Great Polish Composers: Karol Jozef Lipinski

 October 30,1790 – December 16, 1861

Karol Lipiński was a violinist, composer and conductor; born in Radzyń (Podlasie region), near Lwow (which is now Lvov, Ukraine)

As many great Polish composers and musicians, Lipiński began to learn the violin at the age of five, from his father.  When his family moved to Lwow in 1799, he became the concertmaster of the palace orchestra of Adam Count Starzeński, which was led by Lipinski's father.

During this period of time, Karol became interested in playing the cello and demonstrated a remarkable ability to learn to play it as fast as he did the violin.

In 1809 he accepted the position of concertmaster of the opera theatre orchestra, and three years later became the orchestra's kapellmaster. Five years later Lipinski went to Vienna, and met Ludwig Spohr, a German composer and violinist, who encouraged Lipinski to follow the career of violin virtuoso.  Lipinski heeded his advice, gave up his position at the Lwow theatre, and immersed himself completely in mastering violin technique, and expanding his musical repertoire.

After his Lwow performance in 1817, Lipinski embarked on an ambitious musical tour that took him through Hungary and Croatia on his way to Italy.  There he performed in Venice, Milan, Padua, Verona, and Piacenza to great acclaim.

A year later, Lipinski twice appeared on the stage in Piacenza, with the renown Italian composer and violinist, Niccolo Paganini

As if this tour were not gruelling enough, Lipinski's next tour lasted several years!  During this period of time he performed concerts in Lvov, Kiev, Krzemieniec, Kamieniec Podolski, Vilno, Cracow, Wroclaw, Poznan,Leipzig, Berlin, Moscow, and St. Petersburg.  Everywhere he performed, the crowds of admirers wildly applauded him.

Subsequently he performed concerts in Warsaw in 1827 to 1828, which led to an appointment as first violinist in the Court of the Polish Kingdom.  In May 1829 he performed during the coronation ceremony of Nicholas I,  and then in 1831, in the Tsar's Court. 

After a sojourn of three years, he returned to touring throughout Europe, performing in Leipzig, Frankfurt, and in Paris, (where Chopin collaborated with him), London, Manchester, Wroclaw and Vienna (where he was bestowed with honorary citizenship.)

Lipinski settled in Dresden in 1839, and for the next twenty years, he performed in numerous symphony and chamber concerts, accompanied by Franz Liszt. He also served as the concertmaster for Frederick-August, the King of Saxony. 

His tours took him again to Lvov, Kiev and  Warsaw, and he worked as a teacher while

parenting his teenage sons Jozef Joachim and Henryk Wieniawski.

In 1846, Lipinski was compelled to minimize his concert activities due to suffering rheumatic fever.  In recognition of his great contributions to the royal court, Lipinski was honoured with the Knightly Order of Prince Albert.  When he retired in 1861, he settled in his estate in Urlov and established a music school for talented children.

Major compositions:

Two polonaises op. 1 for violin and orchestra

Siciliano varié op. 2 for string quartet

Symphony in E flat major op. 2 no. 1 (before 1810)

Symphony in C major op. 2 no. 2 (before 1810)

Symphony in B major op. 2 no. 3 (before 1810)

Sonnet for orchestra (before 1810)

Favorite-Mazurka for orchestra (before 1810)

Szlachta czynszowa czyli Kłótnia o wiatr / Tenant Noblity or the Argument about the Wind, opera (1810-14)

Two capriccios op. 3 for violin and piano or for solo violin

Variations in G major op. 4 for string quartet

Variations in G minor op. 5 for violin and orchestra

Three polonaises op. 5 for piano

Concert polonaise op. 6 for violin and orchestra

Rondo alla Polacca in E major op. 7 for violin and orchestra (before 1817)

Trio for two violins and cello op. 8 (1821)

Three polonaises op. 9 for violin and string quartet

Three capriccios op. 10 for violin and piano or for solo violin

Variations on Rossini's opera 'Cinderella' op. 11 for violin and orchestra

Trio for two violins and cello in A major op. 12

Rondo alla Polacca op. 13 for violin and orchestra

Concerto for violin and orchestra in F sharp minor op. 14 (1822)

Variations on the theme of Bellini's opera 'The Pirate' op. 15 for violin and orchestra (ca. 1820-24)

Duo on the theme of Meyerbeer's opera 'Il Crociati di Egitto' op. 16 for violin and orchestra (ca. 1820-24)

