Roczniki Teologiczno-Kanoniczne, 1987, T. 34, z. 7

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Wielość i jedność w muzyce sakralnej Bogusława Schaeffera
Buczek, Barbara (Wydawnictwo Towarzystwa Naukowego Katolickiego Uniwersytetu Lubelskiego, 1987)
Among the compositions written by B. Schaeffer before 1986 there are six of a definitely religious character: "aDieu" (1973) for trombone solo, "Missa eletronlca" (1975) for boyschoir and an electronic tape, "Miserere" (1978) for soprano, choir and tape, "Te Deum" (1979) for solo voices, vocal group and orchestra, "Stabat Mater" (1983) for soprano, alt, choir (descants and contraltos), stringed instruments and organ, "Missa symphonica" (1986) for orchestra, soprano, violin and soprano saxophone solo. "Miserere" and "Missa eletronlca" are considered by the author to be two of his most important compositions. Thus religious music is a separate chapter in his musical production – it is very close to the composer himself and at the same time (except for the "Missa elettronica") it is quite an unknown part of his work. The religious compositions of Schaeffer were not composed to order and probably none of them were made to meet the future demands of his audience. The compositions came into being as a result of the autonomous development of the author's creativity and they are genetically related to his world outlook and to the traditions he was brought up in. Here we should look for the reasons for which he composed these works, which were meant primarily for himself, e. g. "Te Deum" is a composition of thanksgiving on his 50th birthday. The meaning and the religious ideas of the word "catholic" are especially inspiring motives for Schaeffer. Universality in his compositions finds its correspondent in the plurality and diversity present both in the techniques used and in all possible musical languages which may and should be employed to "praise the Lord". The range of techniques is vast: from subtle changes and nuances ("Stabat Mater") to clashes of contrast (both Masses), from archaization (choirs) to extremely avantgard solutions ("aDieu"), from the natural lyricism, full of simplicity of the vocal parts to the dignity and seriousness of the sounds of the orchestra. The concept of aesthetics becomes more pronounced: vocal and instrumental music, venerated for centuries, now cooperate with the newest musical forms like electronic music which only lately was elevated to a religious function.
Kategorie sacrum i profanum we współczesnej literaturze muzykologicznej
Waloszek, Joachim (Wydawnictwo Towarzystwa Naukowego Katolickiego Uniwersytetu Lubelskiego, 1987)
The distinction between sacred and secular music has obtained almost uninterruptedly ever since the time when professional music developed. In contemporary muslcologlcal literature there is a lot of ambiguity and many different ideas about it. Many authors use the definition of "sacred" or "profane" to describe a musical work in reference to its function (e. g. Th. Georglades). Others would like to find elements of a sacred or secular character in the very substance of music (e. g. O. Söhngen, B. Pociej). Subscribers to the last thesis often base their convictions on the philosophical analysis of the "musical time" (tempo) (e. g. E. Krenek). The majority of contemporary musicologists – while not denying the existence of a hyperaesthetic category of the sacred – avoid the radical statements of those who advocate the interpretation of this musical element in an exclusively "material" way. Such authors introduce a historical perspective into their research. They affirm that one cannot talk about aesthetical categories if one does not take into consideration the cultural context, the auditory habits, traditions, the spirit of a given epoch etc. A. Orel, W. Arlt, O. Ursprung represent such musicologists. Ch. Albrecht contemplates church music and secular music and draws some conclusions of a general character. According to what he says the sacred and the secular elements are not mutually exclusive. Secular does not mean anti-sacred but a-sacred. This author proposes several negative criteria which make it impossible to classify secular music as sacred music: denaturalized sounds, ludic elements, subjectivism, ecstasy, grotesque elements. The problem indicated in the title has not so far been studied properly and awaits further work.
Muzyka kościelna w Polsce okresu oświecenia w relacji i ocenie ks. Wacława Sierakowskiego (1741-1806)
Przybylski, Tadeusz (Wydawnictwo Towarzystwa Naukowego Katolickiego Uniwersytetu Lubelskiego, 1987)
By the XVIII century the process of secularization of music in European churches had become more intense. This took place with the full approval of the church authorities who not only supported the change, but even introduced new forms in to the music. So operatic elements were introduced in to churches, people began to perform instrumental symphonies, abandoing the separate character of church music. This process did not pass Poland by, where operatic compositions were also performed during services, as well as church symphonies and even lay symphonies. Because voices of protest were raised demanding the reform of church music. One of the reformers was Father Wacław Sierakowski who was active in Cracow as a parish priest and a member of the Wawel chapter house. Sierakowski kept a "Song school" at his own cost (in the years 1781-1787) where young people were educated. He also fought with his pen for the regeneration of music. His manuscript "A project for the reformation of the Wawel cathedral church chapel", from about 1790, is preserved to this day. Father Sierakowski also published in 1795/96 his three volume work entitled: "The art of music – book for Polish youth". In the above works he presented the decline of church music. He tried to prevant the introduction of musical Instruments into churches and he considered this a source of scandal. The cause of this degeneration – according to him – was both the inappropriate repertory and the misbehaviour of the musicians during the mass. The only salvation he saw was a return to the Palestrina style. In our opinion Sierakowski did not preceive the proper reasons for the dacedence of church music: it was not the instruments but the poor church music, lacking in style that was to blame. Sierakowski’s ideas, nevertheless, are worthy of attention.
