"Although I was borń in Poland, I only feeĺ comfortable in the South. Nowhere, however, in the most beautiful places in Europe was I able to staý for more than three years - I was a stranger and among strangers, I had to wandeŕ further and again somewhere else. In Dubrovnik I am among my own [...]. Here I have gained, as it were, a second homeland̨, which I love almost as much as the first one".
Ludomir Michał Rogowski, born in Lublin in 1881, was an intriguing figure in the world of music. As a seven-year-old, he discovered his passion for composition, which led him to study at the Warsaw Conservatory under Zygmunt Noskowski, and later in Leipzig, Munich, Rome and Paris. This period of study revealed his interest in folk music, which became characteristic of his work.
After graduating, Rogowski stayed in Vilnius from 1908 to 1911, a period that was particularly fruitful, contributing to the development of the local music scene. It was here that Rogowski began to explore Belarusian folk music, which resulted in his song "A chto tam idzie?", which was the unofficial anthem of the Belarusians during the Second World War.
The second intensive phase of Ludomir Michał Rogowski's artistic activity occurred during his stay in France, first in Paris and then in the years 1917-1920, when the composer, seeking relief from health ailments caused by an acute cold, decided to stay in Villefranche sur Mer - a picturesque town in France, located near Nice on the shores of the Mediterranean Sea. During his time in France, he became involved in the Polish community in Paris as part of the music section of the Society of Polish Artists (TAP). He undoubtedly felt appreciated at the time, since he recalls the French period years later: "At that time I was a very popular composer in the salons of aristocrats, rich people and in artistic circles, I had a number of concerts in Paris and many friends among the greatest artists of the time." In Dubrovnik he also experienced his great love - Dora, an opera singer, was a source of inspiration and joy for him.
Rogowski's work is often compared to Claude Debussy, especially in terms of his interest in sound, the poetic titles of his compositions and his inspiration from nature. In 1926, Rogowski decided to leave Poland for the second time, which marked the beginning of a new phase in his life and work. This time the choice fell on Dubrovnik. His music from this period was deeply embedded in the local culture and landscape, which seems to have brought him peace of mind and a sense of acceptance. Crucial as the decision to leave was dictated by a sense of being underestimated and rejected in independent Poland. Indeed, he created little at the time, and critics misjudged his works. The composer was accused of not keeping up with changes, of his approach becoming anachronistic. The fact that he could not quite find his way among the strong competition and fight "for his own" was probably also significant. Finally, and he was also involved in many topical issues, music seemed to recede somewhat into the background. Maybe not in his internal hierarchy, but undoubtedly in his activities.
In Dubrovnik, the situation is quite different; he is an artist with international experience and a view of music that is received far more favourably here than in Warsaw. Rogowski was a pioneer in exploring a variety of musical scales, including pentatonic, ecclesiastical and whole-tone scales, which set him apart from other Polish composers of his time. His manifesto 'Music of the Future' postulated an introduction to a new sound technique and suggested possibilities for future musical explorations, including microtones. It is a different matter that critics accused him, especially of his Warsaw works, of a gap between theory and practice.
Although Rogowski was committed to exploring new forms and sounds, his music was still deeply rooted in the tonal tradition, creating a unique synthesis between the old and the new. His life and work bore witness to the constant balance between conservatism and progress, making him a fascinating figure in the history of music.
Dubrovnik became not only a refuge but also a source of inspiration for Rogowski, allowing the artist to develop his unique musical vision. In fact, he must have felt comfortable here, since, as he himself claimed ""I am a fanatic of the sun, to which I always aspire under the northern sky of Poland.... there is always a celebration of the sun and fire in my work...'. Although his works were unlikely to go beyond the local environment during his time in Dubrovnik, he seems to have felt fulfilled and appreciated. He was able to find himself in the intellectual and artistic atmosphere of the city. In 1927, he wrote "What a wonderful city. Everywhere, with a minimum of space, perspective is masterfully obtained and it is evident that these people loved beautiful shapes, for the clever arrangement of the houses and the innumerable monasteries, churches and chapels made it possible to observe them from different sides.... After lunch, I went for a cup of Turkish coffee at the café where I usually chat for an hour with Ivo Vojnović, Ilya Kutuzov, Marko Muratti and several representatives of old Dubrovnik families. I love these siestas because they have a lot of charm with their sophisticated, witty conversation, infused with a discreet culture that cannot be imitated." His life in Dubrovnik was not so completely carefree, however. Above all, he was plagued by financial problems. Some - admittedly modest - stability was provided for the artist by the municipal authorities in 1928 by giving him the opportunity to live on the premises of the St James' Monastery. Rogowski delighted the citizens of Dubrovnik especially with his composed oratorio "Miracle of St Blažej", who was the patron saint of the city. The oratorio, composed on a grand scale, was performed in its entirety only once in 1928 and a fragment in 1931. Unfortunately, the score of the work has been lost. Only the final fragment "Hymn in honour of St Blaise" has survived and has been performed many times. It should be noted that this is one of twelve hymns in honour of the saint that have been written. And it is this hymn that is the cause of a certain misunderstanding - the claim that Rogowski is the creator of the Dubrovnik hymn.