Rondo alla Polacca on the theme of Polish songs op. 17 for violin and orchestra (ca. 1820-24)

Rondeau de concert op. 18 for violin and orchestra (ca. 1820-24)

Variations on the theme of the cavatina from Rossini's opera 'The Barber of Seville' for violin and orchestra (ca. 1820-24)

Souvenir de la mer Baltique, divertissements op. 19 for violin and piano or for solo violin

"Military" concerto for violin and orchestra in D major op. 21 (ca. 1826)

Variations de bravoure sur une Romance militaire op. 22 for violin and orchestra

Fantaisie et variations op. 23 on the motifs of Bellini's opera 'La sonnambula' for violin and orchestra (ca. 1824)

Rodacy we Wszechnicy Wrocławskiej / Compatriots at Wroclaw University for 4 voices (1826)

Concerto for violin and orchestra in E minor op. 24 (1830-33)

Adagio elegico op. 25 for violin and orchestra

Fantasia and variations using motifs of Meyerbeer's opera 'Les Hugenots' op. 26 for violin and orchestra"

Three capriccios op. 27 for violin and piano or for solo violin

Great fantasia using motifs of Bellini's opera 'The Puritans' op. 28 for violin and orchestra

Polonoise guerrière op. 29 for orchestra (1837)

Three capriccios op. 29 for violin and piano or for solo violin

Fantasia on Verdi's opera 'Ernani' op. 30 for violin and piano or for solo violin (ca. 1845)

Fantasia on the theme of Neapolitan arias op. 31 for violin and piano or for solo violin

Concerto for violin and orchestra in A major op. 32 (1844)

Fantasia using the motifs of Stefani's opera 'Cracovians and Mountaineers' op. 33 for violin and orchestra (before 1826)

Impromptus op. 34 for violin and piano or for solo violin (ca. 1842)









Top of Form

Great Polish Composers: Franciszek Lessel

1780-1838

Franciszek Lessel was a Polish composer renowned for his innovative contribution to the ensemble instrumentation for Grand Trio for Clarinet, Horn and Piano, Op. 4 (1806)

When Lessel was only 19 years of age he left Poland and travelled to Vienna, where he became Joseph Haydn's student and protege. Lessel studied under his tutelage until Haydn died.But Franciszek's first teacher was his own father, Wincenty, who was a pianist and composer in his own right.  (Incidentally, Wincenty studied under the famous Austrian composer, Karl von Ditters.) Franciszek  indeed inherited a musical pedigree.

 In Vienna, Franciszek rose to fame as a pianist, having composed many piano compositions such as Variations,  Sonata op.2, Adagio, and Rondo op.9. He dedicated his famous composition, Fantaisie in E minor,  to his lover Cecylia Beydale.  Alas, his liaison with the beautiful Cecylia was all too short-lived as it was soon discovered that they had the same mother.

After ten years in Vienna, Franciszek returned triumphantly to Poland where he continued to write compositions and perform as a court musician.  In 1820, Lesser had reached the pinnacle of his fame, and his compositions and chamber works were widely celebrated. The National Theatre in Warsaw played his symphonies and piano concertos to great acclaim.  He was the only Polish composer to present his work in his beloved Poland.  Critics enthusiastically applauded Lesser for his genius,  and noted Mozart's influences in his work.

Lesser was a prolific composer however, an enormous amount of his work has been lost or destroyed. Only a few compositions have been preserved to this day. (One can only surmise that many of his manuscripts, as well as that created by other Polish composers, were destroyed by the Nazi Germans during World War 2.  It was the Nazi plan to not only obliterate the Polish nation, but erase any vestige of Polish culture as well.)

In his later years, Lessel occupied various administrative, directorial positions that were far removed from his first love, music. 

Franciszek Lessel died on December 26, 1838 in Piotrkow Trybunalski.

 

Major compositions

Orchestral works:

Overture in C major op. 10

Symphony in B minor

Symphony in E flat major

Symphony in B flat major

Symphony in D major

Symphony in G minor (1805)

Works for solo instrument accompanied by orchestra:

Adagio et rondeau à la polonaise op. 9 for piano and orchestra (1807)

Caprice et variations op. 10 for piano and orchestra

Potpourri op. 12 for piano and orchestra

Concerto for piano and orchestra in C major op. 14

Concerto for horn and orchestra in E major

Concerto for horn and orchestra in E flat major

Concerto for 2 flutes and orchestra

March for flute and orchestra

Variations for flute and orchestra

Variations for horn and orchestra

Capriccio in D major for clarinet and orchestra

Chamber works:

