He was educated at Rugby and at Clare College, Cambridge, where he became a close friend of Dent; he graduated in classics and took a MusB in 1912. After a short spell of teaching at Repton he moved to London as a critic and teacher; his articles for The Times (1913–14) and the New Statesman (1914) reveal a brilliant musical mind. His posthumously published songs are particularly beautiful and the ballet suggests a rare ability to absorb new idioms. He was killed in action shortly after burying his friend Rupert Brooke.
2 Tennyson Settings, ?1909: Move Eastward, Happy Earth;
The isle of lost dreams (W. Sharp), ?1909;
Dream-Tryst (F. Thompson), 1909;
Diaphenia (H. Chettle), 1912;
Epitaph on Salathiel Pavy (B. Jonson), 1912;
To Gratiana dancing and singing (R. Lovelace), 1913;
Arabia (W. de la Mare), 1914
God is our Strength and Song (J. Montgomery), SSATB, 1912
The Comic Spirit, ballet, inc.;
3 songs, choral and orch music
In 1877 Couture returned to Canada. His activities in Montreal as a teacher, critic and conductor no doubt explain why he became less active as a composer. In great demand as a choir director, he served successively at Trinity Church, Christ Church Cathedral, Gésu Church, Notre-Dame Church and St Jacques Cathedral, where he remained from 1893 until his death. He also lectured widely in convents and schools; in 1896 he was invited to the New England Conservatory in Boston. He conducted the Société des Symphonistes, which he organized in 1878, and the Montreal Philharmonic Society (1880–99), as well as conducting the orchestra in concerts given by Emma Albani. Through these and two other concert societies he founded, Couture introduced the Montreal public to the operas of Wagner (which he studied on a trip to Bayreuth in 1893) and other Classical and Romantic repertory. Couture’s own compositional abilities are revealed in two important late works, a requiem and the oratorio Jean le Précurseur, which is in three sections. The first, La nativité, is pastoral in character and is based on a liturgical theme; the second, La prédilection, opens with the liturgical theme Attende; the third is titled Le martyre. The contrapuntal writing is impressive, and the choruses exhibit both verve and drama; but in general the work lacks firm structure and concise expression. Yet Couture’s work commands respect despite its traditional and academic aspects.
Both as a composer and as a teacher, Couture was an ardent proponent of a Canadian music that would reflect French origins, as some Ontario composers looked to English or Austro-German models. If his compositions may be said to mark the end of an epoch, his teaching activities pointed towards a new era of enriched diversity in Canadian music. Léo-Pol Morin wrote: ‘Couture was the first great musician in the history of Canadian music, the most learned, the most intelligent, the most cultured of his time. He was moreover the first great [music] educator in our country’. Several of his manuscripts and other signed documents are at the University of Montreal. A catalogue, the Répertoire numérique du Fonds Guillaume-Couture by Francine Pilote and Jacques Ducharme, was published in 1979. A selection of Couture’s letters appeared in the Revue de l’Université Laval, xvi (May 1962).
