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1

Ukrainian Carols in Pochayiv Bohohlasnyk (1790/1791): From Ancient Times to Nowadays

100%

Івашків В.

Slavia Orientalis

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2021

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vol. LXX

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issue 4

2

Okres Bożego Narodzenia u Ormian w Kutach

100%

Mojzesowicz M.

Our Europe. Ethnography – Ethnology – Anthropology of Culture

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2019

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issue Vol. 8

27-29

EN

The town of Kuty was the largest Armenian centre in Poland. Even before World War II, elderly people spoke Armenian and many Armenian customs were preserved. This article is about celebrating Christmas in Kuty.

3

Old polish Christmas carols by contemplative nuns (seventeenth and eighteenth centuries)

75%

Gwioździk J.

Interdisciplinary Studies in Musicology

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2012

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issue 11

169-186

PL

Old Polish Christmas carols in the contemplative female orders of Benedictine nuns, Poor Clares and Carmelite nuns were written and functioned at the junction of traditions - Polish and European, lay and religious, noble and elite, monastic and folk - and also in the Polish borderlands, which exhibited great diversification in terms of nationalities, religious denominations and cultures. The numerous versions of carols confirm not only their popularity, but also the fact that they functioned in specific environments, with the mutual influence of various motives, particularly noticeable in this genre, which was susceptible to all sorts of interference. The singing of carols, including those types which were characteristic of the monastic environment, such as lullabies, religious carols, songs of the nativity and of adoration and New Year carols, was a traditional part of Christmas celebrations. Performed both as part of the liturgy and outside it, they constituted a sort of a paratheatrical spectacle, characteristic of the Baroque mentality and of the spirituality of a specific order.

4

„Talent to dobro powierzone...” – etyka chrześcijańska w postawie twórczej i życiowej Witolda Lutosławskiego

71%

Bolesławska-Lewandowska B., 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

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2013

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vol. 11

EN

„Talent is a form of wealth entrusted to us” – these words may serve as Witold Lutosławski’s motto. He repeated them often and at many occasions, emphasising that each creative artist is obliged to treat his talent carefully and develop it to produce great results for public consumption. This corresponds well with Biblical parable on talents but does it mean that Lutosławski was a religious man? Was Christian ethic important to him? In his music there is no much connection with religion – only his youthful Lacrimosa for soprano, choir and orchestra, and the arrangements of traditional Polish Christmas carols, composed shortly after the Second World War, present his direct relations to religious inspirations. However, he did not like to talk about his beliefs and worldview, especially in the context of his own music, which for him always was abstract and free from any extra-musical features. But his attitude to composing, as well as to the public activity, reveals many connections with Christianity values. He was brought up in the family of strongly catholic and patriotic beliefs, connected with high moral principles. An atmosphere of Lutosławskis’ family, which belonged to the intellectual elites of pre-war Poland, made strong influence on young Witold. For the rest of his life he felt obliged to pay his duties both as a composer and as a man of a high moral standards. He not only concentrated on his creative work (though it was his main life obligation) but searched for public weal in his social activity, always aiming „to behave decently”. This corresponds perfectly with Christian ethic and indeed in one of his interviews Lutosławski openly admitted that not only his worldview was formed by Catholicism, towards which he remained faithful, but also that in his opinion Christian ethic remains pre-eminent among all ethic systems formed by the humanity.

PL

„Talent is a form of wealth entrusted to us” – these words may serve as Witold Lutosławski’s motto. He repeated them often and at many occasions, emphasising that each creative artist is obliged to treat his talent carefully and develop it to produce great results for public consumption. This corresponds well with Biblical parable on talents but does it mean that Lutosławski was a religious man? Was Christian ethic important to him? In his music there is no much connection with religion – only his youthful Lacrimosa for soprano, choir and orchestra, and the arrangements of traditional Polish Christmas carols, composed shortly after the Second World War, present his direct relations to religious inspirations. However, he did not like to talk about his beliefs and worldview, especially in the context of his own music, which for him always was abstract and free from any extra-musical features. But his attitude to composing, as well as to the public activity, reveals many connections with Christianity values. He was brought up in the family of strongly catholic and patriotic beliefs, connected with high moral principles. An atmosphere of Lutosławskis’ family, which belonged to the intellectual elites of pre-war Poland, made strong influence on young Witold. For the rest of his life he felt obliged to pay his duties both as a composer and as a man of a high moral standards. He not only concentrated on his creative work (though it was his main life obligation) but searched for public weal in his social activity, always aiming „to behave decently”. This corresponds perfectly with Christian ethic and indeed in one of his interviews Lutosławski openly admitted that not only his worldview was formed by Catholicism, towards which he remained faithful, but also that in his opinion Christian ethic remains pre-eminent among all ethic systems formed by the humanity.

