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Zygmunt Noskowski - Variations and Fugue on a Theme of Viotti (Four Strings Quartet)

Zygmunt Noskowski - Wariacje i fuga na temat Viotti'a Written in 1873 Performance by the Four Strings Quartet: 1st Violin: Lucyna Fiedukiewicz 2nd Violin: Grzegorz Witek Viola: Beata Raszewska Cello: Łukasz Tudzierz Section 1 0:00 - Theme: Andante con moto 0:43 - Var I: L'istesso Tempo 1:14 - Var II: Piu mosso e risoluto 1:45 - Var III: Allegretto moderato Section 2 2:15 - Var IV: Andante Section 3 3:02 - Var V: Tempo di Marcia Maestoso 3:44 - Var VI: Larghetto 4:49 - Var VII: Allegretto Moderato Section 4 6:10 - Fuge: Allegro Zygmunt Noskowski was a Polish Composer who was born in Warsaw and lived from 1846-1909. He was known mostly for his symphonic compositions. He worked not only as a musician, but as a teacher and a journalist. He taught almost all of the most important composers of the next generation in Polish music. It is through his efforts primarily that symphonic music was introduced to Warsaw, and he built the foundations for a strong symphonic tradition in Poland [1]. At the time of his birth, Poland was divided between Austria, Prussia, and the Russian Empire. Conditions were difficult for Polish artists due to censorship and general repression of Polish culture. Noskowski himself was a witness of a pogrom against the "manifestations of patriotism" (pogrom manifestacji patriotycznej) conducted by Russian soldiers on the 27th of February 1861 in Warsaw. After witnessing the events, he traveled to Kraków and visited the Tatra mountains. These events influenced the rest of his creative output. The sights of the mountains and the beauty of Kraków juxtaposed with the foreign oppression that he saw could not be discounted easily, given that he later joined the January Uprising after his father's death in 1863. Interestingly, Noskowski was not well aware of Chopin's output. His mother was a dedicated supporter of Towiański, who was a messianic, apocalyptic religious leader in Poland who claimed he had a vision of the end times. Chopin was highly critical of Towiański, which led Noskowski's family to avoid his work. Noskowski would detach from Towianism later in his life and become a propagator of Chopin's music. In the meantime, however, he still saw Ignacy Feliks Dobrzyński as the model Polish composer. Stylistically, he absorbed much of Dobrzyński's style as well as those of his other teachers - Kątski, Moniuszko, and Kiel. The Variations String quartets were somewhat of a rarity in Polish music after the November Uprising. A group of musicians sensitive to the vacuum that had emerged in Polish society sought to change that by organizing chamber concerts via the Warsaw Musical Society founded in 1871 [2]. These chamber concerts exercised a dual purpose: to make chamber music heard more broadly and to propagate new Polish music written by members of the society, who had their own quartet in which Noskowski played the viola [3]. The legendary pedagogue wrote many chamber works for this setting. Noskowski, who filled a tremendous gap in Polish musical education with respect to counterpoint, was somewhat evasive of contrapuntal forms. Modernized textbooks on the subject came from his hand [3], but he seldom wrote his own canons or fugues [2]. In this set of variations, Noskowski illustrates his exceptional ability to write in counterpoint and imitation. Formally, the variations are emblematic of Kiel's approach to counterpoint which includes four sections with a slow movement in the middle and a fugue that is either integrated with a "finale" section or stands as a finale of its own, creating textural and thematic callbacks to the first section in a kind of provisional sonata form [2]. In spite of this formal holdover, Noskowski's thematic predilections are still his own, and his integration of Polish material into the third section of the variations reflect his artistic mission to graft Polish particularity into the universalizing project of abstract musical forms begun in Europe hundreds of years prior. [1] Wroński, Witold. Zygmunt Noskowski. Warsaw: Polskie Wydawnictwo Muzyczne, 1960. [2] J. Gołębiowska. Kwartet smyczkowy w muzyce polskiej XIX wieku. Universytet im. Adama Mickiewicza. Wydział Historyczny. Praca Doktorska. Poznań. 2014. [3] F. Starostka, "Jeszcze Polska nie zginęła: Discovering the Life and Music of Zygmunt Noskowski," Ph. D. dissertation. LSU, Baton Rouge, USA, 2021.