Hymne national canadien-français (N. Bourassa), 4vv, orch, pf, op.4, 1875
Le souvenir (L. Nastorg), 1v, pf, 1907, ed. in Canadian Musical Heritage, vii (1987)
Ave Maria, T, vn, vc, org, op.36, 1875
Memorare (Prière de la très sainte Vierge), solo v, 4vv, orch, org, op.1 (1875)
Salut de la Fête-Dieu (3 morceaux en plain-chant traités en contrepoint fleuri), 4vv, org, op.6 (1875)
Salut pour les double majeur et mineur, 3 chorales, 4vv, org, op.5 (1875/R in Canadian Musical Heritage, v, 1986)
Atala (cant.), 3 solo vv, pf, 1876/7
Ave verum, S, B/Bar, org, 1877
Rêverie (A. de Lamartine), 1894
Veni creator spiritus, T, orch, org, ?1894
Messe de requiem, solo vv, 4vv, orch, org, c1904
Jean le Précurseur (orat, A. Lozeau, A. Legel), 1907–9 (1914)
Marche triomphale, orch, 1875
La perle cachée, incid music, ?1875
Quatuor-fugue, str qt, op.3 (1875)
Rêverie, orch, op.2 (1875/R in Canadian Musical Heritage, viii, 1990)
Grand fugue, d, org, 1876/7
Petit menuet, pf/(vn, pf), 1884
Souvenir de couvent (Feuille d’album), pf, 1906
‘Une oeuvre canadienne’, Canada artistique, i/8 (1890)
‘Emery Lavigne’, Canada artistique, i/10 (1890)
‘Le nouvel orgue de l'Eglise Notre-Dame de Montréal’, Le monde [Montreal] (4 July 1891)
Many articles in La Minerve, Revue de Montréal, La Patrie, Montreal Daily Star
Because of paternal opposition he first studied music secretly, but when his father later relented he made rapid progress, aided by Mercadante. His first opera, Monzù Gnazio, a comic opera in Neapolitan dialect, was performed at the Teatro Nuovo in 1860. During the next 20 years he wrote eight more, all in the comic or semi-serious genres, of which Il cuoco (1873) was the most widely performed and La figlia del diavolo (1879) the most controversial, because of its verismo tendencies. After 1880 he had only one more opera performed, devoting himself mostly to instrumental and sacred music and to teaching and writing.
In 1872 he won the competition for the chair of harmony and counterpoint at the music school of the Real Albergo dei Poveri and in 1874 became director. In 1875 he moved to the conservatory where he taught harmony and, from 1877, counterpoint and composition; Leoncavallo was among his pupils. In 1878 he published the Introduzione del sistema tetracordale nella musica moderna, which attempts to formulate a new harmonic system based on a scale related to the Phrygian mode and which he linked historically to Neapolitan folk music with its flattened ‘Neapolitan’ second. He claimed to have put this system into use in La figlia del diavolo. He later published a number of historical and critical studies, most notably on the old Neapolitan opera buffa. In 1904 he won the chair of music history at the conservatory. In 1909 he became director, but he gave up the post in 1911 and retired from teaching in 1912. D’Arienzo’s uncle, Marco d’Arienzo (1811–77), a government bureaucrat by profession, was a librettist by avocation. Between 1839 and 1877 he wrote about 30 librettos for Neapolitan theatres, collaborating with Mercadante, De Giosa, Lauro Rossi, Luigi Ricci, Petrella and others. Among the best-known were Ricci’s La festa di Piedigrotta (1852) and De Giosa’s Napoli di carnevale (1876).
comic and first performed in Naples unless otherwise stated
Monzù Gnazio, o La fidanzata del parrucchiere (A. Passaro), 1860;
I due mariti (A. Spadetta), 1866, rev. 1871, vs (Milan, ?1876);
Le rose (Spadetta), 1868;
Il cacciatore delle Alpi (Spadetta), 1870;
Il cuoco e il segretario (Spadetta), 1873;
I viaggi (Spadetta), Milan, 1875;
La figlia del diavolo (A. Laudì), 1879;
I tre coscritti (L.E. Bardare), 1880;
La fiera (S. Di Giacomo), 1887
Rita di Lister (M. d’Arienzo), before 1875;
Lesbo di Rodio (N. d’Arienzo);
Cristo sulla croce (orat), solo vv, vv, orch, before 1875;
Stabat mater, 6 solo vv, vv, str orch
A Roma, conc. sinfonico, 1871;
Orlando, sym., D;
Pensiero sinfonico, perf. 1871, arr. pf, 4 hands (Milan, n.d.);
Piccolo [Vc] Conc., c, 1881, with pf acc. (Milan, 1885);
Vn Conc., a, 1880, with pf acc. (Milan, 1912);
Vn Conc.-fantasia, with pf acc. (Milan, 1912)
