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1

POLYPHONIC ARRANGEMENTS OF PROPRIUM AND ORDINARIUM MISSAE FROM THE BRANIEWO MANUSCRIPT (UPPSU 76F) IN THE CONTEXT OF EUROPEAN TRADITION

100%
Leszczynska A.
Musicology Today
|
2004
|
vol. 1
64-76
EN
The article examines three handwritten partbooks, formerly property of the Braniewo Jesuit Collegium, taken in 1626 as a war trophy with other manuscripts and prints by the invading Swedes to Stockholm and held in the University Library of Uppsala. In comparison to the majority of polyphonic arrangements of 'proprium missae', typical of the European tradition, which are characterized by clear and logical system corresponding to the liturgical year, the manuscript 'UppsU 76f' seems chaotic, with several irregularities. The analysis of its features leads the authoress to the hypothesis that it could have been created in a Protestant-influenced region. Some similarities are found with 'Choralis Constantinus' by Heinrich Isaac and with the oldest polyphonic manuscript of the Wawel chapel, dated by Mirosław Perz and Elzbieta Zwolinska as of mid-16th century. Although none of the compositions in the Braniewo manuscript bears its composer's name, in some instances concordances were found. The authoress identifies further works and provides other information on the collection, such as dating, hypotheses concerning its origin and the reasons of its importance for Polish and European culture.
2

FROM SPIS TO ROYAL PRUSSIA - THE CREATIVE DEVELOPMENT OF JOHANNES CELSCHER

100%
Leszczynska A.
Musicology Today
|
2005
|
vol. 2
37-48
EN
The article is devoted to Johannes Celscher, composer absent from modern music lexicons, who lived at the turn of 16th and 17th centuries. Several new data are reconstructed, such as the composer's origin (Spisská Nová Ves), places where he studied (Gdansk, Königsberg) and worked: at Chancellor's of Lithuania court, as a cantor in Kwidzyn and as a city of Torun composer. His compositions contained in prints from Königsberg and Torun are described, as well as those preserved in manuscripts; among them the only fully preserved is a 6-part Mass, a parody of the 6-voice motet by Orlando di Lasso. Comparisons between Celscher's sacred and secular works lead to the assessment of the significance of the composer and his works.
3

THE PARODY TECHNIQUE IN THE WORKS OF RENAISSANCE COMPOSERS FROM THE GDANSK AREA

100%
Leszczynska A.
Musicology Today
|
2006
|
vol. 3
75-92
EN
In manuscripts written in Gdansk and Elblag at the turn of the 16th and 17th centuries from 'Biblioteka Gdanska' of the Polish Academy of Sciences and from the University Library in Torun there is a number of masses of the parody type. Most of them are copies of compositions printed in Western Europe, but some are works of musicians with links to Royal Prussia. Two Masses by Johannes Wanning and two by Johannes Celscher exemplify different approaches to the technique. The latter's 'Missa Domine quid multiplicati sunt' is a parody of the 16th century motet by Orlando di Lasso. Of Wanning's two Masses, one refers to a Palestrina's madrigal, the other, 'Missa Dormiend ung iour', is interpreted by the authoress as referring both to a Verdelot's madrigal and a chanson by Orlando di Lasso, which makes it a rare example of such an approach. Methods and character of the quotations, specific features of the parody technique, as well as some formal devices are discussed in the four Masses, as well as in relation to other Mass repertoire of the Gdansk area.
4

ON THE TRAIL OF FRANCISCUS DE RIVULO - NEW CLUES AND HYPOTHESES

100%
Leszczynska A.
Musicology Today
|
2007
|
vol. 4
67-77
EN
Franciscus de Rivulo, the first composer from Gdansk to achieve European renown, cantor of the Marian church in that city, still remains a mysterious personage. Only last four years of his life (1560-64) are documented. The authoress argues that research of manuscripts containing his compositions can bring additional information and brings forward the results of this approach. Discussion of different spellings of the composer's name leads to a conclusion that the Latinized name Franciscus is the most appropriate form, because it appears as such in manuscripts and prints. His origins are investigated and new research results and hypotheses concerning his biography and compositions are presented
5
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THE WROCLAW CODEX (WARU 5892) IN THE CONTEXT OF MUSICAL LIFE IN THE UTRAQUIST BOHEMIA AROUND 1500

100%
Mrackova L.
|
2007
|
vol. 52
|
issue 2(205)
3-20
EN
The Wroclaw Codex (WarU 5892) belongs to a family of Central European mensural codices originating from the end of the 15th century and demonstrating a rich musical culture in the regions of Saxony, Silesia and Bohemia (musical manuscripts BerlS 40021, LeipU 1494, WarU 5892, HradKM 7). The present study focuses on transmission of imported polyphonic repertory within this area, and especially on the exchange between regions with different religious practices (Catholic, Utraquist). The Silesian manuscript WarU 5892 and its relations to the musical life in Bohemia show that several contemporary polyphonic compositions were imported to Silesia through Utraquist Bohemia.
6

FROM MANUSCRIPT TO PRINT. MUSIC FACING THE CHANGE OF ITS MEDIUM (Od rekopisu do druku. Muzyka wobec zmiany medium.)

88%
Gancarczyk P.
Przegląd Muzykologiczny
|
2011
|
issue 8
5-26
EN
The article deals with chosen aspects of the transformation of European musical culture caused by the invention of printing. On the one hand, the first printers followed the patterns of the manuscripts, but, on the other hand, they must have considered the technological and economic conditions in which musical printing was developing. This led in the XVIth century to the emergence of new forms of transmitting music which had important consequences for the character of musical culture at that time. The musical notation was standardised and simplified, making the flow of the repertoire easier and enlarging the number of purchasers. From the time of Petrucci, music started to be notated in the partbooks which strongly supported the development of the polychoral, as in Monteverdi, and of the vocal-instrumental music. The newly created models of musical editions were influenced by economic calculations and by market strategies. One of the elements of those strategies consisted in printing madrigals and chansons in multi-volume series, which contributed to the emergence of categorising the various works. The power of print was so substantial, that already in the second half of the XVIth century, we find manuscripts modelled on the printed versions. Whether we consider the changes caused by the typography to be revolutionary or evolutionary, there is no doubt that their influence was crucial. The consequences of this new medium spread over vast areas of culture of early modern times, including music, which still remains to be thoroughly investigated.
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