by Thomas Gablenz
Biography
Jerzy Gablenz was born on January 23, 1888 in Cracow, an historic city and the former capital of Poland. Jerzy’s mother came from a family with roots back to the days of the Swedish invasions (1640-1660). His mother’s father earned his degree in violin performance at the Vienna Conservatory, and went on to become one of the directors of Cracow’s Conservatory of music, while at the same time his mother’s brother was becoming an accomplished violist. Jerzy’s father, an excellent pianist himself, was descended from ancestors who had emigrated from what is now Czechoslovakia and settled in the city of Lwów. At an early age a seed had been planted by his musical family. He began studying piano, then the flute, with which he reached a virtuosic level, later he learned to play the organ, and eventually the cello.
After graduating from high school his intentions were to continue with his musical studies in Berlin, Vienna, or Paris, where the caliber of teaching was much higher at that time than in Cracow or Warsaw. Unfortunately his mother would not hear about her son leaving home at such a young age; she was afraid of bad influences and the temptations associated with big cities. It was decided that he would enroll at Cracow’s Jagiellonian University to study law – for him a very dry and unimaginative subject compared to the untamed world of music. However, alongside his university studies he continued to practice his instruments, to compose, and to engage in music history research under the guidance of many prominent people in Cracow at that time.
Around 1907 he met Margaret Schoen, his future wife, whom a few years later obtained a diploma to teach piano. From this period in Jerzy’s work we have numerous compositions such as short pieces for solo piano, songs for voice and piano, a three movement suite for a string orchestra, and also attempts to experiment with more varied possibilities of sound which employed more than one instrument. It was around this time that Jerzy’s father aquired a small industrial enterprise, his aim being twofold: to invest his money in a way that would assure a source of income for his only son, and at the same time, to familiarize Jerzy with the intricacies and ways of running a business. This is an important aspect of Jerzy’s life to keep in mind because on several occasions, and in later years especially, the problems and worries concerning the factory hindered the his musical inspiration and his ability to compose. A second point of interest is that Jerzy had never prepared a list of these early compositions, possibly considering them immature. We did eventually come across a detailed record of his creations, but he had started it only after the end of World War I, and in the list he did not include every piece.
Even at a reletively young age the burden of the unwelcomed university studies had already effected Jerzy’s creative powers and imagination, about which we read in his letter:
I would love to improvise and write music, but my head is not free, I do not succeed in these matters. At times I sit at the piano for a moment, but all told it is very difficult since my thoughts constantly and subconsciously return to my books, my studies. Therefore, to break away from the day’s monotony I play without much sense, the consequence, I talk nonsense through the piano’s keys.
Regardless of the fact that Jerzy’s father kept burdening his son with more and more responsibilities at the factory, our young musician found time to participate in many performances as a flautist with the orchestra. He regularly played the organ at Cracow’s cathedral (on many occasions four hands with his fiancee). Soon after the outbreak of World War I his father, mother and two sisters left for Vienna, leaving him in charge of everything. Since many employees had been conscripted for the war effort, Jerzy’s duties multiplied. There was less and less time for music. Nevertheless he managed to come up with a symphony in four movements, consisting of eighty-six pages of pencil sketch. The composition was never orchestrated, nor was it included in his list of his approved works. On May 5, 1917, Jerzy married Margaret. It was towards the end of that same year he composed Symphony No. 2, also in four movements, this time orchestrating it as well. Unusual is the fact that the individual movements were not separated. This work is not recorded in his list either.
The First World War ended and in the field of music the Polish public was demanding that operatic works by the traditional and nationalistic composer Moniuszko, in particular that of The Haunted Manor, be restored. Since the score was not to be found anywhere, Jerzy Gablenz was asked to reconstruct it. This he did, probably using a reduced piano version, and the opera was presented on July 2, 1919. Many years later mother wrote to me, that “the choral part of the weaving girls was so beautifully orchestrated, it was so light, a real gem. The public made such an ovation that this fragment had to be repeated.”
The critics were emphasizing his musical knowledge and experience in the field of orchestration, counterpoint entanglements, his ingenuousness in grouping instrumental sections, his obvious talent in adapting the style of instrumentation to the action on the stage. On the other hand they were questioning certain modernism, at times the orchestration was overpowering the actor’s voices, certain passages requiring more simplicity in the orchestral score. I am positive that the directors of the Opera House had underlined and approved the artistic values of their Cracovian colleague and musician, Jerzy Gablenz, prior to the performance.
We can be sure that Jerzy’s participation as a flautist in numerous opera presentations, his presence at many opera performances both in Cracow and Vienna and his success and acceptance of Moniuszko’s work prompted him to create his own opera. Bewitched Circle Opus 6, based on a stage drama by the Polish poet Lucjan Rydel, was qualified many years later by some outstanding conductors and well-known music reviewers as one of Poland’s best. It is with this four-act composition that the composer started compiling his list of approved creations. In April of 1955 “Bewitched Circle” received its world premiere, followed by approximately eighty performances throughout the following two years. The main focus in the opinions of the critics was placed on the part and employment of the orchestra, which was treated in a very symphonical manner. It was up to the orchestra to create the climate of the work, and more than often the orchestra was the factor developing action on the stage.
The creation of his opera (1919 – 1920) marked the beginning of a very prolific period during the next several years. His next large work was a suite called “Sunny Fields”, for orchestra, choir and soloists, Opus 8 and dated February 20, 1923. Unfortunately the composer never finished this work – apart from his pencil manuscript there are only sixteen pages of a finished orchestral score, corresponding to the Introduction. On July 1 of the same year he finished the tone poem The Pilgrim;, Opus 12, which requires a large orchestra, including two harps. The composition has never been performed.