Three concert duos op. 1 for 2 flutes

Quartet for flute, violin, viola and cello op. 3

Grand Trio in E flat major op. 4 for piano, clarinet and horn (1804)

Trio for piano, violin and cello in E major op. 5

Duo pour deux flûtes et Variations sur un thème de l'opéra Faniska de Cherubini op. 7

Fantaisie caractéristique op. 31 for piano, violin, viola and cello (1822)

Two sextets for 2 clarinets, 2 horns and 2 bassoons

Three partitas for 2 clarinets, 2 horns and 2 bassoons

Piano quartet in E flat major

Piano quintet in F minor

String quartet no. 1 in A major

String quartet no. 6 in D major

String quartet no. 8 in B major (1824)

Fantasia for string quartet

Trio for 2 clarinets and bassoon

Duet for 2 clarinets

Variations for piano for 4 hands and violin

Piano works:

Three piano sonatas op. 2

Fantasia in C major op. 8

Adagio and fugue in D minor op. 11, for 4 hands

Fantasia in E minor op. 13

Variations op. 15 no. 1

Variations op. 15 no. 2

New polonaise in D major

Vocal and instrumental works:

 

Mass in C major for 4 solo voices, mixed choir and orchestra

Mass in B flat major for 4 solo voices, mixed choir, orchestra and organ (1813)

Funeral mass in G major for 4 solo voices, mixed choir, orchestra and organ

Ave Regina, offertory for 3 voices and orchestra

Graduale Benedictus et venerabilis for voices and orchestra

Three motets for voice, 2 violins, bass and organ

Tantum ergo for 4 voices and orchestra

Songs for voice and piano to the words by Julian Ursyn Niemcewicz:

Piast

Bolesław Śmiały

Władysław Jagiełło

Zawisza Czarny

Kazimierz Jagiellonczyk

Jan Tarnowski

Stefan Batory

Jan Kazimierz

Jan III Sobieski

The Funeral of Prince Józef Poniatowski

Ballets:

La Dancomanie

Les marchands de Modes

Great Polish Composers: Juliusz Zarebski

Juliusz Zarebski was born on March 3, 1954 in Zytomierz, (now Ukraine) and received his musical instruction from his mother, who was his first piano teacher.   He was as exceptional a scholar as he was a musician, and graduated with honours from the gymnasium.

Zarebski moved to Vienna to enrol at the Conservatorio de la Sociedad de Amigos de la Musica. There he studied composition under the tutelage of Franz Krenn, and piano with Joseph Dachs.   Two years later, Zarebski graduated with two gold medals.  A year later he moved to St. Petersburg and studied for three more years, and then to Rome were studied piano with his friend and mentor, Liszt.  The Hungarian composer went to great lengths to promote Zarebski and his work,  by appearing with him at his concerts, and appealing to his personal contacts for their moral support.

Zarebski composed songs based on the poems of Adam Mickiewicz and Wlodzimierz Wolski and often referred to Liszt and Chopin in his works.

In the spring of 1874, Zarebski began his career in earnest, performing in Odessa and Kiev followed by more performances in Rome, Naples, Constantinople, Warsaw, Paris, London and many other European cities to great acclaim!

Juliusz became interested in the two piano keyboard, a novel invention of Edouard Mangeot, and with practice, was able to master it within two months. So enthralled he was with this unique instrument that he composed a repertoire especially for it, and performed these work at the 1878 Paris Exhibition.  Audiences and critics alike praised his genius!  

Zarebski moved to Brussels to accept a teaching position at the Royal Conservatory. He dedicated himself to teaching piano master classes. During this time he composed many works such as the five movements of Les roses et les epines, culminating with his 1885 cyclical Piano Quintet in G minor.  His career had come to an end when he was diagnosed with tuberculosis.  He died on  September 15, 1885.

"The Quintet for Piano and Strings in g minor was composed in the year of his death. It is a work on a grand scale. Zarebski knew that he was dying and almost certainly felt that this quintet would be an important part his musical testament. The opening Allegro is at once brooding, lyrical and powerful. The music is an interesting blend, showing the influence of Brahms as well as that of Cesar Franck. The integration of the piano with the strings—always a concern, especially when the composer is a piano virtuoso—leaves nothing to be desired. The piano fits in seamlessly and does not dominate the strings. The following Adagio seems to break all bounds of time and space. Tonally interesting, the strings speak amongst themselves in subdued and leisurely voices. The second theme is derived from the first movement. Perhaps the most striking movement is the Scherzo with its driving main theme and two trios. The use of pizzicato and harmonics is particularly effective. In the last movement, marked Finale, there are echoes of Faure as well as Brahms. Liszt, to whom the Quintet was dedicated, judged it perfect. Certainly, it is a work of great originality and deserves to join the foremost rank of piano quintets and be heard in concert." 

