Great Polish Music is a celebration of Polish music past and present. Listen to magnificent waltzes, polonaises, and mazurka, and amazing stories of the great Polish composers, past and present, And discover the many genres of Polish music from classical, choral, and jazz, to rock, pop, hip-hop, country, house, electric, ska, and even Polish reggae! Polish music has been the world's best kept secret, until now!
Zygmunt
Noskowski was one of the most important figures in Polish music during the
latter part of the 19th century and early 20th century and was considered
Poland's leading composer. Virtually
every famous Polish composer had been taught by Noskowski, including the greats
such as Karol Szymanowski and Grzegorz Fitelberg. Among his students was Apolinary
Szeluto.
Zygmunt
was born in Warsaw where he studied violin and composition at the Warsaw
Conservatory. From 1864 to 1867, hestudied in Berlin with the renown Friedrich
Kiel, thanks to a scholarship.After having served in various capacities,
Noskowski finally returned to Warsaw in 1880 where he served as head of the
Warsaw Music Society from 1880 to 1902.He spent the remaining years of his life in Warsaw.
Among his
repertoire, Noskowski created not only his orchestral compositions, for which
he was well known, but also opera, chamber music, instrumental sonatas and
vocal works.
Wilhelm
Atlmann, a famous critic of the time, commented that Noskowski's chamber music
was "very effective and deserving of public attention and
performance."
Selected works
Symphony
No. 1 in A major (1874-1875)
Morskie
Oko, Concert
Overture for Orchestra, Op. 19
Symphony
No. 2 in C minor, "Elegiac" (1875/9)
Polonaise
élegiaque in E
minor, orchestra (1885)
The
Steppe,
symphonic poem, Op. 66
March
funèbre, Op. 53,
orchestra (1897)
Symphony
No. 3 in F major, "From Spring to Spring" (1903)
Symphonic
Variations on Chopin's Prelude in A, Op. 28/7, subtitled "From the Life of
a Nation"
Livia
Quintilla, opera
(1898)
Wyrok (The Judgment), opera
Zemsta za
mur graniczny (Revenge
for the Boundary Wall), opera
String
Quartet (1875)
Fantasy
for String Quartet (1879)
Piano
Quartet in D minor, Op. 8 (1880)
Recordings
Valentina Seferinova: Piano Works vol. 1: CD ;
Impressions Op. 29; 3 Pieces Op. 35; Moments Melodiques Op. 36: Contes Op. 37;
Feuille de Trefle Op. 44; - Acte Resalable AP0188.
Four
Strings Quartet: Chamber works vol. 1: CD ; String Quartets Nos. 1 & 2
Acte Préalable AP0234.
Jolanta
Sosnowska: Chamber Works vol. 3: CD ; Violin sonata in A minor, Violin
miniatures Acte Préalable AP0248.
Symphonic
poem "Step" Orchestre des Champs Élysées - Philippe Herreweghe (2012
Narodowy Instytut Frederika Chopina / The Frederyk Chopin Institute.
Tadeusz Szeligowski was a famous Polish composer, music teacher, and lawyer. Among his greatest works were operas such as The Rise of the Scholars, Krakatuk and Theodor Gentlemen; and ballets such as The Peacock, the Girl, and Mazepa. He also composed violin concertos, as well as chamber and choral works.
Szeligowski worked as a music teacher in Vilnius, Lublin, Poznan and Warsaw. He wrote for prestigious music journals and magazines such as Kurier Wilenski, Tygodnik Wilenski, Myzyka, and the Kurier Poznanski.
Of his many achievements, he founded the Poznan Philharmonic (1947-49) and the Poznan Musical spring, the latter which was one of the most important music festivals of the time.
Like many of his contemporaries, Tadeusz had his first music and piano lessons from his mother. When only fourteen years of age he began formal music studies at the prestigious Conservatory of Music of the Polish Society in Lvov.
Tadeusz studied piano under the tutelage of Vilem Kurz and then with Zdzislaw Jachimecki and A. Peter; and then studied composition with Boleslaw Wallek-Walewski. Szeligowski enrolled at the famous Jagiellonian University in Krakow, specializing in musicology and law, receiving his doctorate in 1922.
In Krakow he obtained employment as a repetiteur at the Kraków Opera House, a position which gave him the opportunity to become well versed with opera repertoires.
