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

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Księdza profesora Karola Mrowca rys życia i jego studia na muzyką religijną
Dąbek, Stanisław (Wydawnictwo Towarzystwa Naukowego Katolickiego Uniwersytetu Lubelskiego, 1987)
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.
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.
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.
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.
Wiersz Goethego "Über allen Gipfeln" i jego pięć interpretacji pieśniowych
Tomaszewski, Mieczysław (Wydawnictwo Towarzystwa Naukowego Katolickiego Uniwersytetu Lubelskiego, 1987)
A famous poem by J. W. Goethe, perhaps better known by its incipit ("Über allen Gipfeln") than by its title (Wanderers Nachtlied, II), can be equally well described as lyrical, a phoristic, liberal, open, symbolical, reflective, classical and didactic. Each of the mentioned characteristics can be heard and read into the poem's text, though not always directly, and not always with out difficulty. The five songs selected and analyzed, which were composed to this poem by C. F. Zelter (1814), C. Loewe (1817), F. Schubert (1823-24), F. Liszt (1640-59) and R. Schumann (1850), were written within a comparatively short period of time, that is within some 35 years , but each one of them is different. They came into being during the same epoch, but at the beginning and end of the era; moreover, they all represet different tendencies and different aesthetic traditions: "Nachtlied" by Zelter (notturno) had been composed using the aesthetics of imitation, characteristic of XVIIIth century songs; "Klagelied" by Loewe (lamento) – is imitation of the pre -romantic epoch of the XVIIIth century; " Betrachtungslied" by Schubert (contemplatio) – was composed using an early romantic aesthetics; "Mahnungs – and Tröstungslied" by Liszt (memento and consolatio) – here we have an early romantic aesthetics; and finally "Selbstgesprächslied" by Schumann (soliloquio) – was composed at the beginning of the late-romantic aesthetic phase.
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.
Sacrum w muzyce romantycznej
Pociej, Bohdan (Wydawnictwo Towarzystwa Naukowego Katolickiego Uniwersytetu Lubelskiego, 1987)
The purpose of the present essay is to define a special set of symbolical and expressive values found in XIXth century music. The main problem is the relation between romantic music and the sacred. The problem concerns Beethoven's music of the late period as well as that of Schubert and Mahler. The language of romantic music and the language of the sacred are present in European music of the last thousand years. These languages meet at the level of the madness of the heart, the madness of the mind and the madness of beauty. These are at the same time three powerful intuitions: the intuition of direct experience, of metaphysical experience and of aesthetic experience. The discovery of the romantic sacred idiom only took place in the XXth century, when romantic music was studied for its sound, its tempo and its form. J. S. Bach was, however, a precursor of this discovery, in that in his compositions he provided musical counterparts for the states and degrees of the religious life: meditation (the tempo of the music), contemplation (material sound), contemplative prayer (the dialectical "co-playing" of the sound and of the tempo) as well as the experience of the presence of God – a mystical act (form). After hundreds of years of the religious experience in music was taken up by Beethoven (e. g. in the Adagio of the IXth Symphony, in the "Benedictus" from the "Missa solemnis"). F. Liszt cultivated the language of the sacred in music in a systematic way ("Requiem", "Via crucis"). A similar attempt at perfecting the language of sacred can be observed in Wagner ("Tannhäuser", "Lohengrin", "Parsifal") and Bruckner (the symphonies). The last zenith of the romantic idiom can be found in Mahler's music (the Adagio from the IXth Symphony).
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.
System pitagorejski w ujęciu Jana de Muris
Witkowska-Zaremba, Elżbieta (Wydawnictwo Towarzystwa Naukowego Katolickiego Uniwersytetu Lubelskiego, 1987)
The Pythagorean system i.e. the bases of the Pythagorean tune and its theoretical argumentation was presented by J. de Muris in his first musical treatise "Notitia artis musicae" in 1321. He developed his ideas in the treatise "Musica speculativa" published in two versions in 1323 and in 1325. "Musica speculative" became, especially in Central Europe, one of the best known music manuals of the Late Middle Ages and the Pythagorean system as formulated by de Muris for nearly two centuries provided a presentation of the problems related to the "artis muslcae" among the "artes liberales". All three above mentioned approaches to the Pythagorean system by the author "are based on the treatise "De institutione musica" by Boethius. The differences which exist between them result from the fact that various methodological assumptions were made. In the first book titled "Notitiae" de Muris exposed the relation between music and physics. In the first version of "Musica speculativa" written in 1323 he discussed only the mathematical aspects of music. The second version of this treatise (1325) presented a kind of intermediary approach. This approach is the fullest reflection of an idea very popular at that time, according to which music is something half-way between mathematics and physics, and in consequence has the status of a "scientiae mediae". De Muris is perhaps the first theoretician of music who was ever known by name and who used the terms "musica speculativa" and "musica practica" in the titles of his treatises. He did not, however, formulate any definition of those terms and any criterion for the classification. An undeniable achievement of this theoretician is the definition of the theory of interval, described in the Pythagorean system as "musica speculativa". Thus, in contradistinction to the "Speculum muslcae" by J. de Liege or the "De muslcae speculations" by W. Odington - which were comprehensive late medieval syntheses of the whole of the musical knowledge of those times - (with regerad to both theory and practice) - "Musica speculativa" by de Muris covers only one branch of the science of music. The reasons for which, this branch represented music among the "quadrivium disiclplines" are obvious: It was a kind of "normative acoustic" which investigated the reality of sound with the help of mathematics and at the same time discovered the very nature of objective and rational beauty deducing the rules of the art of music from it.
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.
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.
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.
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.
