Wyniki wyszukiwania - Biblioteka Nauki

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Teologiczno-estetyczne wyznaczniki sakralności dzieła muzycznego

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Bramorski J. , Karcz B. , Tyrała R. , Zając A. , Delimat W. , Janicki J. J. , Malik J. , Sterczewska L. , UPJPII i. , Pasek W. , Karcz B. , Malik J. , Sterczewska L. , UPJPII i. , Pasek W.

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EN

In the face of great music, a human being rises in the attitude of contemplative admiration, feeling the border of everyday life is crossed and the land of transcendental beauty entered. Joseph Ratzinger ‒ Benedict XVI is an experienced guide on this way. Recollecting the ancient concept harmonia mundi, he outlined with impressive momentum the cosmic character of church music, in which heaven joins the earth, and the singing of angels with the singing of people so as to admire God the Creator in one ”new song”. Referring to the ancient logos theory, card. J. Ratzinger presented it as the expression of human longing for the possibility of a dialogue with the Absolute. The eternal Logos receives the face of a human being full of love in Jesus Christ. Christ sends the Holy Spirit, to lead the christian to discover the excellence of Divine Beauty reflecting itself in music. The Holy Spirit makes this beauty express itself in the life of the Church being the Mystical Body of Christ. Participating in the beauty of Divine life becomes possible thanks to liturgy, in which ”the new song” of the Poeple of God pilgrimaging to the eternal home in heaven, resounds continually. The above aspects indicate the basic theological and esthetic determinants of the musical work as sacral.

PL

In the face of great music, a human being rises in the attitude of contemplative admiration, feeling the border of everyday life is crossed and the land of transcendental beauty entered. Joseph Ratzinger ‒ Benedict XVI is an experienced guide on this way. Recollecting the ancient concept harmonia mundi, he outlined with impressive momentum the cosmic character of church music, in which heaven joins the earth, and the singing of angels with the singing of people so as to admire God the Creator in one ”new song”. Referring to the ancient logos theory, card. J. Ratzinger presented it as the expression of human longing for the possibility of a dialogue with the Absolute. The eternal Logos receives the face of a human being full of love in Jesus Christ. Christ sends the Holy Spirit, to lead the christian to discover the excellence of Divine Beauty reflecting itself in music. The Holy Spirit makes this beauty express itself in the life of the Church being the Mystical Body of Christ. Participating in the beauty of Divine life becomes possible thanks to liturgy, in which ”the new song” of the Poeple of God pilgrimaging to the eternal home in heaven, resounds continually. The above aspects indicate the basic theological and esthetic determinants of the musical work as sacral.

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Miłosierdzie Boże jako źródło inspiracji twórczej

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Michałek K. , Karcz B. , Tyrała R. , Zając A. , Delimat W. , Janicki J. J. , Malik J. , Sterczewska L. , UPJPII i. , Pasek W. , Karcz B. , Malik J. , Sterczewska L. , UPJPII i. , Pasek W.

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EN

When analysing the works by outstanding composers, one may come to the conclusion that this topic was not exploited too often in the history of music. The issue of Misericordias Domini was not as popular as, for example, Stabat Mater or Te Deum. Even a broader look at this topic area does not allow for noticing too many compositions. Does it mean that the great masters of the past epochs were not interested in Divine Mercy?The answer to this question should be sought in theology, especially that of the Middle Ages. The then teaching of the Church exposed the Creator more in the role of a stern Judge than Merciful Father. In later times, this topic was tackled by composers more bravely and it thrived in the 20th century. Thanks to Helena Kowalska, later Saint Faustina, the cult of Divine Mercy accelerated and quickly spread all over the world. Its climax was the pontificate of Blessed Pope John Paul II who established the Feast of Mercy celebrated on the first Sunday after Easter. One of his last acts in this respect was the dedication of the Basilica of Divine Mercy in Krakow-Łagiewniki and forming the World Centre of Divine Mercy here. This site has become inspiration for our recording and PhD thesis.Gregorian chant is the oldest traditional chant in the liturgy of the Roman Catholic Church. The church has prayed with this chant since the 6th century. Misericordias Domini chant presented on the record is a typical example of a responsorial psalm in which prayer with the text of Psalm 103 is combined with the chant of the chorus Misericordias Domini in aeternum cantabo.Passacaglia is a form of composition characteristic for Baroque music, especially organ music. On the basis of the bass-ostinato, composers have built subtle polyphonic constructions. Misericordias Domini, the composition by Johann Rudolph Ahle (1625–1673), is constructed on this scheme. Ahle built a four-voice polyphonic construction on a diatonic, falling, half-note procession of sounds, by giving two voices to the violin duo and two to soloists: soprano and tenor. The multi-layer character of this piece relates not only to the sound matter but also to text, as the composer uses both Latin and German simultaneously.In the Renaissance and Baroque, the polychoral technique experienced the peak of its development. It was used in Misericordias Domini composed by Francesco Durante (1684–1755), representative of the Neapolitan School. Two choirs are involved in a dialogue to meet at the end of the composition, in the climax moments, when chanting Divine Mercy in eight voices.Wolfgang Amadeus Mozart’s (1756–1791) offertory of 1775, Misericordias Domini KV 222, belongs to rarely performed pieces. Its compact, through-composed form shows the masterly skill of the composer and his original approach to the topic of Divine Mercy. The dramatic narration, change of key which was not typical of classicism, e.g. from d-moll to c-moll, create an impression that the great composer might have been afraid whether he would experience Divine Mercy himself.Divine Mercy Song by Henryk Jan Botor (born in 1960), which was dedicated to Holy Father John Paul II, is composed well with other works inspired by the personality of the great Pope. It was composed in the jubilee year of 2000. The text borrowed from Saint Sister Faustina’s Diary was given to a soprano signer and also to the choir – in climax and text culmination moments. By using Neo-Romanticism musical language, Botor achieved the message readable to the listener, grasping pathetic and figurative music in words. Rich instrumentation, involving a string orchestra, a harp, an extended percussion section, a choir and solo voice, enabled the composer to create an almost unlimited pallet of colours and moods.Misericordias Domini composed by Wojciech Widłak (born in 1971) dated 19 April 2012 is the latest perspective on the described text. The composer created a subtly planned form, exploring the natural rhythm of the word Misericordias. Voices are treated here as instruments with the rhythm playing the leading role. The piece also uses modern means, such as glissando or recitals of texts in many languages, which affects the great power of the piece’s artistic expression. When it comes to texts, the author took them from memorial booklets in which pilgrims from all over the world entered their thank-you words and requests to Merciful Jesus at the Sanctuary of Divine Mercy in Krakow-Łagiewniki.Misericordia, the composition by Wojciech Kilar (born in 1932), is the piece that crowned the film Faustina (1994) directed by Jerzy Łukaszewicz. It is the meditation on Divine Mercy in the “form of crescendo” for a mixed choir of eight voices, string orchestra and piano. By using the minimum of means, the composer achieved maximum expression.The record is crowned with the organ improvisation based on the melody of the Polish church song: Jesus, I Trust in You.

