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Guillaume-Gabriel Nivers (ok. 1632–1714) – ostatni z „przedklasyków” czy pierwszy z klasyków?
Ferfoglia, Susi (Wydział Teologiczny Sekcja w Tarnowie Uniwersytetu Papieskiego Jana Pawła II w Krakowie, 2014)
In the French music the period 1665–1703 is the time of great changes, when the style known generally as classical organ music of the so-called Grand Siècle took its shape. Among the numerous composers active during that period was Guillaume-Gabriel Nivers, organist of Saint-Sulpice – one of the most eminent Parisian churches. His career developed in connection with the church, the convent of Benedictine nuns as well as the school for noble young ladies in Saint-Cyr-l’École. That is why Nivers composed only church music. His works, collected in three organ books and in the Thièry manuscript (ascribed to him), are representative of French music composed in the 17th–18th cent. It was the tradition associated with alternatim technique, with alternating sections in organ verses and chant. The thee organ books by Nivers constitute a large opus which includes numerous genres characteristic for the period; Nivers worked on all of them systematically, which led to their development, especially in liturgical music. On the one hand, Nivers was „pre-classical”, which can be seen in his use of Gregorian cantus firmus (Mass, Hymns, Sequences), from which his contemporaries would largely depart, as well as in the „modal thinking”, especially in the works included in the Premier and Troisième Livre d’Orgue. On the other hand, his oeuvre opened the door to welcome the new period, which can be seen primarily in the „new style” – melodious, based on meticulously chosen registers, varied according to the character of a particular piece and its place in liturgy.
Słowo podstawowym narzędziem gregoriańskiej techniki kompozytorskiej w adaptacji wzorców modalnych do nowych tekstów
Ferfoglia, Susi (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2019)
In the article the author asks how the Gregorian melodies were created? How were they written down? Is it possible that the notation may be a tool for a deeper understanding of the text? In this way the author explores the secrets of the Gregorian compositional technique – which is based on using the same formulas or even the whole melodies for different texts. It is clearly visible that the Gregorian composer “thought through the perspective of the word”. Each new text has a different verbal rhythm, resulting from the nature of the words, and this gives the same melody a new sense and a new meaning in a new verbal context. To convince oneself of the truthfulness of this statement and of the sophistication of the composer’s intervention, it is not enough to look only at the Vatican notation; one must reach for adiastematic notation, which conveys the rhythm of the intonation contour. Comparing the same melodies in different verbal contexts with divergent rhythms shows us that the same melody becomes for the composer a “pretext” to express something more. In the article, three melodies (graduals) based on the modal pattern of the fifth modus – plagal tritus – (Christus factus est, Exiit sermo, Ecce sacerdos magnus) were analysed. On their example, the author demonstrates how the modal pattern of plagal tritus has been adapted to the new text.