Pf Trio, C, perf. Feb 1864;
Vc Sonata, perf. 1884;
Str Qt, 1888;
hp pieces, c100 songs
Introduzione del sistema tetracordale nella musica moderna (Milan, 1878)
Dell’opera comica dalle origini a G.B. Pergolesi (1887)
‘Origini dell’opera comica (delle origini della musica moderna)’, RMI, ii (1895), 597–628; iv (1897), 421–59; vi (1899), 473–95; vii (1900), 1–33; also pubd separately (Turin, 1900)
La musica in Napoli (Naples, 1900)
He was also a successful manufacturer of woodworking machinery and an inventor. He was well trained in music, and conducted the Norwich (Connecticut) Harmonic Society from 1852 to 1854. About 1864 Doane began to compose melodies for Sunday-school hymns, producing over 1000 tunes to texts by Fanny Crosby, and as many more to other authors' words; he also collaborated with Robert Lowry in the compilation of popular Sunday-school collections, and edited The Baptist Hymnal (1883). His best-known tunes include those of the hymns Jesus, keep me near the cross (1869), More love to Thee, O Christ (1870), Pass me not, O gentle Saviour (1870), Take the name of Jesus with you (1871), Draw me nearer (1875) and To God be the glory (1875). Doane was a generous contributor to the YMCA, Denison University, and the Cincinnati Art Museum, which houses his collection of musical instruments.
He attended the conservatory in Florence, and became a leading theatre performer, touring Italy as a cornet virtuoso; he them returned to Florence as an opera conductor and composer. In 1876 went to the USA, settled in New York, and worked as a church organist and singing teacher; he also composed and arranged several works for the famous Gilmore Band. In the 1880s he conducted concerts of the Mozart Musical Union, an amateur orchestra association, and in the early 1890s toured New England as conductor of the Lillian Durell Opera Company. In 1892 he succeeded Sousa as leader of the US Marine Band in Washington, DC. His career there came to an abrupt end in 1897 when he refused an officer’s order to change the marches he had selected for a Memorial Day parade. The subsequent inquiry would have resulted in a dishonorable discharge had Theodore Roosevelt, then acting Secretary of the Navy, not interceded; nonetheless, Fanciulli’s contract as director of the US Marine Band was not renewed. He returned to New York, was named leader of the 71st Regiment Band of the New York National Guard, began a popular series of concerts in Central Park and appeared at the opening of the Pan American Exposition in Buffalo in 1901. Fanciulli’s compositions include five operas, band, orchestral, choral and chamber works, piano pieces and songs. His manuscripts are in the Americana Collection of the New York Public Library at Lincoln Center.
After completing the classical studies programme at the Collège Joliette, he spent three years studying music in Montreal. In 1853 he was appointed organist at St Jean-Baptiste in Quebec City, and from 1864 to 1876 he was organist of the Quebec City Basilica. During the first of two European trips (1857–8 and 1873) Gagnon studied the piano at the Paris Conservatoire with Alexandre Edouard Goria and Henri Herz, and harmony and counterpoint with Auguste Durand. An exponent of the Louis Niedermeyer method of plainchant accompaniment, Gagnon published in 1903 a large book of accompaniments for use in Quebec parishes (L'accompagnement d'orgue des chants liturgiques). He also composed some church music, as well as several salon-type pieces for solo piano. He was a founder of one of the first regulatory musical institutions in Canada in 1868, the Académie de Musique de Québec, and taught music for many years at the Ecole Normale Laval and at the Ursuline convent in Quebec City. In later life he was a civil servant in the provincial government. Gagnon is remembered for his folksong collection, Les chansons populaires du Canada (Quebec City, 1865–7, 2/1880/R). It is remarkable for the scrupulous attention to detail in his transcriptions, concordances with variants in other sources, and musical analysis.