PL

When analysing the works by outstanding composers, one may come to the conclusion that this topic was not exploited too often in the history of music. The issue of Misericordias Domini was not as popular as, for example, Stabat Mater or Te Deum. Even a broader look at this topic area does not allow for noticing too many compositions. Does it mean that the great masters of the past epochs were not interested in Divine Mercy?The answer to this question should be sought in theology, especially that of the Middle Ages. The then teaching of the Church exposed the Creator more in the role of a stern Judge than Merciful Father. In later times, this topic was tackled by composers more bravely and it thrived in the 20th century. Thanks to Helena Kowalska, later Saint Faustina, the cult of Divine Mercy accelerated and quickly spread all over the world. Its climax was the pontificate of Blessed Pope John Paul II who established the Feast of Mercy celebrated on the first Sunday after Easter. One of his last acts in this respect was the dedication of the Basilica of Divine Mercy in Krakow-Łagiewniki and forming the World Centre of Divine Mercy here. This site has become inspiration for our recording and PhD thesis.Gregorian chant is the oldest traditional chant in the liturgy of the Roman Catholic Church. The church has prayed with this chant since the 6th century. Misericordias Domini chant presented on the record is a typical example of a responsorial psalm in which prayer with the text of Psalm 103 is combined with the chant of the chorus Misericordias Domini in aeternum cantabo.Passacaglia is a form of composition characteristic for Baroque music, especially organ music. On the basis of the bass-ostinato, composers have built subtle polyphonic constructions. Misericordias Domini, the composition by Johann Rudolph Ahle (1625–1673), is constructed on this scheme. Ahle built a four-voice polyphonic construction on a diatonic, falling, half-note procession of sounds, by giving two voices to the violin duo and two to soloists: soprano and tenor. The multi-layer character of this piece relates not only to the sound matter but also to text, as the composer uses both Latin and German simultaneously.In the Renaissance and Baroque, the polychoral technique experienced the peak of its development. It was used in Misericordias Domini composed by Francesco Durante (1684–1755), representative of the Neapolitan School. Two choirs are involved in a dialogue to meet at the end of the composition, in the climax moments, when chanting Divine Mercy in eight voices.Wolfgang Amadeus Mozart’s (1756–1791) offertory of 1775, Misericordias Domini KV 222, belongs to rarely performed pieces. Its compact, through-composed form shows the masterly skill of the composer and his original approach to the topic of Divine Mercy. The dramatic narration, change of key which was not typical of classicism, e.g. from d-moll to c-moll, create an impression that the great composer might have been afraid whether he would experience Divine Mercy himself.Divine Mercy Song by Henryk Jan Botor (born in 1960), which was dedicated to Holy Father John Paul II, is composed well with other works inspired by the personality of the great Pope. It was composed in the jubilee year of 2000. The text borrowed from Saint Sister Faustina’s Diary was given to a soprano signer and also to the choir – in climax and text culmination moments. By using Neo-Romanticism musical language, Botor achieved the message readable to the listener, grasping pathetic and figurative music in words. Rich instrumentation, involving a string orchestra, a harp, an extended percussion section, a choir and solo voice, enabled the composer to create an almost unlimited pallet of colours and moods.Misericordias Domini composed by Wojciech Widłak (born in 1971) dated 19 April 2012 is the latest perspective on the described text. The composer created a subtly planned form, exploring the natural rhythm of the word Misericordias. Voices are treated here as instruments with the rhythm playing the leading role. The piece also uses modern means, such as glissando or recitals of texts in many languages, which affects the great power of the piece’s artistic expression. When it comes to texts, the author took them from memorial booklets in which pilgrims from all over the world entered their thank-you words and requests to Merciful Jesus at the Sanctuary of Divine Mercy in Krakow-Łagiewniki.Misericordia, the composition by Wojciech Kilar (born in 1932), is the piece that crowned the film Faustina (1994) directed by Jerzy Łukaszewicz. It is the meditation on Divine Mercy in the “form of crescendo” for a mixed choir of eight voices, string orchestra and piano. By using the minimum of means, the composer achieved maximum expression.The record is crowned with the organ improvisation based on the melody of the Polish church song: Jesus, I Trust in You.

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Sprawozdanie z działalności Koła Naukowego Studentów MIMK w roku akademickim 2012–2013

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Stanik K. , Karcz B. , Tyrała R. , Zając A. , Delimat W. , Janicki J. J. , Malik J. , Sterczewska L. , UPJPII i. , Pasek W. , Karcz B. , Malik J. , Sterczewska L. , UPJPII i. , Pasek W.

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Dzieło Jehana Titelouze’a i jego znaczenie w krystalizacji stylu organowego

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Pawlisz K. , Karcz B. , Tyrała R. , Zając A. , Delimat W. , Janicki J. J. , Malik J. , Sterczewska L. , UPJPII i. , Pasek W. , Karcz B. , Malik J. , Sterczewska L. , UPJPII i. , Pasek W.