The next orchestral work, left as a pencil sketch only, is “Concert Waltz”, Opus 14, dated December 1923. Three months later (March 1924) Jerzy Gablenz had completed another tone poem “In the Mountains”, Opus 17, written for orchestra and male choir. After many unsuccessful attempts this large composition was finally performed, only once, at a concert in the Dominican Republic in November of 1977. Subsequently the tape of the choral part has been utilized on several occasions during lectures and radio programs in Poland, Canada, the United States and the Dominican Republic.
On the 31st of January of 1925 the text manuscript for instrumentation of the tone poem ” Wastelands”, Opus 20 was ready. Of the pencil sketch there are about 250 final bars left to be orchestrated. The next composition in succession is the tone poem “The Legend of Turbacz”, Opus 22, dated November 1, 1925. This composition, greatly influenced by the composers’ hikes in the Carpathian mountains, was performed once during his lifetime, in 1936, and then again in 1947. In 1990 an archive recording was made by the Polish Radio, Warsaw. Precisely twenty one days after the conception of “The Legend of Turbacz”, Jerzy Gablenz had another orchestral composition ready, this time a suite entitled “To My Children – Five Miniatures”, Opus 23, consisting of five individual movements which represent in music a day in the life of small children. By then there were three of us (children) at home. This suite was performed publicly in February of the following year and conducted by the composer. An enthusiastic critic wrote: “Based on the illustrative program the individual movements show the mastery of the orchestral palette and penetration of its secrets, which the composer handles with complete knowledge and wit.”
Less than six months later, on May 11, 1926, Jerzy Gablenz had his 1st Symphony (Opus 24) ready. One word of caution: this composition has nothing in common with the two symphonies mentioned previously. The performance scheduled for 1928 was canceled because of “its dissonance and technical difficulties”, plus the poor standards of Cracow’s symphony orchestra (at that time). The piano concerto in D-flat Major, Opus 25, is dated September 20, 1926. This composition received its world premiere at a concert in Santo Domingo, Dominican Republic in 1977. To celebrate the 100th anniversary of the composer’s birth, the piano concerto was performed several times in Poland in 1988. Moreover, an archive recording was made by the Polish Radio in Cracow. Following the sequence of dates quoted up to now we realize how fertile was his invention to produce so much in so little time.
Opus 26 was assigned to the symphonic prelude “Rosary of St. Salome”, its pencil sketch finished on January 9, 1927. Interestingly enough Jerzy started orchestrating it in the fall of the following year, complaining to his wife: “Lots of work because the strings are divided into eleven parts, everywhere plenty of figures. So far I have completed six pages.” To this day this composition has never been performed in public, however in 1991 the Polish Radio in Warsaw made an archival recording. While Jerzy was composing his large orchestral compositions he wrote sixty-nine songs for voice and piano accompaniment, a sonata for cello and piano, three tercets for female voices and piano, and other miscellaneous works.
Between the years of 1928 and 1936 Jerzy Gablenz did not compose at all. It is known from existing correspondence that around that time the factory was undergoing substantial improvements to its facilities, causing great stress and anxiety well expressed in one of his letters: “At times I sit in the evenings at the piano for a few minutes, however without any desire whatsoever to compose, because it simply does not work. I think all of this is due to hard
work and preoccupation’s at the factory, particularly with its projected enlargement.” This prolonged impasse came to its end in the first month of 1936 when “Symphonic Variations”, Opus 27 were created. It is a large work consisting of an Introduction and ten Variations. Early in 1937, and after two or three rehearsals, the composition was abandoned due to the poor quality of Cracow’s Symphony Orchestra. Two fragments, the Introduction and Variation IV, were performed in November of 1977 in Santo Domingo. In 1987, and also in Santo Domingo, the public heard the Introduction, Variations IV, VIII and X. The pencil manuscript of his symphonic prelude “Enchanted Lake”, Opus 29, carries the date of June 1937 and would become his last composition fully orchestrated, unfortunately all seven performances taking place only after his death. Once again, the Polish Radio in Warsaw made an archive recording of this composition in 1991.
There was still time for Jerzy Gablenz to write a complete pencil sketch of his next tone poem, Opus 30, although he did not leave any suggestion or hint as to what its title would be. It was the young conductor, Christopher Dziewiecki, who in 1992 undertook the instrumentation of this work. I have decided to entitle this composition “Autumn Dreams”, prompted by the fact that it was conceived in the autumn period of the composer’s life, written in November. Probably, in his sub-consciousness he felt this to be his last composition… And yet, he did not hesitate to include in it a beautiful waltz (starts on cue “K”) as if to recall in his memory so many autumnal balls, dancing with his fiancee. The persistent beating of a kettle drum at the end of the composition makes the listener realize that the beauty and glory of Summer days are gone, the Autumn is here in its sadness, the Autumn of life is approaching. “Autumn Dreams” is waiting to be performed, like several other worthy compositions of Jerzy Gablenz. On November 11, 1937, while flying from Cracow to Warsaw he lost his life when the aircraft, engulfed in low hanging clouds, hit a high tension post and crashed.