(Review of Zarebski's Piano Quintet, by editor of The Chamber Music Journal)

source:  http://www.editionsilvertrust.com/zarebski-piano-quintet.htm

Compositions

Andante ma non troppo, (BN)

Romance sans paroles, in F minor, ca. 1870, (BN)

Adieu, in F minor, ca. 1870, (BN)

Maria, Piano 4-hands, 1871, (BN)

March, pf 4 hands, 1875

Grande fantaisie, 1876

Menuet, Op. 1, 3 danses galiciennes, piano 4-hands, Op. 2 (Berlin 1880)

Concert étude, in G major, Op. 3 (Berlin 1879)

4 Mazurkas, pf 4 hands, Op. 4 (Berlin 1880)

2 morceaux en forme de mazurka, piano 4-hands, Op. 5 (Berlin 1881)

Grande polonaise, in F# major, Op. 6 (Berlin 1881)

3 études de concert, Op. 7 (Mainz 1881)

Concert-mazurka, in C minor, Op. 8 (Mainz 1882)

Fantaisie polonaise, Op. 9, ca. 1877 (Mainz 1882)

Polonaise mélancolique, Op. 10 (Mainz 1882)

Polonaise triomphale, Piano 4-hands, Op. 11 (Mainz 1882)

Divertissement à la polonaise, Piano 4-hands, Op. 12 (Mainz 1883)

Les roses et les épines, Op. 13 (Mainz 1883)

Impromptu-caprice, Op. 14 (Leipzig 1883)

Mazurka de concert, No.2, G minor, Op. 15 (Leipzig 1883)

Suite polonaise, Op. 16 (Leipzig 1883)

Valse sentimentale, Op. 17 (Leipzig 1884)

Ballade, in G minor, Op. 18 (Wrocław 1884)

Novellette-caprice, Op. 19 (Wrocław 1884)

Sérénade burlesque, Op. 20 (Wrocław 1884)

Berceuse, Op. 22 (Leipzig 1884)

A travers Pologne, Piano 4-hands, Op. 23 (Wrocław 1884)

Valse-caprice, Op. 24 (Leipzig 1884)

Tarantelle, Op. 25 (Leipzig 1885?)

Sérénade espagnole, Op. 26 (Leipzig 1883)

Etrennes, Op. 27 (Wrocław 1885)

Polonaise, Op. 28 (Leipzig 1885)

Gavotte, Op. 29 (Leipzig 1885)

Valse, Op. 30 (Leipzig 1885)

Barcarolle, Op. 31 (Leipzig 1885)

Menuet, Op. 32 (Mainz 1885)

Great Polish Composers: Ignacy Feliks Dobrzynski

 

Ignacy Feliks Dobrzynski was a Polish composer, conductor and pianist and a contemporary of Frederic Chopin, both classmates under the tutelage of the famous Jozef Elsner in Warsaw.

Ignacy's potential was evident at a very young age, and his musical ability blossomed under the guidance of his father, Ignacy Sr. (a violinist, composer and conductor in his own right.)  

In 1825 Ignacy initially took private lessons with Jozef Elsner and after a year was enrolled in the Main School of Music for another two years.

Ignacy lived in Warsaw for most of his life, where he composed his great works, as well as teaching and organizing musical groups.  In 1835 he won second prize at the Vienna competition for composing for his Symphony no. 2 in C-minor, Op.15.   The composition was praised among his peers and audiences alike.  Leipzig later performed various selections from Ignacy's  Symphony in Warsaw, with Felix Mendelssohn-Bartholdy conducting.  In 1862, the piece was published by Sennewald albeit in a version for two pianos.  It was dubbed, Symfonia charakterystyczna w duchu muzyki polskiej (Symphony in the Characteristic Spirit of Polish Music.)

In March 1845 Dobrzyński  traveled extensively  around Europe performing  his compositions in Berlin, Leipzig, Dresden, Munich, Bonn, Frankfurt and Vienna.  He resided in Berlin for awhile,  working as a music teacher.   

