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

Stały URI dla kolekcjihttps://theo-logos.pl/handle/123456789/11713

Przeglądaj

Teraz wyświetlane 1 - 20 z 35

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.
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.
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.
Hymnus pro gratiarum actione (Te Deum) Romana Palestra
Helman, Zofia (Wydawnictwo Towarzystwa Naukowego Katolickiego Uniwersytetu Lubelskiego, 1987)
In the thanksgiving hymn "Te Deum" Roman Palester honoured the election of a Polish cardinal to the papacy. The composition was ready by the tenth of June 1979 and had a suitable dedication. The composition is not the only work by Palester with a religious content. Among other works one can mention "Requiem" (1947) and "Missa brevis". "Hymnus pro gratiarum actione" was written for 3 choirs and 3 instrumental groups: for brass instruments, for percussion instruments of a definite pitch and for those of an indefinite pitch. One can discern reference to the polychoral style of the Venetian school and to the performance style of Baroque. The composer also draws on various musical traditions: the Gregorian chant, the polyphony of the ancient masters, and the great symphonic forms of the XIXth century. The base of the sound organization is dodecaphonic technique which is used, however, in a very specific way. In the composition there is no established order of the sounds in the form of a series or of a theme. A linear structure prevails. The composer uses various systems passing from the single voices of choir through various combinations of voices coming from two and three choirs until the work reaches a full tutti. In addition to the technique of imitation and the double counterpoint, the base uses a free linearism (polyphony) which depends on the conducting of the independent voices with differentiated rhythms and with an individual interval structure. The composer sets the polyphonic texture against the homophonie, homorhythmic texture, very often with the antiphonlc response of the choirs. The architectonics of the composition is strictly correlated with the text of the hymn, but results prymarly from the autonomous laws of the musical formation. "Te Deum" is a one-part composition with an internal division (marked in the score) into 3 segments: I. Te Deum laudamus, II. Tu Rex glorlae, Christe, 3. Salvum fac. The work passes directly from one part to another, these parts being connected by the instrumental sections and only after the second part is there a short ceasura provided. In this composition we can observe the influence of two kinds of form: the cyclic form with a slow lyric part in the middle and the sonata form which can be seen by the existence of two contrasting episodes in the first part and a recapitulation in the third part.
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.
Kilka uwag o ezoterycznej naturze izorytmii
Dobrzańska, Zofia (Wydawnictwo Towarzystwa Naukowego Katolickiego Uniwersytetu Lubelskiego, 1987)
In musicologlcal literature one can find contradictory opinions about the esoteric character of the isorhythmic motet. H. H. Eggebrecht, G. Reichert and R. H. Hoppin do not agree with the opinions expressed by H. Besseler and U. Günther, who state that the sensory perception of isorhythms is impossible. It seems that the conflict originates in the differentiation of the range of the repertory, the analysis of which has become the base for general opinions. The research carried out by various scholars in various periods of time show some different specific qualities of the isorhythmic formation; they expose to various degree the technical means (especially the hoquet with a motorial culmination) which make it possible to hear the isorhythmic form. Besseler analyses the isoperiodic motets of F. de Vitry of those times. The construction of their motets shows a loose connetion with the isorhythmic structure of tenor. Hence the form of such compositions is usually illegible in the auditory perception. The hoquet groups have an essential form-creating role in the motets by Machaut which were studied by Reichert and by Eggebrecht which are usually partially isorhythmic and the form of which does strictly depend on the formation of cantus firmus. They favour the formation of a clear formal plan which is possible to be heard. The complete isorhythmic motets from Manuscript 564 from the Bibliothèque du Musée Condé at Chantilly and from Manuscript a. M. 5, 24 from the Biblioteca Estense at Modena were analysed by Günther. They show an extreme complication of the rhythmical contrapunctal process and of very lengthened isorhythmic periods. The formal frames become blurred and difficult to perceive. Hoppin has also analysed certain completely isorhythmic motets from Manuscript J. II. 9 from the Biblioteca Nazionale at Turin. In these motets there is a simplified rhythmic relation accompanied by increased motorial centrast within the isorhythmic periods which gives a more distinct expressiveness to the composition's structure, and this in consequence can be more easily perceived by the senses.
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.
