Zygmunt Noskowski

Zygmunt Noskowski studied at Chopin University of Music. Karol Szymanowski, Henryk Bobiński and Ludomir Różycki are recorded as having studied under Zygmunt Noskowski. The recorded working language is Polish. Subjects and genres recorded for the work are opera, symphony, classical music and liturgical music. Employment is recorded with Chopin University of Music.

Noskowski was born in Warsaw and was originally trained at the Warsaw Conservatory studying violin and composition with Stanisław Moniuszko, graduated with distinction in 1867. A scholarship enabled him to travel to Berlin where between 1872 and 1875, he studied with Friedrich Kiel, one of Europe’s leading teachers of composition. After holding several positions - kapellmeister and conductor of the Bodan Choral Society in Konstanz, Noskowski returned to Warsaw in 1880 where he remained for the rest of his life, professor of composition at the Warsaw Conservatory and conductor of Warsaw Society of Friends and the Warsaw Philharmonic (1905-1908). He worked not only as a composer, but also became a famous teacher, a prominent conductor and a journalist. He was one of the leading figures in Polish music during the late 19th century and the first decade of the 20th. He taught virtually all of the important Polish composers of the next generation, including Karol Szymanowski and Grzegorz Fitelberg. He served as head of the Warsaw Music Society from 1880 to 1902 and was considered Poland’s leading composer during the last decade of his life. He died in Warsaw. While Noskowski is best known for his orchestral compositions, he composed opera, chamber music, instrumental sonatas and vocal works of importance. Discussing Noskowski's chamber music, the famous critic and scholar Wilhelm Altmann wrote that it was "very effective and deserving of public attention and performance." Judging from the piano quartet written in 1879, one can hear that Noskowski had assimilated the recent musical developments taking place in Central Europe but the music, other than structurally, shows little or no influence of any of the major composers of the time, such as Brahms, Liszt, or Wagner, who were then dominating the scene.

• Symphony No. 1 in A major (1874–75) • String Quartet, Op. 9 (1875) • Morskie Oko, Concert Overture for Orchestra, Op. 19 (1879) • Symphony No. 2 in C minor, "Elegiac" (1875–79) • Fantasy for String Quartet (1879) • Piano Quartet in D minor, Op. 8 (1880) • Polonaise élegiaque in E minor, orchestra, Op. 22 No. 3 (1885) • The Steppe, symphonic poem, Op. 66 (1895) • Marche funèbre, Op. 53, orchestra (1897) • Livia Quintilla, opera (1898) • Symphonic Variations on Chopin's Prelude in A, Op. 28/7, subtitled "From the Life of a Nation" (1901) • Symphony No. 3 in F major, "From Spring to Spring" (1903) • Wyrok (The Judgment), opera (1906) • Zemsta za mur graniczny (Revenge for the Boundary Wall), opera based on a play by Aleksander Fredro (1902–08)