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EN

The organ work of Jehan Titelouze has considerable meaning in developement of organ music in France. His two books: Hymnes de l’Eglise pour toucher sur l’orgue, avec les fugues et recherches sur leur plain-chant (1623) and Le Magnificat, ou cantique de la Vierge pour toucher sur l’orgue, suivant les huit tons de l’Eglise (1626) are a great testimony of french organ music at the beginnig of XVIIth century. Titelouze is considered both a traditionalist and an innovator. His organ style is firmly rooted in the structures and the compositional techniques of the renaissance polyphony. The significant inspiration for Titelouze was a new invented type of organ. Composer in a conscious way used its technical and sound possibilities for create new stuctures with diligent counterpoint, organ ornamentation and the linear stucture.

PL

The organ work of Jehan Titelouze has considerable meaning in developement of organ music in France. His two books: Hymnes de l’Eglise pour toucher sur l’orgue, avec les fugues et recherches sur leur plain-chant (1623) and Le Magnificat, ou cantique de la Vierge pour toucher sur l’orgue, suivant les huit tons de l’Eglise (1626) are a great testimony of french organ music at the beginnig of XVIIth century. Titelouze is considered both a traditionalist and an innovator. His organ style is firmly rooted in the structures and the compositional techniques of the renaissance polyphony. The significant inspiration for Titelouze was a new invented type of organ. Composer in a conscious way used its technical and sound possibilities for create new stuctures with diligent counterpoint, organ ornamentation and the linear stucture.

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Muzyka w luterańskim zborze w pierwszych wiekach reformacji

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Ślusarczyk D. , Karcz B. , Tyrała R. , Zając A. , Delimat W. , Janicki J. J. , Malik J. , Sterczewska L. , UPJPII i. , Pasek W. , Karcz B. , Malik J. , Sterczewska L. , UPJPII i. , Pasek W.

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EN

The article discusses the musical culture of the Church from M. Luther’s reform to mid-18th century. The author presents the premises of the Protestant theology, which made it possible for both music forms and performance practice to develop. The consequence of the theological thought was to award music an exceptionally high status in the hierarchy of the arts. The article also deals with the vocal and instrumental compositions which functioned within the reformed liturgy.

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Recenzja: Jacek Bramorski, Pieśń nowa człowieka nowego. Teologiczno-moralne aspekty muzyki w świetle myśli kard. J. Ratzingera – Benedykta XVI, Kraków 2012

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Tyrała R. , Karcz B. , Tyrała R. , Zając A. , Delimat W. , Janicki J. J. , Malik J. , Sterczewska L. , UPJPII i. , Pasek W. , Karcz B. , Malik J. , Sterczewska L. , UPJPII i. , Pasek W.

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Andrzej Koszewski – człowiek, autorytet, twórca

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Krawczyński S. , Karcz B. , Tyrała R. , Zając A. , Delimat W. , Janicki J. J. , Malik J. , Sterczewska L. , UPJPII i. , Pasek W. , Karcz B. , Malik J. , Sterczewska L. , UPJPII i. , Pasek W.

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Muzyka sakralna na chór a cappella Krzysztofa Pendereckiego

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Chłopicka R. , Karcz B. , Tyrała R. , Zając A. , Delimat W. , Janicki J. J. , Malik J. , Sterczewska L. , UPJPII i. , Pasek W. , Karcz B. , Malik J. , Sterczewska L. , UPJPII i. , Pasek W.

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EN

Penderecki’s a cappella works have been written over the span of over 50 years since 1958, when the psalm Exaltabo Te Domine from the Psalms of David was composed, followed by the Stabat Mater sequence from St Luke Passion (1962), the multiple movement Missa brevis, intended for a cappella choir in its entirety, being the most recent work in the series (its first performance took place in January 2013). A cappella compositions form distinct movements within the large vocal-instrumental works or they are written as independent pieces, usually dedicated to friends or connected with specific events. Even though the works came into being in different periods and they were often written in different musical languages, they do constitute a group of works which is relatively uniform from the point of view of general style. The article aims at discussing on the one hand the chronology, text sources and a type of musical language used in a cappella works, on the other the general features of style and ways of developing musical narration by the composer.

PL

Penderecki’s a cappella works have been written over the span of over 50 years since 1958, when the psalm Exaltabo Te Domine from the Psalms of David was composed, followed by the Stabat Mater sequence from St Luke Passion (1962), the multiple movement Missa brevis, intended for a cappella choir in its entirety, being the most recent work in the series (its first performance took place in January 2013). A cappella compositions form distinct movements within the large vocal-instrumental works or they are written as independent pieces, usually dedicated to friends or connected with specific events. Even though the works came into being in different periods and they were often written in different musical languages, they do constitute a group of works which is relatively uniform from the point of view of general style. The article aims at discussing on the one hand the chronology, text sources and a type of musical language used in a cappella works, on the other the general features of style and ways of developing musical narration by the composer.

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„Tam, gdzie podążał Szymanowski, zmierzam i ja”

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Malecka T. , Karcz B. , Tyrała R. , Zając A. , Delimat W. , Janicki J. J. , Malik J. , Sterczewska L. , UPJPII i. , Pasek W. , Karcz B. , Malik J. , Sterczewska L. , UPJPII i. , Pasek W.

