Nabokov, Nicolas [Nikolay]
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Noskowski, Zygmunt(b Warsaw, 2 May 1846; d Warsaw, 23 July 1909). Polish composer, conductor and teacher. He studied at the Warsaw Music Institute (1864–7), where his teachers included Apolinary Kątski (violin) and Stanisław Moniuszko (harmony), and in Berlin (1872–5) with F. Kiel (composition) and R.F. Wuersta (orchestration). During the years in Berlin he composed songs, pieces for string quartet and the Symphony in A (1875). This symphony (his graduation piece) later gained first prize (with distinction) in the Carillon international competition for composers in Brussels (1893). From autumn 1875 until the end of 1880 he was based in Konstanz, where he was director of the Bodan singing society and music school. He returned to Warsaw in January 1881 and from that time contributed to the development of musical life in the city. He was director of the Warsaw Music Society (1881–1902), for which he was active as a teacher and organized concerts. He also attempted to organize a regular symphony orchestra, but its existence was disrupted by a constant lack of funds. In 1888 he became professor of composition at the Music Institute, in which capacity he taught a generation of Polish composers. From 1905 to 1908 he was director and conductor of the Warsaw PO, and from 1907 was also director of the opera. He occasionally directed choirs. Throughout his life he wrote music criticism for the daily press and for journals. In his concert reviews he also drew attention to more general musical problems. Noskowski was one of the most important Polish composers of the second half of the 19th century. He composed all types of music, including popular works intended for a wide public and pieces for children. His large output was uneven in quality, and much of it is remembered only for its historical significance. The main characteristic of his style is an emphasis on contrapuntal techniques. This can be seen even in the opera Livia Quintilla, in which the dense polyphonic textures of the orchestra dominate the vocal parts. The most significant music is found in the orchestral and chamber works. Noskowski's musical language is conservative: his harmony goes little beyond that which is characteristic of the first half of the 19th century. His symphonic and chamber works are built on Classical cyclic forms, although the finale of the last symphony consists of five contrasting sections based on transformations of the same theme, thus showing some influence of the symphonic poems of Liszt. The resemblance is, however, rather superficial. Noskowski made extensive use of folk melodies, but these did not inspire him to undertake harmonic explorations. Step (‘The Steppe’) was the first symphonic poem in Polish music; it has colourful instrumentation and some illustrative elements. WORKSstage
other works
WRITINGSwith M. Zawirski: Wykład praktyczny harmonii jako kurs przygotowawczy do nauki kontrapunktu [A practical lecture on harmony as a preparatory course for the study of counterpoint] (Warsaw, 1903) Kontrapunkt, kanony, wariacje i fuga: wykład praktyczny [Counterpoint, canon, variations and fugue: a practical lecture] (Warsaw, 1907) Methods for violin and piano BIBLIOGRAPHYA. Sutkowski: Zygmunt Noskowski (Kraków, 1957) W. Wroński: Zygmunt Noskowski (Kraków, 1960) A. Nowak-Romanowicz and others, eds.: Z dziejów polskiej kultury muzycznej, ii (Kraków, 1966), 294–7, 370–74, 408–10, 434–41, 485–90, 530–32 A. Kaczmarek: ‘Nieznany utwór Zygmunta Noskowskiego’ [An unknown work by Noskowski], Muzyka, xii/4 (1967), 81–3, [cant. in honour of Juliusz Słowacki] A. Spóz, ed.: Kultura muzyczna Warszawy drugiej połowy XIX wieku [Warsaw musical culture in the second half of the 19th century] (Warsaw, 1980) ZOFIA CHECHLIŃSKA Yüklə 10,2 Mb. Dostları ilə paylaş:
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