The music of Moniuszko's works is largely representative of the 19-th century opera, given the extensive use by the composer of arias, recitatives and ensembles. His music too, although stylistically distinct, evidently incorporates many national motifs: Polish dances popular among upper classes such as polonaise and mazurka, and folk tunes and dances such as kujawiak and krakowiak.

Tracks:

ACT I

• Introduction & Choir (Overture)
• Introduction to Act I
• Arietta Broni „O moj dziaduniu”  
• Chorazy Song „Ruszaj bracie, ruszaj w pole...”  
• Kazimierz Aria „Od twojej woli...”

ACT  II

• Countess Aria „Suknio, cos mnie tak ubrala” 
• Ballet music
• Ewa Aria
• Neptune on Wisla river  
• Bronia Song „Szemrze strumyk pod jaworem” 

ACT  III

• Polonaise
• HUnter Song Podczaszyca „Pojedziemy na low, towarzyszu moj” 
• Kazimierz Aria  „Rodzinna wioska juz sie usmiecha” 
• Countess Aria „Zbudzic si? z uludnych snow”
• Finale

Recorded at the Warsaw Philharmonics, Warsaw Poland, May 194. Re-mastered in 2004.

About:

Stanislaw Moniuszko was born on May 5,1819 to the patriotic family of Polish landowners settled in Ubiel, near Minsk (now: Belarus). He died on June 4, 1872 in Warsaw. 

His interest in music became evident early in his childhood. He was introduced to the rudiments of music by taking private piano lessons. His formal music education took place in Berlin in 1837 where under Carl Friedrich Rungenhagen he studied composition and choral conducting. Several of his songs composed during this period were published by the firm of Bote & Bock and were favorably received by the music critics.

After returning from Berlin, he obtained a post as an organist in Vilnus. During that time he became acquainted with the novelist Józef Ignacy Kraszewski and playwright-satirist Aleksander Fredro. These contacts stimulated his interest in dramatic music. He began composing intensively writing his first operas, other stage works, sacred music as well as secular cantatas.

At about this time he also commenced work on the collection of songs entitled Spiewnik Domowy (Songbook for Home Use), which would have wide appeal to Polish public. The first volume of this collection was published in 1843 and met with much interest among both the public and music critics. Over the years the collection grew to 12 volumes - 267 songs with piano accompaniment. Although many of the songs are simple, predominately strophic, there are also those which take on a form of dialogues or ballads and majority testify to composers originality and melodic inventiveness. The source of Moniuszko's melodies and rhythmic patterns often lies in Polish musical folklore.

During his lifetime Moniuszko traveled numerous times to St. Petersburg where his concerts were very well received. Serov, the young Russian critic of the time, referred to Moniuszko's compositions as "brilliant works." While in St. Petersburg, Moniuszko met and befriended many of his contemporaries, prominent in Russian music including Mikhail Glinka, Mily Balakirev, and Modest Mussorgsky. To Alexander Dargomyzhsky, with whom he became very close, he dedicated his overture Bajka (Fairytale). In 1858, thanks to the help of Maria Kalergis, Moniuszko journeyed to Paris and Berlin, paid a visit to Bedrich Smetana in Prague, and to Weimar, where he met with Franz Liszt.

Hanna from "Haunted Manor" Most crucial to Moniuszko's career was, however, his visit to Warsaw in 1848. He met there Józef Sikorski, the future editor of the most notable Polish music journal Ruch Muzyczny (Musical Movement), Oscar Kolberg a well-known folk song collector, and Wlodzimierz Wolski, a poet and future librettist of Moniuszko's best known opera Halka. Named after its heroine, Halka was premiered with great success in 1858 in Warsaw and later in Prague, Moscow and St. Petersburg. The engagement of the composer as an opera conductor at the Grand Theatre in Warsaw followed in 1859. From 1964 he also taught harmony and counterpoint at the Musical Institute there.

After Halka came other major operatic compositions: Straszny dwór (The Haunted Manor), Flis (The Raftsman), Hrabina (The Countess), and Verbum Nobile. The common trait shared by all these works are librettos which while depicting Polish nobility and gentry, and sometimes even the characters of common origins, above all, emphasized Polish customs and traditions, and at the time of national strife, sustained and fostered patriotic feelings. The first part of the 19-th century is marked in the history of Poland by her loss of statehood and the portion of her territories between the neighbors. The music of Moniuszko's works is largely representative of the 19-th century opera, given the extensive use by the composer of arias, recitatives and ensembles, with the exception of Straszny dwór (The Haunted Manor), where beautifully scored choral parts testify to Moniuszko's mastery of writing for many voices. His music too, although stylistically distinct, evidently incorporates many national motifs: Polish dances popular among upper classes such as polonaise and mazurka, and folk tunes and dances such as kujawiak and krakowiak.

text courtesy of UCS Polish Music Center