He was forbidden to return to Poland because of the political tone of some of the patriotic songs he wrote.  One was titled, "Do matki Polki" ( To a Polish Mother), based on a poem written by the famous Polish poet, Adam Mickiewicz.  The lyrics encapsulated the enduring spirit of the Polish people in the face of brutal repressions by the Russian regime.  It wasn't until September 1847, that Ignacy finally returned to Warsaw.

Five years later, Dobrzyński was appointed opera manager at the Teatr Wielki, though his office was short-lived. Nevertheless he continued to work as symphonic conductor for the opera house in the ensuing years. In 1857, he established the Ignacy Feliks Dobrzynski Polish Orchestra, comprising of many distinguished musicians from Teatr Wielki.

Dobrzyński  was a member of the Lvov Music Society, as well as a committee member of the Institute of Music.  But by 1860 his health began to fade, limiting his participation in the Warsaw music scene.  Despite the limitations, he devoted himself completely to composition.  He wrote his first opera, Monbar dzyli Flibustierowie/Monbar (or the Filibusters, Op.30) which premiered in Warsaw at the Teatr Wielki in 1863. Pieces of his work were played in concert halls throughout Warsaw, Poznan, Berlin and Dresden.

He died October 9th, 1867, in Warsaw.

Major compositions:

Polonez A-dur / Polonaise in A major for piano (1823)

Overture de concert À grande orchestre op. 1 (1824)

Concerto pour le Piano op. 2 (1824)

Introduction et Variations sur un thème original à la russe op. 4 for piano (ca. 1824)

Mazurek / Mazurka for piano (1825-26)

Nowy polonez z tematów opery "Sroka złodziej" G. Rossiniego / New polonaise on the themes of Gioacchino Rossini's opera "The Thieving Magpie" for piano (ca. 1826)

Deux polonaises for piano (ca. 1826)

Rondo alla polacca op. 6 for piano and orchestra (ca. 1827)

I Kwartet smyczkowy e-moll / String Quartet no. 1 in E minor op. 7 (ca. 1828)

II Kwartet smyczkowy d-moll / String Quartet no. 2 in D minor op. 8 (1829)

Introduction et Variations sur un thème original op. 9 for violin and piano (ca. 1829)

Fantaisie quasi Fugue sur un Masurek favori op. 10 for piano (ca. 1828)

I Grande Symphonie op. 11 (1829)

Pożegnanie / Farewell, a melancholic polonaise for piano (1829)

Variations de concert sur une mazure favorite op. 12 for piano and orchestra (ca. 1830)

III Kwartet smyczkowy E-dur / String Quartet no. 3 in E major op. 13 (1830)

Fantaisie et Variations dans le style facile et brillant sur la Masure (Kujawianka) op. 14 for piano (ca. 1830)

Marsz ulubiony ks. Józefa Poniatowskiego / Prince Józef Poniatowski's Favourtie March for orchestra (1830)

Marsz Gwardii Narodowej / The National Guard March for orchestra (1830)

Kantata na cześć walecznych obrońców Ojczyzny / Cantata in Honour of the Valiant Defenders of the Country for 4 solo voices, mixed choir and orchestra (1830)

Trois mazurkas op. 16 for piano (ca. 1831)

Marche triomphale for orchestra (1831)

II Symfonia charakterystyczna w duchu muzyki polskiej c-moll / Symphony no. 2 in the Characteristic Spirit of Polish Music op. 15 (1831)

Grand trio op. 17 for violin, cello and piano (ca. 1831)

Introduction et Variations non difficiles sur une masure favorite op. 18 for flute and piano (1831)

I Kwintet smyczkowy F-dur / String Quintet no. 1 in F major op. 20 (1831)

Marsz za Bug / Crossing the Bug River March for mixed choir and piano or organ (1831)

Trois nocturnes op. 21 for piano (ca. 1833)

Theme original varie op. 22 for piano (ca. 1833)

Souvenir. Deux mazurkas op. 25 for piano (ca. 1834)

Trzy mazurki / Three mazurkas op. 27 for piano (ca. 1834)

Fantaisie sur un thème original op. 28 for bassoon and orchestra (ca. 1834)

Kantata na imieniny hr Henryka Łubieńskiego / Cantata for Henryk Count Lubienski's Nameday for mixed choir and orchestra (1834)

Monbar czyli Flibustierowie / Monbar or the Freebooters[aka "Filibusters"] op. 30, opera in 3 acts (1836-38)

Deux polonaises concertantes À grand orchestre op. 31 (ca. 1839)