Selected Works
| Date | Opus # | Title of Composition | Lyrics By |
|---|---|---|---|
| April 22, 1908 | Opus 1 #2 | Canzona for Flute and Piano | |
| June, 1909 | Opus 1 #3 | Four Improvisations for Piano | |
| January 30, 1918 | Opus 3 #1 | Covered With White Snow | I. Gablenzowna |
| February 3, 1918 | Opus 3 #2 | You May Have Regrets | I. Gablenzowna |
| February 3, 1918 | Opus 3 #3 | Sadness Entered My Soul | I. Gablenzowna |
| March 2, 1918 | Opus 3 #4 | Across The Fallows | K. Lepkowski |
| March 13, 1918 | Opus 3 #5 | In My Younger Days | A. Asnyk |
| March 31, 1918 | Opus 4 #1 | A Night In May | L. Staff (Tercet for three female voices & piano.) |
| May 20, 1918 | Opus 3 #6 | In The Glimmer Of The Sun | K. Lepkowski |
| Opus 4 #2 | A Morning In Spring | L. Staff (Tercet for three female voices & piano.) | |
| July 21, 1920 | Opus 6 | Bewitched Circle | L. Rydel (Musical drama in four acts.) |
| May 20, 1921 | Opus 5 #2 | Beautiful, Azure Morning | A. Waskowski |
| May 26, 1921 | Opus 5 #7 | From The Lyrics | A. Waskowski |
| May 29, 1921 | Opus 5 #1 | The Pilgrim | A. Waskowski |
| June 3, 1921 | Opus 5 #3 | I Am Dreaming Of Your Eyes | A. Waskowski |
| June 6, 1921 | Opus 5 #4 | You Don’t Realize How Sad I Am | A. Waskowski |
| June 8, 1921 | Opus 5 #5 | I Yearned For Ages | A. Waskowski |
| June 8, 1921 | Opus 5 #6 | How Your Lips Glow | A. Waskowski |
| May 17, 1922 | Opus 7 #1 | From The Book Of Happiness | A. Waskowski |
| May 17, 1922 | Opus 7 #2 | So Much Love Suffered In Me | A. Waskowski |
| Opus 7 #3 | Come Back To Us | ||
| November 1, 1922 | Opus 9 #1 | Open The Windows | L. Staff |
| November 3, 1922 | Opus 9 #2 | Your Golden Hair | L. Staff |
| November 3, 1922 | Opus 9 #3 | Birch Trees | L. Staff |
| November 6, 1922 | Opus 9 #4 | Therefore Let Me Look | A. Waskowski |
| December 8, 1922 | Opus 9 #5 | You Were A Fairy Tale To Me | A. Waskowski |
| December 10, 1922 | Opus 9 #6 | I Loved In You | A. Waskowski |
| December 13, 1922 | Opus 9 #7 | On A Quiet Sunday Morning | A. Waskowski |
| December 30, 1922 | Opus 10 #1 | Annunciation | K. Zawistowska (With organ accompaniment.) |
| February 20, 1923 | Opus 8 | Sunny Fields | A. Waskowski (Tone poem, soloists, choir, orchestra, unfinished.) |
| February 23, 1923 | Opus 10 #2 | Santissima – The Holiest | K. Zawistowska (With organ accompaniment.) |
| March 9, 1923 | Opus 10 #3 | Beautiful Sapphire Eyes | A. Waskowski |
| March 18, 1923 | Opus 10 #4 | Rain Rings On The Windows | A. Waskowski |
| April 6, 1923 | Opus 10 #5 | Why Did You Laugh | I. Gablenzowna |
| April 17, 1923 | Opus 11 #1 | The Ukrainian Girl | K. Wachtel |
| April 29, 1923 | Opus 11 #2 | In The Glimmer Of The Sun | K. Wierzynski |
| May 3, 1923 | Opus 11 #3 | My Beloved | K. Tetmajer |
| May 3, 1923 | Opus 11 #4 | A Song | K. Perzynski |
| May 5, 1923 | Opus 11 #5 | You, My Girl | R. Kwiatkowski |
| May 13, 1923 | Opus 11 #6 | Dame Ise | R. Kwiatkowski |
| May 13, 1923 | Opus 11 #7 | My Orchard | K. Wierzynski |
| May 27, 1923 | Opus 11 #8 | Never Before | A. Waskowski |
| June 29, 1923 | Opus 12 | The Pilgrim (Tone poem) | |
| July 11, 1923 | Opus 13 #1 | Beautiful, Radiant | A. Waskowski |
| August 6, 1923 | Opus 13 #4 | Somewhere So Far | A. Waskowski |
| August 8, 1923 | Opus 13 #2 | White Lilies | A. Waskowski |
| August 12, 1923 | Opus 13 #3 | Sleep Peacefully | A. Waskowski |
| September 16, 1923 | Opus 13 #5 | Flowers Are Blooming | M. Zielenkiewicz |
| November 12, 1923 | Opus 13 #6 | On St. John’s Night | M. Zielenkiewicz |
| December 2, 1923 | Opus 13 #7 | The Roses | M. Zielenkiewicz |
| December 4, 1923 | Opus 13 #8 | The Jasmines | M. Zielenkiewicz |
| December 22, 1923 | Opus 14 | Concert Waltz (Never orchestrated) | |
| January 1, 1924 | Opus 16 #1 | Of Rooster Without A Tail | J. Porazinska |
| February 3, 1924 | Opus 15 | Sonata For Cello And Piano | |
| March 4, 1924 | Opus 17 | In The Mountains | A. Waskowski (Tone poem for male choir & orchestra.) |
| April 20, 1924 | Opus 16 #2 | A Rain Drop | J. Porazinska |
| May 21, 1924 | Opus 16 #3 | How It Was With The Clog | J. Porazinska |
| June 2, 1924 | Opus 18 #1 | A Visit | J. Mirski |
| June 30, 1924 | Opus 18 #2 | We Walk Together | J. Mirski |
| September 24, 1924 | Opus 18 #3 | Then Take With You My Unhappy Soul | A. Waskowski |
