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„Magnificat” proroctwem kultu Maryi. „Oto bowiem błogosławić mnie będą odtąd wszystkie pokolenia” (Łk 1, 48)

100%
Łabuda P.
Tarnowskie Studia Teologiczne
|
2022
|
vol. 41
|
issue 2
71-88
EN
Among the numerous texts of the New Testament, the Magnificat hymn, handed down by St. Luke, can be considered special. Arriving at her relative, Mary, responding to Elizabeth’s greeting, praises God for the great things that He has done and continues to do. Certainly, the canticle available today is not a shorthand record of Mary’s words. However, it is difficult to admit that it is the work of the author of the third gospel, and Mary had nothing to do with this message. By praising God, Mary announces her future worship, and because of this, the Fathers of the Church called Her a prophetess. Mary was fully aware that she had received an extraordinary gift from God – God’s election: “The Almighty has done great things for me”. The consequence of this extraordinary gift of God is also her prophetic words that all generations will worship her.
PL
Pośród licznych tekstów nowotestamentalnych za szczególny można uznać przekazany przez św. Łukasza hymn Magnificat. Przybywająca do swojej krewnej Maryja, odpowiadając na pozdrowienie Elżbiety, wielbi Boga za wielkie rzeczy, które On czynił i wciąż czyni. Z pewnością dostępny dziś kantyk nie jest zapisem stenograficznym słów Maryi. Trudno jednak przyznać, że jest on dziełem autora trzeciej ewangelii, a Maryja nie miała nic wspólnego z tym przekazem. Wielbiąc Boga, Maryja zapowiada swój przyszły kult. Ze względu na to ojcowie Kościoła nazwali ją prorokinią. Maryja miała pełną świadomość, że otrzymała niezwykły Boży dar – Boże wybranie: „Wielkie rzeczy uczynił mi Wszechmocny”. Konsekwencją tego niezwykłego Bożego daru są także jej prorockie słowa, że wszystkie pokolenia będą ją wielbiły.
2
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Interteksty i archeteksty. Tekst biblijny i kompozycje Magnificat XX i XXI wieku — studium wybranych przypadków

85%
Kienik T.
Aspekty Muzyki
|
2017
|
vol. 7
85-104
EN
The content of this paper belongs to the discussion on the issue of intertextuality, referring both to the Biblical text of the canticle of Mary — the Magnifi cat and to its musical realiza-tions in the 20th century music. In the introduction, the author discusses the term “intertextuality” pointing out its non-musical definitions, and referring to the works of such renown authors, such as R. Nycz, G. Genette, J. Sławiński, and Z. Mitosek. From the point of view of the theory of music, it was not the author’s purpose to over-extrapolate this notion (related to the theory of literature), but primarily to find some specific expressions of “purely musical” intertextuality in certain Magnifi cat compositions. Hence, the attempt to name and order these expressions, as well as to build the parallel between the apparent intertextuality of the Biblical text itself, and the pro-posed intertextuality of the few analysed musical works. The first part of the article, based on stud-ies of leading Biblical scholars (and also on the author’s own research), includes the reconstruction of the dynamics of the canticle of Mary, referred to other Biblical excerpts, taken from the Books of Samuel, Habakkuk, Isaiah, Job, and the Book of Psalms. By identifying the significant influences of Israel’s cultural heritage on the text of the Mag-nifi cat, the article reveals certain so-called “ache-” and “metatexts”. The second part of the study includes the analysis of the selected musical compositions by Christine Donkin, Juliusz Łuciuk, Wojciech Kilar, John Rutter, and Mark Hayes. These musical works are stylistically different, and rooted in separate cultures. The analysis was aimed at identifying the specific (intertextual) features of these musical compositions and at revealing the specific procedures (e.g. citations) that a given composer applied by fusing his own works with the pieces written by others. These decisions, as the article claims, were taken for various, artistically justified reasons.
3
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Maryja jako Matka miłosierdzia w aspekcie jej „ipsissima verba et facta” oraz źródeł teologicznych z I tysiąclecia

80%
Wendlik K.
