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1

Music by the Gabrielis in the Levoča and Bardejov Collections

100%

Kalinayová-Bartová J.

Musica Iagellonica

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2017

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tom 8

95-116

EN

Current research into the adoption of Andrea Gabrieli’s and Giovanni Gabrieli’s oeuvres in former Upper-Hungarian music centres (situated mainly in the Spiš and Šariš regions of present-day Slovakia) is based on examinations of the music sources that have been preserved in two extensive music collections: the Levoča Music Collection and the Bardejov Music Collection. They demonstrate the importance of the late 16th- and early 17th-century anthologies, compiled by German editors, in the dissemination of Gabrielis’ compositions — and Italian music in general — into the Spiš-Šariš regions. Anthologies had become the main source of transcriptions and further spreading of both authors’ pieces. On the other hand, in its content they were a source of limitation for further choice options. Among the known local composers, the most significant interest in Gabrielis’ works had been recognized by the Bardejov organist Zachariáš Zarewutius in his transcription of 13 units. Further transcriptions of Gabrielis’ pieces have survived in the manuscripts of unknown origin. The time of their creation and the names of intavolators are also unclear or unknown. The study therefore contains also information on the current research proceedings in these questions and hypothetical thoughts on the genesis and possible sources of these transcriptions as well as the routes of their transferring and their connections to the musical life of the Spiš-Šariš centres. Special attention is dedicated to the local version of the contrafactum of Lieto godea sedendo madrigal by Giovanni Gabrieli.

2

An Attempt to Reconstruct the Original Lyrics of the Concerto Mutetta super Nicolai Solemnia by Franciszek Lilius1

70%

Bebak M.

Kwartalnik Młodych Muzykologów UJ

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2017

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nr 2(33) Eng

4-23

EN

Franciszek Lilius was one of the most prominent composers of the 17 th‐century Poland, a pedagogue and a choirmaster of Kraków’s Cathedral between 1630 and 1657. The majority of the sources containing his compositions were created after the composer’s death. Many of them are incomplete. Owing to these two facts, we do not know the original version of the compositions mentioned by Lilius. One of the examples is the concerto Mutetta super Nicolai Solemnia preserved in Staatsbibliothek in Berlin as a German contrafactum with the text “Kompt lasst uns betrachten”. The composition may havebeen performed during services at the Protestant church of St. Mary Magdalene in Wrocław. The text was probably modified and adapted to Evangelical requirements in this place. However, originally the work must have been intended to be performed in the Catholic church during the feast of St. Nicholas (the 6 th of December), as it is suggested not only by its original name—Mutetta super Nicolai Solemnia, but also by the pre‑compositional material used in it. This material comprises, on the one hand, the one‑voice hymn Nicolai solemnia preserved in e.g. the cantional of Stanisław Serafin Jagodyński from 1639 and the cantional of Literary Archconfraternity in Warsaw from 1668, and on the other hand—its four‑voice setting preserved in the Sandomierz and Wawel sources. If the copyist had not written original Latin title in his manuscript, we would not know what kind of Latin text was previously used by composer. Only this information made it possible to recreate the lost Catholic version of the concerto. The main aim of the article is an attempt to reconstruct the original lyrics of the concerto Mutetta super Nicolai Solemnia and to analyze different problems connected with it.

3

Próba rekonstrukcji pierwotnego tekstu słownego w koncercie Mutetta super Nicolai Solemnia Franciszka Liliusa

70%

Bebak M.

Kwartalnik Młodych Muzykologów UJ

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2017

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nr 2(33)