| October 1924 | Opus 18 #4 | When Closing My Eyes | A. Waskowski |
| November 29, 1924 | Opus 19 | Goodnight | L. Staff (Tercet for female voices & piano.) |
| December 17, 1924 | Opus 18 #5 | Chrysanthemums | M. Zielenkiewicz |
| December 22, 1924 | Opus 18 #6 | Oh! My Thoughts | A. Waskowski |
| January 30, 1925 | Opus 20 | Wastelands (Tone poem, instrumentation unfinished) | |
| February 17, 1925 | Opus 21 #1 | When My Arms Hug You | A. Waskowski |
| June 5, 1925 | Opus 21 #3 | You Come To Me | A. Zasztoft |
| June 20, 1925 | Opus 21 #2 | Lullaby | J. Mirski (For male choir.) |
| August 1, 1925 | Opus 21 #4 | tête-à-tête | A. Zasztoft |
| August 3, 1925 | Opus 21 #5 | Spring | A. Zasztoft |
| August 9, 1925 | Opus 16 #5 | A Rag Doll | J. Porazinska |
| August 16, 1925 | Opus 16 #6 | Kind Hearted Corner And A Bench | J. Porazinska |
| August 18, 1925 | Opus 16 #7 | Sandals Made Of Stave | J. Porazinska |
| August 19, 1925 | Opus 16 #8 | The Pussycat Spins Yarn | J. Porazinska |
| August 21, 1925 | Opus 16 #9 | Lullaby | J. Porazinska |
| August 23, 1925 | Opus 16 #4 | You The Grownups Do Not Know | J. Porazinska |
| November 1, 1925 | Opus 22 | The Legend Of Turbacz (Tone poem) | |
| November 22, 1925 | Opus 23 | To My Children – Five Miniatures (Orchestral suite) | |
| May 11, 1926 | Opus 24 | Symphony I in C-Minor | |
| June 1926 | Opus 2 | Romanza for Organ | |
| July 16, 1926 | Opus 28 | I Remember | A. Zasztoft |
| September 20, 1926 | Opus 25 | Piano Concerto in D-Flat Major | |
| October 31, 1926 | Opus 28 #3 | You Are So Beautiful | K. Wierzynski |
| January 9, 1927 | Opus 26 | The Rosary Of St. Salome (Symphonic prelude) | |
| January 16, 1927 | Opus 28 #5 | The Wolfs And A Sheep | L. Staff |
| April 29, 1928 | Opus 16 #10 | My Johnny | J. Porazinska |
| October 20, 1928 | Opus 28 #4 | The Chinese | K. Wierzynski |
| December 10, 1928 | Opus 28 #2 | Sleep Girl | A. Zasztoft |
| June 7, 1936 | Opus 27 | Symphonic Variations | |
| April 23, 1937 | Opus 28 #6 | Arabesque for oboe & piano | |
| June 27, 1937 | Opus 29 | Enchanted Lake (Symphonic prelude) | A. Asnyk |
| November 1, 1937 | Opus 30 | Autumn Dreams (Tone poem in pencil sketch. Title given posthumously by the composer’s son, Thomas) | A. Asnyk |
Recordings
April 1986 “Polski Nagrania” (Polish Recordings) released an LP recording (#SX1745) which included twelve songs performed by Wieslaw Ochman (tenor) and Jerzy Gaczek (piano). The sequence of the songs as they appear:
Opus #
“I Yearned For Ages” 5 5
“Birch Trees” 9 3
“My Beloved One” 11 3
“Oh! My Thoughts” 18 6
“I Am Dreaming Of Your Eyes” 5 3
“So Much Love Suffered In Me” 7 2
“Rain Rings On The Windows” 10 4
“I Loved In You” 9 6
“On A Quiet Sunday Morning” 9 7
“Beautiful, Radiant” 13 1
“You Don’t Realize How Sad I Am” 5 4
September 1987 Archive recording for Polish Radio, Cracow:
Piano Concerto in D-Flat Major, Opus 25
Joseph Stompel, Piano
Cracow Radio & Television Orchestra (Cracow)
Simon Kawalla, Conductor
May 1990 Archive recording for Polish Radio, Warsaw:
Tone Poem “The Legend Of Turbacz”, Opus 22
Catalogue #PB9723
Polish Radio & Television Orchestra (Warsaw)
Christopher Dziewiecki, Conductor
November 1990 Archive recordings for Polish Radio, Warsaw:
Symphonic Prelude “The Rosary Of St. Salome”, Opus 26
Catalogue #9983
Polish Radio & Television Orchestra (Warsaw)
Christopher Dziewiecki, Conductor
Symphonic Prelude “Enchanted Lake”, Opus 29
Catalogue #PC46
Polish Radio & Television Orchestra (Warsaw)
Christopher Dziewiecki, Conductor
October 1996 The “Henry Wieniawski Association” of the city of Poznan recorded a CD (#RM011CD) with six songs of Jerzy Gablenz. These songs were performed by Catherine Rymarczyk (soprano) and Violetta Lukaszewska (piano). The sequence of the songs as they appear:
Opus #
“You May Have Regrets” 3 2
“You Don’t Realize How Sad I Am” 5 4
“I Yearned For Ages” 5 5
“Come Back To Us” 7 3
“Birch Trees” 9 3
“On A Quiet Sunday Morning” 9 7
Performances
March 4, 1923 Cracow, Poland, Old Theater Hall, “Student’s Week”
Program: “So Much Love Suffered In Me” Opus 7 # 2
“Beautiful, Azure Morning” 5 2
“How Your Lips Glow” 5 6
Soprano: Ludwika Jaworzynska
Piano: Boleslaw Wallek-Walewski
May 17, 1923 Cracow, Poland, Writer’s Association, Poetry of Anthony Waskowski.