Between 1929 and 1931, he completed his studies in Paris and met many of his contemporaries such as Sergei Prokofiev,
George Enesco, and Arthur Honegger. He also studied composition with the renown Madame Nadia Boulanger and orchestration with Paul Dukas. (Incidentally, Madame Boulanger was a famous French composer whose students included American songwriter Burt Bacharach, Quincy Jones, Wojcheck Kilar, Aaron Copland and so many more!)
In Paris, Tadeusz immersed himself in music, attending many concerts and studying the newest compositions created by Darius Milhaud and Francis Poulenc. He also attended many ballet productions, which featured magnificent performances by Vladimir
Horowitz, Arthur Rubinstein, and Ignacy Jan Paderewski. (the latter was also Prime Minister of Poland during the pre-war years.)
When he resided in Vilnius (Lithuania) working as a lawyer and lecturer at the Conservatory of Music, he met the famous composer Karol Szymanowski and was immediately enthralled by his music. Tadeusz also composed music for many theatrical productions at the famous Reduta Theatre.
In 1931 upon his return to Poland, he continued teaching music until 1939 after which he relocated to Lublin for a short while. World War II broke out on September 1, 1939. After the end of the war he worked for the State Higher School of Music in Poznan, and was appointed director of the National Opera Academy.
He was also one of the organizers of the prestigious H. Wieniawski International Violin Competition. Between 1951 and 1962, Tadeusz worked for the faculty of the Fryderik Copin University of Music in Warsaw, followed by a position as director of the Polish Society of Composers.
Among many of the students who graduated from composition study included the likes of Zbigniew Bargielski, Augustyn Bloch, Joanna Bruzdowicz, Wojciech Lukaszewski, Tadeusz Wojciech Maklakiewicz, Boleslaw Ocias, Witold Rudzinski, Marek Sart, Aleksander Szeligowski and Antoni Szuniewicz.
Today Lvov is belongs to the Ukraine. But from the 15th century until the outbreak of World War II, the city was in Polish hands. Then, it was named Lwow, and was the most important jewel of Poland, a great cultural centre to which the major contributors were Polish and Jews, but also Germans, Ukrainians and Armenians. Lwow, then, as now (in Lviv) had an opera house, symphonic orchestra, conservatory of music and an elite music society. In the hub of this great musical atmosphere, Tadeusz acted as a social organizer, welcoming visiting musicians such as Felix Weingartner, Giuseppe Verdi and Richard Wagner, who often performed their famous works.
Tadeusz Szeligowski died in Poznań on January 10, 1963. He is now buried in the Poznan Skalka crypt of Merit
COMPOSITIONS
Instrumental
Orchestral works
The Peasant King - Overture to the comedy of Piotr Baryka for orchestra (1926)
Kaziuki - St. Casimir's Day,suite for orchestra (1928–29)
Concerto for Orchestra (1930)
Archaic Suite for orchestra (1930)
Little Suite for orchestra (1931)
Clarinet Concerto (1933)
Andante for clarinet and orchestra (1933)
Blue Bird - suite for orchestra (1936)
Epitaph on
the death of Karol
Szymanowski for
string orchestra (1937)
Carol Suite for string orchestra (1939)
Piano Concerto (1941)
Suite for small orchestra of Lublin (1945)
Kupałowa night - suite for orchestra (1945)
Nocturno for orchestra (1947)
Comedy Overture for small symphony orchestra (1952)
The peacock and girl ballet suite for orchestra (1953)
Four Polish Dances for symphony orchestra (1954)
Chamber music
Lithuanian Song for violin and piano (1928)
String Quartet No. 1 (1928–29)
Ricercar for 4 voices, instrumental or
vocal (1931)
String Quartet No. 2 (1934-1935)
Trio for oboe, viola and cello (1935)
Fish ball, song for children's team (1937)
Air grave et gai air for English horn and piano (1940)
Nocturno for cello and piano (1943)
Dance for cello and piano (1943–45)
Poem for cello and piano (1943–45)
Pastorale for cello and organ (1943–45)
Sarabande for cello and organ (1943–45)
Orientale for Cello and Piano (1945)
Quintet for wind instruments (1953)
