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RELIGIOUS MUSIC BY JOHANN VALENTIN RATHGEBER (1682-1750) IN LIGHT OF POLISH SOURCES (Muzyka religijna Johanna Valentina Rathgebera (1682-1750) w swietle zródel polskich)

100%
Konik M.
Muzyka
|
2008
|
vol. 53
|
issue 3(210)
31-44
EN
Johann Valentin Rathgeber was born in Southern Germany at Oberelsbach (north of Würzburg) on 3 April 1682. The environment in which Rathgeber spent his childhood and early youth allowed him to become familiar with the needs of smaller ensembles, which were active in small localities. Johann Valentin Rathgeber was a very prolific composer. Moreover, he was skilled in attracting influential sponsors, as a result of which a large number of his works was published in print during his lifetime. The presence of a relatively large number of his works in sources of Polish provenance is the result of adapting the cast and performance difficulty of his compositions to the needs of small centres. It is precisely in those collections - the ensembles of the Piarist monastery in Podoliniec, the collegiate parish church in Grodzisk Wielkopolski or the parish of Raków Opatowski - that we find Rathberger's compositions in Poland. The collection left by the ensemble from Grodzisk Wielkopolski includes a manuscript containing the composition 'Alma redemptoris mater' with the parts C solo, 2 Vn, Org, transmitted anonymously. This is a work by Johann Valentin Rathgeber, from his Op. V from 1727. The copyist of the manuscript was Father Benedykt Cichoszewski - a Cistersian monk who was active in the first half of the eighteenth century at the monasteries in Przemet and Paradyz. Unfortunately, the authorship of these works had been somewhat carelessly attributed to Cichoszewski, in spite of the fact that in her catalogue Danuta Idaszak clearly describes him as only a copyist. Attributing to Benedykt Cichoszewski the authorship of compositions by Johann Valentin Rathgeber seems particularly curious in view of the fact that this work had already been identified earlier. It also highlights the need for particular care and attention to detail when researching sources of early music. This would help us to avoid misunderstandings in research, which can lead to serious errors and create considerable confusion about Polish eighteenth-century religious music.
2
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SONATAS 'DA CHIESA' BY ALDEBRANDO SUBISSATI, THE VIOLINIST OF JAN KAZIMIERZ

100%
Wilk P.
Muzyka
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2007
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vol. 52
|
issue 1(204)
3-28
EN
The article is devoted to the manuscript collection of solo violin sonatas with basso continuo by Aldebrando Subissati (1606-77). It supplements the pioneering work of Paolo Peretti - 'Le sonate per violino e basso continuo di Aldebrando Subissati sonator famossissimo' (Fossombrone 1606-1677) ('Recercare' IX (1997) pp. 19-47). Subissati began his career in Rome, where he became known as the violinist playing in the basilica of Santa Maria Maggiore (1621), the church of San Luigi dei Francesi (1634-41, 1645), the Barberini theatre (1639), and also as the virtuoso who would test at the palace of Pietro Della Valle the famous 'violini delle tre armonie' (1640). In 1645-54 he worked as senior musicus at the royal court of Jan Kazimierz in Warsaw. The manuscript in question, entitled 'Il primo libro delle sonate di violino del Signor Aldebrando Subissati sonator famosissimo', is the only extant collection of Subissati's work. The discovery of the vocal sources of Subissati's sonatas allows one to explain many technical features of these exceptional compositions, as well as raising questions about their correct dating and identification with a particular musical environment. The exceptional nature of Subissati's sonatas when compared with Baroque instrumentalistics consists also in the fact that their place in the vespers liturgy can be indicated with unusual precision. Their titles indicate the position of the antiphon which they replace and the particular holy day. The dates of these holy dates form a series which include the whole liturgical year. The article suggests the direction for further research aimed at discovering the original sources of Subissati's remaining sonatas, and provides an index of musical incipits of the sonatas and the corresponding antiphons by Anerio.
3

BASSANI – BRENTNER – VILLICUS: HUDEBNÍ REPERTOÁR DVOU RUKOPISNÝCH SBORNÍKŮ Z PIARISTICKÉHO KLÁŠTERA V PODOLÍNCI

63%
Kapsa V.
Musicologica Slovaca
|
2012
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vol. 3 (29)
|
issue 2
195 – 215
EN
The article is concerned with the two manuscripts containing anonymous solo motets and sacred arias preserved in the musical collection of the Piarist monastery in Podolínec under the shelf-marks H-669 and H-1001. In both instances only some part-books are extant and the composers were identified only exceptionally. On the basis of his preceding research and new comparison, the present author makes the attribution of works more precise: the first collection is compiled mainly from works by J. J. I. Brentner and includes, among other things, a transcription of the printed collection Hymnodia divina op. 3 (Prag 1718/19). Tree style layers are included in the second collection and represented by solo motets of Italian origin (G. B. Bassani, F. A. Bonporti, Anonym), a transcription of a collection of arias by B. Villicus, and an aria (with new Latin text) by N. Piccini, provide material for reflection on the possible directions of further research into style evolution in the solo motet in central Europe in the first third of the 18th century.
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