Program: Unknown
Soprano: Ludwika Jaworzynska
October 12, 1924 Cracow, Poland, Operatic Association
Program: “On A Quiet Sunday Morning” Opus 9 # 7
Soprano: Ludwika Jaworzynska
Piano: Boleslaw Wallek-Walewski
December 16, 1924 Cracow, Poland, Musical-Pedagogical Association
Program: Aria from Act I of the opera “Bewitched Circle” Opus 6
Soprano: Ludwika Jaworzynska
Piano: Boleslaw Wallek-Walewski
January 2, 1925 Cracow, Poland, Agricultural Association Hall, An Evening Devoted to Compositions of Jerzy Gablenz
Program: “From The Book Of Happiness” Opus 7 # 2
“Somewhere So Far” 13 4
“I Am Dreaming Of Your Eyes” 5 3
“Dame Ise” 11 6
“My Beloved” 11 3
“In The Glimmer Of The Sun” 11 2
“How Your Lips Glow” 5 6
“Rain Drop” 16 2
“Sandals Made Of Stave” 16 3
“Of Rooster Without A Tail” 16 1
“Chrysanthemums” 18 5
“You May Have Regrets” 3 2
“My Orchard” 11 7
“I Yearned For Ages” 5 5
“Beautiful, Azure Morning” 5 2
“When Closing My Eyes” 18 4
“Never Before” 11 8
“Good Night” (Tercet for 3 female voices.) 19
“Bewitched Circle” (Aria from Act I) 6
Sonata For Cello And Piano 15
Soprano: L. Jaworzynska
Soprano: K. Wolska-Sobanska
Alto: F. Bodnicka
Cello: W. Stepinski
Piano: Jerzy Gablenz
Piano: O. Martusiewicz
March 10, 1925 Cracow, Poland, Musical-Pedagogical AssociationProgram: Sonata For Cello And Piano, Opus 15
Cello: W. Stepinski
Piano: O. MartusiewiczFebruary 14, 1926 Cracow, Poland, 10th Symphonic Matinee, The Orchestra of Professional Musicians Association
Program: Orchestral Suite “To My Children – Five Miniatures”, Opus 23
Conductor: Jerzy Gablenz,
March 22, 1926 Cracow, Poland, Cracow’s Music Association
Program: Songs For Children, “In Jimmy’s Cubbyhole”, Opus 16
Soprano: J. Krzysztalowiczowa
Piano: T.Stefanski
March 4, 1928 Cracow, Poland, Old Theater Hall
Program: Songs For Children, In Jimmy’s Cubbyhole”, Opus 16
Soprano: L. Jaworzynska
Piano: Jerzy Gablenz
November 17, 1928 Cracow, Poland, Polish Bank Association, 10th Musical Evening
Program: Recital of songs and operatic arias (details not available.)
Soprano: L.Jaworzynska
Piano: Jerzy Gablenz
December 9, 1929 Cracow, Poland, Teacher’s Association
Program: Aria from Act I of the Opera “Bewitched Circle”, Opus 6
Solo
Flute
Choir
Soprano: L.Jaworzynska
Piano: Jerzy Gablenz
December 11, 1931 Cracow, Poland, An Evening of Anthony Waskowski’s Poetry
Program: Details not available
Soprano: L.Jaworzynska
Piano: Jerzy Gablenz
February 19, 1933 Cracow, Poland, VIII State High School. Songs matinee.
Program: “On A Quiet Sunday Morning” Opus 7 # 7
“Spring” 21 5
“In Jimmy’s Cubbyhole” 16
Soprano: L.Jaworzynska
Piano: Jerzy Gablenz
May 10, 1936 Cracow, Poland, Old Theater Hall, Cracow Philharmonic Orchestra
Program: Tone Poem “The Legend Of Turbacz”, Opus 22
Conductor: Z. Dymmek
June 17, 1936 Cracow, Poland, Association of Young Musicians
Program: Two songs, details not available.
Soprano: M. Feherpataky
Piano: J. Gaczek
October 13, 1937 Cracow, Poland, Polish Radio
Program: “When Closing My Eyes” Opus 18 #4
Bass: A. Mazanek
Piano: K. Meyerhold
March 18, 1938 Cracow, Poland, Polish Radio
Program: “Beautiful Radiant” Opus 13 #1
Soprano: H. Zboinska-Ruszkowska
Piano: W. Geiger
May 5, 1938 Cracow, Poland, Choral Association “Echo”
Program: “Rain Drop” (From “In Jimmy’s Cubbyhole”, Opus 16)
Soprano: M. Bienkowska
Piano: B. Wallek-Walewski
May 14, 1938 Cracow, Poland, “W. Zelenski School of Music”
Program: Minuet for Piano, Four Hands (No further details)
May 14, 1938 Katowice, Poland, Polish Radio
Program: “Lullaby” (From “In Jimmy’s Cubbyhole”, Opus 16)
Performers: Unknown.
May 15, 1938 Cracow, Poland, Saski Hotel Hall, Cracow Symphony Orchestra
Program: Symphonic Prelude “Enchanted Lake”, Opus 29
Conductor: W. Ormicki
Notes: Transmitted by Polish Radio country-wide.
May 23, 1938 Warsaw, Poland, Polish Radio
Program: “On A Quiet Sunday Morning” Opus 9 # 7
Soprano: Z. Zeyland-Kapuscinska
Piano: L. Urstein
November 25, 1938 Cracow, Poland, Polish Radio
Program: Songs from “In Jimmy’s Cubbyhole”, Opus 16
“Rain Drop” Opus 16 # 2
“Of Rooster Without A Tail” 16 1
Performers: Unknown.
December 6 & 15, 1938 Cracow, Poland, Polish Radio
Program: “On A Quiet Sunday Morning” Opus 9 # 7
Performers: Unknown.
December 16, 1938 Cracow, Poland, Polish Radio
Program: “Rain Drop” Opus 16 # 2
Performers: Unknown.
