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Cysterska poezja liturgiczna – oficjum rymowane „Laetare Germania”
Jasiewicz, Jan Jerzy (Kuria Metropolitalna Gdańska, 2007)
One of the fundamental sources serving to carry out research on the development of chorale composing in Poland, belonging to the mediewal liturgical poetry, are productions devoted to Saint Jadwiga. Almost all of these compositions were created in the circle of Silesian Cistercians, and they were most likely first introduced where the Saint Bernard’s monasteries existed. Due to the frequend devastations of the Oliwa monastery the oldest liturgical books did not survive. We may suppose that the texts about Saint Jadwiga were insert into Oliwa Cistercians’ liturgy at the end of the 13th century and they later spread all over the Pomerania region, especially in Gdańsk. The religious worship of Saint Jadwiga reached Gdańsk at the a test in the 14th century, as the earliest preserved manuscripts, containing among other works also texts concerning Saint Jadwiga, go back to these times. The source basis of this article, were source records which are a part of the special collection departments of both the Gdańsk Library of the Polish Academy of Sciences and the Pelplin Theological Seminary. The literary text of Laetare is of purely cultic character. All the antiphons and responsories are in a poetic form, whose basic constants are isosylabisms and rhymes. Only in the lines of the responsories prose is used in most parts. The melodies of antiphons and responsories are characterized by numerical succession of modi, which was in accordance with the rule almost absolutely observed in the 13th century. The Saint Jadwiga Office, representing the mainstream of the then common practice, shows, however, richer diversity in this matter. The melodies of the antiphons recorded in Laetare are not entirely original and they do not contribute to chorale composing any new elements. The incipit of the chants are in accordance with the melody formulae encountered in today’s Vatican edition. Apparently, this means that melodies of already known compositions were used with new texts. The architectural structure of the majority of the compositions is faultless and some of them, from the point of view of Gregorian aesthetics, cam be acknowledged as extremely valuable. The relation between the literary text and music of these compositions do not reveal any serious irregularities. The composer is aware of the character of the tonic language, and it seems that the casus of moved accentuation that appear in the work result from the author’s desire to subordinate the word stress to the logical emphasis of the whole sentence. The aesthetic value of the compositions, being a part of the above discussed office, is significant, and the work done by the anonymous author is praiseworthy. In accordance with the requirements of a liturgical monody, remaining under the influence of the tendencies prevailing among the then European composers, the anonymous author created a work of art, whose level did not diverge from the form of this kind encountered in other countries.
Klasztor cysterski w Oliwie jako nośnik kultury muzycznej na Pomorzu
Jasiewicz, Jan Jerzy (Gdańskie Seminarium Duchowne, 2008)
On the eve of the second millennium monastic orders were the carriers of musical culture. One of them was the Cistercian Order, whose rule gave a special importance to music and singing. The centre cultivating musical tradition of the White Monks in Pomerania was Oliva and the peak development of music in Oliva was under the administration of Abbot Jacek Rybiński (1740-1820). At this time the great organ was built there and a vocal and instrumental group, praised for a very high standard by music critics from nearby Gdańsk, was established. This was also the time of artistic work of Father Urban Muller, a great composer whose vocal and instrumental pieces clearly belonged to early classicism and combined the baroque traditions with the latest musical developments, proving his considerable accomplishment. All these facts reflect a great solemnity with which the Abbey of Oliva approached all the issues connected with the musical culture of this place.
Kult maryjny w świetle rękopisu cysterskiego Ms.2171 z Biblioteki Narodowej PAN w Gdańsku
Jasiewicz, Jan Jerzy (Kuria Metropolitalna Gdańska, 2008)
Processionale cisterciense – S II 56 z Archiwum Diecezjalnego w Oliwie
Jasiewicz, Jan Jerzy (Gdańskie Seminarium Duchowne, 2009)
Tradycja liturgiczno-muzyczna Kościoła Mariackiego w Gdańsku w świetle kodeksu Ms. Mar. F 405 z Biblioteki PAN w Gdańsku
Jasiewicz, Jan Jerzy (Kuria Metropolitalna Gdańska, 2007)
The present study contributes to the extensive research carried out on the mediaeval musical culture in Poland, particularly in the Pomeranian Region. This paper is not only a monographic elaboration on Ms. Mar. F 405 code. Additionally, it attempts to determine its position against a background of various other kinds of Polish and European liturgical and musical tradition. The antiphonary contains both “de tempore” and “de sanctis” breviary chants, including “commune sanctorum” compositions. It is certainly a second part of a two-volume antiphonary (the first part containing Advent, Christmas and Lent is unknown), as it begins with Vespers from the office of the Lord’s Resurrection’s Sunday. The code is not complete. The fact that a lot of pages are missing, including the colophon, makes it impossible to read some offices and hinders to determine the time and place of the antiphonary’s origin. The book is bound in oak panels coated with skin. There are some other characteristic features noticeable in the book’s construction, for example some practical devices in the form of metal corners and bars, a separate spot serving to fasten the book to a stand and a lack of stamps which were first used in the 15th century. These qualities indicate the 14th century as the time of the book’s origin. The code was written in Gothic minuscule commonly used in the middle ages (called also a texture) on parchment folios (having some features of the northern parchment: “charta theutonica”). The ornamentation of the code is rather simple and strictly related with the divine office (liturgy of the hours). Liturgical chanting was recorded in a rhombic notation, called Gothic, which is monophonic, generally typical of the diocesan chorale. The comparison of Ms. Mar. F. 405 with the Teutonic codes (F1, L6 and L10) and the diocesan antiphonary from Bamberg (the 12th century) makes it possible to ascertain their repertoire similarity. In the musical layer, the code is not a monolith, however its tonal profile fits within the diocesan practice much better than within the monastic tradition. It is possible to notice the impact of the latter practice mainly in the chants of the 4th and 7th tone. Undoubtedly, it is evidence of the mediaeval practice of an intermingling of different kinds of liturgical and musical tradition. The place of the manuscript’s origin remains an open question. The script might have been created both in Gdańsk, and outside the city’s borders. Numerous arguments associated with this matter indicate mediaeval Toruń, as it was at that time an energetic center of culture and craftsmanship. The Ms. Mar. F 405 was written six hundred years ago and it seems that at this point we have to make do with mere suppositions.