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THE MELODICS OF THE 'LITANY' BY DAMIAN STACHOWICZ IN THE LIGHT OF ANALYSIS USING THE METHOD OF NICOLAS RUWET

100%
Konik M.
Muzyka
|
2006
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vol. 51
|
issue 3(202)
85-105
EN
The article analyses a composition by Damian Stachowicz, 'Litaniae de BMV'. Stachowicz was one of the most prominent Polish composers of the second half of the seventeenth century, although unfortunately so far little research has been devoted to his legacy. The composition may be regarded as a representative example of Father Damian's technique both in terms of texture, use of instruments, leading the vocal parts, and in relation to the attitude to the text, harmonic solutions or producing the melodic contour. The basic premise of the Ruwet method (used to create the model) is the assumption that a work consists of a definite number of units, of which some are repeated and others are not. Repetition is thus the criterion of segmentation here. Such an approach to the problem allows one to investigate a composition on its various levels, since repetition may involve shape, melodics, rhythm, harmonics, etc. 'Litaniae de BMV' by Stachowicz is a work of focused, prayer-like character, in which the basic compositional principle is the repetition of certain musical wholes. The demonstration of the syntagmatic-paradigmatic model of the Litany is aimed not only at acquainting the reader with the most characteristic features of Stachowicz's melodics. It also provides an example of the application of a method to analysing early music, and an attempt to demonstrate the usefulness of this method in such a research context.
2
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Ceciliánske reformné hnutie v chrámovej hudbe

80%
Caban P.
Studia theologica
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2004
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vol. 6
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issue 1
90-96
EN
The article deals with not very often studied period of development of church music, the movement of reformation, called cecilianism. Issues that initiated the beginning of this movement in 19th century, introduced new knowledge about the essence of liturgy, the continuity between liturgy and church music, out of which were drawn various program proclamations, affections and impulses that can be found in the present liturgy of 21st century after The Second Vatican Council. In particular, such diverse drives were first evident in the personal shapes of the representatives of cecilianism, therefore this article deals mainly with the representatives and the principles of this movement and tries to focus on what could help to improve church music of that period. It is a pity that nowadays the movement of cecilianism is not very well comprehended just because of a lack of knowledge of its primary and final causes and intended consequences for the liturgy.
3
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THE LIFE AND WORKS OF DAMIAN STACHOWICZ IN THE LIGHT OF NEWLY DISCOVERED DOCUMENTATION

80%
Jochymczyk M.
Muzyka
|
2006
|
vol. 51
|
issue 3(202)
67-83
EN
The article presents the results of research conducted at the Roman 'Archivio Generale delle Scuole Pie', as well as Polish, Slovak and Hungarian State and Piarist archives. This research has made it possible to establish with relative accuracy the details of the biography of Damian Stachowicz, one of the most prominent Polish composers of the second half of the seventeenth century. At the age of 17, Stachowicz entered the Piarist monastery in Rzeszów, taking the name of Damian of Holy Trinity. He was educated at the local Piarist school. From 1678 he lived at the monastery in Prievidza, where he was educated in the areas of philosophy and theology, taught a grammar class, and most probably continued to be involved in music as well, since a large number of his compositions is mentioned in the musical inventory of that monastery. During 1681-1690 he was active in Warsaw, where he was ordained into priesthood. From 1691 until his death he lived in Lowicz, fulfilling the duties of choirmaster, teacher of rhetoric and theology, prefect of the school (from at least 1696), and finally vice-rector of the collegium (from 1698). He died on 27 November 1699. Stachowicz's known legacy includes genres of church music for liturgical and non-liturgical texts: psalms (8), a litany (1), a requiem (1), motets (2) and concerti (2). Out of fourteen compositions, three are preserved in incomplete form, and further two only in fragments.
4

BRATISLAVA AKO HUDOBNÝ FENOMÉN V POSLEDNEJ TRETINE 19. STOROČIA

70%
Lengová J.
Musicologica Slovaca
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2010
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vol. 1 (27)
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issue 2
183-219
EN
In Bratislava (Pressburg, Pozsony, Presporok), which remained an important centre of musical culture during the last third of the 19th century, a differentiated, richly structured musical life continued to develop. It encompassed various forms and occasions of musical cultivation, sacred and profane music, activities of musical societies, concerts, musical theatre, chamber music, domestic music-making, art music and popular music. The central institution was the Church Music Association at St. Martin’s Cathedral (Kirchenmusikverein zu St. Martin), which apart from church productions also regularly organised concerts of the secular music. Exceptional interest was aroused by the work of F. Liszt, who personally visited Bratislava several times. The most important local composers (K. Mayrberger, J. Thiard-Laforest, L. Burger) were adherents of late romanticism. Bratislava’s musical milieu was formed in an interaction with visiting musicians, and among those who grew up in this creative environment were some internationally famous musical personalities (F. Schmidt, E. von Dohnanyi, B. Bartok).
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