Koncepcja formy i brzmienia Magnificat Mikołaja z Radomia
Dąbek, Stanisław (Wydawnictwo Towarzystwa Naukowego Katolickiego Uniwersytetu Lubelskiego, 1987)
The "Magnificat" by Mikołaj of Radom is above all one of the earliest examples of the application of the fauxbourdon technique in European music. (This technique is described in the manuscript as "per bordunum"). The composition has an interesting and ingenious conception of form and sound. It is composed of 11 segments which use the text of the consecutive verses of the "Magnificat". Its form can be described as symmetrical. (Its graphic shape can be seen on page 143 of the present article). The segmentation of the whole composition into two macro-formal structures of an identical interior arrangement is evidence of this. An important part is played here by those verses which are elaborated with the help of the fauxbourdon technique. These mark "the axis of symmetry" of the form of the work (verse no. 6) and at the same time the whole formal structure of the "Magnificat" is rounded and framed by them. The first segment is an introductory structure, and the last segment is a concluding structure. The other segments, because of the regularity and symmetry of their occurrence, form microformal structures. Almost every segment – because of the kind of technique used here – has its "correspondent" or its "correspondents" in the structure of the composition. This is a constructivistic law of analogy. The main base in the forming of the sound of the composition is the Gregorian model found in the first psalm tone. The given elements of the model (initium – tuba – mediatio – tuba – terminatio) constitute the sound material of the highest voice of the composition (discantus) which is used in various ways (see examples 1 and 2). The composer applies moreover some sound patterns of the segments of the model which contain the whole three part structure: five sound patterns for the initium (see example 3), four models for the terminatio (see example 4), one model for the tuba (example 5). It should be noted that the models used here are applied in a constructivist way based on the law of analogy mentioned previously i. e. one model is used in several verses. As a result of the analyses carried out we can state that the constructivistic law of analogy and that of symmetry embrace and unif all three levels of the composition: its form, its horizontal structure of the highest voice (discantus) and the sound of the three part structures. This is proof of the existence of a constructivistic conception of not only the form but also of the sounding.
Naukowe, edytorskie i kompozytorskie osiągnięcia reformatora muzyki kościelnej w Polsce ks. dra Józefa Surzyńskiego
Winowicz, Krystyna (Wydawnictwo Towarzystwa Naukowego Katolickiego Uniwersytetu Lubelskiego, 1987)
The Rev. J. Surzyński (1851-1919) was a priest, a doctor of theology, an editor, a conductor, an organist and a representative of the first generation of Polish musicologists (without an educational qualification). In the first place he was well-known for his muslcologlcal activity which had its aim in the discovery and popularization of numerous Polish musical relics. His editorial work was strictly connected with this activity. The series of the 4 volumes of "Monumenta musices sacrae in Polonia" (1885-1896) was an achievement of the European scale. Surzyński published there the compositions of such Polish composers as Sebastian from Felsztyn, Marcin Leopolita, Bartłomiej Pękiel, Tomasz Szadek, Mikołaj Gomółka, Grzegorz Gerwazy Gorczycki, Wacław from Szamotuły, Mikołaj Zieleńskl and others. One of his most valuable scholarly achievements is represented by his "Songs of the Polish Catholic Church from the most ancient times until the end of the XVI century" and "The Mother of God in Polish music". Moreover, he used to publish hymn-books and song-books, and he edited the periodical "Church Music". As for his achievements as composer, they number 215 compositions of which 163 are original and 52 elaborations. As the conductor he vived in 1894 the boys' and men's choir of Poznań Cathedral and it was with this choir that he performed some XVI and XVII century compositions as well as some newer ones. In 1883 he founded the Society of St. Wojciech in Poznań and later also in other Polish cities. From 1889 on he was professor of liturgical studies and of Gregorian chant in the seminary of Poznań. As an expert, he often assisted with the delivery of newly-built organs. By his activity J. Surzyński made his mark on Polish music culture.