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EN

There has been no greater contrast of personality, biography, worldview, and lifestyle. And yet there is no end to similarities, proximities, even kinship; great was Górecki’s fascination with Szymanowski.First was the score of Beethoven’s Ninth, bought for the money earned by selling a ping-pong racket; but Górecki then spent his first savings on Chopin’s Impromptus and Szymanowski’s Mazurkas. He would recount later: “I still have these scores, and that is how my strange story begins: Beethoven’s Ninth Symphony, Chopin’s Impromptus and Szymanowski’s Mazurkas.”28 Yet apart from Górecki’s fascination with Szymanowski music and oeuvre, there is another link still. Both artists fell in love with Podhale, the Tatra Mountains and the culture of the region; so much that its main spa, Zakopane, became their second home. This went hand in hand with their fascination with the music of Podhale.The focal point for Szymanowski’s impact on Górecki brings together two masterpieces of sacred music: Stabat Mater and Symphony of Sorrowful Songs.Stabat Mater is one of Szymanowski’s few religious works; Górecki’s Sorrowful Songs are one of the many sacred works written both before and after the Symphony. Yet they are both instances of the highest artistry, of the apogee in their author’s creative achievements.Outside explicit examples of correlation between the work of Szymanowski and Górecki, there is an analogy between them of a more general nature. Taking into account the historical situation in which the two composers lived and worked, and the meanders of Polish music of the 20th centuries, the stylistic breakthrough that took place both in Szymanowski – before his Stabat Mater – and in Górecki – before his Third Symphony – was of tantamount import to establish their rank and their position in the history of Polish music.

PL

There has been no greater contrast of personality, biography, worldview, and lifestyle. And yet there is no end to similarities, proximities, even kinship; great was Górecki’s fascination with Szymanowski.First was the score of Beethoven’s Ninth, bought for the money earned by selling a ping-pong racket; but Górecki then spent his first savings on Chopin’s Impromptus and Szymanowski’s Mazurkas. He would recount later: “I still have these scores, and that is how my strange story begins: Beethoven’s Ninth Symphony, Chopin’s Impromptus and Szymanowski’s Mazurkas.”28 Yet apart from Górecki’s fascination with Szymanowski music and oeuvre, there is another link still. Both artists fell in love with Podhale, the Tatra Mountains and the culture of the region; so much that its main spa, Zakopane, became their second home. This went hand in hand with their fascination with the music of Podhale.The focal point for Szymanowski’s impact on Górecki brings together two masterpieces of sacred music: Stabat Mater and Symphony of Sorrowful Songs.Stabat Mater is one of Szymanowski’s few religious works; Górecki’s Sorrowful Songs are one of the many sacred works written both before and after the Symphony. Yet they are both instances of the highest artistry, of the apogee in their author’s creative achievements.Outside explicit examples of correlation between the work of Szymanowski and Górecki, there is an analogy between them of a more general nature. Taking into account the historical situation in which the two composers lived and worked, and the meanders of Polish music of the 20th centuries, the stylistic breakthrough that took place both in Szymanowski – before his Stabat Mater – and in Górecki – before his Third Symphony – was of tantamount import to establish their rank and their position in the history of Polish music.

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Sprawozdanie z VIII Dni Muzyki Kościelnej

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Łukasz J. , Karcz B. , Tyrała R. , Zając A. , Delimat W. , Janicki J. J. , Malik J. , Sterczewska L. , UPJPII i. , Pasek W. , Karcz B. , Malik J. , Sterczewska L. , UPJPII i. , Pasek W.

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Wymagania teologiczne odnośnie do miejsca celebracji liturgicznej

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Mieszczak S. , Karcz B. , Tyrała R. , Zając A. , Delimat W. , Janicki J. J. , Malik J. , Sterczewska L. , UPJPII i. , Pasek W. , Karcz B. , Malik J. , Sterczewska L. , UPJPII i. , Pasek W.

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EN

Talking about music in a sacral space is without doubt necessary to look deeply into the meaning of church building itself. Purpose for which is serving, formats its structure and equipment. In the article reflection was founded on the testimony of christian community of the first centuries and on the texts in the present Pontifical, which is used during dedication of the church and the altar. Christians in the first centuries during designing of the churches distains themselves from pagan buildings and also from the Temple in Jerusalem. They emphasize the spiritual side of their worship. They needed only the building where they could meet together, because the community was the real temple of God. So they gather simply very often in a bigger house or sometimes in a synagogue.The building of the church in a landscape of the towns and villages is undoubtedly the sign. It says by itself about unceasing God’s care for human being. The mystery of Incarnation is the base of the truth that God reveals Himself in a creation. That’s why for believers, although not only, it is the place of the presence of God who saved man. The community lives by celebrating, and they are hold in the church. Church becomes the sign of close relation between God and man.Today is required that the church building should have all what is necessary for celebration. Only that building can be blessed and serve for christian cult. The most important elements of equipment are altar, pulpit and place for leading. It is also necessary to notice and have the proper place for organ, choir and acoustic. Undoubtedly the mark of the church should be inert noble beauty.The sanctity of the church building depends on mystery of the presence of God in certain place. Through holding in it the sacred rites it becomes holy but it can lose holiness if it is used for different purpose.

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Federacja Caecilianum – Śpiewajcie swoim życiem!

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Delimat W. , Karcz B. , Tyrała R. , Zając A. , Delimat W. , Janicki J. J. , Malik J. , Sterczewska L. , UPJPII i. , Pasek W. , Karcz B. , Malik J. , Sterczewska L. , UPJPII i. , Pasek W.

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Muzykalia gidelskie w ujęciu historycznym, dydaktycznym i artystycznym

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Kusz D. , Karcz B. , Tyrała R. , Zając A. , Delimat W. , Janicki J. J. , Malik J. , Sterczewska L. , UPJPII i. , Pasek W. , Karcz B. , Malik J. , Sterczewska L. , UPJPII i. , Pasek W.

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EN

This article concerns archival musical manuscripts which belonged to a musical ensemble active in the Dominican Priory in Gidle (Poland) during the years 1615 to 1915.First, the collection of manuscripts is briefly presented, with special attention to quantity, condition and typology. The oldest preserved compositions from the period 1754 to 1799 are described and their authors identified.In the second part, the article demonstrates how the study of this collection can contribute to knowledge of late Classical and early Romantic music. An analysis of the manuscript Missa solemnis by the French composer François-Adrien Boieldieu serves as a case study. This musical composition has not been listed in catalogues of Boieldieu’s works.The third part of the article focuses on the question of how archival works of music can be adapted for contemporary liturgy and included in the repertoires of choirs and musical ensembles.

