{"id":12744,"global_id":"www.eufonie.pl\/en\/?id=12744","global_id_lineage":["www.eufonie.pl\/en\/?id=12744"],"author":"990013","status":"publish","date":"2026-09-30 10:00:40","date_utc":"2026-09-30 08:00:40","modified":"2026-09-29 19:30:12","modified_utc":"2026-09-29 17:30:12","url":"https:\/\/www.eufonie.pl\/en\/event\/vocal-music-of-zygmunt-noskowski\/","rest_url":"https:\/\/www.eufonie.pl\/en\/wp-json\/tribe\/events\/v1\/events\/12744","title":"Vocal Music of Zygmunt Noskowski","description":"

Zygmunt Noskowski composed songs throughout his entire artistic life. They are an expression of his openness to artistic stimuli that fit into very different poetics. They include works set to Old Polish, Romantic, Positivist, and Young Polish texts. Perhaps the latter are the most intriguing, given the fact that Noskowski is known mainly as an opponent of modernism, at least in relation to music. The diversity of sources of poetic inspiration corresponds to the wealth of ideas revealed in his songs.<\/span>\u00a0<\/span><\/p>\n

PROGRAMME<\/strong><\/p>\n

Zygmunt Noskowski (1846\u20131909)<\/span><\/b>\u00a0<\/span><\/p>\n

Stary pies i s\u0142uga<\/span><\/i>\u00a0<\/span><\/p>\n

Dwa \u017c\u00f3\u0142wie<\/span><\/i>\u00a0<\/span><\/p>\n

Dzieci i \u017caby<\/span><\/i>\u00a0<\/span><\/p>\n

Zaj\u0105czek<\/span><\/i>\u00a0<\/span><\/p>\n

Ptaszki w klatce<\/span><\/i>\u00a0<\/span><\/p>\n

nr 1, 2, 3, 4 i 6 z cyklu <\/span>Bajki Ignacego Krasickiego\u00a0<\/span><\/i>\u00a0<\/span><\/p>\n

na g\u0142os i fortepian op. 1<\/span>\u00a0<\/span><\/p>\n

s\u0142owa: Ignacy Krasicki (1735\u20131801)<\/span>\u00a0<\/span><\/p>\n

(1874\u20131878)<\/span>\u00a0<\/span><\/p>\n

\u00a0<\/span>\u00a0<\/span><\/p>\n

Serenada i dumka\u00a0<\/span>\u00a0<\/span><\/p>\n

na g\u0142os i fortepian op. 54<\/span>\u00a0<\/span><\/p>\n

s\u0142owa: autor nieznany<\/span>\u00a0<\/span><\/p>\n

(1897)<\/span>\u00a0<\/span><\/p>\n

L\u015bni ksi\u0119\u017cyc na ciemnym niebie<\/span><\/i>\u00a0<\/span><\/p>\n

Drobn\u0105 rut\u0119 sia\u0142a<\/span><\/i>\u00a0<\/span><\/p>\n

\u00a0<\/span>\u00a0<\/span><\/p>\n

Astry<\/span><\/i>\u00a0<\/span><\/p>\n

nr 1 z cyklu Dwie pie\u015bni\u00a0<\/span>\u00a0<\/span><\/p>\n

na g\u0142os i fortepian op. 55<\/span>\u00a0<\/span><\/p>\n

s\u0142owa: Adam Asnyk (1838\u20131897)<\/span>\u00a0<\/span><\/p>\n

(ok. 1895)<\/span>\u00a0<\/span><\/p>\n

\u00a0<\/span>\u00a0<\/span><\/p>\n

Dwie pie\u015bni\u00a0<\/span>\u00a0<\/span><\/p>\n

na g\u0142os i fortepian op. 58\u00a0<\/span>\u00a0<\/span><\/p>\n

(ok. 1899)<\/span>\u00a0<\/span><\/p>\n

Po\u017cegnanie<\/span><\/i>\u00a0<\/span><\/p>\n

s\u0142owa: W\u0142adys\u0142aw Noskowski (1841\u20131881)<\/span>\u00a0<\/span><\/p>\n

