De conceptione BVM Franciszka Liliusa. Do problemów notacji i rytmiki wielogłosowości XVII wieku

Abstract

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.