Fantaisie op. 32 for violin and orchestra (ca. 1839)

Kantata na uroczystość obchodzoną w Resursie Kupieckiej / Kantata for a Function at the Merchant's Hall op. 34 na 3 sopranos, female choir and orchestra (ca.1839)

Fantaisie pour la trompette À piston avec orchestre op. 35 (ca. 1839)

Deux mazurkas op. 37 for piano (ca. 1840)

Marche funebre op. 38 for orchestra (ca. 1840)

Grande fantaisie sur des motifs de l'opéra "Les Flibustiers" for violin and orchestra (ca. 1840)

Sekstet smyczkowy Es-dur / String sextet in E flat major op. 39 (ca. 1841)

II Kwintet smyczkowy a-moll / String quintet no. 2 in A minor op. 40 (ca. 1842)

Romanza for oboe, string quintet and double bass (ca. 1842)

Les larmes op. 41 for violin or cello and piano (1843)

Andante et Rondo alla polacca op. 42 for flute and orchestra (ca. 1843)

Theme varié op. 42 for cello and piano (ca. 1843)

Elégie op. 43 for cello and orchestra (ca. 1843)

Kantata / Cantata op. 44 for soprano, mixed choir and orchestra (1843)

Introduction et Variations sur theme original pour le trombone avec orchestre op. 45 (ca. 1845)

Nocturne op. 46 for cello and piano (ca. 1845)

Souvenir de Dresde op. 47 for oboe, cello and piano (1846)

Résignation op. 48 for piano (ca. 1846)

Ricordanza op. 49 for piano (ca. 1846)

Gage d'amitié. Nocturne suivi d'une mélodie polonaise op. 52 for piano (1846)

Umoresca capriciosa sur un theme italien op. 53 for orchestra (1847)

Impromptu op. 54 for piano (ca. 1846)

La Primavera. Morceau brillant op. 55 for piano (ca. 1846)

Scherzo op. 56 for orchestra (ca. 1849)

Śpiewka o ponczu / Song about Punch for 2 solo voices, male choir and piano (1849)

Sen chrześcijanina / A Christian's Dream op. 57, religious fantasia for 10 instruments (ca. 1850)

Fantaisie sur des thèmes de l'opéra "Don Giovanni" de W.A. Mozart op. 59 for piano (ca. 1846)

Mouvement et repos. Grande étude op. 60 for piano (ca. 1847)

Tarantella op. 61 for piano (przed 1850)

Grande étude chromatique op. 62 for piano (before 1850)

Six harmonies sur le célèbre thème "God save the King" for string quartet (ca. 1850)

Święty Boże / O Holy God op. 61, supplications for 4 solo voices, choir and orchestra or organ (before 1851)

Lamentacja nad grobem Chrystusa Pana / Lamentation at the Grave of Christ the Lord op. 62 for choir and orchestra (1851)

Retablissement. Grande valse brillante op. 63 for piano (before 1852)

Myśl ulotna / A Fleeting Thought for piano (before 1852)

Marsz na złote wesele J. Elsnera / March on the Occasion of Jozef Elsner's Golden Wedding Anniversary for orchestra (1852)

Pieśń do Najświętszej Marii Panny / Song to Our Lady op. 58 for soprano, mixed choir and organ (before 1853)

Danse napolitaine op. 65 for piano (ca. 1853)

Marsz żałobny na śmierć J. Elsnera / Funeral March for Jozef Elsner for brass wind orchestra (1854)

Tableau musical for orchestra (1856)

Marsz żałobny na śmierć Fryderyka Chopina / Funeral March for Fryderyk Chopin op. 66 for mixed choir and orchestra (1857)

Veni Creator op. 67 (68) for male choir and wind instruments (ca. 1857)

Polonez na dzień dojścia do pełnoletności carewicza Mikołaja Aleksandrowicza / Polonaise on the Occasion of Prince Nicholas Alexandrovich Coming of Age for orchestra (1859)

Konrad Wallenrod op. 69, music to a dramatic adaptation of the poem, in three acts [unfinished] (1859-64)

Burgrafowie / The Burgrafs op. 70, music to a drama, in three acts (1860)

Sztuka i handel / Art and Trade, music to a comedy in three acts with a prologue (1861)

Mazur for male choir and orchestra (1865)

Studium na temat oryginalny w dubeltowym kontrapunkcie w 8 postaciach / Study on an original theme in double counterpoint in 8 forms op. 62 for string quartet (1867)