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Mandatum rite in the 14th century “Ceremoniale et Pontificale Episcoporum” (AKKK, Ms. 11) from the Archives and Library of the Krakow Cathedral Chapter

100%
Danilewicz K.
Pro Musica Sacra
|
2023
|
vol. 21
97-112
EN
The study of history and content of medieval liturgical manuscripts can reveal the ways of formation and transmission of liturgy and particular liturgical traditions existing in the Western Church before the Council of Trent. The purpose of this article is to present the formulary of Mandatum rite recorded in the 14th century pontifical Ms.11 located in the Archives of the Krakow Cathedral Chapter, and to attempt to identify its sources. The article provides the edition of the text of the rubrics and orations as well as melodic transcriptions of the chants.
2
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Phenomenon of Melodic Changes in the late Medieval Notation of Jan Olbracht Gradual on the Example of Antiphon ad Mandatum „Si ego Dominus et Magister”

94%
Danilewicz K.
Pro Musica Sacra
|
2021
|
vol. 19
107-121
PL
W artykule przedstawiono przekształcenia melodyczne antyfony ad Mandatum “Si ego Dominus et Magister” zapisanej w jednym z najcenniejszych zabytków polskich późnego średniowiecza, Graduale Jana Olbrachta (Rkp. 43, AKKK). Analizę przekształceń przeprowadzono w oparciu o porównanie z zapisem adiastematycznym omawianej antyfony w Antyfonarzu Hartkera (CH-SGs 390) oraz jego restytucją melodyczną w Graduale Novum. W wyniku przeprowadzonych badań ustalono tożsamość wersji antyfony zapisanej w Graduale Olbrachta oraz wyłoniono podstawowe różnice względem starszych wersji zapisu śpiewu, takie jak zmiana relacji między dźwiękami, stosowanie większych interwałów oraz zmiana atrybucji tonalnej antyfony.
EN
The article presents melodic transformations of the antiphon ad Mandatum “Si ego Dominus et Magister” recorded in one of the most valuable Polish monuments of the late Middle Ages, Jan Olbracht Gradual (PL-Kk 43, AKKK). The analysis of transformations was carried out on the basis of comparison with adiastematic notation of the discussed antiphon in Hartker Antiphonary (CH-SGs 390) and its melodic restitution in Graduale Novum. Conducted research led to establishing the identity of the version of the antiphon recorded in Olbracht Gradual and identifying basic differences from versions of the chant noted in older manuscripts, such as changes in the relationship between sounds, the use of larger intervals and change in tonal attribution of the antiphon.
3
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Performatívnosť stredovekého rituálu Mandatum u Sv. Jiří na Pražskom hrade

84%
Žáková A.
Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)
|
2018
|
vol. 21
|
issue 1
71-88
EN
The rich choral repertoire for the Maundy Thursday in the liturgical tradition of the St. George included, among other numbers, a collection of compositions related to the ritual washing of feet called Mandatum. The corpus, identical in eight different processionals, the narrative of which is based on the story related in John's Gospel (John 13, 1–17), is enriched by a prominent female aspect drawn from another New Testament scene (Luke 7, 36–50). This connection results in compositional analogies between different liturgical feasts drawing from the given scenes. The extant form of the ritual, found in the liturgical ordo of the monastery, shows concise treatment of the liturgical text both in literary and symbolic way, employing consistently liturgical vessels as well as other "props". These observations bring up questions about dramaturgy of potential performances of the ritual and its theatrical aspects.
SK
V bohatom spevnom repertoári Zeleného štvrtku v svatojiřskej liturgickej tradícii mal zvláštne postavenie súbor skladieb spojený s rituálom umývania nôh, išlo o tzv. Mandatum. V ôsmich procesionáloch identický repertoárový korpus, ktorého obsah sa odvíja od evanjeliového príbehu (Ján 13, 1–17), je obohatený o silný ženský aspekt vychádzajúci z inej evanjeliovej scény (Lukáš 7, 36–50). Toto prepojenie zapríčiňuje kompozičné presahy repertoárov viacerých sviatkov. Forma praktickej realizácie tohto rituálu tak, ako ho nachádzame v liturgických smerniciach kláštora v tzv. ordo, veľmi konzekventne narába s textom tak v literárnej ako aj symbolickej rovine, takisto dôsledne používa nielen liturgické nástroje, ale tiež akoby "rekvizity". Z tohto pozorovania vychádzajú otázky o dramaturgickej cieľavedomosti tejto slávnosti ako aj o jej performatívnom potenciáli.
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