5

Sem, sem Děťátko – Kritická edice české barokní písně

63%

Škarpová M., Slavický T., Kosek P.

Listy filologické (Folia philologica)

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2012

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vol. 135

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issue 1-2

155-175

EN

This paper presents an excerpt from a forthcoming critical edition of the Advent and Christmas hymnbook Jesličky. Staré nové písničky (Prague 1658) by the major Czech Baroque poet Fridrich Bridelius. This edition has its origin in the project Jesličky, staré nové písničky (Fridrich Bridelius, 1658) – mezioborově koncipovaná kritická edice [Nativities, Old and New Carols (Fridrich Bridelius, 1658) – a Critical Edition within an Interdisciplinary Framework] (GAČR, 406/10/1454). The basic premise of the edition is the concept of a hymn as an integral configuration of text and music; the authors are thus committed to the programme of consistent philological and musicological research in hymnology formulated at the beginning of the 1940s by Antonín Škarka and Vladimír Helfert. The editorial principles of the planned edition, including its structure, are demonstrated by the authors with the use of the carol Sem, sem Děťátko as a model example. The carol is not only a contrafactum but also an independent Czech verse adaptation of the German hymn O Jesulein zart, das Kriplein ist hart by Friedrich von Spee. The paper comprises the actual edition of the textual and musical aspects of this hymn; an accompanying commentary (critical notes and explanations, textual and musical); a brief description of the genesis of the carol (determination of the possible German model) and its reception in the Czech environment; an explanation of the transcription principles used in the preparation of the textual and musical parts of the edition; a facsimile of the carol; and excerpts from hymn texts which show the most interesting textual and musical connections with the carol.

6

Zu den vielfältigen Einsatzmöglichkeiten traditioneller deutschsprachiger Weihnachtslieder im DaF-Unterricht

63%

Piechocki R.

Studia – konteksty pogranicza

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2020

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issue 4

31-49

EN

The use of traditional German carols in German as a foreign language is very popular with both teachers and learners. The subject matter of Christmas and numerous practical solutions for the use of carols in language classes are also dealt with in numerous textbooks and practical literature.Modern teaching of German as a foreign language is oriented, among other things, towards teaching third (tertiary) languages, which is one of several possible conceptsfor teaching multilingualism.This article tries to answer the following questions: What is the historical background to traditional German carols? How can traditional German carols enrich the classes of German as a foreign language? What are the benefits of using traditional German carols? What are the characteristics of the teaching of third languages? How can elements of third language teaching be implemented in German language classes using traditional German carols?The article is accompanied by a practically tested glottodidactic material for the carol“Silent Night”, which in its concept refers to the assumptions of third languages didactics.

DE

Der Einsatz von traditionellen deutschsprachigen Weihnachtsliedern im Deutschunterricht erfreut sich sowohl bei Lehrenden als auch bei Lernenden großer Beliebtheit. Ebenso werden die Thematik der Weihnachtslieder sowie zahlreiche praktische Vorschläge für den Umgang mit Liedern im Unterricht in zahlreichen Lehrwerken und in der praxisorientierten Fachliteratur behandelt. Der heutige Deutschunterricht verläuft sehr oft im Sinne der Tertiärsprachendidaktik, die eine von mehreren möglichen Ausprägungen des Konzepts der Mehrsprachigkeitsdidaktik darstellt. Der vorliegende Beitrag versucht, folgenden Fragen nachzugehen: Wie sieht der geschichtliche Hintergrund traditioneller deutschsprachiger Weihnachtslieder aus? Wie kann ein traditionelles deutschsprachiges Weihnachtslied den Deutschunterricht bereichern? Welche Vorteile werden dem Einsatz von traditionellen deutschsprachigen Weihnachtsliedern zugeschrieben? Was sind die Merkmale der Tertiärsprachendidaktik? Wie können Elemente der Tertiärsprachendidaktik anhand vom traditionellen deutschsprachigen Weihnachtslied im Deutschunterricht umgesetzt werden? Dem Beitrag wird ein Übungsmaterial zu dem Weihnachtslied „Stille Nacht, heilige Nacht“ beigelegt, das im Sinne der Tertiärsprachendidaktik konzipiert und in der Unterrichtspraxis getestet wurde.

7

Chóralne wydania polskich kolęd na obczyźnie w czasach II wojny światowej

63%

Mazur M. Ł.