PL

This article concerns archival musical manuscripts which belonged to a musical ensemble active in the Dominican Priory in Gidle (Poland) during the years 1615 to 1915.First, the collection of manuscripts is briefly presented, with special attention to quantity, condition and typology. The oldest preserved compositions from the period 1754 to 1799 are described and their authors identified.In the second part, the article demonstrates how the study of this collection can contribute to knowledge of late Classical and early Romantic music. An analysis of the manuscript Missa solemnis by the French composer François-Adrien Boieldieu serves as a case study. This musical composition has not been listed in catalogues of Boieldieu’s works.The third part of the article focuses on the question of how archival works of music can be adapted for contemporary liturgy and included in the repertoires of choirs and musical ensembles.

14

Desakralizacja folkloru − jej przejawy muzyczne i kulturowe

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Dadak-Kozicka K. , Karcz B. , Tyrała R. , Zając A. , Delimat W. , Janicki J. J. , Malik J. , Sterczewska L. , UPJPII i. , Pasek W. , Karcz B. , Malik J. , Sterczewska L. , UPJPII i. , Pasek W.

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EN

The religious dimension of traditional culture – crucial to the understanding of the rituals which form a commentary on the cycle of the life of nature (annual rituals) and the life of humankind (family rituals) – is of particular importance, but it is also difficult to research. The ethnologists who documented folklore were sensitive to this aspect of culture (i.e. the suprasensory life) even as early as the eighteenth century, but they did not know how to document it correctly, and imposed their own ideas – e.g., deistic ones – on the mentality and the imagination of the rustic population as revealed in their art. Incomplete (i.e., concerned with selected aspects of culture and art) and not very accurate documentation (searching for folklore’s original versions, e.g., the brothers Grimm) resulted in the creation of standards of fairytales or songs which make reading their content and interpreting their form correctly more difficult today. Yet in folklore the content, the form and the function were organically bound together. This rather inadequate documentation encouraged erroneous interpretations, and even the mythologising of folklore in later periods, Documentation was shaped to fit in with the assumptions and ideas of the researchers, thus falsifying, in particular, the unique character of folk symbolism and poetics, the distinctiveness of folk thinking. In fact, it was not until the nineteenth century that Oskar Kolberg created reasonably full and reliable documentation of folk art – viewed in the context of traditional culture and nature – in his monumental work Lud, jego zwyczaje, sposób życia, mowa, podania, przysłowia, obrzędy, gusła, zabawy, pieśni, muzyka i tańce [People, their customs, way of life, speech, legends, proverbs, rituals, magic, games, songs, music and dances] (1856–1890 – 33 volumes). Ritual folklore, still quite active at that time, reveals both the multifunctionality of forms (associated with the musical and poetic styles), as well as the hierarchical order of functions and values – from the religious, through ethical, aesthetic, cognitive and socialising ones, to the ludic function.At the same time ritual folklore reveals a tendency towards an increasingly prominent emphasis on the ludic function, at the expense of functions concerned with belief, religion and philosophy. This can be seen in the gradual disappearance of archaic ritual chants with original tonal-melodic patterns, slow tempos and a-metric structure. These chants were a manifestation of a contemplative-reflective attitude towards the world and towards life, regarded as sacred. In the twentieth century, harvest chants represented a relic of this attitude. The unique nature of rustic culture expressed in these chants was investigated by E. JagiełłoŁysiowa (Elementy stylów życia ludności wiejskiej [Elements of lifestyles of the rural population], 1978). She emphasised the changes taking place in the attitudes of peasants towards nature, and in particular towards the nourishing Mother Earth and work on the land; these were losing the religious dimension in favour of an economic approach towards all work, while the ritual celebrations were gradually becoming predominantly a form of entertainment. Replacing the ritual chants with ditties, frequently of a lewd character (at one time these forms complemented each other), is a symptom of the changes – the disappearance of the contemplative-reflective attitude to the life of nature and humankind, the loss of the sacral dimension. The archaic style of chanting thus disappears as well.

PL

The religious dimension of traditional culture – crucial to the understanding of the rituals which form a commentary on the cycle of the life of nature (annual rituals) and the life of humankind (family rituals) – is of particular importance, but it is also difficult to research. The ethnologists who documented folklore were sensitive to this aspect of culture (i.e. the suprasensory life) even as early as the eighteenth century, but they did not know how to document it correctly, and imposed their own ideas – e.g., deistic ones – on the mentality and the imagination of the rustic population as revealed in their art. Incomplete (i.e., concerned with selected aspects of culture and art) and not very accurate documentation (searching for folklore’s original versions, e.g., the brothers Grimm) resulted in the creation of standards of fairytales or songs which make reading their content and interpreting their form correctly more difficult today. Yet in folklore the content, the form and the function were organically bound together. This rather inadequate documentation encouraged erroneous interpretations, and even the mythologising of folklore in later periods, Documentation was shaped to fit in with the assumptions and ideas of the researchers, thus falsifying, in particular, the unique character of folk symbolism and poetics, the distinctiveness of folk thinking. In fact, it was not until the nineteenth century that Oskar Kolberg created reasonably full and reliable documentation of folk art – viewed in the context of traditional culture and nature – in his monumental work Lud, jego zwyczaje, sposób życia, mowa, podania, przysłowia, obrzędy, gusła, zabawy, pieśni, muzyka i tańce [People, their customs, way of life, speech, legends, proverbs, rituals, magic, games, songs, music and dances] (1856–1890 – 33 volumes). Ritual folklore, still quite active at that time, reveals both the multifunctionality of forms (associated with the musical and poetic styles), as well as the hierarchical order of functions and values – from the religious, through ethical, aesthetic, cognitive and socialising ones, to the ludic function.At the same time ritual folklore reveals a tendency towards an increasingly prominent emphasis on the ludic function, at the expense of functions concerned with belief, religion and philosophy. This can be seen in the gradual disappearance of archaic ritual chants with original tonal-melodic patterns, slow tempos and a-metric structure. These chants were a manifestation of a contemplative-reflective attitude towards the world and towards life, regarded as sacred. In the twentieth century, harvest chants represented a relic of this attitude. The unique nature of rustic culture expressed in these chants was investigated by E. JagiełłoŁysiowa (Elementy stylów życia ludności wiejskiej [Elements of lifestyles of the rural population], 1978). She emphasised the changes taking place in the attitudes of peasants towards nature, and in particular towards the nourishing Mother Earth and work on the land; these were losing the religious dimension in favour of an economic approach towards all work, while the ritual celebrations were gradually becoming predominantly a form of entertainment. Replacing the ritual chants with ditties, frequently of a lewd character (at one time these forms complemented each other), is a symptom of the changes – the disappearance of the contemplative-reflective attitude to the life of nature and humankind, the loss of the sacral dimension. The archaic style of chanting thus disappears as well.

