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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

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2008

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vol. 53

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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.

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Kancjonał pełen nut — repertuar pieśni kancjonałów benedyktynek staniąteckich

100%

Konik M.

Liturgia Sacra. Liturgia - Musica - Ars

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2016

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vol. 22

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issue 48

525-539

PL

Repertuar kancjonałów benedyktynek z Opactwa św. Wojciecha w Staniątkach od lat skupia zainteresowanie badaczy — w szczególności muzykologów, ale także językoznawców, historyków liturgii. Klasztor ten, położony w okolicach Krakowa, jest najstarszym żeńskim klasztorem benedyktyńskim na ziemiach polskich. Zgodnie z tradycją został ufundowany w 1216 r. W artykule niniejszym zajmuję się charakterystyką repertuaru kancjonału „E” z 1705 r., z wykorzystaniem metod skomputeryzowanej analizy muzycznej. Starałem się zbadać, czy można podjąć próbę zbliżonego datowania repertuaru na podstawie skomputeryzowanej analizy wybranych elementów kompozycji. Moim roboczym założeniem było przyjęcie, że kancjonał „E” ze Staniątek zawiera zasadniczo repertuar starszy, niż kancjonał „L 1642” z Sandomierza. Pierwszy z aspektów, jaki wziąłem pod uwagę, był sposób prowadzenia głosów. Okazało się, że brak bardzo wyraźnych różnic pomiędzy obydwoma źródłami rozpatrywanymi globalnie, choć zastanawiająca była większa ilość repetycji dźwięków w „L 1642”. Także analiza zawartości interwałów melodycznych głosu basowego raczej zbliżała kancjonał „E” do wcześniejszego repertuaru (m.in. Psalmów Mikołaja Gomółki). Tymczasem analiza interwałów harmonicznych zdawała się wskazywać raczej na rozbieżności pomiędzy kancjonałem „E” a twórczością Gomółki, sytuując kancjonał „L 1642” pośrodku. Próba przyjrzenia się zakresom głosów wokalnych okazała się mało konkluzywna. Od razu przypomnę, że wynika to z samej specyfiki repertuaru kopiowanego (a czasem tworzonego) dla klasztorów żeńskich. Kolejnym krokiem było zbadanie obecności kwint równoległych w opracowaniach. Okazało się, że w kancjonale „E” odsetek utworów całkowicie wolnych od równoległości jest nieco mniejszy, przy jednoczesnej ilościowej przewadze kwint równoległych w „L 1642”. W tym ostatnim kancjonale jest po prostu grupa utworów, w których jest nagromadzenie takich współbrzmień. Interesujące wnioski przyniosła analiza wartości rytmicznych. Okazało się, że kancjonał „L 1642” reprezentuje wyraźnie bardziej zachowawczy typ pod tym względem. Ostatnim wziętym pod uwagę aspektem, była struktura badanych utworów. Pod tym względem repertuar pieśni ze Staniątek [„E”] wydaje się bardziej różnorodny i — generalnie — ciekawszy.

EN

The repertoire of the hymnbooks of Benedictine nuns from St Adalbert’s Monastery in Staniątki has been an object of research for years, particularly on the part of musicologists, but also on the part of linguists or historians of liturgy. The monastery, located near Cracow, is the seat of the oldest Benedictine nunnery on the Polish lands. The tradition has it that it was founded in 1216. The collection of hymnbooks of Staniątki covers fifteen manuscripts, traditionally marked by letters from A to P. In the present article, I characterized the repertoire of the hymnbook “E” from 1705, with the use of a method of computerized musical analysis. In the present article, I tried to examine whether it is possible to attempt any approximated dating of the repertoire on the basis of a computerized analysis of the compositions’ selected elements. My working assumption was that the hymnbook “E” of Staniątki contains essentially older repertoire than the hymnbook “L 1642” of Sandomierz. Has this assumption been positively verified? The first of the aspects that I took into account is the manner in which the parts are led. It turned out that there is no distinct difference between both sources considered globally although the bigger amount of sound imitations in “L 1642” is symptomatic. Also an analysis of the contents of the melodic intervals of the bass part positioned the hymnbook “E” closer to the earlier repertoire (e. g. Mikołaj Gomółka’s Psalms). Meanwhile, an analysis of the harmonic intervals seemed rather to indicate discrepancies between the hymnbook “E” and the work of Gomółka, positioning the hymnbook “L 1642” in the middle. The attempt to analyse the ranges of the vocal parts was hardly conclusive. Let me remind that this is due to the specific nature of the copied (and sometimes created) repertoire for nunneries. The next step was to analyse the presence of parallel fifths in the specific editions. It turned out that in the hymnbook “E” the percentage of pieces totally free of parallels is slightly smaller, and is accompanied by a quantitative predominance of parallel fifths in “L 1642”. In the latter, it is simply a group of pieces in which there is an accumulation of such consonances. Interesting conclusions were drawn on the basis of the analysis of rhythmic values. It turned out that the hymnbook “L 1642” is far more conservative in this respect. The final considered aspect was the structure of the examined pieces. In this respect, the repertoire of the hymns of Staniątki [“E”] seems more diversified and — generally — more interesting.

3

Starożytne źródła koncepcji muzyki sfer w XII w.

100%

Konik M.

Państwo i Społeczeństwo

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2012

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issue 1

125-140

EN

The theory of “music of the spheres” (musicamundana) introduced by Boethius in his treaty De institutione musica is an original contribution in development of mediaeval theory of music. However, it’s roots trace back to the Greek antiquity. When considering the sources of medieval theory of musicamundana, one shall underline three most important sources: (1) mythology with its complex cosmogony (esp. by Homer and Hesiod), (2) early cosmology by pre-Socratic philosophers (incl. Anaximander, Heraclit), (3) Pythagorean school. Despite of the fact that idea of the music of the spheres – as presented by the Pythagoreans – was criticized by Aristotle in his De caelo, it became one of the most inﬂ uential cosmological concept. One of the most important periods – from the point of view of the reception of discussed theory – is the twelfth century. It is often called the aetas Boethiana as it is distinguished by an increased interest in the works of Boethius, with special emphasis on his theological writings and Consolatio, which was very popular at the time. The reason behind this phenomenon was a growing specialization of issues relating to the theory of music, which ﬁ nally led to its independence from the other areas of knowledge; yet this is not the only reason why the subject of the harmony of the spheres was again widely discussed in philosophical circles. An essential factor was the development of Neo-platonic philosophical schools, such as the famous School of Chartres. The interest in natural sciences in the School of Chartres and later in the Oxford School made the scientists of the time focus on the works of authors whose ideas were essential to the concept of the harmony of the spheres, among them such philosophers as Calcidius, Macrobius and Boethius

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Filozofia polityczna Dantego w świetle traktatu "De monarchia"

38%

Konik M.

Państwo i Społeczeństwo

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2008

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issue 1

209-224

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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)

Kancjonał pełen nut — repertuar pieśni kancjonałów benedyktynek staniąteckich

Starożytne źródła koncepcji muzyki sfer w XII w.

Filozofia polityczna Dantego w świetle traktatu "De monarchia"