 Hainauer
Feuille de trèfle for piano Op. 44: 1. Prélude mélancolique, 2. Scherzo, 3. Pensée fugitive circa 1893, published in London circa 1893 Augener
Stances for piano Op. 46: 1. Sérénade vénitienne, 2. Impromptu à la valse, 3. Arioso, 4. Chant d’amour circa 1893, published in London circa 1893 Augener
Les primevères for piano Op. 47: 1. Valse, 2. Krakowiak, 3. Mazurek, 4. Polonaise de concert, 1894, published in Lviv 1894 Jakubowski and Zadurowicz
Fleurs de printemps for piano Op. 48: 1. Primevère, 2. N’oubliez pas, 3. Rose, 4. Marguerite, 1897, dedicated to Marii Badowska, published in Lviv 1897 Jakubowski and Zadurowicz
Pieśni weselne ludu. Fantazja na tematy ludowe w łatwym układzie for piano, before 1900, published in Warsaw circa 1900 M. Arct
Perły polskie. Fantazja (…) walce osnute na tle pieśni narodowych for piano, circa 1900, published in Kraków circa 1900 Krzyżanowski
Deux mélodies for piano Op. 51: 1. Mélancolie / Zaduma, 2. Barcarolle, circa 1900, dedicated to Aleksander Różycki, manuscript in WTM Library
Two pieces for piano Op. 57, circa 1900, No. 2 preserved entitled Krakowiak in WTM Library
Vocal
secular:
Rozpacz for choir a cappella, circa 1870–72, anonymous text, Warsaw 1890
“Są chwile w życiu” for choir a cappella, anonymous text, published in Kraków circa 1895 Krzyżanowski
Verlassen for choir a cappella, before 1880, text Paul Möbing, manuscript in WTM Library
„Hej, na dzika,” anonymous text, published in Warsaw 1890
Zaszumiał las for choir a cappella, circa 1895, text M. Konopnicka, manuscript in WTM Library
Do siewu for choir a cappella, text M. Konopnicka, manuscript in WTM Library
Pieśń wiosenna for choir a cappella, circa 1895, anonymous text, manuscript in WTM Library
“Ty za ciemną skryta chmurą” for choir a cappella, text A. Niemojewski, manuscript in WTM Library
Wesoło żeglujmy for choir a cappella, circa 1895, text A. Niemojewski, manuscript in WTM Library
Barkarola for choir a cappella, circa 1896, text A. Asnyk, manuscript in WTM Library (duplicate)
Podczas burzy for choir a cappella, circa 1896, text A. Asnyk, published in 1954 PWM, manuscript in WTM Library (duplicate)
“Choć pól i łąk” for choir a cappella, circa 1896, text A. Asnyk, manuscript in WTM Library (duplicate)
Letni wieczór for choir a cappella, 1897, text A. Asnyk, published in 1954 PWM, manuscript in WTM Library
“Daremne żale” for choir a cappella, 1897, text Adam Asnyk, manuscript in WTM Library (preserved also in a version for orchestra from 1897)
Jesień for choir a cappella, 1898, text A. Niemojewski, manuscript in WTM Library (duplicate)
Zaczarowana królewna for choir a cappella, text A. Asnyk, manuscript in WTM Library
Pozdrowienie Tatr for choir a cappella, before 1900, text K. Przerwa-Tetmajer, published in Kraków circa 1900
Obrazy tatrzańskie for choir a cappella: 1. Wezwanie, text W.L. Anczyc, 2. Dolina Kościeliska, text S. Goszczyński, 3. Na Czorsztynie, text M. Konopnicka, 1900, published in 1954 PWM, manuscript in WTM Library
Heldentod, cantata Op. 4, for 4-voice mixed choir a cappella, circa 1875–80, text M. Ihering, Leipzig before 1880 Kahnt
Kantata na cześć Deotymy for 4-voice mixed choir a cappella, 1896, anonymous text, manuscript in WTM Library
religious:
Salve Regina for choir a cappella, circa 1871–72
Before tron Twój for choir a cappella, manuscript in WTM Library
Veni Creator in E-flat major for mixed choir a cappella, Warsaw no year WTM, manuscript in WTM Library
