|
Michał Kleofas Ogiński (25 September 176515 October 1833)〔Don Michael Randel, ''The Harvard Bibliographical Dictionary of music'', Cambridge University Press, 1996, p. 649.〕 was a Polish composer,〔Jim Samson, ''The Cambridge Companion to Chopin'', Cambridge University Press, 1995, p. 148.〕〔Kielian-Gilbert, Marianne, "Chopiniana and Music’s Contextual Allusions", in ''The Age of Chopin: Interdisciplinary Inquiries'', edited by Halina Goldberg, Indiana University Press, 2004, p. 182.〕〔Justin Wintle, ''Makers of Nineteenth-Century Culture: 1800-1914'', Routledge, 2002, p. 116.〕 diplomat, politician,〔Jerzy Lojek, "British Policy toward Russia and Polish Affairs, 1790-1791", ''The Polish Review'', vol. 28, no. 2, 1983, p. 10.〕〔Maciej Karpińki, ''The Theatre of Andrzej Wajda'', Cambridge University Press, 1989, p. 131.〕〔Antony Brett-James, ''1812: Eyewitness Accounts of Napoleon's Defeat in Russia'', St. Martin's Press, 1966, p. 40.〕Grand Treasurer of the Polish-Lithuanian Commonwealth, and a senator of Tsar Alexander I.〔Roman Marcinek, Tadeusz Chrzanowski, ''Encyklopedia Polski'', Wydawnictwo Kluszczyński, 1996, p. 457.〕 ==Life== Ogiński was born in Guzów, Żyrardów County (near Warsaw)〔 in the Polish Kingdom (part of the Polish-Lithuanian Commonwealth). His father Andrius was a Polish-Lithuanian nobleman and governor of Trakai, in the Grand Duchy of Lithuania; his mother, Paula Paulina Szembek (1740–1797), was a daughter of the Polish magnate Marek Szembek, whose ancestors were Austrians, and Yadviga Rudnicka, who was of polonised Lithuanian descent (the family name's root is of Lithuanian origin and the suffix indicates polonisation of her family name). Taught at home, young Ogiński excelled especially at music and foreign languages. He studied under Józef Kozłowski, and later took violin lessons from Giovanni Battista Viotti and Pierre Baillot.〔 Ogiński served as an adviser to King Stanisław August Poniatowski and supported him during the Great Sejm of 1788–1792.〔Jerzy Jan Lerski, Historical dictionary of Poland, 966-1945, Greenwood Press, 1996. p. 400〕 After 1790, he was dispatched to The Hague as a diplomatic representative of Poland in the Netherlands〔John Ehrman, The Younger Pitt: The reluctant transition, Stanford University Press, 1983, pp. 10, 13〕〔Lennart Bes et al. Baltic connections: archival guide to the maritime relations of the countries around the Baltic Sea (including the Netherlands) 1450-1800, Volume 1, Brill, 2007, p. 1853〕 and was Polish agent in Constantinople and Paris.〔 In 1793, he was nominated to the office of the Treasurer in Lithuania.〔〔 During the Kościuszko Uprising in 1794, Ogiński commanded his own unit.〔Michael J. Mikoś, Polish Baroque and Enlightenment literature: an anthology, Slavica Publishers, 1996, p. 190〕 After the insurrection was suppressed, he emigrated to France, where he sought Napoleon's support for the Polish cause.〔 At that time he saw the creation of the Duchy of Warsaw by the Emperor as a stepping stone to eventual full independence for Poland, and dedicated his only opera, ''Zelis et Valcour'', to Napoleon.〔Iwo Załuski, A Polish family in music - Prince Michal Kleofas Oginski's musical gene lives on, Contemporary Reviev, February 1997〕 In 1810, Ogiński withdrew from political activity in exile〔 and, disappointed with Napoleon,〔"In short, I felt, says Oginski, that Poland must be dependent either on France or Russia, and between the two, I saw greater chance of its welfare, and greater hopes even of its recovering its nationality under the sceptre of the Emperor Alexander." in: The Foreign quarterly review, Vol. 3, Treuttel and Würtz, 1829, (p. 491 )〕 returned to Vilna. Adam Jerzy Czartoryski introduced him to Tsar Alexander I, who made Ogiński a Russian Senator. Ogiński tried in vain to convince the Tsar to rebuild the Polish State. He moved abroad in 1815 and died in 1833 in Florence.〔 As a composer, he is best known for his polonaise ''Pożegnanie Ojczyzny'' (''Farewell to the Homeland''),〔 written in 1794 on the occasion of his emigration to western Europe after the failure of the Kościuszko Uprising.〔〔Bolesław Klimaszewski, ''An outline of Polish Culture'', Warsaw, Interpress, 1984, p. 159.〕 This piece, with its unreservedly melancholic melodies and fantasia-like passages, can be considered one of the earliest examples of Romanticism in music, preempting Frédéric Chopin by approximately a quarter-century. His polonaises influenced an entire generation of Polish composers, including Maria Szymanowska, Franciszek Lessel, and Ignacy Feliks Dobrzyński. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Michał Kleofas Ogiński」の詳細全文を読む スポンサード リンク
|