Łódzkie Studia Teologiczne
|
2015
|
vol. 24
|
issue 4
99-110
XX
The article deals with the subject presented in the title “Mary as the Mother of Mercy in the aspect of her ipsissima Verba et facta and theological sources from the first millennium”. Authentic words and deeds of Mary, which demonstrate a merciful aspect of her motherhood, are present in a particular way in the three New Testament texts: description of Mary’s calling (Lk 1, 26–38); her song “Magnificat” (Lk 1, 46–55) and the Testament from the Cross (J 19, 25–27). Theological sources include mostly liturgical texts such as Sub Tuum praesidium and Salve Regina. Their resonance can be found in the writings of ancient and medieval theologians: Romanos the Melodist, saint Odo – an abbot from Cluny and saint Fulbert, a bishop of Chartres.
4
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„Głos” Karola Szymanowskiego w muzyce Henryka Mikołaja Góreckiego, Zbigniewa Bujarskiego i Grażyny Pstrokońskiej-Nawratil. Muzyka w muzyce – muzyka z muzyki –  muzyka o muzyce. Rekonesans

61%
Stojewska A., 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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2016
|
vol. 14
EN
In the text „Vioce” of Karol Szymanowski in the music of Henryk Mikołaj Górecki, Zbigniew Bujarski and Grażyna Pstrokońska-Nawratil. Music in the music – music from the music – music about the music. Reconnaissance, the author attempts to hear voices of Karol Szymanowski, manifesting at various levels of musical work (a methodological base: intertextuality suggested by Mieczysław Tomaszewski, understood as music in the music – music from the music – music about the music). She presents three chosen musical pieces with the messages of religious, where the influence of the attitude of the composer is most significant. These are: Symphony no. 3 Symphony of sorrowful songs Opus 36 – H. M. Górecki (1976), Stabat Mater to a mixed choir and symphony orchestra – Z. Bujarski (2000) and Magnificat to the soprano vioce, a mixed choir and a symphony orchestra – G. Pstrokońska-Nawratil (2004).
PL
W tekście pt. „Głos” Karola Szymanowskiego w muzyce Henryka Mikołaja Góreckiego, Zbigniewa Bujarskiego i Grażyny Pstrokońskiej-Nawratil. Muzyka w muzyce – muzyka z muzyki – muzyka o muzyce. Rekonesans autorka podejmuję próbę wysłyszenia głosów Karola Szymanowskiego, przejawiających się na różnych poziomach dzieła muzycznego (podstawa metodologiczna: intertekstualność zaproponowana przez Mieczysława Tomaszewskiego, rozumiana jako muzyka w muzyce – muzyka z muzyki – muzyka o muzyce). Przedstawia trzy wybrane utwory o przesłaniach religijnych, w których wpływ postawy kompozytora jest najbardziej znaczący. Są to: III Symfonia „Pieśni żałosnych” op. 36 H. M. Góreckiego (1976), Stabat Mater na chór mieszany i orkiestrę symfoniczną Z. Bujarskiego (2000) oraz Magnificat na sopran, chór mieszany i orkiestrę symfoniczną G. Pstrokońskiej-Nawratil (2004).
5
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Dzieło Jehana Titelouze’a i jego znaczenie w krystalizacji stylu organowego

57%
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
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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.