Muzyka i epifania. (Fragmenty hermeneutyczne)
Piotrowska, Maria (Wydawnictwo Towarzystwa Naukowego Katolickiego Uniwersytetu Lubelskiego, 1987)
There are two threads in this article: an objective and a meta-objective thread. The objective thread is the more prominent. This is the music of the highest phase of classicism, Hochklassik. The purpose of this work is to show that the music of this period is used to convey Epiphany, i.e. "the revelation of the sacred through a reality which is different from it or which identifies itself with it". The polyphonic music of the XV-XVIIIth century belongs - in general terms - to this area from which emanates the sacrum. However, the idealistic message of the musical language of Hochklassik is not so obvious. This is not the language of the Renaissance man. This is the language of a man faced with different possibilities. But this man has served his contacts with God. Let us assume the truth of the axiom that underlies all of modern philological hermeneutics, namely, that art is concerned not with appearances but with the truth. Hence the hermeneutical understanding of art is almost like scientific knowledge. Hence musical language can mediate the world. The exposition of this is the task of the musicologist-hermeneutician. At the same time one should not identify musical hermeneutics with the interpretation of single works but should give as broad a meaning to it as possible. In what kind of "reasonable unity" can we place the music of about 1800? The era when the Viennese symphony flourished has as its focus the category of freedom. Classicism's high phase contained in its works something that corresponded with man's most exalted possibilities which in those times were revealed in morality. In the musical composition of about 1800 the general takes precedence over the singular, the particular and the accidental. This is purely instrumental music which constitutes a monolithic blend of various national elements and which is destined for listeners of all social classes. Hence its language is universally intelligible both to the connoisseurs and to the laymen, and both the composers and the thinkers of those times consider it to be "humanity's language", a "universal language". And, what is most important, the Hochklassik music is a reflection or an incarnation in sound of the Kantian state aims and in this sense it acts as a carrier of Epiphany.
Ave Maria w polskiej pieśni solowej XIX w. Przyczynek do badań nad związkami słowa i muzyki
Gabryś, Jerzy (Wydawnictwo Towarzystwa Naukowego Katolickiego Uniwersytetu Lubelskiego, 1987)
Solo songs about Our Lady were very popular in Poland in the XIXth century, especially the song "Ave Maria". The authours of these songs were both professional composers like W. Czerwiński, Antoni Kętski, J. Nowakowski, A. Zarzycki, musician-instrumentalists (A. Teichman) and amateurs (the Rev. J. Karesz). The composers of these songs tried to compose music for the songs which would give them the flavour of religious music. The text of the "Ave Maria" inspired the composers to two-part compositions and emotional colouring. The joint action of word and music is limited in the "Ave Maria" song almost exclusively to the problem of tempo (moderato, andante) and to metro-rhythical ordering. The musical content creates a kind of religious atmosphere. The accompaniment is subordinate to the melody and it is the melody which decides on the aesthetic values of the whole composition. The old rhetorical figures are of little importance. Hence there appears an individuality of atmosphere which makes it difficult to discover the regularities which exist. Nevertheless, it is possible to a certain degree to find some common features in these compositions, like the text transformations which serve to accentuate the words "Ave Maria" and "Sancta Maria", and to deepen the spirit of awe contained in the words "sin" and “death". The text is treated as prose by means of the musical expression i. e. the slow tempo, the flat tonality, the quiet rhythmic contour and the limitation of the accompaniment to the background. The melody starts with a rising motion. There is a decorative cadence on the word "Jesus". The Polish solo songs "Ave Maria" are marked by a lot of improvisation and amateurship. When evaluating them, however, we should take into consideration the climate of the epoch they were created in. The worship of Our Lady, especially in the period of foreign domination, signified for the Polish people the hope of future liberation. Appealing to the name of Our Lady was not only a religious act but also a patriotic one. That is why the form of expression and the aesthetic values of the above mentioned songs played in this case only a sacondary part. The problem discussed here requires more detailed study.
Technika parodiowania w Mszy Tomasza Szadka
Poźniak, Piotr (Wydawnictwo Towarzystwa Naukowego Katolickiego Uniwersytetu Lubelskiego, 1987)
One of the two masses by T. Szadek (ca. 1550-after 1610) which have been preserved is based on the five voice chanson of Crecquillon "Pis ne me peult venir". The mass was written before 1580 and was intended for the musical group in the Kraków Cathedral Church in Wawel. In order to cater for the needs of this group, Szadek reduced the number of the voices in this chanson to 4 voices only, which is exceptional in parody masses. It was also exceptional to base the mass in those times on chanson, as the composers of the second part of the XVI century used to use longer motets, richer in material. A detailed analysis of the mass by Szadek (as comparative material we used mainly the analysis of the mass by Palestrina /J. Klassen/ and by J. Gallus /P. Pisk/ as well as of a mass by Crecquillon based on the same model) proves that the composer has used the chanson "Pis ne me" in his own way. He created a humble work – a limited number of voices and relatively limited dimensions. A certain monotony results from the scanty melodious material of the model. Szadek did not concentrate on supplementing this material, but rather on transforming it. He did this in an ingenious way changing not only the single melodies but also the whole of the polyphonic structure. In comparison to the chanson, Szadek enlarged the part played by the imitative technique and introduced transformations based on double counterpoint. He gave an especially important role to those images of the main phrase of the model which clearly determine the (dorian) tonality. He is profoundly aware of the text of the mass (e. g. of the difference in meaning between the epitets "Kyrie" and "Christe"). This influences both the choice of melodies related to a cognate sense in the model (the planning of the material selected) and the choice of technical means (imitation, canon). All this gives a special symbolic meaning to the separate segments of Szadek's mass in relation to the contents of the text.
