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Liturgické rukopisy italských dominikánů z akvizice olomouckého arcibiskupa Theodora Kohna

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Hrbáčová J., Červenka S.
Studie o rukopisech (Manuscript Studies)
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2012
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vol. 41
57-91
EN
This article analyses six Northitalian Dominican liturgical codices with musical notation held by the Archbishop Library of the Kroměříž Castle which were bought in Vienna by Theodor Kohn, the archbishop of Olomouc, in 1895. Three of them are antiphonaries, three psalteries which bring evidence of the musical state of liturgy in the Lombardian Dominican Province from the 14th century´s first decennies until the 18th century. Four of them (nrs. 1–4) are valuable documents of the Northitalian illumination of the 14th – 17th centuries of Bononian and Ferrara´s circuits.
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THE PONTIFICAL LITURGY OF HOLY THURSDAY IN WAWEL CATHEDRAL (KRAKOW) ACCORDING TO CEREMONIALS FROM XVI CENTURY (Liturgia biskupia Wielkiego Czwartku w wawelskich ceremonialach z XVI wieku)

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Fedorowicz S.
Roczniki Liturgiczno-Homiletyczne (Liturgical and Homiletic Annals)
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2009
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vol. 56
87-99
EN
The entire ceremony, though is the Mass of the Lord's Supper, emphasizes more on blessings of three oils than on the thought about Cenacle. The theme of the Last Supper is present through biblical readings and formulas of the Canon, and also antiphons to psalms in vespers. The ceremonies of blessings dominate over the course of the entire liturgy. In this, what concerns ceremonies of the blessing are some gradations, suggesting specific valuing of individual oils. This appears with the rank of canons bringing it to the altar: canon-subdeacon carries oil of the sick, canon-deacon oil of catechumens, and two canons-presbyters the balm and oil of the chrism. Due to its meaning and the use in sacraments the holy chrism is treated as most important from among mentioned oils.
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SIXTEENTH- AND SEVENTEENTH-CENTURY MUSIC PRINTS AT THE NATIONAL MUSEUM LIBRARY IN WARSAW

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Gancarczyk P.
Musicology Today
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2007
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vol. 4
57-66
EN
Recent research at the National Museum in Warsaw led to a discovery of a previously unnoticed collection of music sources. Alongside liturgical manuscripts from 13-17th centuries, described elsewhere, the Museum houses a collection of early music prints, which is not extensive (13 volumes with 20 titles), but for a number of reasons deserves a closer inspection; among the prints items regarded as lost during the Second World War, as well as rare or unique copies are found. The prints include seven volumes of polyphonic music from the turn of the 16th and 17th centuries, three liturgical books, two cantionals and the score of J. B. Lully's 'Proserpine'. The author analyzes their contents, traces origin and evaluates their importance for researchers.
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