Veni Creator in F major for 2 mixed choirs and ad libitum organ, before 1890, Warsaw 1907 Gebethner and Wolff (supplement to Noskowski’s textbook Kontrapunkt. Kanony. Wariacje i fuga), manuscript in WTM Library
Veni Creator in D-flat major for mixed choir a cappella, before 1897, manuscript in WTM Library
Salve Regina for mixed choir a cappella, before 1897, manuscript in WTM Library (duplicate)
Vocal-instrumental:
songs:
Christmas Carol for voice and piano (“Witaj, gwiazdko złota”; primarily to words by M. Romanowski “Idzie wiarus stary”), 1861, text S. Rzętkowski, published in “Tygodnik Ilustrowany” 23 December 1865
Niewidome dziewczę for voice and piano, circa 1871–72, anonymous text, “Echo Muzyczne” No. 24, 1880 (dodatek nutowy)
Oto jestem for voice and piano, circa 1871–72, text J. Kuczyński, manuscript in WTM Library
Nad kołyską for voice and piano, 1872, text B. Zaleski, published in Warsaw before 1880 Gebethner and Wolff
Sen for voice and piano, circa 1871–72, text H. Heine, published in Warsaw 1872 Gebethner and Wolff
Pożegnanie for voice and piano, circa 1871–72, T. Lenartowicz, published in Warsaw 1872 Gebethner and Wolff
Bajki Ignacego Krasickiego for voice and piano Op. 1, text I. Krasicki: 1. Stary pies i stary sługa, 2. Dwa żółwie, 3. Dzieci i żaby, 4. Zajączek, 5. Nocni Stróże, 6. Ptaszki w klatce, 7. Pan i pies, 8. Kruk i lis, 9. Woły krnąbrne, 1874–78, No. 1–4 published in Warsaw before 1880 Paprocki, No. 1, 4 and 7 lost
Stabat Mater for soprano, alto, tenor, bass, mixed choir and orchestra, 7 parts (uncompleted), 1875,1902 (?), No. 4 performed in (Pro peccatis) Warsaw 10 November 1875, manuscript in WTM Library (sketch of the whole and the score of the first part)
3 songs for voice and piano Op. 6, text R. Reinick, translation by W. Noskowski: 1. Woher ich weiss / Dwa słońca, 2. Wunsch /Życzenie 3. Nachtgesang / Wieczorem, published in Winterthur 1880 Rieter-Biedermann, manuscript in WTM Library (No. 3 lost)
Leb wohl for voice and piano, 1876–80, text A. Traeger, manuscript in WTM Library
Stimme in dunkel, 1876–80, text R. Dehmel, manuscript in WTM Library
Three Songs for voice and piano Op. 74: 1. Białe mgły, text S. Stecki (arrangement of a duettina from music to the folk painting Wieczornice by S. Stecki), 2. Do fiołków, text from Latin Oda XV by M. Sarbiewski, translation by W. Syrokomla, 3. Lulajże mi, text S. Stecki, circa 1882, text S. Stecki, published in Kraków circa 1903 Krzyżanowski, No. 2 published separately Warsaw 1873
Suita for voice and piano Op. 13, text A. Staszczyk: 1. Pieśń Jurachy, 2. Pieśń Bronki I, 3. Pieśń Bronki II, 4. Pieśń dziadów, 5. Krakowiak i oberek (for piano solo), 6. Pochód żałobny (for piano solo), 1882, text A. Staszczyk, published in Kraków 1884 Krzyżanowski
Wędrowny grajek / Fahrender Spielmann Op. 18, suite of mazurkas in 7 parts for tenor/soprano, mixed choir, piano for 4 hands, before 1886, text Cz. Jankowski, translation by L. German, performed in Warsaw 7 April 1886, published in Wrocław circa 1890 Hainauer
Stach for voice and piano, 1886, text M. Konopnicka (Dwie dole), published in “Echo Muzyczne, Teatralne i Artystyczne” No. 147, 1886 (note supplement)
Do konika polnego for voice and piano, circa 1887, text from Latin Oda XXI by M. Sarbiewski, translation by W. Syrokomla, published in Warsaw 1887
Psalm 46 „Bóg wszechmocny” for male choir and orchestra, circa 1887, text z Psałterza Dawida, translation by Jan Kochanowski