Uwagi o polskich, religijnych pieśniach narracyjnych
Bartkowski, Bolesław (Wydawnictwo Towarzystwa Naukowego Katolickiego Uniwersytetu Lubelskiego, 1987)
Since 1970 the Institute of Church Musicology of the Catholic University of Lublin has been collecting all the Polish Catholic religious songs which have been preserved in the living folk tradition. The material gathered in rural areas during local research work is the basis for a more detailed study with a musicological character. The majority of the songs collected have never been performed as church songs. They function in the realm of folk religiosity which is beyond all the liturgical norms. The written texts of most of the songs can be found in songbooks, prayer books, in some pamphlets etc. while their melodies have been kept alive thanks mainly to the oral tradition. The narrative songs are one type of song, sometimes they are called "legendary songs" and they are still alive in all regions of Poland. They refer to bibilcal events in the form of a free paraphrase, they contain apocryphal motifs, stories and legends about visions of God's Mother or about the lives of the saints. Two- and four-verse strophs, or sometimes three-verse strophs, are the typical metre of these songs. The verses of the dystychs or fragments of them are usually repeated in the song refrains which seldom occur – they are fragments added in the later periods. Inspired by the new function of the song. The characteristic feature of this repertory is its new function or multiplicity of functions. A periodical structure is typical of the narrative songs, the melodies are usually of between 6 and 16 bars (less 24 bars). The melodies are usually constructed from shorter or longer phrases of a uniform character. These phrases can be repeated in sequence or subjected to variations. The rhythms are syllabic, the schematism of the rhythmical structures is sometimes modally formed, the melodious lines are fluid, all of which means that the narrative character of the songs is given precedence. The penta- and hexachordal scales, more often major than minor, are characteristic of the tonality of the songs.
Z problematyki badań nad tonalnością polskich śpiewów religijnych z żywej tradycji
Zoła, Antoni (Wydawnictwo Towarzystwa Naukowego Katolickiego Uniwersytetu Lubelskiego, 1987)
It is only recently that folk religious songs have become the object of systesatic scientific study. So far the investigations carried out have proved that the source of inspiration for Polish folk religious songs is both the Gregorian chant and the nusical folk tradition with its roots somewhere deep in pre-gregorian times. In the religious songs which are still alive in various parts of Poland we also find the influence of some local musical traditions. The song material gathered in the whole country is so various and so rich that it offers a lot of new research possibilities. One of the most interesting and least investigated problems is the tonal structure of the songs. The present article discusses a variety of problems, especially the methodological ones, related to the study of their tonality. When considering the songs tonal structure we must look at it from several points of view: of these, the genetic aspect seems to be the most important. Quite different tonal structures we found in the songs which derive from Gregorian melodies and those which originate in folk traditions. So the genetic point of view helps us to interpret the tonal structure of the songs. The tonality can also be considered as a criterion for dating of these musical works. This is not, however, a sufficient criterion nor is it absolutely fool-proof. At most, we can establish a relative chronology with its help. This is not the place to discuss its usefulness. One of the most characteristic properties of the folk religious songs is their variability which may affect all the songs elements, including the tonality. The vastness and the variety of the collected material does not allow us to study the phenomenon in detail. It seems, however, that the problem of the tonal variants will prove to be one of the most interesting ones in the course of further study of the folk religious songs of Poland.
Musik, Mensch, Religion und Weltbild in der Renaissance
Bossuyt, Ignace (Wydawnictwo Towarzystwa Naukowego Katolickiego Uniwersytetu Lubelskiego, 1987)
Bogaty repertuar i równocześnie wysoki poziom wielogłosowej muzyki wokalnej w okresie renesansu można próbować wyjaśniać m. in . szczególnym znaczeniem jakie miała wówczas kapela. Stanowiła widoczny element prestiżu, symbol odkrytej indywidualności, jednostki posiadającej poczucie własnej godności. W rezultacie każdy kościół, każdy dwór miał ambicję, by posiadać własną kapelę, kompozytora, śpiewaków i instrumentalistów. Z jednej strony kapela uświetniała liturgię, lecz także – biesiady, miała niekiedy znaczenie polityczne, towarzysząc dostojnikom duchownym i świeckim w ich podróżach zagranicznych. Człowiek odkrywając siebie, wyzwolił element osobisty i emocjonalny. Miejsce "matematycznej" interpretacji muzyki zajmuje "emocjonalność". XIV-wieczna wykoncypowana "ars musica" ustępuje muzyce przemawiającej do serca. Znajduje to wyraz również w teorii, o czym świadczą poglądy Tinctorisa ("Liber de arte contrapuncti"), który wrażenie zmysłowe, a nie reguły matematyczne czyni miernikiem wartości kompozycji. Z tego procesu humanizacji muzyki wyrasta dążenie do "naturalności", które objawia się przede wszystkim wzrastającą rolę związku muzyki i słowa, jak również tendencję do oddawania naturalnego rytmu mowy. Najważniejszym gatunkiem muzyki staje się motet wypierając mszę. Znamienny jest dobór tekstów; dominują psalmy, w których człowiek bezpośrednio zwraca się do Boga. Szczytowym osiągnięciem sztuki renesansu jest bez wątpienia Josquinowskie opracowanie tekstu Psalmu 50. "Miserere mei Deus". Kompozycję tę zamówił książę Hercules I d'Este, zwolennik Savonaroli. Uderzające jest strukturalne podobieństwo między kompozycją Josquina, a medytację Savonaroli do Psalmu 50. Luter (gorący wielbiciel Josqulna) i ruch reformacyjny początkowo zachował katolicką muzykę kościelną, potem zaś przyczynił się do powstania wielu nowych kompozycji polifonicznych tworzonych do tekstów w języku narodowym. Obok bardzo prostych pieśni powstawały liczne motety chorałowe (Lechner), kontynuujące tradycję polifoniczną. Dramatyczne możliwości muzyki polifonicznej obrazują najlepiej motety de Werta, stojące już u progu estetyki baroku, gdzie artysta kieruje się wyłącznie afektami zawartymi w tekście, co wiąże się znów ze zmianą obrazu świata. Rosnące obecnie zainteresowanie polifoniczną sztuką renesansu, częściowo wynika z powinowactwa między człowiekiem z roku 1989 poszukującym w stechnicyzowanym świecie głębszych wartości, a człowiekiem renesansu, walczącym o (utraconą) równowagę...
