2017 | 2(33) Eng | 4-23
Article title

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

Title variants
Languages of publication
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.
Physical description
  • Jagiellonian University in Kraków
  • Bohn E., Die musikalischen Handschriften des XVI. und XVII. Jahrhun¬derts in der Stadtbibliothek zu Breslau. Ein Beitrag zur Geschichte der Musik im XVI. und XVII. Jahrhundert, Breslau 1890 (new edition: Hildesheim–New York 1970).
  • Jarosiewicz M., Magnificat a 8 voci e 2 violini Giovanniego Rovetty we wrocławskim kościele św. Marii Magdaleny, “De Musica” 2008, XIV (Nuove Pagine 3), [online] images/file/jarosiewicz_nuove_pagine_3%281%29.pdf [accessed: 07.03.2017].
  • Konradt G., Die Instrumentalbegleitung in Historienkompositionen der Schutzzeit, “Schutz Jahrbuch” 19 (1997).
  • Lilius F., Opera omnia II. Motetti, Concerti, Aria e Toccata, ed. M. Bebak, series “Sub Sole Sarmatiae”, ed. Z. M. Szweykowski, A. Patalas, Krakow 2016.
  • Patalas A., Nieznana msza Asprilia Pacellego Ave maris stella. Traktowanie cantus firmus, „Muzyka” 1994, nr 2, pp. 11–26 (the article was also published in English: eadem, The Unknown Missa Ave maris stella by Asprilio Pacelli, “Musica Iagellonica” 1 (1995), pp. 23–50).
  • Przybyszewska Jarmińska B., Ave florum flos Hyacinthe Marcina Mielczewskiego. Problemy z rekonstrukcją oryginalnego kształtu kompozycji zachowanej z tekstem niemieckojęzycznej kontrafaktury, “Annales Universitatis Mariae Curie Skłodowska. Sectio L – Artes”, 1 (2003), pp. 109–127.
  • Przybyszewska Jarmińska B., Odpisy oraz opracowania kompozycji Marcina Mielczewskiego i innych muzyków polskich Wazów w siedemnastowiecznej kolekcji muzykaliów kościoła św. Marii Magdaleny we Wrocławiu, “Muzyka” 2006, No. 1–2, pp. 117–145.
  • Przybyszewska Jarmińska B., Muzyka pod patronatem polskich Wazów. Marcin Mielczewski, Warszawa 2011.
  • Wydra W., Pieśni nabożne… z krakowskiej oficyny Antoniego Wosińskiego (1627), “Poznańskie Studia Polonistyczne. Seria Literacka” 2012, No. 19 (39), pp. 329–345.
Document Type
Publication order reference
YADDA identifier
JavaScript is turned off in your web browser. Turn it on to take full advantage of this site, then refresh the page.