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Dzieło Jehana Titelouze’a i jego znaczenie w krystalizacji stylu organowego

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Pawlisz K., Karcz B., Tyrała R., Zając A., Delimat W., Janicki J. J., Malik J., Sterczewska L., UPJPII i., Pasek W., Karcz B., Malik J., Sterczewska L., UPJPII i., Pasek W.
Pro Musica Sacra
|
2013
|
vol. 11
EN
The organ work of Jehan Titelouze has considerable meaning in developement of organ music in France. His two books: Hymnes de l’Eglise pour toucher sur l’orgue, avec les fugues et recherches sur leur plain-chant (1623) and Le Magnificat, ou cantique de la Vierge pour toucher sur l’orgue, suivant les huit tons de l’Eglise (1626) are a great testimony of french organ music at the beginnig of XVIIth century. Titelouze is considered both a traditionalist and an innovator. His organ style is firmly rooted in the structures and the compositional techniques of the renaissance polyphony. The significant inspiration for Titelouze was a new invented type of organ. Composer in a conscious way used its technical and sound possibilities for create new stuctures with diligent counterpoint, organ ornamentation and the linear stucture.
PL
The organ work of Jehan Titelouze has considerable meaning in developement of organ music in France. His two books: Hymnes de l’Eglise pour toucher sur l’orgue, avec les fugues et recherches sur leur plain-chant (1623) and Le Magnificat, ou cantique de la Vierge pour toucher sur l’orgue, suivant les huit tons de l’Eglise (1626) are a great testimony of french organ music at the beginnig of XVIIth century. Titelouze is considered both a traditionalist and an innovator. His organ style is firmly rooted in the structures and the compositional techniques of the renaissance polyphony. The significant inspiration for Titelouze was a new invented type of organ. Composer in a conscious way used its technical and sound possibilities for create new stuctures with diligent counterpoint, organ ornamentation and the linear stucture.
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