Das Musikleben des Jesuiten und Piaristen Ordens in Nordungarn des 17. Jahrhunderts
Bárdos, Kornél (Wydawnictwo Towarzystwa Naukowego Katolickiego Uniwersytetu Lubelskiego, 1987)
Wiek XVII w historii Węgier był okresem bardzo trudnym. Środkowa część kraju znajdowała się przez 150 lat (do 1686) pod panowaniem tureckim. Przez całe stulecie toczyła się też walka między reformacją a kontrreformację. Po tzw. pokoju wiedeńskim (1608) gwarantującym wolność wyznaniową, katolicy zaczęli stopniowo tracić większość w miastach. Dopiero od połowy wieku, do głosu doszła kontrreformacja – szczególnie na północy – by od wyzwolenia Budy i zjednoczenia kraju zapanować na dwa wieki. Niniejszy przyczynek omawia życie muzyczne zakonu jezuitów i pijarów właśnie w północnych Węgrzech, z jednej strony dlatego, ponieważ tereny te sąsiadowały wówczas bezpośrednio z Polską, z drugiej – ponieważ pijarzy prowadzący tam działalność w XVII w. jeszcze należeli do prowincji polskiej. Zwyczaje muzyczne Jezuitów węgierskich były typowe dla innych ośrodków europejskich tego zakonu, o czym świadczą kroniki klasztorne; muzyka towarzyszyła przede wszystkim dramatom szkolnym, procesjom, uroczyście obchodzonym świętom: założyciela zakonu – św. Ignacego, patronów zakonu (św. Franciszka Ksawerego, św. Alojzego, św. Stanisława Kostki), patronów poszczególnych klas gimnazjum. Jezuita Benedek Szölösy był autorem pierwszego węgierskiego zbioru pieśni kościelnych "Cantus catholici", wydanego w 1651 r. Pijarzy, którzy osiedlili się w Polsce w 1642 r., w tym samym roku założyli szkołę także na Węgrzech, w Podolinie (obecnie Podolinec); miasto to podlegało wówczas polskiemu namiestnikowi, zaś swoje znaczenie pedagogiczne i muzyczne zawdzięcza staroście Stanisławowi Lubomirskiemu. Pijarzy, cenieni szczególnie w nauczaniu matematyki, prowadzili takie m. in. naukę śpiewu i muzyki zespołowej (Orchestermusik). Jakkolwiek oba zakony różniły się rodzajem duchowości i stylem własnej pedagogiki, odegrały wspólną, ważną rolę w ruchu kontrreformacji oraz w historii kultury węgierskiej. Rozprzestrzenianie się obu zakonów odzwierciedla bardzo dokładnie stopniowe postępy kontrreformacji. Po kasacie zakonu jezuitów w 1733 r. pijarzy stali się na Węgrzech największym zakonem prowadzącym szkoły. W obu zakonach muzyka uważana była za jeden z najważniejszych środków wychowania. Podobnie jak w innych krajach Europy środkowej, oba zakony wzbogaciły swe dynamiczne życie muzyczne również o koloryt lokalny. Szczególna wartość ich działalności polega na uwzględnieniu lokalnych aspiracji poszczególnych narodów (np. pieśni śpiewano niekiedy w czterech językach: łacińskim, węgierskim, słowackim i niemieckim). Świadczą o tym liczne przykłady z życia muzycznego takich ośrodków jak: Nagyszombat (obecnie Trnava), Pozsony (Bratislava), Trencsen, (Trenčin), Szpeskaptalan (Spissky Kapitula), Selmecbanya (Banska Stiavnica), Kassa (Košice), Szakolca (Skalica), Lŏcse (Levoča), Eperjes (Prešov) – jezuici; Podolin (Podolinec), Privigye (Prievidza), Pozsonyszentgyŏrgy (Jur pri Bratislave), Breznóbánya (Brezno) – pijarzy.