6
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Miłosierdzie Boże jako źródło inspiracji twórczej

50%
Michałek 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
When analysing the works by outstanding composers, one may come to the conclusion that this topic was not exploited too often in the history of music. The issue of Misericordias Domini was not as popular as, for example, Stabat Mater or Te Deum. Even a broader look at this topic area does not allow for noticing too many compositions. Does it mean that the great masters of the past epochs were not interested in Divine Mercy?The answer to this question should be sought in theology, especially that of the Middle Ages. The then teaching of the Church exposed the Creator more in the role of a stern Judge than Merciful Father. In later times, this topic was tackled by composers more bravely and it thrived in the 20th century. Thanks to Helena Kowalska, later Saint Faustina, the cult of Divine Mercy accelerated and quickly spread all over the world. Its climax was the pontificate of Blessed Pope John Paul II who established the Feast of Mercy celebrated on the first Sunday after Easter. One of his last acts in this respect was the dedication of the Basilica of Divine Mercy in Krakow-Łagiewniki and forming the World Centre of Divine Mercy here. This site has become inspiration for our recording and PhD thesis.Gregorian chant is the oldest traditional chant in the liturgy of the Roman Catholic Church. The church has prayed with this chant since the 6th century. Misericordias Domini chant presented on the record is a typical example of a responsorial psalm in which prayer with the text of Psalm 103 is combined with the chant of the chorus Misericordias Domini in aeternum cantabo.Passacaglia is a form of composition characteristic for Baroque music, especially organ music. On the basis of the bass-ostinato, composers have built subtle polyphonic constructions. Misericordias Domini, the composition by Johann Rudolph Ahle (1625–1673), is constructed on this scheme. Ahle built a four-voice polyphonic construction on a diatonic, falling, half-note procession of sounds, by giving two voices to the violin duo and two to soloists: soprano and tenor. The multi-layer character of this piece relates not only to the sound matter but also to text, as the composer uses both Latin and German simultaneously.In the Renaissance and Baroque, the polychoral technique experienced the peak of its development. It was used in Misericordias Domini composed by Francesco Durante (1684–1755), representative of the Neapolitan School. Two choirs are involved in a dialogue to meet at the end of the composition, in the climax moments, when chanting Divine Mercy in eight voices.Wolfgang Amadeus Mozart’s (1756–1791) offertory of 1775, Misericordias Domini KV 222, belongs to rarely performed pieces. Its compact, through-composed form shows the masterly skill of the composer and his original approach to the topic of Divine Mercy. The dramatic narration, change of key which was not typical of classicism, e.g. from d-moll to c-moll, create an impression that the great composer might have been afraid whether he would experience Divine Mercy himself.Divine Mercy Song by Henryk Jan Botor (born in 1960), which was dedicated to Holy Father John Paul II, is composed well with other works inspired by the personality of the great Pope. It was composed in the jubilee year of 2000. The text borrowed from Saint Sister Faustina’s Diary was given to a soprano signer and also to the choir – in climax and text culmination moments. By using Neo-Romanticism musical language, Botor achieved the message readable to the listener, grasping pathetic and figurative music in words. Rich instrumentation, involving a string orchestra, a harp, an extended percussion section, a choir and solo voice, enabled the composer to create an almost unlimited pallet of colours and moods.Misericordias Domini composed by Wojciech Widłak (born in 1971) dated 19 April 2012 is the latest perspective on the described text. The composer created a subtly planned form, exploring the natural rhythm of the word Misericordias. Voices are treated here as instruments with the rhythm playing the leading role. The piece also uses modern means, such as glissando or recitals of texts in many languages, which affects the great power of the piece’s artistic expression. When it comes to texts, the author took them from memorial booklets in which pilgrims from all over the world entered their thank-you words and requests to Merciful Jesus at the Sanctuary of Divine Mercy in Krakow-Łagiewniki.Misericordia, the composition by Wojciech Kilar (born in 1932), is the piece that crowned the film Faustina (1994) directed by Jerzy Łukaszewicz. It is the meditation on Divine Mercy in the “form of crescendo” for a mixed choir of eight voices, string orchestra and piano. By using the minimum of means, the composer achieved maximum expression.The record is crowned with the organ improvisation based on the melody of the Polish church song: Jesus, I Trust in You.