He studied the violin in Warsaw with Studziński and Baranowski, and with Apolinary Kątski at the Institute of Music. He was taught theory and composition by Freyer and Moniuszko, and later by Kiel in Berlin. In 1871 he became a soloist in the orchestra of the Wielki Theatre in Warsaw, and from 1876 he was a professor at the Warsaw Institute of Music where he taught the violin, and from 1879 to 1885 directed the advanced violin class. Later he taught the violin in Lisbon, Paris, Montreux and Lausanne; in Paris he also organized a chamber music interpretation course (the so-called Leçons d’accompagnement) and played in the Lamoureux Orchestra. Górski gave concerts in Poland, Germany, France, the Netherlands and England (1902), achieving great success. He often appeared with Stojowski, Nellie Melba and Paderewski – he took part in Paderewski’s first Kraków concert in 1883. Górski’s relatively small creative output includes several works for the violin which are generally of a virtuoso character. He also wrote Praktyczna szkoła na skrzypce (‘A practical violin tutor’, Warsaw, 1880–97) and other ‘practical tutors’ for violin, and a number of articles, reviews and reports of musical life in Polish magazines, including the journal Słowo; he also published some poetry.
all for vn; lost unless otherwise stated
Suite, c, op.1 (Warsaw, 1882);
2 mazurkas, op.2 (Berlin, 1882);
Berceuse et intermezzo capriccioso, op.3 (Berlin, 1888);
Prelude and fugue;
Song without words;
Variations on a theme of Paganini
Studies, miniatures and cadenzas to the vn concertos of Beethoven and Mendelssohn, and a sonata of Tartini
He was taught the piano by J. Drobniewski and the violin by W. Kopiński while at school in Kalisz. Later he studied in Warsaw with August Freyer and in Berlin (1854–7) with C.F. Rungenhagen, both also teachers of Moniuszko. On his return to Warsaw he was active as pianist, organist, choral conductor and teacher. In 1857 he co-founded a large and highly successful firm selling keyboard instruments. In 1866 he travelled to Paris, where he worked on his opera Rybak z Palermo (‘The Fisherman from Palermo’). He paid a second visit to France in 1895, but his life was centred on Warsaw, where he played a central role in the organization of musical life during one of the most culturally barren periods in Polish history. He was active on the committee of the publishers Warszawskie Towarzystwo Muzyczne and on the board of the Warsaw PO (founded in 1901), and a director of the Cesarski Theatre.
Composition was never at the forefront of Grossman’s activities, but his music is well crafted and was occasionally given distinguished seals of approval. The Fisherman from Palermo, to a libretto by Jan Chęciński, was highly praised by Rossini when Grossman showed him the manuscript in Paris. It had its première in Warsaw in 1867. The second (comic) opera, Duch wójewody (‘The Ghost of Voyvode’), to a libretto by W.L. Anczyc, was given its first performance in Warsaw on 25 October 1875; it was later produced in Vienna to great acclaim (with special admiration from Hanslick), as well as in St Petersburg (1877), Graz, Berne and Berlin (1884). Grossman’s other two operas, Kornet Hamilton (1867), to a libretto by Anczyc, and Les sabots de la marquise (1896), were neither performed nor published. His instrumental music is confined in the main to ballet scores, overtures, a handful of chamber works and salon pieces for the piano.
Rybak z Palermo [The Fisherman from Palermo] (op, J. Chęciński), Warsaw, 1867, PL-Wtm
Kornet Hamilton (op, W.L. Anczyc), 1867, unperf.
Duch wójewody [The Ghost of Voyvode] (op, 3, Anczyc), Warsaw, 25 Oct 1875, vs (Warsaw, 1873)
Les sabots de la marquise, 1896, unperf.