De conceptione BVM Franciszka Liliusa. Do problemów notacji i rytmiki wielogłosowości XVII wieku
Jasiński, Tomasz (Wydawnictwo Towarzystwa Naukowego Katolickiego Uniwersytetu Lubelskiego, 1987)
Franciszek Lilius (c. 1600-1657), the conductor of the cathedral church group in Kraków and a composer of religious works, is the author of the four part composition "De Conceptione BVM", which is a cycle consisting of an introitus, graduale, offertorium and communio. The composition is preserved in a handwritten score, unluckily with one of the voices missing. In the composition we find some unconventional solutions concerning notation and rhythm. They are unusual primarily because the voices are notated with the help of various tactus signatures, and in particular there is a simultaneous juxtaposition of tactus C alla semibreve (cantus firmus) and tactus tripla 3/1 (contrapunctal voices). The synchronization of the fragments noted in this way takes place according to the traditional mensural notationt one semibrevis tactus C corresponds to three semibreves tactus tripla. This system of notation has been conditioned by the composer's idea: to elaborate a cantus firmus of long notes and to introduce simultaneously segments in tactus tripla which were so characteristic of XVII century music. In other words there is a tendency to relate the technique of a conservative composer with the progressive stylistic conventions of the baroque epoch. An extremely interesting phenomenon of rhythm is communio which almost entirely relies on the simultaneous operation of tactus C and tripla. Tactus tripla does not bring the contrapunctal voices quasitactous fragment. It only acts according to the rule of the old mensura: it establishes integer valor notarum and the proportions of division. In consequence the level of the contrapunctal voices shows a high degree of complexity and it forms a highly contrasting plane in relation to the mensural cantus firmus. In this case one can talk about a manifestation of the neo-gothic style.
The Catholic German Einheitslieder: observations and reflections
Skeris, Robert A. (Wydawnictwo Towarzystwa Naukowego Katolickiego Uniwersytetu Lubelskiego, 1987)
Początki idei ujednoliconego śpiewnika w języku niemieckim sięgają XVII w. Konkretne prace nad takim dziełem zauważamy jednak dopiero w XIX w. Zainicjował je franciszkanin P. Singer, wydając w 1845-47 r. "Cantica spiritualia". Następnie pojawił się śpiewnik H. Bonesa "Cantate"(1847-52) oraz śpiewnik koloński A. G. Steina (1852). Nowa era w dziedzinie ujednolicenia katolickiej pleśni niemieckiej rozpoczęła się z chwilę powstania w 1868 r. "Allgemeine Deutsche Cäcilien-Verein." Założycielowi tego stowarzyszenia, F. X. Wittowi nie udało się zrealizować wydania śpiewnika. Podjął on jedynie gorącą polemikę z przeciwnikami m. in. K. A. Beckiem. W międzyczasie rozpoczęto też prace teoretyczne nad hymnologią (S. Meister, F. W. Bäumker, J. Gotzen, G. M. Dreves). W 1916 r. episkopat niemiecki zebrany w Kolonii przyjął do oficjalnego użytku 23 teksty i 20 melodii. W 1923 r. H. Müller opublikował "Kyrioleis" z 43 hymnami, a w 1938 r. ukazało się "Kirchenlied" zawierające 48 pieśni. W czasie I I wojny światowej T. Bützler wydał śpiewnik obejmujący 140 pleśni. Od 1946 r. pojawiła się postać J. Overatha, który stał się "spiritus movens" prac nad ujednoliconym śpiewnikiem. W dużej mierze dzięki jego staraniom w 1975 r. ukazał się "Gotteslob", śpiewnik oficjalny przeznaczony do użytku niemieckojęzycznych katolików w różnych krajach. Jednolita wersja śpiewów stała się niejako koniecznością ze względów duszpasterskich. Ponieważ jednak całkowite ujednolicenie nie jest w całości praktycznie możliwe, poszczególne diecezje mogą zwyczajowo używać wersji lokalnych. Śpiewnik dzieli się na dwie wielkie części: Commune (254 pleśni) i Proprium (różna liczba pieśni, zależnie od diecezji, w tym 35 pleśni wspólnych dla wszystkich diecezji).