Sonata for flute and piano (1953)
On the meadow, suite for 2 pianos (1955)
Trio for violin, cello and piano (1955-1956)
Polish love songs for recorders (1959)
Solos (Pianoforte)
Variations on a folk song for piano (1927)
Guitars of Zalamea, for piano (1938–39)
Sonatina for piano (1940–41)
Russian Dance, for piano (1942)
Sonata in d minor for piano (1949)
Two etudes on double sounds for piano (1952)
Small pieces for piano (1952)
Odds and ends for four hands, for piano (1952)
Vocal Score
For solo voices
Nos qui sumus - motet
for two male voices (1929)
O vos omnes - motet for three female voices (1929)
Timor et tremor - motet for contralto and tenor (1929)
Missa de Angelis for 3 female voices (1942)
Ave Maria for three female voices (1943 )
Regina Coeli Laetare for 3 female voices (1943)
Populations meus for 3 female voices (1943)
Veni Creator for 3 female voices (1943)
For choir a cappella
Two Belarusian songs for mixed choir (1930)
Under the canopy of snow - Christmas carol for mixed
choir (1933–34)
Angela sang sweetly - motet for mixed choir (1934)
Quail - Belarusian folk song for male choir (1934)
Regina Coeli Laetare for mixed choir (1934)
Already we have time for male choir (1935)
Song of the sailors, for mixed choir (1938)
Psalm
Joyful in memoriam of Guillaume Dufay for mixed choir (1938)
Mass for choir (1942)
Stabat Mater for mixed choir (1943)
Pange lingua in mixed choir (1943)
Five folk songs from Lublin region for choir female or child (1945)
Five folk songs from the Lublin region for 3 mixed choir (1945)
Four wedding songs from the Lublin region for mixed choir (1945)
Koszalka - Opałka, scherzo for male choir (1946)
A wyjrzyjcież, youths, song for mixed choir (1948)
Song of the 10th anniversary [version II] for mixed choir a
cappella (1955)
Psalm CXVI "Laudate Dominum" for mixed choir and boys' (1960)
Vocal and instrumental
For voice and piano
Wanda, song for voice and piano (1927)
Lithuanian folk songs for voice and piano (1927)
Song of the green for voice and piano (1929)
Lilies - ballad for
voice and piano (1929)
Oaks - elegy for
voice and piano (1929)
In alder - idyll for
voice and piano (1929)
Hops - wedding song for voice and piano (1929)
Floral allegories for voice and piano (1934)
Songs to the words of Jarosław
Iwaszkiewicz for
voice and piano (1945)
Green brzózko, song for voice and piano (1947)
My Girl, song for voice and piano (1947)
The Rose Highway, song for voice and piano (1947)
Arion for tenor and piano (1949)
Demon for tenor and piano (1949)
Doves for soprano and piano (1949)
The Ballad of Kostka Napierski for voice and piano (1951)
With
three Mauretankach, song for
voice and piano (1953)
Soledad for voice and piano (1960)
For various vocal and instrumental ensembles
Psalm XVI - oratorio (1931)
Latin Mass for mixed choir and organ (1932)
Cherry Blues for voice, cello and
piano (1934)
Ave Maria for soprano, female choir and organ (1943)
Aria for soprano and organ (1943)
Sit down everybody around us, suite 12 popular songs from the
years 1810 to 1875 for mixed choir (or soprano and alto) and piano (1945)
Triptych for soprano and orchestra (1946)
Cantata for
sport "100 m" for solo
voice, choir and orchestra (1948)
Wedding Suite for soprano, tenor, female
chorus, mixed chorus and piano (1948)
Wedding in Lublin for soprano, mixed choir and small orchestra
(1948)
The young master and a girl, musical dialogue for soprano, baritone, mixed choir and orchestra or piano (1948-1949)
Rhapsody for soprano and orchestra (1949)
Of hearts card, cantata for soprano, mixed choir and symphony
orchestra (1952)
Sophie, suite for choir and orchestra (1952)
Renegade, ballad for bass and orchestra or piano (1953)
Song of the 10th anniversary [version] for choir.
Stage works
The peacock and the girl, ballet in 3
acts (1948)
Bunt żaków (Student Rebellion), opera in 4
acts (1951)
Szeligowski
was bestowed with numerous awards, and medals. The following is just a few of
them!
1949 –
Third prize at the Second Composers' Competition for Chopin's Piano Sonata
d-moll.
1949 –
Second prize at the Polish Radio Competition for the song The Prince and the girl.
