Raoul Koczalski - Works

Works

Koczalski's compositions include nearly 200 published works, symphonic and chamber pieces, concertos, operas and ballets, piano compositions and songs.

  • Symphonische Legende vom Könige Boleslaus dem Kühnen und Bischof Stanislaus dem Heiligen (im Jahre 1079) for orchestra (composed 1894), publ. Leipzig: Pabst, c.1900.
  • Rymond: Opera in 3 acts (6 scenes), libretto by Alexander Graf Predro. (Premiere, 14 October 1902, Elberfeld), publ. Leipzig 1902.
  • Die Sühne: (The Expiation): a Trauerspiel in one act. (Premiere, 1909 Mülhausen (Mulhouse, France)), publ. Leipzig: Pabst, c.1907.
  • 24 Preludes, Op. 28
  • Piano Concerto, Op. 83
  • Rilke-Heft; 4 songs on texts by Rainer Maria Rilke, Op. 102
  • Rilke-Heft; 4 songs on texts by Rainer Maria Rilke, Op. 116
  • Semrud: a Tale from the Orient, in 5 scenes and a prelude (Text based on some stories from The Thousand and One Nights, some dramatic sketches by Benno Ziegler, and the comic opera "Der betrogene Kadi" by Ch. W. Gluck), Op. 118
  • Aus dem west-östlichen Divan, 21 poems by Goethe set as songs and duets for soprano and baritone, Op. 121. Berlin: Koczalski, 1937
  • Legende No. 1, Op. 127
  • Piano Sonata No. 8, Op. 143, publ. Poznań: Koczalski, c.1940
  • Sonatina for piano, Op. 146
  • 3 Nocturnes, Op. 147

Read more about this topic:  Raoul Koczalski

Famous quotes containing the word works:

    “Evil is something you recognise immediately you see it: it works through charm.”
    —Brian Masters (b. 1939)

    “When life has been well spent, age is a loss of what it can well spare,—muscular strength, organic instincts, gross bulk, and works that belong to these. But the central wisdom, which was old in infancy, is young in fourscore years, and dropping off obstructions, leaves in happy subjects the mind purified and wise.”
    —Ralph Waldo Emerson (1803–1882)

    “His character as one of the fathers of the English language would alone make his works important, even those which have little poetical merit. He was as simple as Wordsworth in preferring his homely but vigorous Saxon tongue, when it was neglected by the court, and had not yet attained to the dignity of a literature, and rendered a similar service to his country to that which Dante rendered to Italy.”
    —Henry David Thoreau (1817–1862)