Organy w kościołach dekanatu radomskiego i jedlińskiego w XIX wieku
Szymanowicz, Maria (Wydawnictwo Towarzystwa Naukowego Katolickiego Uniwersytetu Lubelskiego, 1987)
There were 33 churches in the territory of the Radom and Jedlińsk districts in the XIXth century. Only in of them i. e. in the church of the Holy Trinity in Radom was there no organ. In one the remaining 32 churches there was at least one organ, more often two or three or even four instruments. The archival sources supply us with information concerning 57 organs of the churches of the Radom and Jedlińsk districts in the XIXth century. They were usually instruments of 6 to 8 voices. The biggest organ was in the church of the Bernardine Fathers in Radom, it had 16 voices. The smallest organ was in the church of Gęsawy - only 3 voices. Today in the above mentioned region there remains only one XVIII th century organ and eight XIXth century organs: in Błotnica – a 15 voice organ with two keyboards made by Jan Szymański in 1896; in Bukowno – a 5 voice positive made in 1895 by Jan Szymański; in Jasionna – a 6 voice positive made by Leopold Blomberg in 1870; in Radom, in the Evangellcal-Augsburg church – an 8 voice organ with pedal, made by Gottfried Riemer in 1877; in Radzanów – a 7 voice positive made by Stanisław Przybyłowicz in 1876; in Skaryszew – a 12 voice organ with pedal, made by Ignacy Karczewski in 1886; in Wierzbica – a 10 voice organ with pedal, made by Ignacy Karczewski in 1878; in Wsola – a 9 voice organ with pedal, mady by Ignacy Karczewski in 1887; in Zakrzew – a 9 voice positive made by an unknown organ master in 1787.
Nieszpory – wokalno-instrumentalna forma w polskiej muzyce religijnej XVIII wieku na przykładzie twórczości S. F. Lechleitnera
Gładysz, Jan (Wydawnictwo Towarzystwa Naukowego Katolickiego Uniwersytetu Lubelskiego, 1987)
Vespers, besides the mass, the litany and the passion represented the main part of the repertory of choirs and instrumental groups in Polish diocesian and monastic churches. In the XVIII century the following kinds of vespers were known and used in the liturgy: de Dominica, de Confessore, de Martyribus, Vespeae Angelorum, de Nativitate Domini, de Beata, Vesperae Apostolorum, de Corpore Christi. Depending on the holiday's rank, the composers used to compose the following kinds of vespers: solemniores, breviores, brevissimae, partiales. The vespers by Lechleitner under discussion which are kept in the library of the Seminary in Sandomierz, consist of polyphonic introductory verset, five psalms and a Magnificat. The psalm compositions were eleborated by means of two types: a polysegmented type, made up of short, contrastive segments, and of a polypartial type where the segments were as big as parts. The eleboratlons of the "Magnificat" refer to the polypartial construction of the psalms. The doxology in the psalms and in the "Magnificat" refer to the polypartial construction of the psalms. The doxology in the psalms and in the "Magnificat" was treated by the composer either mono-segmentally or bi-segmentally or even tri-segmentally. In two psalms ("Beatus vir" and "Laudate pueri") Lechleitner applied the rondo scheme. Moreover, in the psalms and in the "canticum Mariae" we also meet some autonomous forms: aria, arioso, duet, trio and fugue. The analysis of Lechleitner's vespers enables us to become acquainted with a very trustworthy and pretty rich stock-in-trade of a composer who is so far hardly known in the literature and in the repertory of contemporary church groups. The vespers themselves should be classified as Vesperae solemniores.
Modlitwy Borysa Godunowa w dramacie muzycznym Musorgskiego
Małecka, Teresa (The prayers of Borys Godunow in the musical drama by Musorgski, 1987)
Who is God for Musorgski? What do religion and faith mean for him? In the available biographic materials about the composer, the problem is not presented clearly enough - we are unable to recreate the world outlook of this artist. We can, however, try to answer these questions in an indirect way - by asking the characters of the works by Musorgski about their ideas on religion and on God, and by trying to understand their prayers, since the characters of Musorgski’s plays do pray very often. Especially rich analytical material is provided by the prayers of Borys Godunow. This key character of Musorgski’s plays composes his prayers in quite a human way: he prays for others and for himself. He succumbs to various moods: he weeps, he begs, he expresses his doubts and his fears, he revolts, and finally he asks for forgiveness. Borys’ prayers are either the direct expression of the state of his soul or they hark back to another time and to another place than that of the drama. They evoke the time and space either of an old temple or of an extraterrestrial one. When Borys prays in the world of the drama, a recitative dramaturgy develops, the melodic line is enriched by the use of chromatics and the exposition of the interval leaps; one can see the differentiation of intonation in his crying, his pain, his suffering, his expressive speech, his outcries. The basic technical means used to recall the time and space of an old temple are reduction and archaization. As usually happens in such situations, the atmosphere of the Instrumental sounds is limited or eliminated. The vocal part becomes more quiet and markedly simpler. The musical devices of the prayer songs of Borys are clearly subordinated to the superior scope of the prayer as a contact with God, an interior need of the hero. Can art or a composition be a testimony of faith? It seems that they can. Musorgski’s situation is most probably that of getting closer to God, closer to God through art, through authentic art.
