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1

BETWEEN ART AND COMMERCIALISM. LATE RENAISSANCE OCCASIONAL AND DEDICATEE MUSIC IN ROYAL PRUSSIA (Miedzy sztuka a komercja: póznorenesansowa muzyka okolicznosciowa i holdownicza w Prusach Królewskich)

100%
Leszczynska A.
Przegląd Muzykologiczny
|
2006
|
issue 6
5-16
EN
In the last decades of the 16th century in Royal Prussia as well as in other Lutheran countries more and more occasional works started to appear, which were commissioned by the rich bourgeoisie or were dedicated to them. The vast majority of these compositions were epithalamia, which not only graced wedding ceremonies, but also emphasised the status of the newly-weds. Such works were presumably a significant source of income both for those musicians who had permanent positions and for those who were temporarily unemployed. Such works could also contribute to the growth of popularity of a particular composer among the bourgeoisie. At the beginning of the 17th century the wedding compositions appearing in Royal Prussia changed from Latin compositions of a motet-like character to strophic German songs. Apart from epithalamia there were works of a dedicatory character, most often offered to the councillors of the Hanseatic towns. For such 'gifts' their authors were usually remunerated by the city authorities. Some composers as, for example, Johannes Wanning or Petrus de Drusina, wrote occasional works from time to time. For others as, for example, Johannes Celscher or the royal choirmaster, Johannes Eccard, this was one of the mainstays of their creative activity. Works of an occasional character were written most frequently by those musicians who were guests in Royal Prussia, among whom may be counted Valentin Hausmann and Conrad Hagius.
2

POLYPHONIC ARRANGEMENTS OF PROPRIUM AND ORDINARIUM MISSAE FROM THE BRANIEWO MANUSCRIPT (UPPSU 76F) IN THE CONTEXT OF EUROPEAN TRADITION

100%
Leszczynska A.
Musicology Today
|
2004
|
vol. 1
64-76
EN
The article examines three handwritten partbooks, formerly property of the Braniewo Jesuit Collegium, taken in 1626 as a war trophy with other manuscripts and prints by the invading Swedes to Stockholm and held in the University Library of Uppsala. In comparison to the majority of polyphonic arrangements of 'proprium missae', typical of the European tradition, which are characterized by clear and logical system corresponding to the liturgical year, the manuscript 'UppsU 76f' seems chaotic, with several irregularities. The analysis of its features leads the authoress to the hypothesis that it could have been created in a Protestant-influenced region. Some similarities are found with 'Choralis Constantinus' by Heinrich Isaac and with the oldest polyphonic manuscript of the Wawel chapel, dated by Mirosław Perz and Elzbieta Zwolinska as of mid-16th century. Although none of the compositions in the Braniewo manuscript bears its composer's name, in some instances concordances were found. The authoress identifies further works and provides other information on the collection, such as dating, hypotheses concerning its origin and the reasons of its importance for Polish and European culture.
3

FROM SPIS TO ROYAL PRUSSIA - THE CREATIVE DEVELOPMENT OF JOHANNES CELSCHER

100%
Leszczynska A.
Musicology Today
|
2005
|
vol. 2
37-48
EN
The article is devoted to Johannes Celscher, composer absent from modern music lexicons, who lived at the turn of 16th and 17th centuries. Several new data are reconstructed, such as the composer's origin (Spisská Nová Ves), places where he studied (Gdansk, Königsberg) and worked: at Chancellor's of Lithuania court, as a cantor in Kwidzyn and as a city of Torun composer. His compositions contained in prints from Königsberg and Torun are described, as well as those preserved in manuscripts; among them the only fully preserved is a 6-part Mass, a parody of the 6-voice motet by Orlando di Lasso. Comparisons between Celscher's sacred and secular works lead to the assessment of the significance of the composer and his works.
4

THE PARODY TECHNIQUE IN THE WORKS OF RENAISSANCE COMPOSERS FROM THE GDANSK AREA

100%
Leszczynska A.
Musicology Today
|
2006
|
vol. 3
75-92
EN
In manuscripts written in Gdansk and Elblag at the turn of the 16th and 17th centuries from 'Biblioteka Gdanska' of the Polish Academy of Sciences and from the University Library in Torun there is a number of masses of the parody type. Most of them are copies of compositions printed in Western Europe, but some are works of musicians with links to Royal Prussia. Two Masses by Johannes Wanning and two by Johannes Celscher exemplify different approaches to the technique. The latter's 'Missa Domine quid multiplicati sunt' is a parody of the 16th century motet by Orlando di Lasso. Of Wanning's two Masses, one refers to a Palestrina's madrigal, the other, 'Missa Dormiend ung iour', is interpreted by the authoress as referring both to a Verdelot's madrigal and a chanson by Orlando di Lasso, which makes it a rare example of such an approach. Methods and character of the quotations, specific features of the parody technique, as well as some formal devices are discussed in the four Masses, as well as in relation to other Mass repertoire of the Gdansk area.
5

ON THE TRAIL OF FRANCISCUS DE RIVULO - NEW CLUES AND HYPOTHESES

100%
Leszczynska A.
Musicology Today
|
2007
|
vol. 4
67-77
EN
Franciscus de Rivulo, the first composer from Gdansk to achieve European renown, cantor of the Marian church in that city, still remains a mysterious personage. Only last four years of his life (1560-64) are documented. The authoress argues that research of manuscripts containing his compositions can bring additional information and brings forward the results of this approach. Discussion of different spellings of the composer's name leads to a conclusion that the Latinized name Franciscus is the most appropriate form, because it appears as such in manuscripts and prints. His origins are investigated and new research results and hypotheses concerning his biography and compositions are presented
6
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THE BEGINNINGS OF GERMAN RELIGIOUS POLYPHONY IN KOENIGSBERG, GDANSK AND RIGA (Poczatki niemieckiej polifonii religijnej w Królewcu, Gdansku I Rydze)

100%
Leszczynska A.
|
2007
|
vol. 52
|
issue 4(207)
45-57
EN
The introduction of the Lutheran faith in the area of Ducal Prussia, Livonia and Royal Prussia in the sixteenth century gave impetus to the development of local religious song-writing in German. The greatest number of such songs comes from Koenigsberg. In the 1540s and 1550s, these were mainly written by Johannes and Paul Kugelmann, musicians at the court of Duke Albrecht, and from the end of the 1570s by Johannes Eccard, one of the most prolific composers of this genre, employed at the cappella of Margrave Georg Friedrich. In the sixteenth-century Gdansk, German polyphony was a marginal phenomenon in the local artistic output. Two first songs of this type were written by Franciscus de Rivulo in about 1560, but during the next 80 years such compositions remained sporadic. In Riga, toward the end of the sixteenth century, German religious polyphony was being composed by Paulus Bucenus who, apart from songs, also wrote Masses using the German language, clearly in accordance with the instructions of the local 'Kirchenordnung'.
7

RESEARCH OF INFLUENCE OF CREATIVITY AND INNOVATIVENESS ON DEVELOPMENT (Badania wplywu kreatywnosci i innowacyjnosci na rozwoj przedsiebiorstwa)

51%
Brzezinski M., Czop K., Leszczynska A.
Contemporary Economics
|
2009
|
issue 3(11)
24-36
EN
In the article the research of relations between creativity, innovativeness and development of organization was presented. In the light of result there is significant influence of innovativeness on development of organization and inversely dependency in the case of its potential. On the results of organization affects innovativeness, but creativity, as pra-source, affects directly or indirectly on all variables.
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