Rok w pieśni ludowej. Kantata z pieśni polskiej in 8 parts (based on folk melodies from O. Kolberg’s collections) for soprano, mixed choir and orchestta/piano, 1887, folk text from M.M. Mioduszewski’s collections, performed in Warsaw 21 November 1887, published in Poznań circa 1887 Barwicki (5th part in a version with piano); manuscript in Jagiellonian Library (version with piano)
2 songs for 3-voice female choir and piano Op. 12, anonymous text: 1. Pieśń majowa, 2. Kwiatek górski, before 1888, published in Leipzig before 1888 Kistner
Kantata rycerska (“Patrz, skończony bój zuchwały”) for tenor, male choir and piano/brass band, 1887, anonymous text, published in Lviv 1888
Świtezianka, cantata in 12 parts for soprano and tenor solo, mixed choir and orchestra, 1888 (primary version with piano 1886–87, manuscript in WTM Library), 1888, text A. Mickiewicz, performed in Warsaw 25 March 1888, manuscript in WTM Library
Kantata na obchód 40 rocznicy panowania Cesarza Franciszka Józefa for mixed choir and piano, 1888, anonymous text, manuscript in WTM Library
Psalm 91 “Kto się w opiekę” for solo voices, mixed choir and orchestra, circa 1889, text from David’s Psalter, translation by Jan Kochanowski, performed in Warsaw 1891, published in Warsaw (?) 1891
Śpiewnik dla dzieci for voice and piano Op. 34 (50 songs), 4 parts: 1. Zima, 2. Wiosna, 3. Lato, 4. Jesień, 1890, text M. Konopnicka, published in Warsaw 1890 Spółka Nakładowa, 1958 PWM
Dwie gwiazdki for voice and piano, before 1891, anonymous text, published in “Echo Muzyczne, Teatralne i Artystyczne” No. 485, 1891 (music supplement)
Improwizacja for voice and piano, before 1891, anonymous text, published in “Echo Muzyczne, Teatralne i Artystyczne” No. 485, 1891 (music supplement)
Rozłąka for voice and piano, before 1891, text W. Nawrocki, published in Warsaw circa 1891, manuscript in WTM Library
Jasio, folk ballad in 11 parts for mezzosoprano and tenor solo, mixed choir and orchestra, 1891–92, folk text from O. Kolberg’s collections, performed in Warsaw 1892, manuscript in WTM Library
Serce pęka mi z bólu for voice and piano, before 1893, anonymous text, published in Warsaw 1893
Na Wawel (Krakowiak) for voice and piano, before 1894, text E. Wasilewski, published in Lviv circa 1894 Jakubowski and Zadurowicz
Skowroneczek śpiewa (Krakowiak) for voice and piano, circa 1894, anonymous text (version of Magda’s Song from music to W. Kosiakiewicz’s play Przeklęty dorobek, also version for mixed choir a cappella, circa 1897, published in Poznań 1913, manuscript duplicate in WTM Library), published in Kraków circa 1900 Krzyżanowski, simultaneously published in version for piano solo; manuscript in Jagiellonian Library
Powrót, Krakowiaks’ suite in 8 parts for tenor/soprano, mixed choir and piano/orchestra, 1894, text Cz. Jankowski, performed in Warsaw 1896, published in Warsaw 1926 (version with piano)
Nad Utratą, cantata for mixed choir and orchestra, 1894, text A. Niemojewski, performed in Żelazowa Wola 14 October 1894, manuscript in WTM Library (duplicate)
Księżyc for voice and piano, circa 1895, text A. Niemojewski, manuscript in WTM Library
Na wodzie for voice and piano, circa 1895, text K. Brzozowski, published in Warsaw 1896 Gebethner and Wolff, version for mixed choir Poznań (?) 1898; manuscript in WTM Library
Two Songs for voice and piano Op. 55, text A. Asnyk: 1. Astry, 2. Jestże to prawdą, circa 1895, published in Warsaw 1897 Gebethner and Wolff
