Wyniki wyszukiwania - Biblioteka Nauki

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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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tom 11

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.

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Zagadnienie dynamicznej interpretacji twórczości organowej Maxa Regera w kontekście charakterystyki brzmieniowej późnoromantycznych instrumentów oraz współcześnie budowanych organów

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Presseisen F. , 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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tom 14

EN

In 2016 in celebration of Max Reger’s death anniversary, in entire Europe were organised many concerts and sympsiums. Their purpose was bringing closer the phenomenon of Max Reger’s music. Nowadays his organ music is still detached from the context of the original instruments which were in use in the period of late romantic. This article introduces the profil of Max Reger`s organ works, specially focusing on their`s musical language. It discuss also specific notation style with important aspect of complex dynamics gradation system. Reger’s instructions are related to the sound of late romantic german pipe-organs and their`s voicing characteristic. In the last part of the article, possible performance problems on contemporary instruments are discussed.

PL

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3

Problem of placing the organ pipes on the windchest

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Węgrzyn D. , Wrzeciono P.

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tom Vol. 30, nr 1

art. no. 2019121

EN

This paper presents research showing the problem occurring in the construction of a pipe organ, related to the placement of the organ pipes on the windchest. The close location of the organ pipes to each other influences the parameters of the sound generated by the pipes. It causes an intonation problem, namely the detuning of the organ pipes if they are located too close to each other on the windchest. The presented measurements show the influence of a distance between pipes of various types on basic sound parameters, such as frequency or volume level. The research carried out shows that in extreme cases the detuning reaches a temperate halftone. This has undoubtedly an impact on the tuning of organ pipes, especially in the case of a table organ or pipe organ built in a small space. In the future, the outcomes of the presented research can be applied in the windchest design.

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Renowacja organów Josefa Bacha w kościele parafialnym pw. św. Piotra i Pawła w Sycowie

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Cieplik K.

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nr 1

77-91

EN

After the 1905-1906 reconstruction of the parish church of st. Peter and Paul in Syców, the organ building company of A. Spiegel from Rychtal, led by Joseph Bach, constructed an organ with 21 voices in 1907, according to the instruction of prof. Emil Bohn from Wroclaw. Only the prospectus and box bellows were re-used for their construction from the old instrument. By 1920, 2 stops were added to the pedal, and in 1943, the Sauer company of Frankfurt (Oder) added 3 stops to the second manual. The new voices were placed on separate wind chests. An additional a small float bellow was also installed. After World War II, the instrument was repaired several times, but its technical condition continued to deteriorate until it was finally put out of use for several years. Only in 2021 did it undergo a thorough renovation.

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Muzyka liturgiczna w świetle dokumentów Kościoła

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Celary I.

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2016

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nr XIII/13

80-90

EN

The Second Vatican Council initiated the process of the renewal of the liturgical music. It explained its task in the service for God and presented the principles of its renewal. This re-newal was prepared by pioneers and promoters of the liturgical movement which existed from the second half of the 19th century. Sacrosanctum Concilium, the Constitution on the Sacred Liturgy, pointed that there is an inseparable connection between music and liturgy. Music was presented as an integral part of the solemn liturgy. Singing in liturgy is a form of active participation in liturgical celebrations. It is a form of the confession of faith and an element of deeper entering to the celebration of the mystery of salvation. The principles of the Constitution define the stage of Church consciousness which inspired and started the era of the renewal of liturgy and church music. Among positive ef-fects of the Council renewal of church music, apart from new liturgical books, there is the fact of existing choirs in Church, cantors and psalterists as well as the extension of music repertoire. Music education of the clergy and the faithful is still an important task. Above all organists should be taught to organize the singing not to replace the participants of liturgical celebrations in singing.

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Zadania organów i posługa organisty w Musicam sacram. Bilans i perspektywy

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Sesantini G. , 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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tom 16

EN

The position of a pipe organ in the liturgy of the Roman Catholic Church has been precisely clarified nowadays. Its major role is to support singing of the faithful, accompany choral bands and to perform solo music conformed with the character of a given feast or celebration. The instruction Musicam sacram of 1957 most clearly specifies when and on what occasions the organ ought to be used during liturgy and when its involvement is undesirable. These regulations appertain as well to organist’s service, defining its crucial role in building the community of the faithful.The instruction Musicam sacram, issued 50 years ago, is not only a document of historical value. It has also become a launch pad for many subsequent documents regarding the church music. What is more, many specifications included in Musicam sacram are still relevant today. Recounting and analyzing some of its directions referring to the organ and organ playing allowed the author of this study to conclude that: “Nowadays, the liturgy still cannot cope without the organ and the organ cannot cope without liturgy. The dictum of Musicam sacram is clear, so is its mens (the so called «spirit»). As always, it is the hearts of people who are supposed to implement these regulations and who need repentance”.