He interrupted his Dubrovnik residency three times to perform as a conductor in Belgrade and twice to perform in Warsaw, where he was awarded the state music prize in 1938. Which, incidentally, was met with a wave of criticism at home. Besides, the worse he was received in Warsaw, the more he bonded with the Croatian city. "In Dubrovnik I am among my own people, who most likely love me because I love them, who speak a language similar to Polish, whom I understand because they are psychologically very similar to the Slavs of my tribe. Here I have acquired a second homeland, which I love as passionately as the first"
. Slightly on the outskirts of Dubrovnik, a plaque commemorating Ludomir Rogowski was placed on the aforementioned building of St James' Monastery in 1998. This is where he lived and, as he wrote, "In the silence and solitude of the St. Jacob's monastery cell, I learnt much more than before in the race for musical knowledge all over Europe. In Dubrovnik I reached artistic maturity... I found the scales... ancient, proud and unfinished, as if they smelled of earth, resin, honey and cestar, which had fascinated me all my life". Wańkowicz, who visited Rogowski on the occasion of Batory's first voyage in 1936, whose itinerary included Dubrovnik, wrote of this his locale: "The monastery to which Rogowski brings me, the monastery that is his home and built in the 11th century by the Benedictines, has been empty for 100 years. It is reserved as a hospital in case of an outbreak. What a monument to medieval precautions - from a time when the black air wiped the population out in a swathe. A Polish composer earns money out of these atavisms, as the city keeps a caretaker in the monastery and gives what little renovation it can. For his mystery play about Saint Blažej, Dubrovnik's patron saint, Rogowski was given a corner for life. We walk up narrow stone steps out of the sea into a garden full of olives, cypresses, agaves, carob, figs. We are overwhelmed by the coolness of the vortices. The sundial on the patinated wall indicates time persistently, like a harmless maniac. Time is gone from this monastery'.
The plaque is not the only trace of Rogowski's presence in the town. A tombstone of the Polish composer in the form of a slab with an engraved inscription has been preserved in the cemetery. This monument, however, was somewhat forgotten over the years. It was not until the 1990s that the local Polish community began to take care of the monument and managed to obtain funds for its restoration from the composer's old friends living in Canada. Since then, the tombstone has been cared for by Poles living in Dubrovnik. However, while the tombstone is simple, in 1954 the composer was to have a ceremonial funeral arranged by the municipal authorities. With the coffin on display in the Sponza Palace. As the press reported: 'In the course of two hours, thousands of people marched in front of the coffin to pay a visible tribute to the distinguished artist. [...] A horse-drawn hearse carried the coffin. Behind it, in the first row, representatives of the authorities, schools, all cultural institutions, organisations and associations, as well as thousands of citizens of the city (the funeral procession walked for more than half an hour), who came to accompany Ludomir Rogowski on his last journey to the Boninovo cemetery. Numerous citizens of Dubrovnik and foreigners staying in our city stood along the streets and watched this moving farewell". The most valuable traces, however, are preserved in the State Archive in Dubrovnik (Državni Arhiv u Dubrovniku), to which the artist donated his scores and sketches of works. Individuals are also preserved in the Music Archive of the Cathedral of the Assumption of the Blessed Virgin Mary (Glazbeni Arhiv Katedrale).

The tombstone (dimensions 32 x 118 x 218) in the form of a slab placed on a band. Both elements decorated with glazing. On the slab a bas-relief cross, four entablatures in the corners and an engraved inscription:

LUDOMIR MICHAŁ ROGOWSKI / COMPOZITOR / ROD. 3. X. 1881 V LUBLINU POLJSKA / UMRO 13 III. 1954 U SVOM VOLJINON DUBROVNIKU / OVU GROBNICU NA USPONENU DRAGOM PRIJATELJU / PODIGOSE ZOFJA I JANISŁAW KAMIENSKI / TORONTO KANANA / LUDOWMI MICHAŁ ROGOWSKI / COMPOSER / BORN 3.X.1881 IN LUBLIN / DIED 13.III.1954 IN HIS BELOVED DUBROVNIK / TO HIS DEAR FRIEND IN TOKEN OF REMEMBRANCE / THE TOMB WAS FUNDED BY ZOFJA I JANISŁAW KAMIENSKI / TORONTO KANADA

In 1999, Polish Television made a documentary film dedicated to Rogowski (realisation and script by Leszek Platta, 37 min).

It is based on publications by Ewa Wójtowicz. The material was supplemented by the publications presented in the bibliography.