5-24

EN

Franciszek Lilius was one of the most prominent composers of the 17th century Poland, a pedagogue and a choirmaster of Krakow’s Cathedral between 1630 and 1657. The majority of the sources containing his compositions was created after composer’s death. Many of them are incomplete. Owing to these two facts, we do not know the original version of compositions mentioned by Lilius. One of the examples is the concerto Mutetta super Nicolai Solemnia preserved in Staatsbibliothek in Berlin as a German contrafactum with the text „Kompt lasst uns betrachten”. The composition may have been performed during services at the Protestant church of St Mary Magdalene in Wrocław. The text probably was modified and adapter to Evangelical requirements in this place. However, originally the work must have been intended to be performed in the Catholic church during the feast of St. Nicholas (6th December), as is suggested not only by its original name – Mutetta super Nicolai Solemnia, but also by the precompositional material used in it. This material comprises, on the one hand, the one-voice hymn Nicolai solemnia preserved in e.g. the hymnbook of Stanisław Serafin Jagodyński from 1639 and the hymnbook of Literary Archconfraternity in Warsaw from 1668, and on the other hand – its four-voice arrangement preserved in the Sandomierz and Wawel sources. If the copyist hadn’t written original Latin title in his manuscript, we would not know what kind of Latin text was previously used by composer. Only this information made it possible to recreate original, missing catholic version of the concerto. The main issue of the article is an attempt to reconstruct the original lyrics of the concerto Mutetta super Nicolai Solemnia and to analyse different problems connected with it.

4

Contrafacta. Modes of music re-textualization in the late sixteenth and seventeenth century, eds. Marina Toffetti, Gabriele Taschetti, Kraków 2020 Musica Iagellonica, pp. 358. ISBN 978-83-7099-239-2

60%

Ferrari N.

Muzyka

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2021

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tom 66

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nr 1

185-189

5

Tęsknię Więc Jestem, O Zachowywaniu Pamięci. Na Przykładzie Miasteczka Bełz

57%

Kiec I.

Sztuka i Dokumentacja

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2018

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nr 18

275-284

PL

Artykuł jest poświęcony kolejnym wersjom piosenki Miasteczko Bełz Aleksandra Olshanetsky’ego (muzyka): 1) Mein sztetełe Bełz, 1932 (słowa w jidysz Jacob Jacobs; przekład polski 1935 – J. Roman); 2) Miasteczko Bełz dwadzieścia lat po wojnie, dwie wersje z lat sześćdziesiątych (słowa Agnieszka Osiecka); 3) Miasteczko Bełz. Pół wieku później, połowa lat dziewięćdziesiątych (słowa Roman Kołakowski); 4) Warszawo ma, 1947 (słowa Ludwik Starski). Kolejne zmiany tekstu działają na zasadzie palimpsestu – częścią, która nie ulega zatarciu, jest słowo „miasteczko” i jego nacechowane historycznie znaczenie oraz melodia z żydowskim ludowym motywem muzycznym. Te dwa powtarzalne elementy sprawiają, że kolejne kontrafaktury ujawniają źródła wszechobecnej we współczesnym świecie nostalgii oraz dokumentują sposoby działania pamięci. Kontekstem dla rozważań jest opowiadanie Zygmunta Haupta Lili Marleen.

6

Tak zwana „Wenecjanka”. Hipotezy dotyczące atrybucji i kulturowego obiegu włoskiej melodii popularnej w dobie oświecenia

51%

Ignaczak L.

Pamiętnik Literacki

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2020

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tom 111

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nr 1

137-170

PL

W artykule omówione zostały okoliczności towarzyszące upowszechnianiu jednej z najpopularniejszych europejskich melodii teatralnych XVIII wieku, która jako tzw. „Wenecjanka” znana była warszawskiej publiczności od roku 1790, kiedy to jako piosnka Dominika wybrzmiała w „Taczce occiarza”, sztuce przetłumaczonej i przysposobionej dla polskiego widza przez Wojciecha Bogusławskiego. Ujawnione też zostały mechanizmy utrudniające ustalenie autorstwa włoskiego pierwowzoru owej melodii ‒ arii „La mia crudel tiranna”, od 1749 roku wszczepianej do wielu europejskich oper komicznych, a na przełomie XVIII i XIX wieku funkcjonującej również w salonowym muzykowaniu jako temat muzyczny towarzyszący tekstom o nader zróżnicowanym charakterze (od okolicznościowych, satyrycznych piosenek politycznych po ballady wolnomularskie). Świadectwo powszechnej obecności „Wenecjanki” w kulturze muzycznej XVIII i XIX wieku dają dokumenty z epoki: zarówno druki muzyczne, jak i francuskie, angielskie, irlandzkie czy amerykańskie śpiewniki, potwierdzające różnorodne wariacyjne przetworzenia tej melodii oraz kontrafakturowe jej wykorzystanie.