July 20, 1939 Cracow, Poland, Polish Radio
Program: “When Closing My Eyes” Opus 18 # 4
Bass: A. Mazanek
Piano: W. Ormicki
July 26, 1939 Cracow, Poland, Polish Radio
Program: “In Jimmy’s Cubbyhole” Opus 16
Soprano: H. Zboinska-Ruszkowska
Piano: A. Kopycinski
August 2, 1939 Cracow, Poland, Polish Radio
Program: “On A Quiet Sunday Morning” Opus 9 # 7
Soprano: J. Bemowa
Piano :A. Kluczniak,
May 10, 1942 Cracow, Poland, Composer’s Home, Krolowej Jadwigi #35
Program: An evening devoted entirely to his music. A total of twenty three songs, an aria from Act II of the opera “Bewitched Circle”, tercets for female voices “On May’s Night” and “Morning In Spring”.
Voices: H. Zboinska-Ruszkowska
MC, Piano: W. Geiger
Attendance: 49
June 6, 1942 Cracow, Poland, Old Theater Hall
Program: “On A Quiet Sunday Morning” Opus 9 # 7
Soprano: I. Lewinska
Piano: H. Ekierówna
March 4, 1945 Cracow, Poland, “Swit” Concert Hall, Cracow Philharmonic Orchestra
Program: Symphonic Prelude “Enchanted Lake” Opus 29
Conductor: W. Ormicki
November 11, 1945 Cracow, Poland, Polish Radio
Program: Entirely devoted to Jerzy Gablenz
Preparation: W. Geiger
February 17, 1947 Polish Radio “Polish Song”, a lengthy introduction in memory of Jerzy Gablenz.
Program: “Good Night” (Tercet for three female voices.) Opus 19
Vocal team: H. Zboinska-Ruszkowska
March 7, 1947 Katowice, Poland, Polish Radio, Unknown Symphony Orchestra
Program: Tone poem “The Legend of Turbacz” Opus 22
Conductor: W. Ormicki
December 2 & 3, 1949 Lódz, Poland, Philharmonic Orchestra
Program: Symphonic Prelude “Enchanted Lake” Opus 29
Conductor : W. Ormicki
March 12, 1954 Katowice, Poland, State Philharmonic Orchestra
Program: Symphonic Prelude “Enchanted Lake” Opus 29
Conductor: W. Ormicki
April 2, 1955 Bytom (Silesia), Silesian State Opera House
Program: World premier of “Bewitched Circle” Opus 6
Direction: J. Zegalski
Scenography: J. Klosowski
Artists: A. Hiolski, P. Bukietynska, W. Denysenko, P. Woloszyn, J. Rozelówna, S. Babis, S. Wesecki, Z. Przybysz, R. Zaba
Conductor: W. Ormicki
June 19, 1958 Cracow, Poland
Program: Silesian State Opera from Bytom gave one performance of “Bewitched Circle”
June 22, 1969 Wroclaw, Poland, Television Program
Program: Abbreviated version of “Bewitched Circle” Opus 6
Direction: H. Dzieduszycka
Scenography: J. Tartyllo
Conductor: A. Jurkiewicz
June 28, 1971 Bydgoszcz, Poland, State Theater of Opera and Operetta
Through March 1972
Program: “Bewitched Circle” Opus 6
Direction: S. Kosinski
Scenography: R. Strzembala
Conductor: W. Ormicki
June 12, 1972 Bonao, Dominican Republic, Home of Thomas Gablenz (composer’s son).
Program: Unprofessional recital devoted to the composer’s works on the 35th anniversary of his death. The program included seven songs, a tercet for female voices “Morning in Spring”, and the second movement of the Cello Sonata, Opus 14.
Voices: P. Swift, P. Richards, S. Carleen, B. Hutteman, J. Gablenz (composer’s daughter in law) and P. Beattie.
Cello: M. Collet
Piano: Thomas Gablenz
February 21, 1974 Bonao, Dominican Republic, Falcondo Club
Program: “My Orchard” Opus 11 # 7
“On A Quiet Sunday Morning” Opus 9 # 7
“You Don’t Realize How Sad I Am” Opus 5 # 4
Soprano: T. Garrigosa
Piano: R. Díaz
1975 Warsaw, Poland, Polish Radio
Program: J. Kanski discussed the opera “Bewitched Circle”, Opus 6, with recorded fragments.
November 11, 1977 Santo Domingo, Dominican Republic, Teatro Nacional, National Symphony Orchestra
Program: An evening devoted to the music of Jerzy Gablenz on the 40th anniversary of his death.
“Symphonic Variations” (Intro. & Var. #17) Opus 27
Piano Concerto in D-Flat Major Opus 25
Tone Poem “In The Mountains” Opus 17 (for male choir & orchestra)
Voices: National Choir (male voices only)
Piano: M. Rueda
Conductor: M. Simo
May 5, 1978 Bonao, Dominican Republic, Centro Educacional de Bonao
Program: Lecture for students on the life of Jerzy Gablenz illustrated with recorded fragments.
Speaker: Thomas Gablenz
April 26, 1979 Cracow, Poland, Association of Polish Artists & Musicians
Program: Lecture “Jerzy Gablenz – A Forgotten Composer”
Speaker: B. Scheller
Soprano: K. Jaworska
Producer: K. Treterowa
February 8, 1980 New York, USA, Seat of Kosciuszko Foundation
Program: Song recital for the rebuilding of Cracow’s monuments and relics (details unknown).
Tenor: W. Ochman
Piano: J. Gaczek
June 19, 1980 Katowice, Poland, Superior School of Music
Program: An evening devoted to the music of Jerzy Gablenz.