1950 –
State prize of the second degree for The
peacock and the girl, Arion,
and the Lublin Wedding.
1951 –
State prize of the first degree for the opera stage Rise of the scholars,
1963 –
Prize Prime Minister of Poland for his music for children and youth.
1963 –
Music Award of the PCU, awarded every 17 January by the Polish Composers Union
(ZKP — Zwiazek Kompozytorow Polskich)
for lifetime achievement (posthumous)
The City
of Poznań Music Prize (year unknown)
1952 –
Gold Cross of Merit (ZŁOTYM KRZYZEM
ZASŁUGI)
1952 –
Medal Order of Polonia Restituta.
1966 –
A commemorative plaque designed by Józef Kopczyński and placed at House 22,
Chełmoński street, in Poznań, where he lived from 1947.
Karol Kurpinski was among the most celebrated and revered composers in Poland, before Chopin was even born. Kurpinski was
instrumental in establishing the foundations for Polish music of the Romantic
period.
Karol Kurpinski was born on March 6, 1785 in the
Wielkopolska region of Poland and learned to play the violin and organ from his
father. Karol became an organist in the church in Sarnow (near Rawicz) where
his uncle was the parish priest. But needless to say, it was not a case of
nepotism. When Karol was only fifteen years of age, he moved to Myszkow
(eastern Malopolska), to become the second violinist in Feliks Polanowski's
court ensemble.
In his
trips to Lvov, Karol immersed himself in the genre of Italian and German
operatic music.His talent was so
extraordinary, in fact genius, that his was expertise was easily acquired
largely through self-study.
In 1810
Karol arrived in Warsaw, and gave private music lessons in order to earn his
living. Several months later, he landed an appointment as second conductor of
the opera of Wojciech Boguslawski's National Theatre. (Boguslawski was the
director of the National Theatre, and wasconsidered the "Father of Polish Theatre")Karol also assumed the position of tutor and
elevated the performances of the opera's soloists and choir.
Kurpinski
made his conducting debut on August 5, 1810.Soon after he made his composing debut and performed a cantata on
December 4th of the same year, in honour of Napoleon Bonaparte.Two years later he became a music teacher at
the National Theatre School of Drama, and the Warsaw School of Music and
Dramatic Arts.
Kurpinski
was appointed the cour kappelmeister in 1819 by tsar alexander I, and was
decorated in 1823
with the st. stanislaus order.
In 1820
Karol Kurpinski established the first Polish music magazine, "Tygodnik
Muzyczny" and became one of its regular contributors.
At the
behest of the National Theatre, Karol embarked on a fact-finding journey across
Europe, visiting Germany, France, Italy, and AustriaHe studied the operation of their operatic
theatres and published his findings in Dziennik z podozy (Travelling Diary) in
1954.(Published by PWM, edited by
Zdzislaw Jachimecki).
Karol
Kurpinski became the only conductor-director of the National Theatre when Jozef
Elsner resigned his position in July 1824.Kurpinski produced many foreign operas including Gasparo
Luigi Spontini's " La Vestale", Wolfgant Amadeus Mozart's "Don
Juan", Carl Maria von Weber's "Der Freischutz", Francois-Adrien
Boieldieus's "The White Lady", Daniel Francois Augerr's "La
Muette de Portici"and FraDiavolo,
Giacomo Meyerbeer's Robert "Le Diable", Ferdinand Herold's,
"Zampa", Gaetamp Donizetti's "L'Elisir d'amore", Vincenzo
Bellini's "La sonnambula"; and operas by Gioacchino Rossini (Tankred,
The Thieving Magpie, The Barber of Seville, The Italian Girl in Algiers),
Polish operas, and many of his own operatic productions.
Kurpinski
was involved in conducting almost all of Warsaw concerts, including the very
first performance given by Federick Chopin, a solo - Piano concerto in F minor
(March 17, 1830).
After the
failure of the 1830 Polish Uprising, the Main School of Music was closed.In its wake, Kurpinski set up the Teatr
Wielki's School of Singing in 1835, and managed it for the next five
years.He left the National Theatre in
1840, and spent the remainder of his life in solitude.
Karol
Kurpinski died in Warsaw on September 18,
1857.