Serenada i dumka for voice and piano Op. 54, anonymous text: 1. Lśni księżyc na ciemnym niebie, 2. Drobną rutę siała, 1897, published in Kraków 1897 Krzyżanowski
Zwiędły listek for voice and piano Op. 67, circa 1897, text A. Asnyk, published in Warsaw before 1901 Gebethner and Wolff
Ten Songs for Children for voice and piano Op. 63, 1898, text J. Jankowski, published in Warsaw circa 1900 Paprocki, manuscript in WTM Library
Kantata mickiewiczowska for male choir and orchestra, 1898 (?), text L. Rydel, manuscript in WTM Library
Three Songs for voice and piano Op. 68: 1. Pieśń jesienna, anonymous text, 2. Motyw ludowy, text J. Kościelski, 3. “Słuchaj, dziewczę jedyne,” anonymous text, 1898, published in Warsaw circa 1900 Gebethner and Wolff
W lesie for voice and piano Op. 60, text M. Konopnicka: 1. “Wieczór mglisty, wieczór blady,” 2. “Zagubiona w leśnej ciszy,” 3. „Aż na skraju tej polany,” 4. „Stoję blada, stoję cicha,” before 1899, published in Kraków 1899 Piwarski (with Polish and German texts in anonymous translations); manuscript in Jagiellonian University (version for mixed choir and piano)
Two Songs for voice and piano Op. 58: 1. Pożegnanie, text W. Noskowski, 2. Prośba, text A.M., circa 1899, text W. Noskowski, published in Kraków circa 1900 Krzyżanowski, manuscript in WTM Library, No. 2 published separately in “Echo Muzyczne, Teatralne i Artystyczne” No. 363, 1890 (music supplement)
Five Songs for voice and piano Op. 61/62, text M. Gawalewicz: 1. Z pielgrzymich piosnek, 2. Krótka rozpacz, 3. Smutno, 4. Praktyczna, 5. Z wiosennych strof, circa 1899, published in Kraków circa 1900 Piwarski, manuscript in WTM Library; this collection was published by A. Piwarski in two parts as Op. 61 (No. 1 and 2) and Op. 62 (No. 3, 4, 5); also No. 3 published as Leise fallen die Flocken hernieder London, Augener
Two Songs for voice and piano Op. 71: 1. Z wiosennych tchnień (“Choć kwiaty wkoło”), text M. Gawalewicz, 1899, 2. Pieśń sępa, text M. Romanowski, 1875, No. 2 published in “Echo Muzyczne, Teatralne i Artystyczne” No. 156, 1886 (music supplement) entitled Pieśń o Sławoju
Two Songs for voice and piano Op. 64, text M. Gawalewicz, 1. [not preserved], 2. Dzień dobry, 1899, published in Warsaw circa 1900
Two Songs for voice and piano Op. 69, anonymous text: 1. Z wiosennych tchnień (“Czy wiesz, dziewczyno?”), 2. Noc, circa 1900, published in Warsaw circa 1900 Gebethner and Wolff
Two Songs for voice and piano Op. 70: 1. Pytasz się, text Z. Krasiński, 2. Na rozdrożu (Krakowiak), text W. Noskowski, circa 1900, published in Kraków circa 1905 Krzyżanowski
Song (“Hejże ino, haj!”) for voice and piano Op. 72, circa 1900, text K. Przerwa-Tetmajer (from dramatic fantasia Zawisza Czarny), published in Warsaw 1901
Four Songs for voice and piano Op. 77: 1. Limba, text K. Przerwa-Tetmajer, 2. Czym to się dzieje, moje słońce?, text K. Brzozowski, 3. Polały się łzy, text A. Mickiewicz, 4. Dwie zwrotki, anonymous text, circa 1900, published in Kraków circa 1900 Piwarski
Przechodzień for voice and piano Op. 75, text Bożymir (pseud. J. Podhorska Okołów): 1. Czas już, czas na mnie, 2. Idzie za tobą dusza ma, after 1900, text Bożymir (pseud. J. Podhorska Okołów), published in Kraków circa 1905 Piwarski
Three Songs for voice and piano Op. 76, text M. Konopnicka: 1. Na grób Chopina, 2. Wezwanie, 3. Zakręcił się wiatr, po 1900, published in Kraków circa 1905 Piwarski
Do braci Słowian for voice and piano, 1902, text Miron (pseud. Aleksander Michaux), published in Kraków 1903 Krzyżanowski, manuscript in WTM Library
