Noskowski

Both Zygmunt Noskowski and Władysław Żeleński were leading exponents of Polish nationalism in the period from the last quarter of the 19th century. Noskowski is best remembered as a symphonist but his large-scale Violin Sonata in A minor is an imposing work that suggests the influence both of Beethoven’s ‘Kreutzer’ Sonata and of Brahms. Żeleński was as eminent a teacher as he was a composer, seeking to broaden Poland’s provincial outlook through works such his opera Janek (Naxos 8.660521-22). His Violin Sonata in F major typifies the essentially conservative idiom that Żeleński pursued in his maturity.

Few listeners know much, if anything, about Zygmunt Noskowski (1846–1909), even though Szymanowski featured among his distinguished students and Moniuszko among his renowned teachers. And yet, for most of the 19th century, Noskowski was the primary exponent of modern symphonic music in Poland. As a conductor and concert organiser, he himself championed the causes of forgotten Polish composers. Now it's the turn of Antoni Wit, who succeeded Noskowski at the helm of the Warsaw Philharmonic 94 years after his retirement, to raise the profile of his late-romantic colleague, having similarly promoted the music of Zygmunt Stojowski on a previous Capriccio recording (C5464).

Providing an overview of almost a century, this album reflects the aspirations of Polish nationalism through the works of three pivotal figures. Karol Kurpiński laid the foundations of a national style and his Fantasy for String Quartet is both serious and ingenious in design. Zygmunt Noskowski, considered the country’s leading composer during the last decade of his life, was a mentor to future generations and crafted a witty piece on a theme of Viotti, including the use of a polacca. Stanisław Moniuszko’s quartets balance the hymnal with the rustic, being lively, unexpected and bracing.

Although the two violin sonatas featured on this album were created less than fifteen years apart, they differ from each other in many respects. What is more, the former is known to a small group of recipients, whilethe latter has been conquering concert halls around the world for over a hundred years, gaining more and more followers.

Brzezinski's best work is undoubtedly his violin sonata - a work of searing expressiveness and emotional turbulence, especially in the central adagio which, towards the end, seems to paraphrase the lovely cantilena of Max Bruch's Adagio Appassionato op.57. The sonata by Brzezinski's contemporary and friend Józef Szulc (the Polish spelling of the German name 'Schultz') is his only known work in this or any genre. According to the booklet notes, it "lies on the border of light music and classical" (sic), but a rather sniffy view like this does not stand up well to scrutiny, even if the second half of the work does not quite replicate the poetic heights of the first.

This new release from DUX presents two 19th-century works of two Polish composers belonging to two different generations, so far almost unknown.