Pro\u015bba\u00a0<\/span><\/i>\u00a0<\/span><\/p>\n

s\u0142owa: A. M.<\/span>\u00a0<\/span><\/p>\n

\u00a0<\/span>\u00a0<\/span><\/p>\n

Dwie pie\u015bni\u00a0<\/span>\u00a0<\/span><\/p>\n

na g\u0142os i fortepian op. 61<\/span>\u00a0<\/span><\/p>\n

s\u0142owa: Marian Gawalewicz (1852\u20131910)<\/span>\u00a0<\/span><\/p>\n

(ok. 1899)<\/span>\u00a0<\/span><\/p>\n

Z pielgrzymich piosenek<\/span><\/i>\u00a0<\/span><\/p>\n

Kr\u00f3tka rozpacz<\/span><\/i>\u00a0<\/span><\/p>\n

\u00a0<\/span>\u00a0<\/span><\/p>\n

Trzy pie\u015bni\u00a0<\/span>\u00a0<\/span><\/p>\n

na g\u0142os fortepian op. 62\u00a0<\/span>\u00a0<\/span><\/p>\n

s\u0142owa: Marian Gawalewicz<\/span>\u00a0<\/span><\/p>\n

(ok. 1899)\u00a0<\/span>\u00a0<\/span><\/p>\n

Smutno<\/span><\/i>\u00a0<\/span><\/p>\n

Praktyczna<\/span><\/i>\u00a0<\/span><\/p>\n

Z wiosennych strof<\/span><\/i>\u00a0<\/span><\/p>\n

\u00a0<\/span>\u00a0<\/span><\/p>\n

Trzy pie\u015bni\u00a0<\/span>\u00a0<\/span><\/p>\n

na g\u0142os i fortepian op. 68\u00a0<\/span>\u00a0<\/span><\/p>\n

(1898)<\/span>\u00a0<\/span><\/p>\n

Pie\u015b\u0144 jesienna<\/span><\/i>\u00a0<\/span><\/p>\n

s\u0142owa: Jan Grawe-Wyszy\u0144ski (lata \u017cycia nieznane)<\/span>\u00a0<\/span><\/p>\n

Motyw ludowy<\/span><\/i>\u00a0<\/span>\u00a0<\/span><\/p>\n

s\u0142owa: J\u00f3zef Ko\u015bcielski (1845\u20131911)<\/span>\u00a0<\/span><\/p>\n

S\u0142uchaj, dziewcz\u0119 jedyne<\/span><\/i>\u00a0<\/span>\u00a0<\/span><\/p>\n

s\u0142owa: W\u0142adys\u0142aw Nawrocki (1870\u20131931)<\/span>\u00a0<\/span><\/p>\n

\u00a0<\/span>\u00a0<\/span><\/p>\n

——przerwa——-<\/span>\u00a0<\/span><\/p>\n

\u00a0<\/span>\u00a0<\/span><\/p>\n

Dwie pie\u015bni\u00a0<\/span>\u00a0<\/span><\/p>\n

na g\u0142os i fortepian op. 69<\/span>\u00a0<\/span><\/p>\n

(ok. 1900)<\/span>\u00a0<\/span><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Z wiosennych tchnie\u0144 (Czy wiesz, dziewczyno?)<\/span><\/i>\u00a0<\/span><\/p>\n