Cant. on the opening of the Suez Canal, solo vv, chorus, orch, 1871;
Raźno chłopcy [Jauntily, Boys], mazurka, 4vv, pf, Warsaw, Gebethner &
Śpiewy i walce [Songs and Waltzes], 4vv;
Songs, 1v, pf:
Lilie (H. Heine), Ruch muzyczny (1857), 216–17;
Ostatnie pożegnanie [Last Farewell] (H. Przybysławski), op.17, 1860;
Krakowiaczek [Little Krakowiak] (A.L. Anczyc);
Marylka (Agricola), 1912;
O dolce amor, serenata (Milan, 1886);
Krakowiaczek [Little Krakowiak] (E. Wasilewski); PL-Wtm
King Lear, ov., 1857;
Maria, Ukrainian ov., after A. Malczewski, 1859 (Leipzig, 1899);
Szermierz z Rawenny [The Gladiator of Ravenna], ov., after F. Halm;
Concert Ov., e;
2 ballet suites, 1883, 1886;
Trot de cavallerie, Warsaw, Gebethner &
Fantasy on Polish Themes, 1886;
Triumphant March, Ceremonial March;
Pf Conc., C;
Pf Trio, e;
Fantasy on Themes from Meyerbeer;
Fantasy on Themes from Rossini: Guillaume Tell
Polonaise, op.1 (Leipzig, 1860);
Morceau sentimental et élégant, op.23 (Leipzig, 1860);
Polish Rhapsody, op.30;
Tristesse, chant sans paroles, op.33;
Polish Rhapsody, op.84;
Les causeuses, polka burlesque et capricieuse;
La folâtre, polka française; Karnaval w Kochu [Carnival at Koch], polka tremblante;
W modrzewiowym dworku [At the Larch Manor House];
Klange au Polen, 5 nationale Tanzweisen;
Arietta à la gavotte;
Fantasy on Themes from Meyerbeer: Robert le diable
His father, a doctor, first taught him the violin. At the age of 12 he entered the Leipzig Conservatory to study with Ferdinand David for two years. Later he studied the violin with Joachim and composition with Friedrich Kiel at the Hochschule für Musik in Berlin. With the cellist Heinrich Grünfeld and the pianist Xaver Scharwenka, in 1878 he founded the Berlin subscription concerts for chamber music. He became leader of the Gürzenich Orchestra in 1881 and taught the violin at the conservatory in Cologne. In 1884 he was appointed royal chamber musician of the Berlin court opera orchestra and in 1885 became head of the violin faculty of Kullak's Neue Akademie der Tonkunst. He made several concert tours, including one with Carlotta Patti to Austria. He became leader of the Cologne municipal theatre orchestra in 1884, and after the retirement of Georg Joseph Japhas he took over the leadership of the Professors String Quartet. He was director of the Stern Conservatory from 1895 until his death. His compositions consist chiefly of works for the violin (many of them miniatures), mostly with piano accompaniment but some with orchestra, including three concertos. He also wrote a few cello pieces and vocal duets.
He was apprenticed to a tailor but showed early determination to become a musician, and taught himself Tonic Sol-fa. In 1874 he was one of Joseph Parry's first music students at the newly founded University College of Wales, Aberystwyth, and four years later, as the college could not yet award degrees, took the Cambridge MusB externally. He was appointed instructor in music at Aberystwyth in 1882, lecturer in 1899 and professor in 1910. A prolific composer, he published most of his music himself, including some fine hymn tunes (‘Penlan’, ‘Builth’, ‘Gnoll Avenue’, ‘Bod Alwyn’). Of his larger works Job, The Storm, Arch y Cyfamod (composed for the National Eisteddfod, Caernarvon, 1876), The Psalm of Life (Cardiff Triennial Festival, 1895), The Galley Slave and Scenes in the Life of Moses (his last big work, dated 1 March 1915) were popular during the heyday of the great Welsh choral movement. His rather traditional Romantic style combines a German harmonic richness with dramatic Italian characteristics. He was admired as a conductor in Wales and the Welsh communities in the USA, where he was in demand for chapel singing festivals and as an adjudicator at competitive eisteddfods. He wrote regularly on music in the Welsh press and edited Y Cerddor, jointly with D. Emlyn Evans from 1889 to 1913 and then singly until his death.