Three Songs for voice and piano Op. 77, text S. Wyspiański: 1. Pieśń gędźców, 2. Pieśń Ofelii o kwiatku, 3. Pieśń Ofelii o wieńcu z wierzbiny, 1906–08, published in Kraków 1908 Krzyżanowski, manuscript in WTM Library
Kujawiak for male choir a cappella, published in Kraków 1952
Synu Boży, hymn for mixed choir and orchestra, manuscript in WTM Library
Scenic:
operas:
Livia Quintilla, 2-act with a prologue, 1890–98, libretto L. German based on a drama by S. Rzętkowski, premiere Lviv 15 February 1898, introduction to the 1st act published in an arrangement for piano Warsaw circa 1898 Gebethner and Wolff, introduction to the 3rd act published in an arrangement for piano and Lullaby from the 3rd act in an arrangement for voice and piano Kraków circa 1898 Krzyżanowski; manuscript in WTM Library (piano reduction)
Judgement, 2-act, 1906, libretto by composer based on A. Urbański’s Dramat jednej nocy premiere Warsaw 15 September 1906, manuscript in WTM Library
Zemsta za mur graniczny, 4-act (instrumented in 1910 by A. Gużewski), 1902–08, libretto by composer based on A. Fredro’s comedy, premiere Warsaw 10 April 1926, manuscript in WTM Library
operettas, vaudeville:
Warszawiacy za granicą, operetta, 1885, libretto by composer and A. Messyng, premiere Warsaw 1 January 1886, published in: Pieśń Arabeli for voice and piano “Kłosy” 1886, Kadryl charakterystyczny for piano Warsaw circa 1886 Gebethner and Wolff; Spanish song preserved in WTM Library
W Tatrach, vaudeville, 4-act, 1888, libretto K. Junosza (pseud. of K. Szaniawski), premiere Warsaw 16 August 1888, published in: Pocałunek, waltz for voice and piano, “Echo Muzyczne, Teatralne i Artystyczne” No. 267, 1888 (music supplement); Piosnka Cesi for voice and piano in WTM Library, a copy of a fragment for solo, choir and orchestra in a private collection
Nowy Don Kiszot czyli Sto szaleństw, drollery, 3-act, 1890, libretto A. Fredro, premiere Warsaw 21 June 1890, overture preserved in WTM Library
Piorun, vaudeville, 3-act, after 1890 (?), libretto W. Łada (pseud. of W. Noskowski), not staged (?), version with piano preserved in WTM Library
Komedia serc, vaudeville, po 1890 (?), libretto W. Łada (pseud. of W. Noskowski), not staged (?), version with piano preserved in WTM Library
Święto ognia czyli Noc Świętojańska, choreographic fantasia, 3-act with prologue and epilogue, 1898–1901, libretto by M. Prażmowski, premiere Warsaw 14 December 1901, published in an arrangement for piano: Taniec cygański, Taniec Tyry and for voice with piano: Pieśń Cygana, Pieśń Trubadura, Przy wiankach (krakowiak) Kraków circa 1902 Krzyżanowski; piano reduction of 3 fragments of the score in WTM Library
music to theatre plays:
Wiara, miłość i nadzieja, folk picture, 4-act (23 pieces), 1882, text A. Staszczyk, premiere Warsaw 10 July 1882, published in 6 pieces as Suita Op. 13, manuscript in WTM Library
Wieczornice, folk picture, 5-act (25 pieces), 1882, text J. Olechnowicz (pseud. of S. Stecki), premiere Warsaw 18 September 1882, manuscript in WTM Library
Chata za wsią, folk picture, 5-act, 1884, text by Z. Mellerowa and J. Galasiewicz based on a novel by J.I. Kraszewski, premiere Warsaw August 1884, published in 2 pieces (No. 1 and 2) published as Muzyka baletowa Op. 16, Pieśń lirnika in an arrangement for voice and piano “Kłosy” 1020, 1884; manuscript in WTM Library
