Zygmunt (Sigismond) Stojowski was born on April 8, 1870, in Strzelce, near Kielce. He received his first introduction to composition in Kraków from Władysław Zelensky. Stojowski then continued his musical development at the Paris Conservatoire, where he studied under Léo Delibes, Théodore Dubois, and Louis Diémer. During his time in Paris, he received awards for piano, counterpoint, and fugue. After completing his studies, he furthered his education with Władysław Górski and Ignacy Paderewski and also earned a degree in humanities from the Université de Paris-Sorbonne.
In 1905, Stojowski moved to New York, where he assumed the directorship of the piano department at the newly founded Institute of Musical Art. He was the first Polish composer to be honored with a concerto dedicated to him by the New York Philharmonic Orchestra. His concert tours took him throughout Europe, North America, and South America, and in Manhattan he ran his own "Stojowski Studios." His works, characterized by lyricism and rich chromaticism, were highly regarded during his lifetime. After the outbreak of World War I, Stojowski returned to Poland only once, in October 1929.
Stojowski was also deeply involved in the Polish community in America. For his contribution to the restoration of Polish independence, he was awarded Poland's highest civilian honor. He served as president of the "Kolo Polskie" (Polish Society) in New York and founded the Polish Institute of Arts and Letters. During World War II, he led the Polish Musicians' Committee and was editor of the weekly newspaper, the Polish Review.
Sigismond Stojowski died in New York on November 5, 1946. His outstanding role among late Romantic composers is evident in his prolific output. Stojowski wrote his Deux Pensées musicales, Op. 1, during his studies at the Paris Conservatoire; Léo Delibes passed this work on to Ignacy Paderewski before its publication. The Mélodie No. 1 from the Pensées was particularly popular. The Deux Orientales, Op. 10, were inspired by impressions of the Orient and reflect a variety of moods.
The Variations on a Krakow Theme, based on a Polish folk song, demonstrate Stojowski's versatility and technical skill as a pianist. The Fantasie, Op. 38, and Aspirations, Op. 39, document his transition from the Romantic style to Impressionism. The Variations et Fugue sur un thème original, Op. 42, are considered a significant example of counterpoint and fugue.
The Variations on a Krakow Theme are based on a Polish folk song and attest to Stojowski's versatility and technical skill as a pianist. Stojowski's extensive musical output and his contribution to music history underline the importance of this Polish composer and patriot, whose name is unfortunately rarely mentioned today.