EN

The article discusses the circumstances accompanying the dissemination of one of the most popular European 18th c. theatre melodies that, as so-called “Venetian song,” was known to Warsaw audience from the year 1790 when, as Dominic’s song was heard in “Taczka occiarza” (“The Vinegar Maker’s Wheelbarrow),” a play translated and adapted to the Polish audience by Wojciech Bogusławski. The paper also reveals the mechanisms that impede recognition of the melody’s Italian original, namely the aria “La mia crudel tiranna” (“The Maid of Lordi),” from the year 1749 inserted into many European comic operas, and at the turn of the 18th and 19th c. was popular in salon music performances of various nature (from occasional, satirical songs of political character to freemasonic ballads). The evidence of the strong presence of the “Venetian song” in the 18th and 19th c. music culture is found in many documents of the epoch, both in musical prints and in French, English, Irish, and American songbooks. The sources acknowledge the many variation transformations of the melody and its contrafact usage.

7

Some Latin contrafacta of Ars Nova songs in Central European sources from the first half of the fifteenth century:

41%

Gondko M. , Vomáčka I.

Hudební věda (Musicology)

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2020

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tom 57

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nr 4

479-494

EN

Fifteenth-century musical sources from Central Europe contain a number of “foreign” (in the sense of “not originally of Central European origin”) polyphonic secular songs, many of which survive uniquely in these sources and often not in their original form. The author seeks to understand what happened to this repertoire once it had reached its admirers in a geographically and culturally different context. The scope of material is narrowed down to “Ars Nova songs”, that is, polyphonic songs which stylistically belong to the fourteenth century and were originally settings of texts in one of the fixed forms common in the Western and Southern European traditions of lyric poetry. In the Appendix, the author provides a list of Ars Nova songs with Latin contrafactum texts which he was able to locate in Central European sources before about 1450 (expanded by the addition of concordances with non-Latin contrafactum texts, concordances with no text at all, incipits appearing in theoretical treatises, and instrumental intabulations). He finds evidence that French compositions predominate significantly over Italian, as well as a predilection for music which does not exhibit a high degree of rhythmic complexity. Furthermore, the author analyses various instances in which Latin contrafactum texts were applied to pre-existing music and proposes how such compositions could have functioned in educational and devotional contexts. Lastly, he points out that Ars Nova songs in Central Europe experienced what could be termed their “second life”, in which they were handled with a remarkable degree of freedom.

CS

Středoevropské hudební prameny z patnáctého století obsahují řadu „cizích“ (ve smyslu „nikoli středoevropského původu“) polyfonních světských písní, z nichž mnohé se dochovaly pouze v těchto pramenech, a to začasté nikoli ve své původní podobě. Autor se snaží zjistit, k jakému vývoji docházelo u tohoto repertoáru poté, co si získal příznivce v geograficky i kulturně odlišném prostředí. Časový záběr daného materiálu je tu zúžen na „písně z období ars nova“, tj. polyfonní písně spadající stylově do čtrnáctého století, jež byly původně zhudebněními textů s použitím jedné ze zavedených forem západo- a jihoevropských tradic lyrické poezie. V příloze autor uvádí seznam písní z období ars nova s kontrafaktovanými texty v latině, které se mu podařilo lokalizovat ve středoevropských pramenech z doby přibližně před rokem 1450 (navíc rozšířený o konkordance s nelatinskými kontrafaktuálními texty, o konkordance bez textů, o incipity vyskytující se v teoretických traktátech a konečně o instrumentální intabulace). Nachází tu doklady silné převahy francouzských kompozic nad italskými, jakož i tendenci k zařazování hudby, jež nevykazuje vysoký stupeň rytmické složitosti. Autor dále analyzuje rozmanité případy uplatňování latinských textových kontrafakt v již dříve existujících skladbách a usuzuje, jak takové skladby mohly fungovat ve vzdělávací a liturgické praxi. Konečně zdůrazňuje, že písně z období ars nova se ve středoevropském prostředí dočkaly jakéhosi „druhého života“, v jehož průběhu s nimi bylo nakládáno s pozoruhodnou mírou volnosti.

8

Źródła melodii, metrorytmika oraz kontrafaktury w kompozycjach zawartych w zbiorze ks. Z. Piaseckiego (1916-2011) „Panu memu śpiewać chcę”

41%

Szczeblewski Ł.