Ksiądz Wacław Gieburowski (zarys biografii)
Bernat, Zdzisław (Wydawnictwo Towarzystwa Naukowego Katolickiego Uniwersytetu Lubelskiego, 1987)
The entries on professor Wacław Gieburowski in many lexicographical sorces contain a lot of erroneous information, the verification of which provided a basis for further work on his life and deeds. Wacław Kazimierz Gieburowski was born on the 6th of February 1877 in Bydgoszcz. He studied philosophy and theology and took holy orders in the city of Gniezno. In the years 1902-1909 he worked as a pastor in several parishes of the Gniezno archidiocese. He participated in a course of church music in Regensburg in 1908. In 1909 he fulfilled the duties of the so called choir vicar in Poznań Cathedral. Then he became a lecturer in church music in the seminary in Poznań. In 1915 he got his doctor's degree from the University of Wrocław for his dissertation about the medieval musical treatise "Musica Magistri Szydlovite". He was lecturer in the theory and history of music in the University of Poznań from 1919, from 1920 lecturer in the Gregorian chant at the Poznań Conservatory. He passed his examination for the right to teach at the universities as docent in Lwów in 1922. His numerous academic papers are mainly about the Gregorian chant and the use of church music in Poland. In 1914 he became choirmaster of the boys' and men's choir in Poznań Cathedral. Under his direction the choir became world famous thanks to the transmission of masses from the church, thanks to radiobroadcasts and because of many concert Journeys, some of them abroad (Prague 1929, Vienna, Budapest, Frankfurt 1936, Paris 1937). He was also composer of many choral works. He was arrested by the Gestapo in 1939, interned in Kazimierz Biskupi, and released half a year later. He helped in pastoral work in Poznań. Then he was obliged to.leave Poznań in 1942 and he set for Warszawa where he died on the 27th of November 1943. His body was transported to Poznań in 1946 and placed in the vaults of the Graves of Men of Distinction in the church of Saint Wojciech.
Księdza profesora Karola Mrowca rys życia i jego studia na muzyką religijną
Dąbek, Stanisław (Wydawnictwo Towarzystwa Naukowego Katolickiego Uniwersytetu Lubelskiego, 1987)
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.
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...
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.
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.
Muzyka w onomastycznym pryzmacie
Stęszewski, Jan (Wydawnictwo Towarzystwa Naukowego Katolickiego Uniwersytetu Lubelskiego, 1987)
Language, i. e. the language of a given ethnic group, natural language, musical onomastics, muslcological terminology etc., plays an important part in the process of muslcological cognition. First of all it is a subject of study because of its relevance to music, then it is a kind of medium for thinking and reasoning about music, and finally it is a medium of discourse between scholars. In spite of the obviousness of this thesis, the linguistic links fail to create a due methodological interest in the empirical (beginning with the socalled basic propositions), as well as in the non-empirical in vestigation of musicology. Two examples of the folk onomastics with reference to the song and music repertories, which appear in local practices, will serve to display the importance of the first kind of research because they reproduce the characteristic thought structure of the repertories.
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.
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.
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.
Nieszpory polskie
Wit, Zbigniew (Wydawnictwo Towarzystwa Naukowego Katolickiego Uniwersytetu Lubelskiego, 1987)
As far as we know, the oldest text of Vespers translated into Polish is in a prayer book of 1700 entitled "Celestial Grown" (Jagiellonian Library – BJ 585391). It contains a Latin version, with translations into the vernacular of some psalms, Sunday antiphones, versicles and antiphones to the "Magnificat" as well as a hymn, a prayer and Marian antiphones for the whole year. The abovementioned relic is not a sufficient proof of the use of Polish versions in churches instead of the Latin liturgical Vespers. The prayer book lacks musical notation in all its editions, and the text from the second edition (1745) does not dispel doubts and only points out difficulties which surround the introduction of the Polish vespers. The XIX century prayer books and song books give both the Latin and the Polish texts of Vespers, but a clear proof for the singing of Polish Vespers is the song book by Father M. M. Mioduszewski (1838). There are also books of "Vesper prayers" which contain prayer texts instead of psalms, and it is possible that they were recited while the Latin version was performed. Prayer books from the Warmia region give five different versions of Vespers - some of them contain only 3 psalms and they were most probably meant to be performed at home. The above article is only a contribution to the subject which still awaits a complete elaboration.
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.

Przeglądaj

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