PL
When analysing the works by outstanding composers, one may come to the conclusion that this topic was not exploited too often in the history of music. The issue of Misericordias Domini was not as popular as, for example, Stabat Mater or Te Deum. Even a broader look at this topic area does not allow for noticing too many compositions. Does it mean that the great masters of the past epochs were not interested in Divine Mercy?The answer to this question should be sought in theology, especially that of the Middle Ages. The then teaching of the Church exposed the Creator more in the role of a stern Judge than Merciful Father. In later times, this topic was tackled by composers more bravely and it thrived in the 20th century. Thanks to Helena Kowalska, later Saint Faustina, the cult of Divine Mercy accelerated and quickly spread all over the world. Its climax was the pontificate of Blessed Pope John Paul II who established the Feast of Mercy celebrated on the first Sunday after Easter. One of his last acts in this respect was the dedication of the Basilica of Divine Mercy in Krakow-Łagiewniki and forming the World Centre of Divine Mercy here. This site has become inspiration for our recording and PhD thesis.Gregorian chant is the oldest traditional chant in the liturgy of the Roman Catholic Church. The church has prayed with this chant since the 6th century. Misericordias Domini chant presented on the record is a typical example of a responsorial psalm in which prayer with the text of Psalm 103 is combined with the chant of the chorus Misericordias Domini in aeternum cantabo.Passacaglia is a form of composition characteristic for Baroque music, especially organ music. On the basis of the bass-ostinato, composers have built subtle polyphonic constructions. Misericordias Domini, the composition by Johann Rudolph Ahle (1625–1673), is constructed on this scheme. Ahle built a four-voice polyphonic construction on a diatonic, falling, half-note procession of sounds, by giving two voices to the violin duo and two to soloists: soprano and tenor. The multi-layer character of this piece relates not only to the sound matter but also to text, as the composer uses both Latin and German simultaneously.In the Renaissance and Baroque, the polychoral technique experienced the peak of its development. It was used in Misericordias Domini composed by Francesco Durante (1684–1755), representative of the Neapolitan School. Two choirs are involved in a dialogue to meet at the end of the composition, in the climax moments, when chanting Divine Mercy in eight voices.Wolfgang Amadeus Mozart’s (1756–1791) offertory of 1775, Misericordias Domini KV 222, belongs to rarely performed pieces. Its compact, through-composed form shows the masterly skill of the composer and his original approach to the topic of Divine Mercy. The dramatic narration, change of key which was not typical of classicism, e.g. from d-moll to c-moll, create an impression that the great composer might have been afraid whether he would experience Divine Mercy himself.Divine Mercy Song by Henryk Jan Botor (born in 1960), which was dedicated to Holy Father John Paul II, is composed well with other works inspired by the personality of the great Pope. It was composed in the jubilee year of 2000. The text borrowed from Saint Sister Faustina’s Diary was given to a soprano signer and also to the choir – in climax and text culmination moments. By using Neo-Romanticism musical language, Botor achieved the message readable to the listener, grasping pathetic and figurative music in words. Rich instrumentation, involving a string orchestra, a harp, an extended percussion section, a choir and solo voice, enabled the composer to create an almost unlimited pallet of colours and moods.Misericordias Domini composed by Wojciech Widłak (born in 1971) dated 19 April 2012 is the latest perspective on the described text. The composer created a subtly planned form, exploring the natural rhythm of the word Misericordias. Voices are treated here as instruments with the rhythm playing the leading role. The piece also uses modern means, such as glissando or recitals of texts in many languages, which affects the great power of the piece’s artistic expression. When it comes to texts, the author took them from memorial booklets in which pilgrims from all over the world entered their thank-you words and requests to Merciful Jesus at the Sanctuary of Divine Mercy in Krakow-Łagiewniki.Misericordia, the composition by Wojciech Kilar (born in 1932), is the piece that crowned the film Faustina (1994) directed by Jerzy Łukaszewicz. It is the meditation on Divine Mercy in the “form of crescendo” for a mixed choir of eight voices, string orchestra and piano. By using the minimum of means, the composer achieved maximum expression.The record is crowned with the organ improvisation based on the melody of the Polish church song: Jesus, I Trust in You.
7
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Gebet als Sprachhandlung im Ansatz von Richard Schaeffler

29%
Schreiber T. P.