Muzykalne anioły Hermana Hana
Perz, Mirosław (Wydawnictwo Towarzystwa Naukowego Katolickiego Uniwersytetu Lubelskiego, 1987)
Herman Han (1574-1626) was born in Nysa (Silesia) and he was "civis gedanensis" and "pictor regis" of Zygmunt III. He is considered to have been the most outstanding representative of international mannerism working in Polish territory. He performed commissions for the Polish Cistercian abbots from Oliwa and Pelplin. In the Pelplin catherdal church in the predella of the altar of the Assumption of the Holy Virgin there is a picture painted by this painter in 1618 and representing "The Adoration of the Shepherds". The present article is dedicated to this picture and to the musical scenes it represents. The iconological analysis proves that Han intended to express in pictorial form the following five problems, at the least: 1. The One God united in the Holy Trinity in His perfection and infinity, 2. Heaven and Earth as two different but connected places of the Universe. 3. The details of the glorious nature of the angels, 4. Earthly concord and finiteness, 5. The musical opposition of the sacred and the profane. In the top right-hand corner of the painting there is a group of several angels among clouds and a canon of three voices sings "In excelsis" in unison, with the words "Gloria in excelsis Deo" repeated two more times without the first word "Gloria". The notes of the composition are written down very carefully and with all the details. This is a three-voice canon in unison which ideally expresses three parts of unity. We are dealing here with the so called circular canon which is potentially infinite since it is enclosed in an infinite number of repetitions and is related to infinity. There is a mixolidian type of tonality where the canon corresponds to the atmosphere of joy. The terrestrial music takes up much more space in the painting, being situated at two opposite points in it. The musical subject is this time a fivepart composition with the canon in the octave between the cantus and tenor with the words "Et in terra pax hominibus bonae voluntatis". The counterpoint presented here proves that the composer was acquainted with polyphony. This common motto, repeated here, obviously refers to the beginning of the previous "celestial" canon and we have here also a common mixolydian tonality. The musical relation of the two compositions is obvious. The painting by Herman Han described above belongs to those paintings which can be "heard" and this "hearing" is meant to be a condition to a complete understanding of its contents, which are represented by an artist who knows both how to paint and how to describe sounds.
O estetyce muzycznej ks. Wacława Sierakowskiego
Poniatowska, Irena (Wydawnictwo Towarzystwa Naukowego Katolickiego Uniwersytetu Lubelskiego, 1987)
Wacław Sierakowski in his treatise "The art of music – a book for Polish youth" published in 1795 tried to explain the whole problem of music i. e. the creative process, composition preformance, the evaluation of musical culture and the educational function of the art of music. His system was a kind of compilation of European ideas - from antiquity to the Encyclopaedists. The works of. J. J. Rousseau were the most significant influence of him. Sierakowski also refers to Holy Scripture in his essay, though he often does so in quite a superficial way. Nevertheless, he tries to found his aesthetics on a. theological base. In general, two traditions go to make up Sierakowski's aesthetics: 1. the conservative counter-reformation which attempts to maintain the "purity" of church music, and, 2. the aethetlc theoretical tradition of the musical Enlightenment. His understanding of beauty and of the music can be described in three categories: sensual beauty, sentimental beauty and associative or imitative beauty. This conception of music was characteristic of the whole XVIIIth century, not only of Rousseau, whose ideas were so fascinating for Sierakowski. On the other hand, the author of "The art of music" added to the musical aesthetics of the Enlightenment period some social and educational thoughts concerning the task of music in Poland, which gives his treatise a didactic aspect.
Refleksje przy strojeniu organów
Chwałek, Jan (Wydawnictwo Towarzystwa Naukowego Katolickiego Uniwersytetu Lubelskiego, 1987)
An instrument with 12 keys in an octave can be tuned according to the natural system and as a result 12 consonant triads can be obtained (6 major and 6 m inor ones), each of which consists of natural thirds and fifths. (The remaining triads are more or less dissonat). The set of twelve consonant triads is not fixed. On the basis of my own experiences during many years of organ-tuning practice, I have managed to establish 106 distinct sets of triads: 6 major + 6 minor ones, which can be produced by tuning the instrument properly. In order to represent these possibilities graphically, special tables have been designed (Table II and III), plus 12 so-called "formats", i. e. differently shaped frames which, when superimposed on the tables, reveal a complete set of 12 consonances (Tables VII - XVIII) . Among the sounds which make up each "format" we find full and primeless four- and five-chord sounds, diminished and augmented triads as well as in complete chords (without a prime or a fifth). It may be assumed that at least some of 106 "formats" under discussion were employded quite consciously in tuning the organs in the Renaissance period. The above remarks may be helpful in investigating certain problems of early music, e. g. the rich chromatics in works based as a rule on diatonic modal scales and "bold combinations" of chords; the justification for certain triads (now referred to as secondary ones, e. g. S II dim.); the search for the basis and origins of the sketchy notation system for keyboard instruments (the so-called thorough-bass); the addition of another manual to the instrument, which could be tuned according to a different "format" in order to broaden the total set of consonances. The above are only a handful of theoretically formulated suggestions which can be verified against the relevant literature and musical scores.

Przeglądaj

Przeglądaj Roczniki Teologiczno-Kanoniczne, 1987, T. 34, z. 7 wg Data wydania