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Zygmunt Noskowski: Symphonies Nos. 1 & 2

Staatsphilharmonie Rheinland-Pfalz, Antoni Wit

Awards:

A former Music Director of the Warsaw Philharmonic, Noskowski was also one of the most prominent Polish composers of the late nineteenth century, but recordings of his music are few and far...

Zygmunt Noskowski: Symphonies Nos. 1 & 2

Staatsphilharmonie Rheinland-Pfalz, Antoni Wit

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Awards:

A former Music Director of the Warsaw Philharmonic, Noskowski was also one of the most prominent Polish composers of the late nineteenth century, but recordings of his music are few and far...

About

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).

Contents and tracklist

I. Moderato mIsterioso
Track length10:01
II. Scherzo (Vivace)
Track length8:10
III. Elegia (Andante)
Track length8:58
IV. Finale. Per aspera ad astra
Track length8:07
I. Allegro molto
Track length13:06
II. Adagio cantabile
Track length11:14
III. Vivace
Track length9:43
IV. Finale. Allegro con fuoco
Track length10:50

Spotlight on this release

Awards and reviews

  • Presto Editor's Choice
    August 2023

August 2023

A former Music Director of the Warsaw Philharmonic, Noskowski was also one of the most prominent Polish composers of the late nineteenth century, but recordings of his music are few and far between. His compatriot Wit does him proud here, revelling in the Polish dance-rhythms which pepper the scherzos of these two symphonies from the 1870s and pacing the sweeping outer movements of the 'Elegijna' (echoes of Schumann and shades of early Tchaikovsky here) to perfection.
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