Zbiór „Pieśni do Najświętszej Maryi Panny Niepokalanie Poczętej...” Ks. Franciszka Walczyńskiego. Studium teologiczno-muzykologiczne

Abstract

The ongoing for centuries in the Catholic Church cult of Mary, lived to see in 1854 proclamation of the dogma of the Immaculate Conception. The belief that Mary, from conception has been blessed with a special glow of holiness expressed in the act of proclamation of the dogma, lasted for many centuries in the minds of believers. Already in the eighth century in the East, St. Andrew of Crete, St. German of Constantinople and St. John of Damascus, have provided valid certificates for the original holiness of Mary. From this time comes also feast Conceptio s. Annae matris Dei Genitricis. In 1447, Pope Sixtus IV approved the official celebration and Holy Mass, which included confirmation of the privilege of the Immaculate Conception. Over two hundred years later Pope Alexander VII has published bull Sollicitudo on Immaculate Conception, and Clement XI obligatory extended the feast, to the whole Church. Announcement of the dogma, has become the moment, even more than ever, revival of worship and devotion to Mary in the mystery of the Immaculate Conception. Also experience of the 50lh anniversary of this fact enjoyed great popularity. Appeared on this occasion a number of initiatives aimed at the development of Marian devotion. One of these was the publication in 1904 by Rev. Francis Walczyński (20X11 1852-12 VII 1937), Tarnów’s priest and musician, a collection of songs Pieśni do Najświętszej Maryi Panny Niepokalanie poczętej..., containing 12 songs a 2. Source research has shown, that they are already pre-existing songs from the seventeenth, eighteenth and nineteenth centuries. Succeeded to get to some of the oldest collections containing the texts, and in the later finding their melodies too. However, in a collection of Walczyński are melodies different from the source, which may indicate that the author is Walczyński. These are strophic songs, in the range from 4 to 14 stanzas, mostly in the structure heterosyllabic. Stanzas are 4 ,5 ,6-, 7- and 10-verses, with verses rather longer from 5 to 11 syllables, with a large majority of the latter. 4-verse stanzas are characterized by a certain regularity; we find among them Ambrosiana and Sapphic stanza. In the relationship between the verses prevail rhyme accurate and even, of the system aabb. Melodies, which has already been stated, are mostly written by Rev. F. Walczyński. They are generally two-piece and three-piece structure. The first consists of two sentences, remaining together in predecessor and successor relationships. There are two parts similar AA,, in which the internal layout of the phrases most frequently occurring is aaba, and two parts various AB in which the most common arrangement of the phrases is abed. The three-part structure, which can be seen in the studied material, consists of segments AAB and combines it with a four-, six-and seven-verses stanzas. Among the intervals the most important is the role of seconds and thirds, whereby the songs have a very cantilena character. Waveforms rhythmic features variety. In terms of the time signatures prevailing even. Rhythmic personifications of bars are getting slower. Predominates course of syllabic; melismas appearing are not too numerous. Among the rhythmic phenomena should be noted the presence of dotted rhythm. In terms of tonality the tested material is included as a major and minor modes, mostly in the first. The songs starts with tonics, mediants and fifths, and ends on the tonic or mediants. The terms of office are contained in two types: reaching tonic the upper or lower step of the second, and ending in mediant reaching it by second movement from the top. The conclusion is that the songs of the Immaculate Conception by Rev. F. Walczyński are within the ideological assumptions of the Cecilian Movement, fulfilling a condition of general availability. They are characterized by simplicity sticking to diatonic melodies. They are testimony to Marian devotion of the author and the people who perform them in the temples.