15

Wiktor Rowdo – życie i działalność artystyczna

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Yanushkevich M. , Karcz B. , Tyrała R. , Zając A. , Delimat W. , Janicki J. J. , Malik J. , Sterczewska L. , UPJPII i. , Pasek W. , Karcz B. , Malik J. , Sterczewska L. , UPJPII i. , Pasek W.

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16

10 lat w służbie muzyce kościelnej

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Tyrała R. , Karcz B. , Tyrała R. , Zając A. , Delimat W. , Janicki J. J. , Malik J. , Sterczewska L. , UPJPII i. , Pasek W. , Karcz B. , Malik J. , Sterczewska L. , UPJPII i. , Pasek W.

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17

Miejsce i rola solowej muzyki organowej w liturgii Kościoła rzymskokatolickiego

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Zalewski W. , Karcz B. , Tyrała R. , Zając A. , Delimat W. , Janicki J. J. , Malik J. , Sterczewska L. , UPJPII i. , Pasek W. , Karcz B. , Malik J. , Sterczewska L. , UPJPII i. , Pasek W.

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EN

Incorporating solo organ music in Roman Catholic liturgy may constitute a challenge for some organists. The very issue may raise some doubts and problems. “This usually results from insufficient education of professional organists”27. Fortunately, this is an invalid myth, easy to refute, bearing in mind the years of work and impact made by numerous Organist schools operating within dioceses, as well as Institutes of Church Music. Great numbers of broadly educated church musicians graduate from these schools every year. Unfortunately, constant rush and marginalization of the organist’s position in liturgy tend to discourage young organists. The majority of employers seem to be focusing on singing with the people, small choirs with the accompaniment of guitar or, possibly, parish choirs themselves.It is true that we “should intently urge churchgoers to actively participate in liturgy in the form of singing”28. This is probably why the church organist is usually considered the person to set the proper tone and keep up the singing in the church! For churchgoers, however, a good organist is the one who sings well…This is true, but only partially. The Second Vatican Council reminds us of the importance of the organ, an instrument “adding a grandeur dimension to church ceremonies, raising the souls and minds of believers to God and heavenly matters”29. How should we then consider the role of the organ in the liturgy of today, in the light of post-council documents? It may be assumed that the very participation of this majestic instrument in the liturgy adds grandeur, although pipe organ accompanying churchgoers singing tends to perform a secondary role.It is rather solo organ music which could make the Eucharist more dignified and grandly. It could also bring God’s people closer to God. Church documents are, however, very rigid in this matter – “solo music shall only be possible in the beginning, before the chaplain attends the altar, during the oblation, during the Communion and in the end of the mass”.Organ music performances during the Lent seem to be a separate issue since they are strictly prohibited by some church documents. In the opinion of priest I. Pawlak “fasting” from music reduces the liturgy in its integral substance, and a heartless or fanatic approach to fasting undermines the essence of liturgical activities”. Therefore, all church musicians are optimistic to witness the changing stance of the Polish Episcopal Conference, which, in its new Instructions issued in 1979, adopted a more liberal approach.

18

„Talent to dobro powierzone...” – etyka chrześcijańska w postawie twórczej i życiowej Witolda Lutosławskiego

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Bolesławska-Lewandowska B. , Karcz B. , Tyrała R. , Zając A. , Delimat W. , Janicki J. J. , Malik J. , Sterczewska L. , UPJPII i. , Pasek W. , Karcz B. , Malik J. , Sterczewska L. , UPJPII i. , Pasek W.

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EN

„Talent is a form of wealth entrusted to us” – these words may serve as Witold Lutosławski’s motto. He repeated them often and at many occasions, emphasising that each creative artist is obliged to treat his talent carefully and develop it to produce great results for public consumption. This corresponds well with Biblical parable on talents but does it mean that Lutosławski was a religious man? Was Christian ethic important to him? In his music there is no much connection with religion – only his youthful Lacrimosa for soprano, choir and orchestra, and the arrangements of traditional Polish Christmas carols, composed shortly after the Second World War, present his direct relations to religious inspirations. However, he did not like to talk about his beliefs and worldview, especially in the context of his own music, which for him always was abstract and free from any extra-musical features. But his attitude to composing, as well as to the public activity, reveals many connections with Christianity values. He was brought up in the family of strongly catholic and patriotic beliefs, connected with high moral principles. An atmosphere of Lutosławskis’ family, which belonged to the intellectual elites of pre-war Poland, made strong influence on young Witold. For the rest of his life he felt obliged to pay his duties both as a composer and as a man of a high moral standards. He not only concentrated on his creative work (though it was his main life obligation) but searched for public weal in his social activity, always aiming „to behave decently”. This corresponds perfectly with Christian ethic and indeed in one of his interviews Lutosławski openly admitted that not only his worldview was formed by Catholicism, towards which he remained faithful, but also that in his opinion Christian ethic remains pre-eminent among all ethic systems formed by the humanity.

