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Teodoro Riccio’s Conundrum of 'Missa Ludovicus Dux Wirtenbergensis' Resolved?

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Odoj W.

Muzyka

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2023

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tom 68

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nr 3

67-76

PL

Długonutowa melodia z mszy Ludovicus Dux Wirtenbergensis (z Liber primus missarum, 1579) Teodora Riccia nie jest konwencjonalnym cantus firmus typu soggetto cavato. Znaczenie i proweniencja tejże melodii stanowi więc nie lada łamigłówkę. W dodatku jak pogodzić hołdowniczy wręcz i koncyliacyjny charakter przedmowy Riccia do Liber missarum, zbioru dedykowanego Stefanowi Batoremu, z obecnością w nim mszy, która mogła zostać potraktowana jako otwarty afront w stosunku do króla Polski. Antyfona Cornelius centurio, vir religiosus ac timens Deum oraz opowieść o setniku Korneliuszu z Dziejów Apostolskich pozwalają popatrzeć na tę kompozycję z innego punktu widzenia. Być może msza Ludovicus Dux Wirtenbergensis jest nośnikiem teologicznego przesłania będącego rezultatem świadomego sprzężenia melodii wspomnianej antyfony z imieniem księcia Ludwika Wirtemberskiego, przesłania, które miało wzmocnić przekaz zawarty w przedmowie i którego celem było poszukiwanie porozumienia, wzajemnego zrozumienia i szacunku między wyznaniami chrześcijańskimi.

EN

The long-note melody from the mass Ludovicus Dux Wirtenbergensis (from Liber primus missarum, 1579) by Teodoro Riccio is not a conventional cantus firmus of the soggetto cavato type. The meaning and provenance of this melody is therefore quite a puzzle. In addition, how to reconcile the homage-like and conciliatory character of Riccio's preface to Liber missarum, a collection dedicated to Stefan Batory, with the presence of a mass in it, which could be treated as an open affront to the king of Poland. The antiphon Cornelius centurio, vir religiosus ac timens Deum and the story of the centurion Cornelius from the Acts of the Apostles allow us to look at this composition from a different point of view. Perhaps the Mass of Ludovicus Dux Wirtenbergensis is a carrier of a theological message resulting from the conscious coupling of the melody of the antiphon with the name of Duke Ludwig of Württemberg, a message which was to strengthen the message contained in the preface and whose aim was to seek mutual understanding and respect between Christian denominations.

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Florence, Pope Clement VII and Emperor Charles V. A contextual study of the motet ‘Dominator caelorum’ by Jean Conseil / Costanzo Festa (?)

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Odoj W.

Muzyka

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2019

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tom 64

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nr 3

3-17

PL

Costanzo Festa (ok. 1490–1545) i Jean Conseil (ok. 1498–1534) spędzili większość swojegożycia działając obok siebie w kapeli papieskiej i byli autorami motetów opartych na tych samych tekstach: Deus venerunt gentes, skomponowanych prawdopodobnie pod wpływem tragicznych wydarzeń z maja 1527 r., kiedy to niemiecko-hiszpańskie wojska Karola V zdobyły i złupiły Rzym, a także kompozycji do tekstu Lumen ad revelationum/Nunc Dimittis. Pięciogłosowy motet Dominator caelorum w różnych źródłach przypisywany jest obydwu kompozytorom, i chociaż został opublikowany w Opera Omnia Festy, bardzo często wymieniany jest jednak jako kompozycja Jeana Conseila. Na podstawie zaobserwowanych zmian w warstwie tekstowej i politycznego kontekstu towarzyszącego powstaniu motetu, sugeruję, że kompozycja ta być może została faktycznie skomponowany przez Francuza jako osobisty wkład w uświetnienie spotkania Karola V i papieża Klemensa VII w Bolonii na przełomie 1529 i 1530 roku. Jeśli zatem motet Festy Ecce advenit dominator – jak to przekonująco przedstawił Klaus Pietschmann – został skomponowany na tę samą uroczystość, to być może obydwa utwory – Ecce advenit dominator i Dominator caelorum – należałoby traktować jako kolejny dowód współpracy i przyjaznej rywalizacji dwóch wybitnych kompozytorów działających w kapeli papieskiej w I poł. XVI wieku.

EN

Costanzo Festa (ca. 1490–1545) and Jean Conseil (ca. 1498–1534) spent most of their life in the papal chapel and composed motets based on the same texts: 'Deus venerunt gentes’, probably written in response tothe sack of Rome in 1527, as well as 'Lumen ad revelationum / Nunc Dimittis’. The five-voice motet 'Dominator caelorum’ is ascribed both to Festa and to Conseil. Thus if 'Ecce advenit dominator’ was really composed by Costanzo Festa, a papal composer, and performed at the meeting between Charles V and Clement VII in Bologna, as Klaus Pietschmann persuasively demonstrates, could not 'Dominator caelorum’ have been Conseil’s small musical contribution to this event? If so, it may have been Conseil who composed 'Dominator caelorum’ to embellish the Bologna meeting as Festa did by composing 'Ecce advenit dominator’.

3

Musical Motifs in Hans Memling’s Last Judgment (The National Museum in Gdańsk, c.1471)

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Odoj W.

Studia z Dziejów Średniowiecza

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2018

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nr 22

163-173

PL

Hans Memling’s (c.1435–1494) Last Judgment is a classic example of the use of the motif from St John’s Gospel and the Apocalypse in painting. The impressive triptych, with its 150 figures, is one of the most fascinating paintings of the fifteenth century that contains a richness of symbolic and theological elements. Its stormy and eventful history,the controversy surrounding its attribution, and the debate over the reason it was commissioned make it a great attraction for scholars and art lovers alike. The work also seems to be very interesting for musicologists, as the painting provides much information about instruments as objects with symbolic meaning, their function in practical performance, and the way in which they were played. Musical representation in painting, sculpture, and many other branches of the visual arts is of supreme documentary value to musical history. Therefore, it is understandable that the Last Judgment by Memling should draw the attention of musicologists.

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Humanista Francisco de Peñalosa (c. 1470‒1528) i jego Jeremiaszowe Lamentacje

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Odoj W.

Liturgia Sacra. Liturgia - Musica - Ars

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2020

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tom 56

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nr 2

215-229

EN

Francisco de Peñalosa (c. 1470‒1528), who is considered to be the greatest and finest Spanish composer prior to Cristóbal de Morales, composed a significant number of the compositions which are mainly preserved in Tarazona 2/3 (copied between 1521 and 1528), the largest source of Iberian sacred music from the early sixteenth century. Among the Tarazona compositions there are four Lamentations, of which three are attributed to Peñalosa. His Lamentations appear to be the earliest Spanish polyphonic settings of Jeremiah poems whose authorship is known. Peñalosa’s Lamentations are slightly different from the others composed at that time. Written by a composer from the peninsula, they have at least a few characteristics typical for Spanish writing, which distinguishes them from other Lamentations found in Petrucci’s collection of 1506, and some others which resulted from his individual approach to the treatment of Jeremiah verses. By special treatment of the words of the Lamentations Peñalosa joined the broad group of the composers affected and inspired by the beauty of the poem and deep emotions which it expresses. As a composer who was a maestro de musicaand music teacher of the king’s grandson, Ferdinand, and who could have studied liberal arts and known Latin fluently, Peñalosa reveals himself as a creative artist, and a true and sensitive human being, as a person who was aware of what means to be a humanist.