Dziewczę z chaty za wsią, folk picture, 5-act (continuation of a folk picture Chata za wsią, 14 pieces), 1886, text Z. Mellerowa and J. Galasiewicz based on a novel Chata za wsią, premiere Warsaw 1886, published in: Poznań 1927 Cybulski (piano reduction), Dumka Marysi in an arrangement for voice and piano published in as Dumka, “Echo Muzyczne, Teatralne i Artystyczne” No. 169, 1886 (music supplement), interlude W starym dworku published as Elegiac Polonaise, cf. 3 Pieces Op. 22 for violin and piano; manuscript in WTM Library
Małaszka, folk picture, 6 scenes, 1886, text G. Zapolska, premiere Warsaw 18 August 1886
Budnik, folk picture, 4-act, 1887, text W. Ratyński based on a novel by J.I. Kraszewski, premiere Warsaw 15 June 1887
Pan Zołzikiewicz (Szkice węglem), dramatic picture, 5-act (12 pieces), 1888, text by Z. Mellerowa and J. Galasiewicz based on a novel Szkice węglem by H. Sienkiewicz, premiere Warsaw 22 July 1888, overture published as Szkice węglem… Op. 23 for piano; sketch version with piano in the WTM Library
Hanusia czyli Dla Świętej Ziemi, folk picture, 4-act, before 1890, text I. Maciejowski-Sewer based on his novel Dla Świętej Ziemi, premiere Warsaw 1 August 1890
Na chlebie u dzieci, folk picture, 5-act 1894, text K. Junosza (pseud. of K. Szaniawski), premiere Warsaw 30 August 1894
Kto im łzy powróci, scenic picture, 2-act, circa 1894, text M. Bogusławska based on texts from Z. Gloger’s collections, not staged (?), published in Poznań 1912 Księgarnia św. Wojciecha
Wesoła banda, circa 1894, anonymous text, not staged (?), version with piano in WTM Library
Przeklęty dorobek, folk picture, 5-act, 1894, text W. Kosiakiewicz, Warsaw 29 June 1894, published in: Piosnka Magdy from act III as krakowiak Skowroneczek śpiewa, 7 fragments of piano reduction preserved in WTM Library
Świt nad Gopłem, drama, 8 pieces, po 1894, text M. Romanowski (?), not staged (?), manuscript in WTM Library
Śmierć Ofelii, dramatic scene in a melodrama form, symphonic illustration and 11 songs for soprano and orchestra, 1906, text S. Wyspiański, not staged (?), No. 4 and No. 10 published as No. 2 and No. 3 in Three Songs Op. 77, piano reduction in WTM Library
Editions:
F. Chopin, Mazurka in D major Op. 33 No. 2 in an arrangement for orchestra, 1881
S. Moniuszko, Piosnka żołnierza in an arrangement for orchestra, before 1881, published in Wrocław 1881 Hainauer (also for violin and piano and for piano)
Three Folk Songs for choir and piano Op. 10, 1883, Leipzig 1884 Kistner
Three Folk Songs for choir and piano, circa 1885–95, published as Sielanka, Poznań 1923
F. Chopin, 2 preludes from Op. 28: in E minor No. 4 and A major No. 7 in an arrangement for orchestra, 1886
F. Chopin, Prelude in D major Op. 28 No. 5 in an arrangement for orchestra
F. Chopin, Polonaise in A-flat major Op. 53 in an arrangement for orchestra, 1892
F. Chopin, 2 etudes from Op. 25: F major No. 3 and B minor No. 10 in an arrangement for orchestra, 1892
F. Chopin, 3 mazurkas (F major Op. 25 [68 No. 3], C major Op. 33 and B-flat major Op. 17) in an arrangement for choir a cappella, published as Trzy mazury for mixed choir, text Z. Noskowski, 1894
S. Moniuszko, 8 songs in an arrangement for choir a cappella, 1896–97, published as Osiem pieśni Stanisława Moniuszki, Warsaw po 1900 Gebethner and Wolff
S. Moniuszko, song Moje bogactwa in an arrangement for choir a cappella, 1896–97
S. Moniuszko, song Przy kądzieli in an arrangement for choir a cappella, 1896–97
S. Moniuszko, song Tren X in an arrangement for choir a cappella, 1896–97