PL

„Talent is a form of wealth entrusted to us” – these words may serve as Witold Lutosławski’s motto. He repeated them often and at many occasions, emphasising that each creative artist is obliged to treat his talent carefully and develop it to produce great results for public consumption. This corresponds well with Biblical parable on talents but does it mean that Lutosławski was a religious man? Was Christian ethic important to him? In his music there is no much connection with religion – only his youthful Lacrimosa for soprano, choir and orchestra, and the arrangements of traditional Polish Christmas carols, composed shortly after the Second World War, present his direct relations to religious inspirations. However, he did not like to talk about his beliefs and worldview, especially in the context of his own music, which for him always was abstract and free from any extra-musical features. But his attitude to composing, as well as to the public activity, reveals many connections with Christianity values. He was brought up in the family of strongly catholic and patriotic beliefs, connected with high moral principles. An atmosphere of Lutosławskis’ family, which belonged to the intellectual elites of pre-war Poland, made strong influence on young Witold. For the rest of his life he felt obliged to pay his duties both as a composer and as a man of a high moral standards. He not only concentrated on his creative work (though it was his main life obligation) but searched for public weal in his social activity, always aiming „to behave decently”. This corresponds perfectly with Christian ethic and indeed in one of his interviews Lutosławski openly admitted that not only his worldview was formed by Catholicism, towards which he remained faithful, but also that in his opinion Christian ethic remains pre-eminent among all ethic systems formed by the humanity.

19

Penderecki między sacrum a profanum

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Tomaszewski M. , Karcz B. , Tyrała R. , Zając A. , Delimat W. , Janicki J. J. , Malik J. , Sterczewska L. , UPJPII i. , Pasek W. , Karcz B. , Malik J. , Sterczewska L. , UPJPII i. , Pasek W.

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EN

Krzysztof Penderecki summed up his aesthetic and philosophical attitude stating wittily: „I am tempted by both the sacrum and the profanum, God and the devil, the sublime and its violation”. Amongst over a hundred compositions he has created over the last half-century a considerable majority are of profanic nature. Some of them, of significant importance, became known world-wide, e.g. Threnody to the Victims of Hiroshima. His sacred compositions, albeit not so numerous, also won general acclaim and recognition from professionals and public, almost equal to profanic ones. They gained their well-deserved place in the canon of the 20th-century sacred music, as well as in the history of the modern Europe, as organically linked to the time and place of the earth. St. Luke’s Passion, Paradise Lost and Polish Requiem – even those three compositions resonated with exceptional intensity not only due to the value of the sacred music, but also as an expression of the composer’s involvement in the higher matters, above technicalities in which the art of the time was largely and programmatically engrossed. Their additional and peculiar value lied in the fact that they formed a series of compositions, by which Krzysztof Penderecki – as the first composer of the communist-regimented countries – broke the ban on composing the higher music on sacred themes. At the same time, he was brave enough to renounce his sonoristic, up to that time, way of expression – which brought him fame and success among the western avantgarde – as not sufficient enough to realise his own visions in the sphere of sacred art. Therefore he created his compositions with full commitment, with full awareness of his mission: „My art – as he confessed – with its deep Christian roots, aims at re-building the metaphysical space of human being, shattered by the cataclysms of the 20th century. To restore the sacred dimension of reality is one way of saving man“.The sacred compositions of Krzysztof Penderecki outstand the contemporary European music – due to their unique features. Their distinct ecumenical character can be revealed even in the very selection of genres: Catholic Stabat Mater, Magnificat, Te Deum, Polish Requiem, Credo, Veni Creator, Hymn to St. Adalbert and Missa brevis, Catholic and Evangelical Passion, Orthodox – both Matins, as well as Song Cherubins and Hymn to St. Danilov, the Old-Testamental Psalms of David and Canticum canticorum i.e. Sir ha sirim, based not only on psalms – Seven Gates of Jerusalem, the Hebrew Kaddish. Yet the universal, by nature, sacrum is often tinted with Polish intonations. These are usually Polish religious songs, sometimes plainly patriotic, which are incorporated into compositions based on Latin lyrics: Boże, coś Polskę [God Thou Hast Poland] (in Te Deum), Święty Boże /The Trisagion/ (in Passion and in Polish Requiem), Ludu mój ludu /People of My People/ and Któryś cierpiał za nas rany /You who s u f f e r e d wounds for us/ (in Credo).The sacred music of Krzysztof Penderecki in a single way tune up, into one, coherent, and completed whole, the elements of music tradition and modernity. According to the composer, huge emotions triggered out by everlasting issues, when bringing lofty ideas – in grand-scale music forms – must be founded on tradition. Krzysztof Penderecki has always been convinced that “n o artistic creativity can survive w i t h o u t r o o t s ”. The psychological structure of the composer has also encompassed a closing thought, a moral, a humanistic message. All his compositions aim at the final reflection. In this sense, the creator of Passion, Dies irae, Polish Requiem, as well as The Devils of Loudun, The Black Mask or Song of Passing (Symphony No. 8) and Song of Reverie and Nostalgia – can be ranked amongst the music moralist.Penderecki’s compositions are permeated with existential awareness of the existence of death in modern civilisation and an acute feeling of the deep crisis of culture. As a creator, by nature and in effect of the experiences of his time, “the time of Apocalypse and hope”, he could not stay aloof, living behind the curtain of alibi offered by the idea of artistic autotelism. On the contrary, he belongs to the group of fully involved composers. Those to whom a work of art is a reaction to history, life and the world. The art which takes place within the area of values and takes their side. In his public declaration he explicitly stated his viewpoint: “One more time, in man’s history, it has been proved that every attempt to turn away from God, especially a bold wish to equal Him, invariably ends with a pathetic fall. His antidote has always been “the double rootedness of art – in the earth and in the air”.