PL

Miejsce organów w liturgii Kościoła rzymskokatolickiego jest w dzisiejszych czasach bardzo precyzyjnie dookreślone. Ich rolą jest podtrzymywanie śpiewu wiernych, akompaniowanie zespołom śpiewaczym, a także wykonywanie muzyki solowej, dostosowanej do charakteru danego święta czy uroczystości. Instrukcja Musicam sacram z roku 1967 w sposób niezwykle przejrzysty wyjaśnia, kiedy i w jakich okolicznościach należy używać organów w liturgii, a także kiedy ich użycie jest niepożądane. Odnosi się także do posługi organisty, określając jej niezwykle istotną rolę w budowaniu wspólnoty wiernych.Powstała przed 50 laty instrukcja Musicam sacram nie jest dziś tylko reliktem historycznym. Stała się punktem wyjścia dla wielu innych późniejszych opracowań dotyczących muzyki w Kościele. Ponadto wiele z jej zapisów nie straciło nic na swej aktualności. Przypomnienie i analiza po pół wieku tych zapisów odnoszących się do organów i gry organowej pozwala według autora na stwierdzenie, iż „Dziś nadal liturgia nie może obejść się bez organów, a organy nie mogą obejść się bez liturgii. Dictum Musicam sacram jest jasne. Jej mens (tzw. «duch») – również. Jak zawsze to serca ludzi, którzy mają wcielić te przepisy w życie, potrzebują przemiany”.

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Historia organów w kościele pw. Najświętszego Serca Pana Jezusa w Krakowie-Piaskach Wielkich

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Matoga P.

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tom 123

225-236

PL

Archiwum parafialne w Krakowie-Piaskach Wielkich obfituje w dokumenty związane z historią miejscowych organów. Kościół parafialny został wybudowany w latach 20. XX w. W 1944 r. zamontowano w nim niewielkie, tymczasowe organy, wypożyczone z parafii w Prokocimiu. Instrument ten, zbudowany w 1924 r. przez Stanisława Żebrowskiego z Krakowa, oddano do Prokocimia w 1945 r. Jeszcze w 1944 r. ówczesny proboszcz, ks. Franciszek Dźwigoński, zamówił nowe, 15-głosowe, pneumatyczne organy w firmie Gebrüder Rieger z Jägerndorfu. Wskutek działań wojennych nigdy nie dotarły one do Piasków Wielkich. W latach 1948-1949 parafia starała się o nabycie używanego instrumentu, który miałbyś sprowadzony z Ziem Odzyskanych. Ks. Dźwigoński korespondował w tej sprawie z Marianem Śliwińskim, pracownikiem Politechniki Wrocławskiej i organmistrzem-amatorem, który pośredniczył w procederze wywożenia poniemieckich organów po drugiej wojnie światowej. Początkowo do Piasków Wielkich miał trafić 14-głosowy, pneumatyczny instrument ze Starych Rochowic, jednak został on przydzielony parafii w Rudnie. Później Śliwiński pisał o organach z Rościszewa, Gniechowic, Barkowa Wielkiego i Gostkowa. Pod koniec 1949 r. proboszcz otrzymał informację o tym, że przydział instrumentów został wstrzymany. W zaistniałej sytuacji zamówił nowe organy w firmie Wacława Biernackiego z Krakowa. Ten 15-głosowy, pneumatyczny instrument, zbudowany w latach 1951-1952, funkcjonuje w kościele do dziś.

EN

The parish archive at Piaski Wielkie, Cracow abounds in documents connected with the history of the church organ. The parish church was built in the 1920s. In 1944 it was fur-nished with a small temporary organ borrowed from the parish in Prokocim. The instru-ment, built in 1924 by Stanisław Żebrowski from Cracow, was returned to Prokocim in 1945. Already in 1944 Rev. Franciszek Dźwigoński, the parish priest of that time, ordered a new 15-rank pneumatic organ from Gebrüder Rieger company from Jägerndorf. Because of the war activities the organ never arrived at Piaski Wielkie. In the years 1948-1949 the parish made attempts to buy a second-hand instrument, which was to be brought over from the Recovered Territories. Rev. Dźwigoński exchanged letters on this subject with Marian Śliwiński, a staff member of Wrocław Polytechnic and an amateur organ-builder, who interceded in the procedure of restitution of post-German church organs after World War II. At first, the church at Piaski Wielkie was to get a 14-rank pneumatic instrument from Stare Rochowice, however it was assigned to the parish of Rudno. Later, Śliwiński wrote about the church organ from Rościszew, Gniechowice, Barków Wielki and Gostków. At the end of 1949 the parish priest received information about the allocation of the instru-ments having been suspended. In this situation he ordered a new church organ in Wacław Biernacki’s company in Cracow. The 15-rank pneumatic instrument, built in 1951-1952, has functioned in the church up to the present day.