He graduated from the Moscow Conservatory in 1879, having studied composition with Tchaikovsky and the violin with Ivan Hřimalý. In the same year he assisted Nikolay Rubinstein in preparing the première of Tchaikovsky’s Yevgeny Onegin. Besides directing the Moscow University orchestra, Klenovsky was a conductor at the Bol'shoy Theatre in Moscow (1883–93). He also composed much incidental music for plays at the Malïy Theatre. In 1893 he moved to Tbilisi where, besides conducting the town’s symphony concerts and taking charge of the local branch of the Russian Musical Society, he was able to develop further his interests in folk music. He had already been associated with Yuly Mel'gunov in harmonizing folksongs, and in 1895 he issued his own anthology, Etnograficheskiy kontsert: sbornik pesen russkikh i inorodcheskikh [An ethnographical concert: a collection of songs of the Russians and other peoples of the Empire] (reprinted in Moscow, 1926). From 1902 to 1906 he was deputy director of the imperial chapel in St Petersburg. As a composer, Klenovsky earned praise from Tchaikovsky, and it was in fact to Klenovsky that Vsevolozhsky (director of the imperial theatres) first offered The Queen of Spades as a subject for an opera; only when he failed to make any progress with the idea was the libretto passed to Tchaikovsky. Klenovsky’s three ballets were successfully mounted, but any successes among his other works were only transitory, and most of his music remains unpublished.
Prelesti gashisha [The Delights of Hashish] (ballet), 1885;
Svetlana (ballet), 1886;
Salanga (ballet), 1900;
Georgian liturgy (Moscow, n.d.);
Mirazhi [Mirages], sym. picture;
other orch pieces
At the age of nine he was a member of the military band in which his father also served, and when he was 15 his first zarzuela, La toma de Tetuán, was given in Córdoba. He taught the piano in Badajoz from 1861 to 1863; for the next six years he conducted and taught the piano and flute in Valladolid. Settling in Madrid, he was choirmaster of the Teatro Rossini and Teatro Real, and was active as a conductor; most of his nearly 200 zarzuelas were composed during this period, including the very successful Cuadros disolventes (performed in 1896). A dance-tune from this work, Con una falda de percal planchao, became extremely popular in Spain. He also wrote an autobiography, Memorias añejas … que comprenden mi infancia y mi primera juventud hasta los 29 años (Madrid, 1915).
La sonámbula, 1872;
El marsellés, 1875;
El prado de noche, 1877;
Mantos y capas, 1881;
Madrid se divierte, 1882;
El bergantín andante, 1883;
Gato encerrado, 1884;
Don Benito Pentoja, 1885;
El himno de Riego, 1886;
Los trasnochadores, 1887;
Certamen nacional, 1888;
La estrella del arte, 1888;
Los belenes 1890;
Toros y cañas, 1892;
El mixto de Andalucía, 1893;
La maja, 1895;
Cuadros disolventes, 1896;
El gaitero, 1896;
El principe heredero, 1896;
Manolita la prendera, 1897;
El feminista, 1898;
El seminarista, 1898;
Chiqueta bonica, 1899;
Comediantes y toreros, 1899;
El barbero de Sevilla, 1901
songs for 1v, pf
He studied the violin with his uncle Tullio Ramacciotti and at 13 was giving concerts. In 1864 he studied with Joachim at Hanover. At Rome again, he joined his uncle’s ensemble, the original Quartetto Romano, which in 1866, when Ramacciotti left it, became a quintet with the addition of Tito Monachesi, violin, and Giovanni Sgambati, piano. For almost half a century Pinelli and Sgambati, both individually and jointly, made important contributions to Rome’s musical life. In 1869 they established a free school of violin and piano for poor children; this was the nucleus of the Liceo Musicale of the Accademia di S Cecilia, founded in 1877, where Pinelli and Sgambati taught for the rest of their lives. Pinelli excelled as a teacher, and many of his pupils had distinguished careers. With Sgambati he founded the Chamber Music Society of Rome; they also alternated as directors of the Royal Court Concerts. In 1874 Pinelli founded the Società Orchestrale Romana which he directed for 25 years. He composed a symphony, a string quartet, an Italian Rhapsody and a number of songs. His editions of works by Bach and Corelli and of études by Campagnoli, Kreutzer and Rolla are no longer in print. His brothers, the pianist Oreste and cellist Decio, also became professional musicians.