Eleven songs and the “Romanza” for organ solo.
Soprano: M. Growiec
Piano: K. Slobodnikowa
Organ: R. Jochymczyk
Commentator: A. Rozlach
June 24, 1980 Katowice, Poland, Polish Radio (Country-wide program), Superior School of Music
Program: “Birch Trees” Opus 9 # 3
“Rain Drop” Opus 16 # 2
June 29, 1981 Katowice, Poland, Superior School of Music
A. Rozlach received his Bachelor of Arts degree for his thesis “Songs of Jerzy Gablenz”.
November 1, 1981 Katowice, Poland, Polish Radio
An extensive program devoted to Jerzy Gablenz and his compositions, prepared by A. Rozalch.
Program: Two songs (titles unknown)
Fragments of “Bewitched Circle”
Fragments of “In The Mountains” Opus 17
Tenor: W. Ochman
Fortepiano: J. Gaczek
Commentary: W. Dzieduszycki, A. Rozlach, T. Gablenz
September 18, 1982 Warsaw, Poland, Polish Radio, Program I
Program: “Gloss to the Encyclopedia of Polish Musicians – For the Benefit of Jerzy Gablenz”
Presented By: A. Rozlach
October 20, 1982 Santo Domingo, Dominican Republic, Teatro Nacional
Program: “Jerzy Gablenz, His Life and His Music”
Illustrated with fragments of recordings and slides.
Presented By: T. Gablenz
November 1, 1982 Santiago de los Caballeros, Dominican Republic, Centro Cultural
Program: “Jerzy Gablenz, His Life and His Music”
Illustrated with fragments of recordings and slides.
Presented By: T. Gablenz
December 30, 1982 Bonao, Dominican Republic, Home of T. Gablenz
Program: “Jerzy Gablenz, His Life and His Music”
Illustrated with fragments of recordings and slides.
Presented By: T. Gablenz
February 7, 1983 Pittsburgh, USA, WQED-FM
Program: “In The Mountains” Opus 17
From the tape recorded in Santo Domingo on Nov. 11, 1977.
November 23, 1983 Czestochowa, Poland, Pedagogical Superior School, Institute of Artistic Education
Program: “Solo Songs of Jerzy Gablenz”
Presented By: A. Rozlach
October 1, 1984 Bonao, Dominican Republic, Rotary Club
Program: “Jerzy Gablenz, His Life and His Music”
Illustrated with fragments of recordings and slides.
Presented By: T. Gablenz
March 31, 1987 Santo Domingo, Dominican Republic, Teatro Nacional
Program: “Symphonic Variations” Opus 27
(Intro., Var. IV, VIII, and X)
National Symphony Orchestra
Conductor: R. Villanueva
September 29, 1987 Cracow, Poland, Swit Philharmonic Hall, Country-wide radio program
Program: Interview with T. Gablenz
Concerto for Piano and Orchestra Opus 25
Orchestra: Polish Radio Symphony Orchestra (Cracow)
Piano: J. Stompel
Conductor: S. Kawalla
Notes: Taped by the Cracow Television Station
Archive recording made by Polish Radio Cracow
November 11, 1987 Santo Domingo, Dominican Republic, HIJB-FM
Program: Concerto for Piano and Orchestra Opus 25
Notes: The broadcast was from the tape made on September 29, 1987
November 19 & 20 Bialystok, Poland
1987 Program: Concerto for Piano and Orchestra Opus 25
Piano: J. Stompel
Conductor: A. Zajac
Fall, 1987 Bydgoszcz, Poland
Program: Sonata for Cello and Piano Opus 15
Cello: R. Suchecki
Notes: Two performances
Dates, places, pianist – unknown
January 15, 1988 Kielce, Poland
Program: Concerto for Piano and Orchestra Opus 25
Piano: J. Stompel
Conductor: Z. Goncerzewicz
January 16, 1988 Cracow, Poland, Polish Television, Program II
Program: “Profile of a Composer – Jerzy Gablenz”
Included recorded comments of T. Gablenz and the Concerto for Piano and Orchestra, Opus 25 (recording from Sept. 29, 1987)
Presented By: A. Rozlach
January 22, 1988 Cracow, Poland, Polish Radio
Program: Fragments of the Concerto for Piano and Orchestra
Three songs as performed by W. Ochman
The finale of the Symphonic Variations
Presented By: A. Wozniakowska
January 22, 1988 Santo Domingo, Dominican Republic, HIJB-FM
Program: Fragments of “Bewitched Circle”
Several songs as performed by W. Ochman and M. Growiec
Fragments of Symphonic Variations Opus 27
Concerto for Piano and Orchestra Opus 25
Finale of “In The Mountains” Opus 17
Commentary: T. Gablenz
January 28, 1988 Santo Domingo, Dominican Republic, Teatro Nacional
Program: “Lyrical Compositions of Jerzy Gablenz”
Notes: Included recordings of songs as performed by W. Ochman, M. Growiec, P. Swift, the choral fragment from Act I of “Bewitched Circle”, the second movement of the Concerto for Piano and Orchestra, Opus 25 and the finale of “In The Mountains”.
Presented By: T. Gablenz
March 17 & 18, 1988 Jelenia Góra (Poland)
Program: Concerto for Piano and Orchestra Opus 25
Piano: J. Stompel
Conductor: A. Zajac
March 22, 1988 Bonao, Dominican Republic, Home of T. Gablenz
Program: “Lyrical Compositions of Jerzy Gablenz”
Notes: Included recordings of songs as performed by W. Ochman, M. Growiec, P. Swift, the choral fragment from Act I of “Bewitched Circle”, the second movement of the Concerto for Piano and Orchestra, Opus 25 and the finale of “In The Mountains”.
