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CATO - MIELCZEWSKI - ZEBROWSKI. THREE CONTRIBUTIONS TO RESEARCH INTO OLD POLISH MUSIC (Cato - Mielczewski - Zebrowski. Trzy przyczynki do badan nad muzyka staropolska)

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Jasinski T.
Muzyka
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2008
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vol. 53
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issue 2(209)
41-67
EN
This article comprises three brief footnotes to research into early Polish music. Although they are based on sources which are familiar and already largely investigated and described, they can still reveal some new aspects in the history of the art of music in old Poland. The first footnote 'I. Jaki ksztalt miala piesn 'Boga w swietych jego chwalmy'? Do problemu lacinsko-polskich kontrafaktur' (What was the shape of the song 'Let us Praise the Lord in His Saints'? Concerning the problem of Latin-Polish Contrafactures) concerns the issue of establishing the correct transmission of a music composition. Using a song by the polonised Italian composer, Diomedes Caton (before 1570 - after 1607), as an example, the author finds that sometimes a transmission of a vocal work, which apparently does not raise any doubts, and which is published in a contemporary source edition, has to undergo certain corrections. These corrections, by being compared to another, much later historical source, i.e., Józef Elsner's (1764-1854) 'Sumariusz moich utworów muzycznych' (Summary of my musical works), may be made optimally objective, and as a consequence may lead to a reliable recreation of the accurate shape of the work. The second part of the article 'II. Plankty z monogramem M. M.' (Dirges with the monogram M.M.) takes up the issue of identifying works signed with the monogram M.M. as those by a leading Polish composer from the early Baroque period, Marcin Mielczewski (d. 1651). The arguments and comparisons presented there lead to the conclusion that the two vocal-instrumental Polish dirges signed with the monogram M.M., 'Ach, ciezka zalosc' (Oh heavy sorrow) and 'Zemdlony Jezus' (The fainting Jesus), for two vocal parts, two violins and basso continuo, preserved in the source dated to 1714, may be identified as the work of Mielczewski. The third part of the text 'III. Autocytaty-transkrypcje' (Self-quotations - transcriptions) deals with the music of an outstanding Polish composer active during the second half of the eighteenth century in Jasna Góra, Marcin Józef Zebrowski (c. 1710- after 1780). Comparative analyses of three works by Zebrowski, the psalm 'Dixit Dominus' from the Vesperae cycle, 'Missa Pastoritia ex D and Missa Pastoralis', reveal interesting examples of relationships within the musical material. In 'Missa Pastoralis' the composer uses fragments of fugued passages from 'Missa Pastoritia' ('Cum Sancto Spiritui in gloria Dei Patris. Amen' from Gloria) and the psalm 'Dixit Dominus' (the final 'Amen'), transcribing them to a different performance apparatus while making only minimal changes. Such techniques found in the work of Zebrowski expand the set of known examples of the practice of using their own musical compositions by the Old Polish masters.
2
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FROM THE MUSICAL PAST OF THE ST ELIZABETH CHURCH IN WROCLAW DURING THE BAROQUE PERIOD (Z przeszlosci muzycznej wroclawskiego kosciola Sw. Elzbiety w czasach baroku)

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Jez T.
Muzyka
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2007
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vol. 52
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issue 4(207)
95-126
EN
The purpose of this article is to supplement the existing research into the musical tradition of the St Elizabeth church in Wroclaw with information from previously unexplored archives. Sources held at the Voivodeship State Archive in Wroclaw allow us to examine more closely the structure and the dynamics of the development of musical institutions in that area. Particular attention is devoted to the ensemble of Elizabethan choristers; it was one of the more influential musical communities of the city, an institution which played a very significant part in the development of future administrative, didactic and church staff. The surviving financial documentation of that ensemble allows us to reconstruct the ensemble's personnel in detail. A comparison of the expenditure on musical settings throughout the centre, preserved in the church accounts, allows us to establish the social status of the ensemble's musicians. In these sources we find references to persons already known to us from previous research as participants in the musical life of seventeenth-century Wroclaw; however, we also find previously unknown musicians, which makes it possible to verify and expand the state of current research. In particular, the archives from the period 1649-1654 suggest a need for a thorough review of the picture of the musical culture of the Wroclaw church of St Elizabeth, since they document a fundamental reorganisation of the whole ensemble. This may relate to the introduction of the latest style of Italian compositions - the 'seconda pratica' style - into the repertoire being developed in that centre.
3
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MICHAEL WEYDA (1581-CA 1651), THE REBELLIOUS PROTESTANT - ORGANIST FROM GDANSK AND KOENIGSBERG IN THE CONTEXT OF THE RELIGIOUS CONFLICTS IN THE FIRST HALF OF THE SEVENTEENTH CENTURY (Niepokorny protestant Michael Weyda (1581-ok. 1651)....)

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Bogdan I.
Muzyka
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2007
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vol. 52
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issue 4(207)
59-73
EN
From the time of the announcement of the reformation mandate on 6 July 1525, and the church ordination and agenda on 10 December 1525, Lutheranism became the official state religion in the Duchy of Prussia, which remained a fiefdom under the rule of the Polish Crown. Against the background of a complex relationship between the faiths in Prussia during the first half of the seventeenth century, where the main division line no longer ran between the Catholics and the Lutherans, but between the Lutherans and those of the reformist faith, the authoress describes a very interesting case - that of Michael Weida/Weyda (1581- ca.1651), an organist from the Marian church in Gdansk, who in 1623 became organist at Koenigsberg's Knipawa cathedral. An analysis of the polemical print 'Wahrhafftiger Bericht und Verantwortung Michael Weyden auff die ... 121. Lügen-Scharteck des D. Mislenta, Colbii, und seines Anhangs, die sich das Drey-Staedtische Ministerium in Preussen nennen' from 1651, discovered at the British Library in London, allows us to revise the established views and to introduce new factual information into this musician's biography. The dispute between Weyda and the Knipawa pastors - doctor Celestyn Myslenta, cathedral deacon Georg Colbius (1594-1670) and magister Joachim Babatius (d.1656) - was conducted over many years in the form of polemical prints. This dispute, as well as the dismissal of the musician from the post of cathedral organist, his excommunication and exclusion from the Christian community, demonstrate both the religious intolerance and the power of the orthodox Lutheran clergy in Koenigsberg during that period.
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FROM GDANSK TO KROMIERIZ OR, THE STORY OF HEINRICH DÖBEL AND HIS MUSIC FOR THE VIOLIN

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Popinigis D.
Musicology Today
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2006
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vol. 3
5-22
EN
Solo violin repertory in the 17th-century Poland is scarce. In this context, Heinrich Döbel's compositions for solo violin and basso continuo, though limited in number (four sonatas and five dances), gains in significance. These works were written probably in the 1770s and are preserved in manuscript in Kromieriz. The composer's musical education provided by his grandfather Paul Siefert and Jacek Rózycki, maestro di capella at the court of king Jan Kazimierz is described, as well as other facts of his biography and the style of his works.
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