He was educated at the music school of the Kraków Technical Institute, studying the violin with Ignacy Wójcikiewicz, theory and wind instruments with Piotr Studziński, and the piano with Józef Blaschke. Later, he studied at the Vienna Conservatory. While serving in the Austrian army Wroński played the violin in the orchestra of the 70th Infantry Regiment under the direction of Michał Zimmermann, from whom he learned much about the craft of instrumentation. He soon became assistant conductor, and in 1867 he went with the orchestra to the Paris Exposition Universelle, where they won first prize. For several years he was musical director of the band of the 40th Infantry Regiment, from which, with great effort, he was able to create a full symphony orchestra. The latter had a great impact on the musical culture of Kraków, promoting important works and becoming part of the Old Theatre (Teatr Stary), where it accompanied performances and played during the entr'actes (under the direction of S. Koźmian).
The orchestra also collaborated with the Kraków operetta (under the direction of K. Hofman), and stimulated the amateur musical scene. In 1875, following the example of the Strauss family in Vienna, Wroński organized his own orchestra in the spa town of Krynica, and directed the ensemble for some 40 years. As its soloist and conductor, he wrote about 180 dances, numerous arrangements and small symphonic pieces for the orchestra. When the 40th Infantry Regiment relocated from Kraków to Rzeszów, Wroński established a city orchestra in Kraków (probably inspired by W. Żeleński), becoming its director in 1882. After its sudden disbanding in 1885 by the Austrian administration of Galicia, he devoted himself to teaching and to playing in a string quartet. In 1886 he moved to Kołomyja as director of the Music Society named after Stanisław Moniuszko, at the same time being engaged in the running of a symphony orchestra and teaching music. From 1897 he worked as conductor of the theatre orchestra at Lemberg, and after 1900 he was head of the music school of the Music Society in Sambor. In 1907 he returned to Kraków briefly in order to direct both the orchestra of the Harmonia Society of Friends of Music and their music school, and in 1908 he was back in Lemberg conducting operettas. Later he directed the Music Society of Stryj.
Wroński's dance music contained a strong folk and Slavonic flavour. Known as the ‘Polish Strauss’, he composed with ease and was a born melodist. Among about 250 compositions are overtures and fantasies for orchestra; dances for orchestra, piano and other ensembles, which are mostly waltzes (the waltz ‘On the Waves of the Vistula’ ran to 50 editions), but also including gallops, mazurs, polonaises and marches (for example, the ‘Sokołów March’ op.92); miniatures for violin and piano (for example, the Elegy op.34, and Kołysanka (‘Lullaby’) op.171); theatre music; solo and choral songs. Particularly well regarded were his collections of national songs in various arrangements, and his krakowiak dances Z nad Wisły (‘From the Vistula’), which won a prize in 1904 at the K. Lubomirski composition competition, are still performed by wind orchestras. A large collection of Wroński's works can be found in the Biblioteka Jagiellonska, Kraków.
His first teacher was his father; he then took cello lessons with Alois and composition lessons with Kazbiryuk, and attended Kiev University. For some years he was director of the local branch of the Russian Musical Society in Voronezh; he taught in the society’s school, conducted the orchestra and organized chamber music concerts. In 1901 he settled in St Petersburg, where he took up a non-musical post, but made occasional appearances as an accompanist. His works include a Suite for string orchestra op.33, a Danse slave and a Polonaise for orchestra, a string quartet, other chamber music, piano pieces and songs.