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Moritz Brosig (1815–1887) – działalność organoznawcza na Śląsku Opolskim na podstawie zbiorów Archiwum Państwowego w Opolu

84%

Poźniak G. M.

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2020

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tom 40

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nr 1

179-214

EN

Moritz Brosig (1815–1887) was a Silesian musician, organist, and composer. His creative activity focused on broadly understood liturgical music. The State Archives in Opole have conserved 35 opinions about organs that were arranged by him in the years 1871–1884, and which pertain to instruments in Opole Silesia. It is an interesting and rich set of documents, full of still undiscovered knowledge about Silesian organ construction in the 18th–20th centuries. The article presents the content of expert opinion about Moritz Brosig, and focuses mainly on sound issues. The author lists many names of the then organ building companies.

PL

Moritz Brosig (1815–1887) był śląskim muzykiem, organistą i kompozytorem. Jego twórcza działalność koncentrowała się na szeroko pojętej muzyce liturgicznej. Archiwum Państwowe w Opolu przechowuje 35 opinii organoznawczych sporządzonych przez niego w latach 1871–1884, które dotyczą instrumentów na Śląsku Opolskim. Jest to niezwykle interesujący i bogaty zestaw dokumentów, pełen ciągle nieodkrytej wiedzy o śląskim budownictwie organowym XVIII–XX w. Artykuł prezentuje zawartość opinii eksperckich Moritza Brosiga. Autor skupia się na kwestiach brzmieniowych, ale wymienia także wiele nazw ówczesnych warsztatów organmistrzowskich.

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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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tom 11

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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Międzyuczelniany Instytut Muzyki Kościelnej w Krakowie. Dziesięć lat działalności (2008–2018)

59%

Zając A. , 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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tom 16

EN

The article presents various forms of the activity performed by the Intercollegiate Institute of Church Music in Cracow over the span of 10 years (2008–2018) with regard to scientific-and-didactic and to artistic aspects. The scientific-and-didactic performance is mainly the result of the activities regulated with a teaching curriculum, of scientific conferences and symposia, the outcome of the journal “Pro Musica Sacra”, devoted to church music, as well as of the activity of the Student Research Club, BA and MA theses be the effect of scientific seminars, and of post-graduate studies of liturgical monody. The artistic activity of the institute is best manifested through concerts, master courses and music workshops, through diploma organ recitals and liturgical diploma performances, CD recordings and music-related publications. The author of the article emphasizes that the major educational aim of all the educational, artistic and formative activities of the institute is to prepare competent and professional musicians who will undertake the jobs at various pastoral institutions of the church. And it is them on whom the music of the liturgical rituals shall represent a required standard, dignity and a desired form. The article concludes with the account of a tremendously important event for the history of the Institute, namely conferring upon the pope emeritus Benedict XVI the honoris causa doctorate by the John Paul II University and the Music Academy in Cracow in 2015.Keywords Intercollegiate Institute of Church Music in Cracow, John Paul II University, Music Academy, pope emeritus Benedict XVI, Mons. Robert Tyrała, Witold Zalewski, church music, pipe organ, BA and MA seminars, concerts, organ recitals, scientific conferences, Student Research Club, master courses, music workshops, journal “Pro Musica Sacra”

PL

W artykule autor przedstawia różnorodne formy działalności naukowo-dydaktycznej i artystycznej Międzyuczelnianego Instytutu Muzyki Kościelnej w Krakowie na przestrzeni dziesięciu lat (2008–2018). Działalność naukowo-dydaktyczna to zadania określone programem nauczania, a także organizowanie konferencji i sesji naukowych, wydawanie czasopisma poświęconego muzyce kościelnej „Pro Musica Sacra”, praca Koła Naukowego Studentów, prace licencjackie i magisterskie pisane w trakcie seminariów naukowych oraz prowadzenie studiów podyplomowych z monodii liturgicznej. Działalność artystyczna Instytutu znajduje swój wyraz w organizowanych koncertach, kursach mistrzowskich i warsztatach muzycznych, w dyplomowych recitalach organowych i dyplomach z gry liturgicznej, nagraniach płytowych i wydanych materiałach muzycznych. Autor podkreśla, że zasadniczym celem wszelkich poczynań – edukacyjnych, artystycznych i formacyjnych Instytutu – jest wykształcenie kompetentnych, profesjonalnych muzyków, którzy w przyszłości podejmą pracę w kościelnych ośrodkach duszpasterskich. Od nich bowiem zależeć będą odpowiedni poziom, godność i właściwy kształt muzyki w obrzędach liturgicznych Kościoła. Zwieńczeniem artykułu jest opis ważnego i wyjątkowego w historii Instytutu wydarzenia, jakim było nadanie w 2015 roku papieżowi seniorowi Benedyktowi XVI doktoratu honoris causa przez Uniwersytet Papieski Jana Pawła II i Akademię Muzyczną w Krakowie.