Twelve Folk Songs Op. 51, Warsaw 1897 Gebethner and Wolff, manuscript in WTM Library
Twelve Songs Op. 56, 1895–98, Warsaw 1898, manuscript in Jagiellonian Library
W barwach narodowych, 8 Polish songs for mixed choir, circa 1900, manuscript in WTM Library
S. Moniuszko, collection of 15 songs and arias Perły Moniuszkowskie in an arrangement for orchestra, circa 1903, performed in Warsaw 1904, 6 of them also in an arrangement for piano
F. Chopin, 11 songs in an arrangement for piano, published as Chopin dla młodzieży Warsaw circa 1900 M. Arct
S. Moniuszko, Dary and Morel in an arrangement for orchestra, published in Warsaw circa 1900 Gebethner and Wolff
S. Moniuszko, 3 songs in an arrangement for piano, published as Trois chansons de Moniuszko, London no year Augener
S. Moniuszko, piano polonaises in an arrangement for orchestra
F. Chopin, 5 songs in an arrangement for choir a cappella, circa 1904
F. Schubert, Der Wanderer in an arrangement for orchestra, 1904
F. Schubert, Der Doppelgänger in an arrangement for orchestra, 1905
Works by A. Kątski, F. Konopasek, national songs and hymns (including Jeszcze Polska nie zginęła, Boże coś Polskę) in an arrangement for orchestra
Fantasies on themes from operas by G. Bizet, L. Delibes, R. Leoncavall, P. Mascagni, G. Puccini and G. Verdi in an arrangement for piano, all published in “Echo Muzyczne, Teatralne i Artystyczne” (music supplement) or Warsaw M. Arct
for choir or choir with solo voices and orchestra:
F. Chopin, 2 preludes with text by Z. Noskowski: C minor Op. 28 No. 20 entitled Odlot ducha and G minor Op. 28 No. 22 entitled Elfy, performed in Warsaw in 1892
F. Chopin, Funeral March from Sonata in B minor with text of introit from a funeral mass entitled Marsz żałobny Chopina, performed in Warsaw 1899
F. Chopin, song Wojak entitled Odjazd, performed in Warsaw 1899
S. Moniuszko, 5 funeral songs (No. 5–9) from Witolorauda, 1886
S. Moniuszko, religious pieces
Hejże ha! Mazur. Melodia ludowa for male choir a cappella, 1900-1903, published in Kraków 1952
Works:
Istota utworów Chopina, Warsaw 1902 Sikorski
over 60 musical articles and columns, including:
cycle od articles Drogowskazy, “Echo Muzyczne, Teatralne i Artystyczne” 1879 No. 10–13 and No. 15
O prozodii w pieśniach Moniuszki, “Echo Muzyczne” 1880 No. 7
Ideał opery, “Echo Muzyczne, Teatralne i Artystyczne” 1888 No. 237–240
Reforma fugi, “Echo Muzyczne, Teatralne i Artystyczne” 1891 No. 399–403
O Liszcie, “Echo Muzyczne, Teatralne i Artystyczne” 1892 No. 460–464
Wagner w nowym świetle, “Echo Muzyczne, Teatralne i Artystyczne” 1892 No. 474
Przemówienie na odsłonięcie pomnika Chopina w Żelazowej Woli, “Echo Muzyczne, Teatralne i Artystyczne” 1894 No. 577
Władysław Żeleński, “Kurier Warszawski” 1896 No. 115
Znaczenie “Halki” w rozwoju muzyki polskiej, “Tygodnik Ilustrowany” 1900 No. 48
teaching:
Szkółka na skrzypce. Krótka i łatwa szkółka na skrzypce dla dzieci i początkujących według zasad Alarda i Davida (…) z
zastosowaniem melodii polskich ułożył…, Warsaw 1886 F. Hoesick
Krótka i łatwa szkółka for piano dla dzieci i początkujących według szkoły Ludwiga Kohlera z zastosowaniem melodii polskich opracował i ułożył…, Warsaw 1894 F. Hoesick
Wykład praktyczny harmonii jako kurs przygotowawczy do nauki kontrapunktu, with M. Zawirski, Warsaw 1903 M. Arct, 2. published in 1909;
Kontrapunkt. Kanony. Wariacje i fuga. Wykład praktyczny, Warsaw 1907 Gebethner and Wolff, new, extended edition, ed. L. Różycki, Warsaw 1928 Gebethner and Wolff
