Ministerstwo Kultury i Dziedzictwa Narodowego
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Ludomir Michał Rogowski

Ludomir Michał Rogowski


Rogowski Ludomir Michał, *3 X 1881 Lublin, †13 III 1954 Dubrovnik, Polish composer and conductor. His interest in music was influenced by his parents who were amateur musicians – his mother, Karolina played the piano and his father, Dominik played the violin. When he was just seven years old he tried to write his first pieces. He studied at the Institute of Music in Warsaw under the direction of Z. Noskowski (composition) and E. Młynarski and R. Statkowski (conducting) until 1906. From 1906 to 1907 he continued his studies at Leipzig under the direction of A. Nikisch (conducting) and H. Riemann (harmony and counterpoint). He also deepened his knowledge of music in Munich (1907-1908), Rome (1908-1909) and at a vocal course with J. Reszke in Paris (1911). His interests were not limited to music, because at the same time explored areas such as biology, experimental psychology, Hindu philosophy, occultism and the plastic arts. From 1909 he taught at the school of music for organists and conducted the symphony orchestra in Vilnius. In 1912 he was appointed director of the orchestra and music director of the Teatr Nowoczesny in Warsaw.

From 1914 to 1919 he lived in France (Paris, Villefranche), followed by Belgium (Brussels), mostly giving concerts and composing. In 1919 he wrote his artistic manifesto called Muzyka przyszłości (Music of the Future). From 1921 he lived in Warsaw, where he conducted, composed, wrote literary works, translated and created musical illustrations for artworks on display at the Polish, Mały and Rozmaitości theatres. In 1926 he moved permanently to Dubrovnik. Despite his remoteness he was still interested in musical life in Poland (evidence of this includes the articles O polskość naszej kultury muzycznej and Pro domo sua) and he travelled home for concerts in 1935 and 1938 (Łódź, Warsaw). In 1938 he was awarded the State Prize for lifetime achievement in music. After 1939, Rogowski was taken care of by the authorities of Dubrovnik, who granted him a pension and a room in a former convent of St. Jacob. Rogowski preferred fairy tale themes in his operas. These are pieces with a chamber ensemble and concise form; in one of them, Wielkim zmartwieniu małej Ondyny, he made an interesting formal experiment: the introduction of a fragment of film.