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

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Przeglądaj Roczniki Teologiczno-Kanoniczne, 1987, T. 34, z. 7 wg Temat "Baroque"

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  • Miniatura
    Pozycja
    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.
  • Miniatura
    Pozycja
    Eksperymentalny aspekt Ave Sanctissima Maria Jacka Różyckiego
    Szweykowski, Zygmunt M. (Wydawnictwo Towarzystwa Naukowego Katolickiego Uniwersytetu Lubelskiego, 1987)
    One manifestation of the process whereby the modal tonality of the music of the XVI and XVII century was changed to the tonality of major and minor was the application of chromatics. A good example is "Chromatica" by A. Jarzębski. In the work of J. Różycki we come across a similar phenomenon. In such compositions as "Magnificat", "Fidelis servus" and "Exsultemus omnes" we can see that chromatic progressions are applied sporadically. However, the concerto "Ave Sanctissima Maria", a composition written for solo soprano, violin solo and basso continuo is evidence for the composer's experimentation: he introduces a lot of chromatics and he operates completely within a major-minor tonality. The composition, which is written in the key of B-major is gradually modulated to F-sharp, C-sharp, G-sharp and D-sharp and then, going in the same direction, it tends towards the primordial tonality. The experiment can be explained in several ways. 1. The composition was composed exclusively as an experiment and was not meant for performance. 2. The composition was written to be performed but was obviously experimental. 3. Perhaps the very carelessly written figured bass is not the work of the author. 4. One can also suppose that Różycki had a special instrument at his disposal – an instrument where all the cross tonalities had a sastisfactory sound. 5. He could also have had an instrument tuned especially for experimental purposes. 6. It is also probable that Różycki had no key board instruments at his disposal, with the exception of some instruments tuned in middle key and that the vocalist and the violinist used to take their key from the sound of the key board instrument. The solution of this problem is not possible today. He can only state that "Ave Sanctissima Maria" is a significant composition in Polish musical culture.