s\u0142owa: Jan Grawe-Wyszy\u0144ski<\/span>\u00a0<\/span><\/p>\n

Noc<\/span><\/i>\u00a0<\/span><\/p>\n

s\u0142owa: W\u0142adys\u0142aw Nawrocki<\/span>\u00a0<\/span><\/p>\n

\u00a0<\/span>\u00a0<\/span><\/p>\n

Dwie pie\u015bni\u00a0<\/span>\u00a0<\/span><\/p>\n

na g\u0142os i fortepian op. 70\u00a0<\/span>\u00a0<\/span><\/p>\n

(ok. 1900)<\/span>\u00a0<\/span><\/p>\n

Pytasz si\u0119<\/span><\/i>\u00a0<\/span>\u00a0<\/span><\/p>\n

s\u0142owa: Zygmunt Krasi\u0144ski (1812\u20131859)<\/span>\u00a0<\/span><\/p>\n

Na rozdro\u017cu (Krakowiak)<\/span><\/i>\u00a0<\/span><\/p>\n

s\u0142owa: W\u0142adys\u0142aw Noskowski<\/span>\u00a0<\/span><\/p>\n

\u00a0<\/span>\u00a0<\/span><\/p>\n

Dwie pie\u015bni\u00a0<\/span>\u00a0<\/span><\/p>\n

na g\u0142os i fortepian op. 71<\/span>\u00a0<\/span><\/p>\n

\u00a0<\/span><\/i>\u00a0<\/span><\/p>\n

Z wiosennych tchnie\u0144 <\/span><\/i>(1899)<\/span>\u00a0<\/span><\/p>\n

s\u0142owa: Marian Gawalewicz<\/span>\u00a0<\/span><\/p>\n

Pie\u015b\u0144 s\u0119pa<\/span><\/i> (1875)<\/span>\u00a0<\/span><\/p>\n

s\u0142owa: Mieczys\u0142aw Romanowski (1833\u20131863)<\/span>\u00a0<\/span><\/p>\n

\u00a0<\/span>\u00a0<\/span><\/p>\n

Limba<\/span><\/i>\u00a0<\/span>\u00a0<\/span><\/p>\n

s\u0142owa: Kazimierz Przerwa-Tetmajer (1865\u20131940)<\/span>\u00a0<\/span><\/p>\n

Czym to si\u0119 dzieje, moje s\u0142o\u0144ce<\/span><\/i>\u00a0<\/span>\u00a0<\/span><\/p>\n

s\u0142. Karol Brzozowski (1821\u20131904)<\/span>\u00a0<\/span><\/p>\n

Pola\u0142y si\u0119 \u0142zy<\/span><\/i>\u00a0<\/span>\u00a0<\/span><\/p>\n

s\u0142owa: Adam Mickiewicz (1798\u20131855)<\/span>\u00a0<\/span><\/p>\n

nr 1, 2 i 3 z cyklu Cztery pie\u015bni\u00a0<\/span>\u00a0<\/span><\/p>\n

na g\u0142os i fortepian op. 73\u00a0<\/span>\u00a0<\/span><\/p>\n

(ok. 1900)<\/span>\u00a0<\/span><\/p>\n

\u00a0<\/span>\u00a0<\/span><\/p>\n

\u00a0<\/span>\u00a0<\/span><\/p>\n

Trzy pie\u015bni\u00a0<\/span>\u00a0<\/span><\/p>\n

na g\u0142os i fortepian op. 74\u00a0<\/span>\u00a0<\/span><\/p>\n

\u00a0<\/span>\u00a0<\/span><\/p>\n

Bia\u0142e mg\u0142y <\/span><\/i>(ok. 1882)<\/span>\u00a0<\/span><\/p>\n

s\u0142owa: S\u0142awomir Stecki (1858\u20131886)<\/span>\u00a0<\/span><\/p>\n

Do fio\u0142k\u00f3w<\/span><\/i> (1872)<\/span>\u00a0<\/span><\/p>\n

s\u0142owa: Maciej Kazimierz Sarbiewski (1595\u20131640), <\/span>Oda XV<\/span><\/i>\u00a0<\/span><\/p>\n

przek\u0142ad na j\u0119zyk polski: W\u0142adys\u0142aw Syrokomla (1823\u20131862)<\/span>\u00a0<\/span><\/p>\n

