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Zlomky českých renesančních skladeb

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Štefancová D.
Hudební věda (Musicology)
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2010
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vol. 47
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issue 2-3
117-130
EN
This study presents to the professional public a previously-unknown source for the history of Czech Renaissance music, deposited in the Ondřej Horník collection in the Music History Division of the Czech Museum of Music (of the National Museum) in Prague under the designation NM-ČMH XXIX D 139. In 2009 this set of twenty folios was restored and then divided into five unrelated parts, namely: (a) a fragment of a part book from Rakovník, (b) a torso of polyphonic motets with the Psalm texts Chval duše má Hospodina (Praise the Lord, My Soul) and Blahoslavený každý, kdo se bojí Hospodina (Blessed Are Those Who Fear the Lord), (c) the alto part from a motet Slunéčko krásné vzešlo jest (The Beautiful Sun Has Risen), (d) a torso of the alto part from a Christmas motet, and (e) a draft of a request with the textual incipit ‘Benedictus’. The fragments come approximately from the years 1580–1620 and are of Czech origin.
2
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Chorální notace rukopisů kláštera sv. Jiří v Praze

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Mráčková V.
Hudební věda (Musicology)
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2010
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vol. 47
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issue 2-3
131-146
EN
The set of manuscripts from the Benedictine Convent of St. George in Prague includes 69 codices with and without musical notation. Such a collection of manuscripts originating from a single institution is not usual anywhere in Europe. The present study focuses on twenty-three manuscripts containing staff notation that were written between the second half of the thirteenth and the first quarter of the fifteenth centuries. They show great diversity in types of staff notation and a very large number of different scribes: 55. For the most part they are written in Gothic-Messine notation, by contrast with other sources from the Prague diocese which use Czech notation. Comparison of notational symbols and of the hands of the scribes can help answer questions concerning the St. George scriptorium.
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THE PARTS OF MASS ORDINARY CALLED 'SOCIORUM' IN THE SPECIÁLNIK CODEX: A STUDY OF LATE FIFTEENTH-CENTURY POLYPHONY IN BOHEMIA

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Mrackova L.
Muzyka
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2004
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vol. 49
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issue 2(193)
89-110
EN
The Codex Speciálnik (c. 1485-1500), an important European music manuscript of its time, contains about 200 pieces of fifteenth-century polyphony. Its repertory includes contemporary music written by leading composers of the second half of the fifteenth century (from Pullois to early works of Josquin and his contemporaries), as well as pieces of Central European origin. A group of compositions called 'sociorum' seems to represent a specific local repertory written in low register (for male voices only) and can be found exclusively in the Codex Speciálnik (except for two compositions with concordances in sixteenth-century Bohemian and German sources). The parts of mass ordinary 'sociorum' can be divided into two groups: 1) compositions with an identified model and 2) free compositions. The incomplete cycle No. 1 is built on the chanson 'Corps digne-Dieu quel marriage' by Busnois and a song-like Bohemian ,Patrem'; the cantus firmus of the pair No. 47 paraphrases the antiphon 'O admirabile commercium' and the pair No. 197 is built on chants 'Credo I' and 'Sanctus I' organically incorporated into the polyphonic structure. The form of the free-composition pieces is based on the structure of their texts, usually following its short phrases. The compositional style of the 'sociorum' pieces can be characterized by the prevailing 'major' tonality, frequent use of cadences, short imitations, sequences, ostinati and homophony. The repertory of the Codex Speciálnik is witness to the knowledge of imported international repertory in one of the Bohemian cultural centres of the time (possibly Prague) at the end of the fifteenth century. It also reflects the ways in which older musical traditions were cultivated and the local contemporary compositional style developed, a style which it would be useful to study in the context of similar compositions of Central European origin.
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