Compositions
Orchestral music:
Bitwa pod Mozajskiem / The Battle of Mozajsk (Grand
symphony representing this battle)
Concerto for clarinet and orchestra in B flat major
Elegy in C minor (ca 1825)
Harmonic elegy in memory
of the death of two heroes of Russia
Concerto for horn and
orchestra
Polish dance in D major composed for the day of the
city ball for Her Majesty the Mother of the Emperor of all Russia and the King
of Poland
Polonaise in D major on the themes of "Rule
Britannia" and "God Save the King"
Polonaise played for the Tsar of Russia and Polish
King at a ball at His Imperial Highness Duke Governor
Polonaise in D major for dancing composed from the
first finale of G. Spontini's opera "La Vestale"
Polish dance in D major played at the ball at His
Imperial Highness Duke Governor
Polonaise in B flat major for dancing
Polonaise in C major for the annual nameday ceremony
of His Majesty the Tsar of All Russias and Polish King
Polonaise in F major called "Pustota",
from an allegory staged at the Warsaw Theatre on the Eve of the New Year 1823
Polonaise in A major played for His Majesty the Tsar
of All Russias and Polish King at the ball at Duke Governor's (using the themes
of Rossini's opera "Zelmira")
Polonaise in B minor for the annual nameday ceremony
of His Majesty the Tsar and Polish King
Polonaise in D major for the benefis concert of
Zofia Kurpinska
Polish dance in D major played at the ball at His
Highness Duke Governor's on the occasion of the ceremony of birthday of His
Imperial Highness Tsarevitch Constantine
Polish dance in B flat major played at the ball at
His Highness Duke Governor's on the occasion of the ceremony of birthday of His
Imperial Highness Tsarevich Constantine
Polonaise played in C major at the ball at His
Highness Duke Zajaczek's last Tuesday
Polonaise in D major composed for the distinguished
annual nameday ceremony of His Majesty Tsar and King Nicholas I
Polonaise [Pocztarka] in E flat major composed for
the annual nameday ceremony of His Majesty Tsar of all Russias, King of Poland
Nicholas I
Polonaise in D major composed for a ball at the
Court
Polish dance in D major composed for the National
Ball held at the Exchange Hall for Their Imperial and Royal Highnesses
Polonaise in E flat major played at a ball at the
Court
Polonaise in C major played at a ball at the
Exchange Hall on the occasion of the announcement of His Imperial Highness
Crown Prince Grand Duke Alexander Nicholaievich's coming of age
Mazurka in D major played at the ball at His
Highness Duke Zajączek last Tuesday
Grand waltz in B flat major using the motifs from
Weber and Rossini, danced by Miss Mierzyńska and composed for orchestra and
pianoforte
Chamber
music:
Fantasia in C major for string quartet (ca. 1823?)
Nocturne in G major for horn, bassoon and viola
Musical scene in F major for horn and bassoon
Reverie over Wanda's tomb in B minor for clavichord
and violin
Cavatina for trumpet or trombone and piano (ca. 1823)
Fantasia for horn and bassoon
Piano
music:
Six variations in C major
Nine variations in D minor
Potpourri or Variations on various national themes
composed by Karol Kurpiński for the seven-year-old J. Krogulski
Fantasia in C minor "A Dreadful Dream"
Fantasia in A minor
Fantasia in F major
Fugue and coda in B flat major (on the theme of
"Jeszcze Polska nie zginęła" / "Poland Has Not Yet
Perished")
Ball mazurka in D major
Angloise in D major
Mazurka in D major (1821)
Mazurka in D major (1823)
Waltz in B flat major
Grand waltz in B flat major
Polonaise in G major
Polonaise in D minor
Polonaise in G minor
Polonaise in E major
Polonaise in F minor
Polonaise in A major
Polonaise in A minor
Le reveil de J.J. Rousseau au printemps, romanza (1823)
Polonaise dedicated to Zofia Mentzel (1834)
Songs for
many voices:
March of the year 1812 (Do koni, bracia, do koni /
Get on your horses, brothers) for a 4-voice male choir and piano (1812)
To a Hero (Nieśmiertelność nieba w nagrodę co dały /
