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Kościół św. Krzyża w Wieliczce na tle jednonawowych świątyń europy środkowo- -wschodniej w XII i XIIIi w

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Kozłowski K.

Studia i Materiały do Dziejów Żup Solnych w Polsce

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2014

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issue 29

51-68

EN

The remnants of the Romanesque church of St. Cross were uncovered during the archaeological excavations carried out in the years 1960-1961 and in year 1966. They are located in the north-western part of the present-day Adam Mickiewicz Park in Wieliczka, in the area of the medieval village, called Gorzec, located west of the town. The temple served as a hospital church, designed for the poorest inhabitants of “Wielicza Sól” (the original name of Wieliczka). Based on the negatives of the foundations it was found that it was a single nave building with the apse from the east, classified in the group of many Polish churches often constructed in the twelfth and thirteen centuries. Outside Poland, the church in Wieliczka can be compared closest to the twelfth and thirteenth-century single nave churches in the Czech Republic, in present-day Slovakia and in Hungary. The described above architectural type in the mentioned countries in Central and Eastern Europe evolved from the central building – a rotunda, functioning a fortified town, magnate, graveyard and parish churches. There is a possibility that the church of St. Cross was erected by the building workshop employed in the construction of the Church of St. Mary Magdalene and St. Nicholas in Dziekanowice, near Wieliczka, which has also a single nave and is similarly dated. Unfortunately, due to lack of resources, this question remains unclear and similarly the questions about the architectural detail, sculptural decoration or polychrome the used in the temple from Wieliczka.

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Sacrum i profanum na tle krótkiej działalności Muzeum Diecezjalnego w Łomży

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Grabowski T.

Archiwa, Biblioteki i Muzea Kościelne

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2016

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vol. 105

45-51

EN

Diocesan Museum has been in Łomża since 2012. The first attempt to build it was made in 1925. The plan was to establish the museum as one building but the Diocese did not have enough money. Therefore, Museum had its place in Perish house. Then in 1981 Seminary and Pensioner Priests house was built. Diocesan Museum was to built next to the Priest House but unfortunately there was still no money. In 2009 the Bishop of Łomża Stanisław Stefanek after talks with bishop Tadeusz Bronakowski decided to run for European grant. Finally on 16th April 2012 Diocesan Museum was officially opened. The Museum is opened every day and it is visited by people who adore art especially sacral one. While visiting museum people have chance to come across regularly changed displays, sculptures and paintings. Museum organizes concerts of classical music and meetings with books’ authors. To sum up, Diocesan Museum is a great institution which teaches about Art, God and culture. So feel welcomed.

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Uniwersalno-teologalny wymiar muzyki i śpiewu w ujęciu Benedykta XVI

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Warzeszak J.

Pro Musica Sacra

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2020

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vol. 18

EN

This article was written mainly on the basis of numerous pope’s Benedict XVI speeches given on the occasion of over 40 of the great world music concerts offered to him. From them emerges an image of the pope as a great lover and expert in this field. In his comments he had presented the context in which the work performed by the orchestra or choir was created, the composer’s intentions, what thoughts he contained and by what musical discourse he expressed them. One can also see his great sensitivity to the performed music, he was able to see what the conductor with the orchestra and choir intended to express and he was able to appreciate the masterly original performance. He could also experience this music; it was able to move his emotions, penetrate his heart and move his spirit. Thanks to this, music was reviving his everyday life and giving to it a festive and sublime character.In the musicological comments and statements of the pope, two basic features of music and singing stand out: universal character and theological character. Universal, because music is not – as he said – an accidental combination of sounds, but has a beauty, depth, message that sends the listener above the present, above materiality, raises up the spirit to matters of everlasting, timeless, supranational, supracultural. And these aspects were tried to be extracted from the papal speeches in the first part of the article.However, this orientation of music and singing towards the universal is not Benedict’s XVI orientation towards some pure abstractionism, towards some existential emptiness, but it is theologically oriented, i.e. towards Truth, Goodness, Personal Beauty, towards Someone Transcendent, Someone distant, towards the Creator of the beauty of the cosmos, but also artistic beauty, including music, towards the Giver of the talents who create beauty, and at the same time towards God who is close, God‑Man, Christ, who revealed himself as Personal Love. Music and singing make possible search for God and at the same time contemplation of the mysteries of his existence and saving action. According to the pope’s idea, the universal and theological dimensions cannot be separated; in his teaching they interpenetrate each other.An important element of the pope’s teaching about music and singing is to make the recipients aware of the evangelical roots and the Christian nature of the Western civilization. The meeting with God - Love was throughout the history of the Western Europe a source of music and singing: love for God and the will to worship him were the spiritus movens of the great musical works in which the Western Europe boasts. These issues are focused in the second part of this article, where based on the specific works are pointed these roots. There is also presented Benedict’s description of the essence of the Church music, the path of beauty to God, the role of music and singing in conversion and strengthening the faith in emphasizing of the salvific events, in expressing love for the creatures and the Creator, in intensifying the zeal of prayer. Besides, there is presented the importance of the sacred music and liturgical singing and at the end the organ music – as the crowning achievement of the music of all instruments. Thus, this article attempts to present holistically the musicological issues raised in the papal speeches, giving generally a rich and systematized image.

PL

Niniejszy artykuł został napisany głównie w oparciu o liczne przemówienia Benedykta XVI z okazji ofiarowanych mu koncertów wielkiej muzyki światowej. Wyłania się z nich obraz papieża jako wielkiego miłośnika i znawcy tej dziedziny. W jego komentarzach i wypowiedziach muzykologicznych wybijają się dwie podstawowe cechy muzyki i śpiewu: charakter uniwersalny oraz charakter teologalny. Uniwersalny, ponieważ odsyła słuchacza ku sprawom nieprzemijającym, ponadnarodowym, ponadkulturowym. Te aspekty starano się wydobyć z papieskich przemówień w pierwszej części artykułu. Jednak to zorientowanie muzyki i śpiewu ku temu, co uniwersalne, nie jest u Benedykta XVI ukierunkowaniem ku jakiemuś czystemu abstrakcjonizmowi, jakiejś pustce egzystencjalnej, lecz jest ukierunkowaniem teologalnym, tzn. ku Stwórcy piękna kosmosu, ale i piękna artystycznego, w tym muzycznego, Dawcy talentów tworzących piękno, a równocześnie ku Bogu‑Człowiekowi, który objawił się jako Miłość osobowa. Muzyka i śpiew umożliwiają poszukiwanie Boga i zarazem kontemplację tajemnic Jego istnienia i działania zbawczego. W przekonaniu papieża nie da się oddzielić wymiaru uniwersalnego od teologalnego; w jego nauczaniu nawzajem się przenikają.

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1 Archiwa, Biblioteki i Muzea Kościelne

1 Pro Musica Sacra

1 Studia i Materiały do Dziejów Żup Solnych w Polsce

1 Grabowski T.

1 Kozłowski K.

1 Warzeszak J.

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Kościół św. Krzyża w Wieliczce na tle jednonawowych świątyń europy środkowo- -wschodniej w XII i XIIIi w

Sacrum i profanum na tle krótkiej działalności Muzeum Diecezjalnego w Łomży

Uniwersalno-teologalny wymiar muzyki i śpiewu w ujęciu Benedykta XVI