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THE MAUSOLEUM OF SIGISMUND I, THE RORANTYSCI CHOIR, AND CRACOW RENAISSANCE 'MUSICOLOGY'

100%

Targosz K.

Studia Waweliana

2007

nr 13

91-104

The article deals with the mausoleum of King Sigismund I, the first Renaissance funerary chapel in Poland, a special college of singers attached to the chapel, called the Rorantysci choir, and Renaissance 'Musicology' - a collection of musical treatises. The time bracket for the construction of the mausoleum in the Wawel Cathedral is set by the years 1519 and 1533. The author of the chapel was the Renaissance artist Bartolomeo Berrecci. The decoration includes a relief sculpture of King David and quotations from the Psalms, engraved on the frieze of the entablature. Ten years later, in 1543, the king brought into being a special choir (Rorantysci Choir), which was obliged to chant an early morning Mass (rorata) every day throughout the year. Between 1515 and the mid-1540s a number of treatises on the art of singing were published in Cracow. Writers such as Stephanus Monetarius, Sebastianus Felstinensis, Georgius Libanus, and others refer to the Pythagoreans, Plato, Cicero, St Augustine, Boethius, and more recent authors. They distinguish human music ('musica humana') as an expression of the harmony of the human soul and body, also understood as vocal music. The authors of the treatises placed great emphasis on the importance of music in the relationship between God and people, on the worship of Him by, for example, singing the Psalms, as was practised in the Sigismund mausoleum.

ČESKÉ LITERÁRNE INŠPIRÁCIE V HUDOBNEJ TVORBE JÁNA LEVOSLAVA BELLU

75%

Lengová J.

Musicologica Slovaca

2012

tom 3 (29)

nr 1

45 – 84

The composer Ján Levoslav Bella (1843 – 1936) maintained close contacts with personalities of Czech musical culture, especially in the years 1868 – 1881 and 1921 – 1936. Tanks to this he took a more intensive interest in Czech literature, which ultimately led to his taking a number of Czech literary models to set to music. The following works are extant: choirs to words by František Sušil (St. Cyril’s Deathbed Prayer) and Adolf Heyduk (Little White Shirt, I’m a Great Lady!), songs for the voice and piano Good Night and To the Singers to words by Eliška Krásnohorská, the opera fragment Jaroslav and Laura according to the verse drama by Václav Pok Poděbradský, and a song for higher bass and orchestra Credo to words by Jaroslav Martinec. The study is centred on analysis of individual works, taking into account the circumstances of their emergence and reception.