Pierwszy polski drukowany śpiewnik katolicki na Śląsku Cieszyńskim
Poloczek, Edward (Wydawnictwo Towarzystwa Naukowego Katolickiego Uniwersytetu Lubelskiego, 1987)
The first Polish Catholic songbook printed in Cieszyn Silesia is entitled "The work for every day, for every year and for the whole of every Catholic Christian". The author of the songbook was Father Antoni Janusz. It was published anonymously in Cieszyn in 1857. The ample collection contains no notes but does contain 436 songs, as well as many prayers for the whole church year. Scores of commentaries concerning the liturgical periods, the holy days and various situations in life were also included in it. The purpose of those commentaries is to deepen the understanding of the secret of faith through the explanation of its theological basis and of the way believers experience it. The contents of the collection concerns the whole of Christian life, both the religious life in the strict sense and lay life. The collection is an important work in many respects. It is primarily a songbook which initiated a whole series of such publications in Cieszyn Silesia. For the majority of authors at that time it provided a model both as regards arrangement and repertory. The collection of Father Janusz started the process of eliminating foreign language songbooks from use. It propagates not only a regional repertory and local traditions, customs and rites, but also is aware of the repertory of other regions of Poland. Its most outstanding quality is the spirit of respect for the teaching of the Catholic Church and for its liturgy. It is considered to be one of the most significant Polish Catholic songbooks from the middle of the XIXth century. The work of the Rev. Antoni Janusz found an enthusiastic reception among the Catholic Polish population of Cieszyn Silesia. The value of this songbook was also appreciated beyond the confines of Cieszyn Silesia.
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.
XVIII-wieczne utwory bożonarodzeniowe w zbiorach kapeli oo. Paulinów na Jasnej Górze w Częstochowie
Pośpiech, Remigiusz (Wydawnictwo Towarzystwa Naukowego Katolickiego Uniwersytetu Lubelskiego, 1987)
An especially strong growth in stylistically distinct musical works connected with the liturgical period of Christmas can be observed in Poland in the XVIII century. At the same time this period witnessed the heyday of the best Polish church musical groups - the group of the Paulist Fathers at the Jasna Góra Monastery in Częstochowa which left a rich collection of music. The happy coincidence of these two facts enables us to carry out a fairly representative comparison and analysis of the Polish pastoral music of the XVIII century. The article is an introductory presentation of the material, preparatory to more detailed research. The main source of the XVIII century repertory of the Jasna Góra group is a catalogue of the group's notes which was prepared in 1809 by the conductor M. Zabłocki. In the chapter "Pastoral compositions" Zabłocki names 16 pastoral masses, 30 compositions described as "symphonies and pastoral offertories" (together with some arias, pastorales, cantatas, motets, mazurkas) and 4 "vesperae pastorales". The important thing is that most of the above mentioned compositions are by local composers - musicians of the Jasna Góra group like J. Koblerkowlcz, M. J. Żebrowski, F. Perneckher, M. Orłowski, Zachariasz, I. Rygall, F. Kotricz, L. Mader and F. Gotschalk. The foreign element is represented mainly by the works of Czech composers (F. X. Brixi, J. Kops, C. Just, M. Seyfried, J. Lochelio). It is worth mentioning that Polish texts were used in some of the compositions which can be generally described as pastorales (the compositions by Zachariasz, L. Madera and Figulenti). Thus the Jasna Góra Christmas compositions are perhaps the largest group of this kind of composition to be found in Poland. They represent the kind of music which helps us to follow the changes which were taking place in the character of XVIII century Polish pastoral music.
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.
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.
Polskie sekwencje w graduałach tynieckich z XV wieku
Pikulik, Jerzy (Wydawnictwo Towarzystwa Naukowego Katolickiego Uniwersytetu Lubelskiego, 1987)
The history of the handwritten graduais from Tyniec is not well known. The Tyniec collection is actually represented by two graduais: the first one was written at the beginning of the XVth century (G I) and the second one dates back to the last quarter of the XVth century (G II). Both graduals are kept in the National Library. The subject of the present article are pieces of prose, whose texts or melodies are considered to be genuinely Polish. In the gradual G I we find two Polish sequences: "Congaudet angelorum chori" and "Radix lesse floruit". The first sequence is meant for St. Anne's Day and the second for the Feast of the Blessed Virgin. In the G II gradual we find six Polish sequences: "Consurge iubilans" - about St. Hedwig, "Iesu Christe, rex superne" - about St. Stanislaus, "Laude Deo altissimo" - about Our Lady "white as snow", "Radix lesse floruit" - about the Virgin Mary, "Salve, sancta Parens Christi" - also about the Virgin Mary, "Stella sole clarlor" - about the Presentation of the Virgin Mary. Altogether we have seven different sequences. The prose-piece "Congaudet" was inserted at the beginning of the XVIth century. Seperate sequences were written for patron saints of Poland, Stanislaus and Hedwig, however, the sequence dedicated to St. Wojciech is missing. This can be explained by the close association of the codexes with Kraków Cathedral, where the worship of their own martyr was more popular. The remaining sequences are dedicated to celebrations connected with the Blessed Virgin. The second gradual (G II) has preserved an unknown piece of prose "Salve, sancta Parens Christi" with the tune "O beata beatorum". "Radix lesse floruit" as well as "Stella sole clarlor" can also be considered as deriving from Tyniec. We can most probably also consider two other interesting melodies for the texts of "Laude Deo altissimo" and "Stella sole clarlor" as productions of the Tyniec monks. The first text was not known to have any melody at all until now. So thanks to the graduals from Tyniec Abbey which have been discovered, our knowledge of sequences in Poland has become richer.

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