PL

Krzysztof Penderecki summed up his aesthetic and philosophical attitude stating wittily: „I am tempted by both the sacrum and the profanum, God and the devil, the sublime and its violation”. Amongst over a hundred compositions he has created over the last half-century a considerable majority are of profanic nature. Some of them, of significant importance, became known world-wide, e.g. Threnody to the Victims of Hiroshima. His sacred compositions, albeit not so numerous, also won general acclaim and recognition from professionals and public, almost equal to profanic ones. They gained their well-deserved place in the canon of the 20th-century sacred music, as well as in the history of the modern Europe, as organically linked to the time and place of the earth. St. Luke’s Passion, Paradise Lost and Polish Requiem – even those three compositions resonated with exceptional intensity not only due to the value of the sacred music, but also as an expression of the composer’s involvement in the higher matters, above technicalities in which the art of the time was largely and programmatically engrossed. Their additional and peculiar value lied in the fact that they formed a series of compositions, by which Krzysztof Penderecki – as the first composer of the communist-regimented countries – broke the ban on composing the higher music on sacred themes. At the same time, he was brave enough to renounce his sonoristic, up to that time, way of expression – which brought him fame and success among the western avantgarde – as not sufficient enough to realise his own visions in the sphere of sacred art. Therefore he created his compositions with full commitment, with full awareness of his mission: „My art – as he confessed – with its deep Christian roots, aims at re-building the metaphysical space of human being, shattered by the cataclysms of the 20th century. To restore the sacred dimension of reality is one way of saving man“.The sacred compositions of Krzysztof Penderecki outstand the contemporary European music – due to their unique features. Their distinct ecumenical character can be revealed even in the very selection of genres: Catholic Stabat Mater, Magnificat, Te Deum, Polish Requiem, Credo, Veni Creator, Hymn to St. Adalbert and Missa brevis, Catholic and Evangelical Passion, Orthodox – both Matins, as well as Song Cherubins and Hymn to St. Danilov, the Old-Testamental Psalms of David and Canticum canticorum i.e. Sir ha sirim, based not only on psalms – Seven Gates of Jerusalem, the Hebrew Kaddish. Yet the universal, by nature, sacrum is often tinted with Polish intonations. These are usually Polish religious songs, sometimes plainly patriotic, which are incorporated into compositions based on Latin lyrics: Boże, coś Polskę [God Thou Hast Poland] (in Te Deum), Święty Boże /The Trisagion/ (in Passion and in Polish Requiem), Ludu mój ludu /People of My People/ and Któryś cierpiał za nas rany /You who s u f f e r e d wounds for us/ (in Credo).The sacred music of Krzysztof Penderecki in a single way tune up, into one, coherent, and completed whole, the elements of music tradition and modernity. According to the composer, huge emotions triggered out by everlasting issues, when bringing lofty ideas – in grand-scale music forms – must be founded on tradition. Krzysztof Penderecki has always been convinced that “n o artistic creativity can survive w i t h o u t r o o t s ”. The psychological structure of the composer has also encompassed a closing thought, a moral, a humanistic message. All his compositions aim at the final reflection. In this sense, the creator of Passion, Dies irae, Polish Requiem, as well as The Devils of Loudun, The Black Mask or Song of Passing (Symphony No. 8) and Song of Reverie and Nostalgia – can be ranked amongst the music moralist.Penderecki’s compositions are permeated with existential awareness of the existence of death in modern civilisation and an acute feeling of the deep crisis of culture. As a creator, by nature and in effect of the experiences of his time, “the time of Apocalypse and hope”, he could not stay aloof, living behind the curtain of alibi offered by the idea of artistic autotelism. On the contrary, he belongs to the group of fully involved composers. Those to whom a work of art is a reaction to history, life and the world. The art which takes place within the area of values and takes their side. In his public declaration he explicitly stated his viewpoint: “One more time, in man’s history, it has been proved that every attempt to turn away from God, especially a bold wish to equal Him, invariably ends with a pathetic fall. His antidote has always been “the double rootedness of art – in the earth and in the air”.

20

Giovanni Battista Pergolesi i jego theatrum doloris

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Szywalski P. , Karcz B. , Tyrała R. , Zając A. , Delimat W. , Janicki J. J. , Malik J. , Sterczewska L. , UPJPII i. , Pasek W. , Karcz B. , Malik J. , Sterczewska L. , UPJPII i. , Pasek W.

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EN

Stabat Mater is one of the last compositions by Giovanni Battista Pergolesi and today it is probably the most well-known and valued arrangement of those ancient sequences. The composer translated the incredibly moving medieval poem into the sounds with a great mastery. He managed to create a musical fresco placing us in the centre of the suffering true mystery. The power of his music is so real and stimulating that it is not possible to remain indifferent.The following essay presents the phenomenon of Pergolesi’s artistic genius on the background of that time cultural changes and it focuses on his posthumous fame. The author analyses the composer’s achievement of galant style and discusses Pergolesi’s Stabat Mater in relation to the language of emotions related to sentimental literature. Moreover, he suggests to comprehend that music through the prism of the Italian Marian devotion phenomenon. Scientists are still intrigued by the figure of Giovanni Battista Pergolesi. They try to reconstruct his life story and to deal with the confusion concerning his legacy. The success story of Pergolesi’s Stabat Mater is particularly interesting. Thus, successive generations of musicologists ask a question what the fame origin of this work and its creator could be. The author of this essay presents a few clues that might help us to get closer to the answer to this question.

PL

Stabat Mater is one of the last compositions by Giovanni Battista Pergolesi and today it is probably the most well-known and valued arrangement of those ancient sequences. The composer translated the incredibly moving medieval poem into the sounds with a great mastery. He managed to create a musical fresco placing us in the centre of the suffering true mystery. The power of his music is so real and stimulating that it is not possible to remain indifferent.The following essay presents the phenomenon of Pergolesi’s artistic genius on the background of that time cultural changes and it focuses on his posthumous fame. The author analyses the composer’s achievement of galant style and discusses Pergolesi’s Stabat Mater in relation to the language of emotions related to sentimental literature. Moreover, he suggests to comprehend that music through the prism of the Italian Marian devotion phenomenon. Scientists are still intrigued by the figure of Giovanni Battista Pergolesi. They try to reconstruct his life story and to deal with the confusion concerning his legacy. The success story of Pergolesi’s Stabat Mater is particularly interesting. Thus, successive generations of musicologists ask a question what the fame origin of this work and its creator could be. The author of this essay presents a few clues that might help us to get closer to the answer to this question.