Język - Szkoła - Religia
|
2014
|
vol. 9
|
issue 1
153-168
DE
Schaeffler zeigt mit seinen Beiträgen sehr deutlich, dass das Gebet keine sinnlose sprachliche Äußerung ist und arbeitet sehr gut die Spezifika religiöser Sprache heraus, was besonders an Beispielen in Psalmen und am Magnificat deutlich werden konnte. Er wies auf das Selbstverständnis der Beterin/des Beters hin und zeichnete dies am Beispiel Mariens nach. An ihrem Beispiel konnten wir sehen, wie religiöses Sprechen die eigene Person zur Sprache bringen kann und wie in der Sprache der Adressat berücksichtigt wird in Rückgebundenheit auf die eigene Existenz. Das Gebet hat Bestand durch die Zeit hindurch und ruft somit eine immer größere Gemeinschaft zusammen, die dieselben Worte ein und desselben Gebetes weitergeben kann und somit ermöglicht, eine Tradition aufrechtzuerhalten, in der Geschichte und Gegenwart zusammenfließen und einen Bestand für die Zukunft garantieren. Die gemeinsame Gebetssprache, wie z.B. die Psalmen oder das „Vater Unser“, ist ein wichtiger Faktor, der ein Erblühen und Weiterblühen einer Gemeinde möglich macht. Gott kann durch die Zeit hindurch als ein und derselbe erkannt werden. Auch über den Wandel zahlreicher Zeitalter hinaus erkennen wir immer wieder neu die Bedeutung des Aufstrahlens Gottes. Das biblische „Siehe, da“ weist auf eine Tat Gottes hin, die plötzlich zu geschehen scheint und doch große Wirkung weit über diesen einen Moment hinaus zu wirken vermag. Um diese Zeit der religiösen Erfahrungswelt ständig wach zu halten, bedarf es einer Treue der Erinnerung. Durch das Gebet im Gegenüber von Gott findet die Beterin/der Beter erst ihre/ seine Identität. Gebet ist identitätsstiftend. In diesem Artikel wurde der Hauptakzent auf Gebetssprache gelegt. Es wurde darzustellen versucht, dass diese Form so verschieden sie von der Alltagssprache sein mag, alles andere als sinnlos ist. Sowohl die Begriffe „Gebet“, wie „Sprache“ sind Begriffe, die viele Bedeutungen haben können und jeder/jede kann darunter etwas anderes verstehen, je nach Vorverständnis. Doch konnte aufgewiesen werden, wie wichtig deren Eigenheiten mit ihren tiefen Bedeutungen sind.
EN
The following article analyses the theory of language of prayer introduced by Richard Schaeffler, a German philosopher and theologian. The author of the article refers to the following writings by R. Schaeffler: „Das Gebet und das Argument. Zwei Weisen des Sprechens von Gott. Eine Einführung in die Theorie der religiösen Sprache“ (Prayer and argument. Two ways of talking about God. Introduction to the theory of religious language), „Kleine Sprachlehre des Gebets“ (On the language of prayer) and „Religionsphilosophie“ (The philosophy of religion). What he attempts to demonstrate is that, if we base on the Schaeffler’s inquiries, a statement, which is a prayer, is never senseless. Despite the fact that, as we can read in the preface, the statement does not function as a informational or motivational tool, it still serves as a lingual act, which sacramentally builds a relation between God and a human. Schaeffler shows the unique nature of religious language, he especially seeks for examples in psalms and the Magnificat. He emphasizes the self-awareness of a praying man, as exemplified by Mary. Her example allows us to see how we can express ourselves through praying, and how we refer to prayer’s addressee in the context of our own existence. Prayer has existed for centuries and binds more and more people into a community. The community has been sustaining the tradition through passing down the words of the same prayer. In the tradition in question the past and the present are combined which guarantees its lasting. The common language of prayer, e.g psalms or the Our Father, is an important factor which allows the community to last and develop. God has been recognized for centuries as the one and the same. People find Him over and over again in the changing historical periods. The evangelical texts tell about particular events (e.g. calming the storm, Mt 8, 23–25), one-time acts of God, still having influence in subsequent periods and changing people’s lives. To sustain the religious world of experiences alive being faithful to memory is required. Only through prayer, in contact with God, a praying man can find and create his own awareness. What has been greatly emphasized in the article is the language of prayer. The author attempts to show that this language, no matter how different from everyday language, certainly has its own sense. The lexemes prayer and language have many meanings and everyone can understand them differently, depending on the knowledge and experience gained. What has been made evident here is how important the deep meanings of these lexemes truly are.
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