Lulaj\u017ce mi <\/span><\/i>(ok. 1900)<\/span>\u00a0<\/span><\/p>\n

s\u0142owa: S\u0142awomir Stecki<\/span>\u00a0<\/span><\/p>\n

\u00a0<\/span>\u00a0<\/span><\/p>\n

Trzy pie\u015bni\u00a0<\/span>\u00a0<\/span><\/p>\n

na g\u0142os i fortepian op. 77\u00a0<\/span>\u00a0<\/span><\/p>\n

s\u0142owa: Stanis\u0142aw Wyspia\u0144ski (1869\u20131907)<\/span>\u00a0<\/span><\/p>\n

(1906\u20131908)<\/span>\u00a0<\/span><\/p>\n

Pie\u015b\u0144 g\u0119d\u017ac\u00f3w<\/span><\/i>\u00a0<\/span><\/p>\n

Pie\u015b\u0144 Ofelii o kwiatku<\/span><\/i>\u00a0<\/span><\/p>\n

Pie\u015b\u0144 Ofelii o wie\u0144cu z wierzbiny<\/span><\/i>\u00a0<\/span><\/p>\n

\u00a0<\/span>\u00a0<\/span><\/p>\n

Kol\u0119da <\/span>Witaj, gwiazdko z\u0142ota<\/span><\/i>\u00a0<\/span>\u00a0<\/span><\/p>\n

na g\u0142os i fortepian<\/span>\u00a0<\/span><\/p>\n

s\u0142owa: Stanis\u0142aw Marek Rz\u0119tkowski (1843\u20131897)<\/span>\u00a0<\/span><\/p>\n

(1861)<\/span>\u00a0<\/span><\/p>\n

\u00a0<\/span>\u00a0<\/span><\/p>\n

Krakowiak <\/span>Skowroneczek \u015bpiewa<\/span><\/i>\u00a0<\/span>\u00a0<\/span><\/p>\n

na g\u0142os i fortepian<\/span>\u00a0<\/span><\/p>\n

s\u0142owa: autor nieznany<\/span>\u00a0<\/span><\/p>\n

(ok. 1894)<\/span>\u00a0<\/span><\/p>\n

\u00a0<\/span>\u00a0<\/span><\/p>\n

PERFORMERS<\/strong><\/p>\n

Students of the Department of Vocal and Acting Studies and the Department of Instrumental Studies at the Fryderyk Chopin University of Music<\/p>\n

Artistic Supervision<\/b><\/p>\n

Assoc. Prof. Eugenia Rezler
\nProf. Dr. Hab. Joanna Maklakiewicz<\/p>\n

The co-organizers of the event are the Fryderyk Chopin University of Music and the National Centre for Culture.<\/p>\n

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They are an expression of his openness to artistic stimuli that fit into very different poetics. They include works set to Old Polish, Romantic, Positivist, and…<\/p>\\n","image":"https:\/\/www.eufonie.pl\/wp-content\/uploads\/2026\/09\/Noskowskieufoniewww1200x600.jpg","url":"https:\/\/www.eufonie.pl\/en\/event\/vocal-music-of-zygmunt-noskowski\/","eventAttendanceMode":"https:\/\/schema.org\/OfflineEventAttendanceMode","eventStatus":"https:\/\/schema.org\/EventScheduled","startDate":"2026-11-16T19:00:00+01:00","endDate":"2026-11-16T20:00:00+01:00","location":{"@type":"Place","name":"Sala Koncertowa Uniwersytetu Muzycznego Fryderyka Chopina","description":"","url":"","address":{"@type":"PostalAddress","streetAddress":"Ok\u00f3lnik 2","addressLocality":"Warszawa","addressRegion":"mazowieckie","postalCode":"00-368"},"telephone":"","sameAs":""},"performer":"Organization"}}