The immortality which heavens have bestowed in reward), mason chant for a mixed
choir (1814)
Hymn (Próżno na piasek słonce śle oświaty / Idle are
the Sun's reflexes on the sand) for 4 equal voices (1820)
Dumka (Gdy słowik zanuci / When the nightingale
croons)
Elfryda (Gdy w kwiecie młodości/ When at the peak of
youth), romanza
Ludmiła in Ojców (Nastała cisza z nocą ponurą /
Silence has fallen with a gloomy night)
Song of Jabłonna's peasants about their master (Była
ta pora przeszła nie wróciła / The past is gone, will not be back )
Czerna (Piękna i śmiała / Bold and beautiful)
Etwin and Klara (Klara przecudnej urody / Klara of
wondrous beauty)
To Ludmiła (Ozdobo wioski / The gem of the village)
For Zosia (Sprawiedliwość Zosiu śmiała / Justice,
bold Zosia) (1823)
Potpourri or variations on Polish chants composed
for Miss Henrietta Sontag (1830)
Lament on Generał Jasiński (Ze łzą bracie wspomnij
sobie / Remember tearfully, brother)
War Mazur (Nasz Chłopicki wojak dzielny, śmiały /
Our Chłopicki, brave and valiant soldier) (1830)
Camp March (Bracia do bitwy nadszedł czas /
Brothers, the battle time is come) (1831)
Warszawianka / Varsovienne (Oto dzień dziś krwi i
chwały / Today is the day of blood and glory)
A Lithuanian, or the Hymn of Lithuanian Legionaries
(Wionął wiatr błogi na Lechitów ziemie / A blissful wind has blown onto the
Lechian land)
The Patriot's Feelings - A National Chant (Jakiż to
odgłos uszy me uderzą / What is the Sound that Strikes My Ears)
The Day of Holy Fighting Is Approaching, a march (1831)
A Serenade, or the Deadly Goodnight (1835)
Songs for
voice and orchestra:
A Song to the White Eagle (Powstań Biały Orle czarne
pióra z siebie zrzuć / Rise up, White Eagle, throw off the black feathers) (1831)
The Siege of Warsaw (Moskal chce dostać Warszawy /
The Muscovites want to get Warsaw), a mazur (1831)
Cantatas:
Elegy on the Death of Tadeusz Kościuszko for
reciting voice and orchestra
Sacred
music:
Hymn for the Holy Mass of the Polish Catholic
Community [Country mass] for soprano, tenor, bass and organ
Mass in C major for mixed 3(4) voice choir and organ (ca. 1835)
Mass in E minor for mixed 4 voice choir and organ
Oratorio in C major for alto, 2 tenors, bass, 2
trumpets, 2 trombones, double bass, kettledrum and organ (ca. 1840)
Hymn to God - Pleading to Remain Free for solo voice
and piano
Zdrowaś Maryjo / Hail Mary for solo voice, choir,
wind instruments and organ
Pious chants by Karol Kurpiński to poetry by
Feliński, Minasowicz and others, in honour and glory of one God in the Holy
Trinity, for use by the Roman Catholic Christians in Poland for 1-3 voices
accompanied by organ or piano and trombone ad libitum
Te Deum laudamus for solo voice, choir and orchestra
Święty Boże / Good Lord, a psalm for solo voice,
choir, harp and organ
Na śmierć Chrystusa / On Christ's Death for solo
voice and harp
Wzniesienie myśli do Boga / Offering Up Our Thought
to God for solo voice and organ or piano
Stage
music:
Two Cottages, comic opera in 1 act
Lucifer's Palace, comic opera in 4 acts
The Ruins of Babylon, melodrama in 3 acts
Marcinowa z Dunaju w Stambule w seraju / Mistress
Marcin of the Harem, comic
opera in 3 acts
The Charlatan, comic opera in 2 acts
The Emperor's Generosity, comic opera in 1 act
Jadwiga the Polish Queen, comic opera in 3 acts
Alexander and Apelles, melodrama in 1 act
Reward, or the Resurrection of the Polish Kingdom, melodrama (?) in 2 acts
Zabobon czyli Krakowiacy i Górale / Superstition, or
Cracowians and Mountaineers, opera in 3 acts
The Grandfather and the Grandson, melodrama in 2 acts
Jan Kochanowski in Czarny Las, comic opera in 2 acts
Bateria o jednym żołnierzu / The Story of a Soldier, melodrama [intermezzo] in 1 act
Czaromysł the Slavic Prince, or the Nymphs from the
Goplo Lake, comic
opera in 1 act
The Castle of Czorsztyn, or Bojomir and Wanda, comic opera in 2 acts
Kalmora, or the Paternal Right of the Americans, melodrama in 2 acts