Presented By: T. Gablenz
March 28, 1988 Warsaw, Poland, Polish Radio, Program II
Program: Concerto for Piano and Orchestra Opus 25
(From archive recording)
April 9, 1988 Cracow, Poland, Academy of Music
Program: An evening devoted to the music of Jerzy Gablenz.
Several songs and the Sonata for Cello and Piano, Opus 15
Tenors: T. Slowiak and W. Wrona
Bass: D. Kaleta
Cello: Z. Lapinski
Piano: U. Gofryk-Bak, M. Smietana and K. Waldek-Czopik
May 26, 1988 Santo Domingo, Dominican Republic, Teatro Nacional
Program: Lecture “Enchanted Lake” Opus 29
Notes: Performance – see June 1, 1988
June 1, 1988 Santo Domingo, Dominican Republic, Teatro Nacional
Program: “Enchanted Lake” Opus 29
Orchestra: National Symphony Orchestra
Conductor: Robert Carter Austin
June 16, 1988 Santo Domingo, Dominican Republic, Teatro Nacional
Program: “Lyrical Compositions of Jerzy Gablenz”
“I Am Dreaming of Your Eyes” (Polish) Opus 5 # 3
“You Don’t Realize How Sad I Am” (Spanish) Opus 5 # 4
“I Loved In You” (Spanish) Opus 9 # 6
Soprano: M. Sanchez
Piano: R. Díaz
July 13, 1988 Pittsburgh, USA, WQED-M
Program: “You Don’t Realize How Sad I Am” Opus 5 # 4
Tenor: W. Ochman
Notes: The radio announcer gave a brief commentary on the composer on the 100th anniversary of his birth.
January 1989 Washington, DC, USA, National Public Radio
A brief commentary on the composer.
October 22, 1990 Polish Radio, Program IV
Program: Concerto for Piano and Orchestra Opus 25
(From an archive recording)
October 26, 1990 Wroclaw, Poland, Polish Radio
Program: Interview by J. Mencel of T. Gablenz
November 12, 1990 Warsaw, Poland, Polish Radio, Program II
Program: Interview by T. Deskiewicz of T. Gablenz
Three songs as performed by W. Ochman
October 10, 1991 Polish Radio, Program II
Program: Concerto for Piano and Orchestra Opus 25
(From an archive recording)
November 7, 1991 Polish Television, Program II
Program: “W. Ochman Sings Unknown Songs of Jerzy Gablenz”
Notes: Details not available
October 3, 1992 Bydgoszcz, Poland, Philharmonic Hall
Program: Recital of lyrical compositions
Thirteen songs”In May’s Night” Opus 4 # 1
“Morning In Spring” Opus 4 # 2
Sopranos: K. Rymarczyk and J. Rzewuska
Alto: A. Szczesik
Piano: V. Lukaszewska
MC: H. Martenka
Commentary: T. Gablenz
February 3, 1993 Santo Domingo, Dominican Republic, Teatro Nacional
Program: “The Legend of Turbacz” Opus 22
Orchestra: National Symphony Orchestra
Conductor: C. Piantini
November 29, 1993 Englewood, California, USA, Radio Station: Superaudio Classical Collections
Program: Concerto for Piano and Orchestra Opus 25
“The Legend of Turbacz” Opus 22
“The Rosary of St. Salome” Opus 26
Notes: 1 ž hour program devoted to the music of Jerzy Gablenz, transmitted from archive recordings made by the Polish Radio.
October 10, 1994 Poznan, Poland, Red Hall of Dzialynskich Palace
Program: Song recital
Soprano: K. Rymarczyk
Notes: Details unknown
November 25 & 26 Cracow, Poland, Philharmonic Hall
1994 Program: “Enchanted Lake” Opus 29
Orchestra: Cracow Philharmonic Orchestra
Conductor: K. Dziewiecki
April 21 – 29, 1995 Paris, France, International Competition
Program: Two contestants from Poland; B. Aksamit from the Academy of Music in Gdansk and M. Grela from the Academy of Music in Bydgoszcz. Both sang:”You Don’t Realize How Sad I Am” Opus 5 # 4
June 5, 1995 Cracow, Poland, Philharmonic HallProgram: “The Legend of Turbacz” Opus 22Orchestra: Cracow Philharmonic OrchestraConductor: W. Michniewski
September 27, 1995 Rybna, Poland (near Tarnowskie Gory), Center of Musical CultureProgram: First half of a recital was dedicated to songs of Jerzy GablenzSoprano: U. Pilarek-Zdebik
November 25, 1995 Prague, Czech RepublicProgram: Songs of Jerzy Gablenz were performed in a recitalSoprano: U. Pilarek-Zdebik
December 16, 1995 Cracow, Poland, Silesian’s ChapelProgram: “Annunciation” Opus 10 # 1″Santissima” Opus 10 # 2Soprano: E. Towarnicka
March 15, 1996 Olsztyn, Poland, Philharmonic HallProgram: “The Legend of Turbacz” Opus 22Orchestra: Olsztyn Philharmonic OrchestraConductor: K. Dziewiecki
September 18, 1996 Prague, Czech Republic, Center of Polish CultureProgram: Three songs of Jerzy Gablenz were performed in a recitalSoprano: K. Rymarczyk
October 29, 1997 Mississauga, Ontario, Canada, John Paul II Cultural CenterProgram: “Jerzy Gablenz – His Life and His Music”Presented By: M. Nowotarska, K. Jasinski, T. GablenzNotes: Illustrated by recorded music and slides
For More Information Please Contact
Thomas Gablenz
363 Erb Street West
Apartment #10
Waterloo, Ontario
Canada N2L-1W4
E-Mail: ggablenz@shl.com
Page updated on 30 March 1999