Teologiczne Studia Siedleckie

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2021

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nr Teologiczne Studia Siedleckie XVIII (2021) 18

217-236

PL

Dopuszczenie języka narodowego w liturgii przez reformę liturgiczną Soboru Watykańskiego II stało się ważnym impulsem nowej twórczości religijnej. Na gruncie polskim można zaobserwować swoistą eksplozję nowych kompozycji religijnych, które były upowszechniane w różnych edycjach. W tę działalność wpisuje się twórczość ks. Z. Piaseckiego. Zwieńczeniem jego pracy twórczej i redakcyjnej jest zbiór Panu memu śpiewać chcę. Kompozytor zamieścił w nim utwory znanych twórców muzyki religijnej, jak również wiele własnych kompozycje. Wśród nich są także utwory z tekstem Kompozytora. Niniejszy artykuł stanowi prezentację zbioru ze szczególnym zwróceniem uwagi na pochodzenie melodii, metrorytmikę oraz zapożyczenia melodii (kontrafaktury).

EN

The admission of the national language in the liturgy by the liturgical reform of the Second Vatican Council became an important impulse for new religious creativity. In Poland, one can observe a kind of explosion of new religious compositions that were disseminated in various editions. The works of Fr Z. Piasecki are part of this activity. The culmination of his creative and editorial work is the collection “I want to sing to my Lord”. The composer included works of well-known composers of religious music, as well as many of his own compositions. Among them there are also pieces with the composer's own text. This article presents the collection with particular emphasis on the origin of the melody, metrorhythmics and borrowings of the melody (contrafacta).

9

Sakralność religijnej kontrafaktury świeckich utworów

41%

Kałamarz 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.

Pro Musica Sacra

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2013

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tom 11

EN

The phenomenon of contrafactum, that is giving new lyrics to the melody that already functioned with different words, is an old and common practice which occurred in many forms. Most often the term is associated with giving religious lyrics to a melody that previously possessed secular words. But this is only one of many possibilities. For centuries valuable melodies were used with both secular and religious words, regardless of original interrelationships of a particular melody.Today, in society sensitive to copyrights, the practice of contrafactum raises a lot of emotions. Also, it often evokes mixed feelings in the milieus which are involved in sacred music. This is because melodies, to some extent, convey with them the meaning of the words to which they are related, especially in the minds of the people who know these words. The secularity of melody can therefore be present not only in purely musical characteristics of a particular melody (e.g., dance rhythm, chromatization, great variety of emotions and emotional intensity), but also with secular context with which it is identified by the people who use this melody, for example, the intention which lead to the creation of a particular melody or with its original meaning. On the other hand, sacred music is the music created to participate in a sacred reality (an integral part of liturgy) and in some sense also to co-create this reality by praising the glory of God and sanctifying the faithful.When giving a secular melody to religious lyrics it is important to make sure that during liturgy their potential users should not associate this melody with anything secular. It should be composed in a perfect manner, in accordance with the rules of counterpoint. It should be a melody containing diatonic sounds, without unnecessary tension, alterations, and with dignified rhythm so that it lent itself to being performed by a large number of people. Moreover, it should simply be beautiful and its proportionally selected components should create internal unity of music and highlight the meaning of the lyrics to which it is to be added. Finally, the melody along with the words should be approved by the appropriate authority of the Church. Only then can we begin to consider it as a sacred, i.e., a liturgical song.

10

Rerum patris Pii Hancke. O muzykaliach nyskiego dominikanina

31%

Hauptmn-Fischer E.

Hereditas Monasteriorum

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2013

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tom 2

81-93

EN

The collection of Pius Hancke’s works includes numerous pieces written for the harp. Its outstanding repertoire and provenance distinguishes it from other monastic collections. The collection belonged to the monk who developed it during his whole life and carried it with him when changing places he lived in. Last 30 years of his life Pius Hancke spent in Dominican monastery in Nysa. Notes used during the liturgy (masses, litanies) certainly were used there and currently are the only testimony of the music culture of this monastery. Next to liturgical pieces Hancke’s collection includes a number of instrumental pieces for the harp with the accompaniment of other instruments and contrafacta of opera arias. The latter often include arrangements of harp parts, most probably made by Hancke himself. Scriptors’ names relate this collection to the unique manuscript containing Antonio Vivaldi’s Credo.