Muzyka

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2022

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vol. 67

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issue 2

91-112

EN

Choirs and vocal ensembles sprang up in many places where Poles lived or stayed during the war and military occupation of Poland. It was for their needs that songbooks comprising arrangements of Polish Christmas carols for unaccompanied choir were published in exile. The present paper is dedicated to these songbooks. A Polish junior and senior high school named after Cyprian Kamil Norwid operated in 1940–46 at Villard-de-Lans near Grenoble. For the needs of the school choir, led by mathematician Ernest Berger (1904–58), the school’s director, his edition of Zbiór pieśni kościelnych [A collection of church songs] was published in 1941 at Villard de Lans. Rudolf Rygiel (1910–86), a soldier in the 1939 Polish defensive war, reached France in 1940, where he became an active member of the resistance movement, as well as working as a conductor and composer. In 1941 he published the third fascicle of Echo ojczyste [Fatherland echo], which comprised twenty-three carols for male unaccompanied choir. The Polish Army Choir, one of the main Polish ensembles in the UK, founded in 1940, collaborated with, among others, Henryk Hosowicz (1910–69), who published for the needs of this ensemble two collections of Christmas carols for 4-part male unaccompanied choir: 16 kolęd [16 carols] (1940) and 50 kolęd [50 carols] (1942). An extensive Zbiór pieśni polskich [Collection of Polish songs] (ed. Juliusz Leo, 1901–62) was published in 1944 in Jerusalem under the imprint of the Polish Ministry of Religious Affairs and Public Education (in exile). It contains 180 works: 150 secular and 30 sacred pieces. In December 1945 the Second Polish Corps publishing section printed a collection of carols for male unaccompanied choir in pre-war arrangements by Kazimierz Garbusiński and Gerard Płachetko. Second lieutenant Feliks Kapała (b. 1909), veteran of the Battle of the Bzura and subsequently a POW at Oflag VIIA Murnau, is the author of Kolędy polskie [Polish carols] (1945), a set of 25 variously scored carols. Composer Szymon Laks (1901–83), an Auschwitz prisoner during the war, had his Pięć kolęd [Five carols] published, already after World War II, by the Union of Polish Music and Theatre Clubs in France. My discussion of the above-listed choral editions of Christmas carols is a contribution to the history of Polish music traditions.

PL

Podczas wojny i okupacji w wielu miejscach, w których przebywali Polacy powstawały chóry i zespoły śpiewacze. Na ich potrzeby zostały wydane na obczyźnie śpiewniki z polskimi kolędami w opracowaniach na chór a cappella. Śpiewnikom tym poświęcony jest niniejszy artykuł. W l. 1940–46 w Villard-de-Lans koło Grenoble działało polskie Gimnazjum i Liceum im. C. Norwida. Na potrzeby chóru szkolnego, prowadzonego przez Ernesta Bergera (1904–58), matematyka i dyrektora szkoły powstał Zbiór pieśni kościelnych E. Bergera (Villard de Lans 1941). Rudolf Rygiel (1910–86), uczestnik kampanii wrześniowej, w 1940 r. dotarł do Francji, gdzie włączył się czynnie do działalności ruchu oporu oraz działał jako dyrygent i kompozytor. W 1941 r. wydał trzeci zeszyt Echa ojczystego zawierający dwadzieścia trzy kolędy na chór męski a cappella. Jednym z najważniejszych polskich zespołów w Wielkiej Brytanii był założony w 1940 r. Chór Wojska Polskiego. Z chórem pracował m.in. Henryk Hosowicz (1910–69), który na potrzeby zespołu wydał dwa śpiewniki kolędowe na czterogłosowy chór męski a cappella: 16 kolęd (1940) i 50 kolend (1942). W 1944 r. w Jerozolimie nakładem Ministerstwa Wyznań Religijnych i Oświecenia Publicznego wydany został obszerny Zbiór pieśni polskich w opracowaniu Juliusza Leo (1901–62), który zawiera 180 utworów: 150 świeckich i 30 religijnych. W grudniu 1945 r. Sekcja Wydawnicza 2 Korpusu wydała zbiór kolęd na chór męski a cappella w przedwojennych opracowaniach Kazimierza Garbusińskiego i Gerarda Płachetki. Autor zbioru Kolendy polskie (1945), ppor. Feliks Kapała (ur. 1909), był weteranem walk nad Bzurą, a potem jeńcem Oflagu VIIA Murnau. W zbiorze Kapały znajduje się dwadzieścia pięć kolęd w różnych układach. Kompozytor Szymon Laks (1901–83) w czasie wojny był więźniem obozu w Oświęcimiu. Zbiór pt. Pięć kolęd został wydany już po wojnie przez Związek Polskich Kół Muzyczno-Teatralnych we Francji. Omówienie wymienionych wojennych wydań kolęd na zespoły chóralne jest przyczynkiem do historii polskiej tradycji muzycznej.

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1 Interdisciplinary Studies in Musicology

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