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Nieznane utwory Johanna Aloisa Lamba w zbiorach muzycznych z dawnego opactwa cystersów w Lubiążu. Przyczynek do biografii kompozytora

100%
Hauptman-Fischer E.
Hereditas Monasteriorium
|
2015
|
vol. 6
85-100
EN
The musical collection of the Lubiąż Cistercians, currently kept in the Department of Music Collections of the University Library in Warsaw, contains two autograph scores of Johann Alois Lamb, a Czech composer active in the second half of the 18th century in Vrchlabí. Sources with his works were copied for many ensembles in Bohemia and Silesia, but the two works preserved in the Cistercian collection have remained unknown to scholars studying Lamb’s oeuvre and are not listed in the thematic catalogue of the composer’s works. The autograph scores in question add to the existing body of knowledge of J. A. Lamb’s oeuvre and at the same time are his earliest dated compositions. In the article the author presents hypotheses concerning the early period in the composer’s life. A biography of J. A. Lamb’s based on a thorough analysis of sources and dispersed musical items was published in 2014 by the Czech scholar Jakub Michl. In the light of his research the first few years of Lamb’s activity, before 1776, are unknown. No documents or musical manuscripts have been preserved in his hometown of Vrchlabí. Perhaps the mystery can be solved by four manuscripts signed Johannes Lamb from the collection of the Lubiąż Cistercians. Having analysed these manuscripts as well as sources dealing with the Czech composer’s life (described in J. Michl’s monograph), the present author suggests that J. A. Lamb spent his youth in the Cistercian monastery in Lubiąż, where he received musical and elementary education. The two Masses were probably composed when Lamb was still in Lubiąż. The article contains a discussion of all sources associated with Lamb and kept in the Cistercian collection in Lubiąż.
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Sacred music by Amandus Ivanschiz: attributions and variants of extant compositions

100%
Jochymczyk M.
Interdisciplinary Studies in Musicology
|
2012
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issue 11
251-264
PL
The Pauline father Amandus Ivanschiz (1727-1758) was a composer whose music heralded the style of the early Classical period. He worked mainly in Austria (Wiener Neustadt and Mariatrost), as well as in Rome (it has recently been established that he spent three years there). His sacred music, especially masses, litanies and cantata-style pieces to non-liturgical texts, has been preserved in numerous manuscripts (over 260 items) held in eight countries of Central Europe (Austria, the Czech Republic, Germany, Poland, Slovakia, Slovenia, Switzerland and Hungary). Comparative analysis of all the manuscripts allows one to distinguish several problems commonly encountered in research into eighteenth-century musical sources, such as variants, multiple versions of works and contradictory attributions of authorship, further exacerbated by the lack of originals. This article focusses on the most recent findings relating to Ivanschiz’s life and religious music, as well as discussing and illustrating discrepancies between various copies of the same compositions by reference to selected works. We will also consider the differentiation of authorial variants from variant versions arising from custom.
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Galenosfera w liturgii

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Bartocha W.
Łódzkie Studia Teologiczne
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2023
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vol. 23
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issue 2
11-24
EN
The publications of the late Bishop Adam Lepa (1939–2022) deal with the topic of the galenosphere as an environment of silence and its role in life and in the process of human education. A special and specific form of the galenosphere are those environments of silence that concern the sacrum. In this context, it is possible to speak of the importance of silence obligatory during the celebration of liturgy. The aim of the study is to show the nature and role of the galenosphere characteristic of the liturgy. Starting from an explanation of the concept of the galenosphere, the author of the study then goes on to show the close relationship that develops between silence and mystery on the basis of the analysis of the writings of Odo Casel (1886–1948), a Benedictine monk from the Abbey of Maria Lach in the Rhineland, founder of the mystery theory in sacramentology and an outstanding theologian of the liturgy. In Odo Casel’s optics, silence is a ritual form of personal participation in Christ’s action, which is realised on the sacramental plane, and not merely an expression of subjective piety. The aim of liturgical silence is therefore to pursue the mystery communion with the Logos. The next section of the paper, based on an analysis of the General Introduction to the Roman Missal, presents the location of moments of silence in the structure of the Eucharistic celebration, their theological and liturgical justification and their normative character. The final section of the article is devoted to the typology of liturgical silence. It discusses its following types: reflective, internalizing, meditative and adorative silence. It concludes by pointing out pastoral aspects related to the great importance of silence in the process of implementing the conciliar principle of participatio actuosa. Liturgical silence cannot be identified with “an inner haven in which to hide oneself in some sort of intimate isolation”, but is “a symbol of the presence and action of the Holy Spirit” (Pope Francis, Apostolic Letter Desiderio desideravi, no. 52). In this perspective of the pneumatological significance of moments of silence in liturgical celebrations, the demand to educate clergy and lay faithful to perform the symbolic gesture of silence with great care is particularly relevant from the point of view of liturgical formation.
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Odkryć Chrystusa przez hebrajskie słowa Psalmu 22 na Golgocie

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Stefański J.
Studia Gdańskie
|
2015
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issue 37
37-49
PL
Coraz częściej można spotkać się z przekonaniem, że Pan Jezus – podobnie jak współcześni mu Żydzi w Palestynie – posługiwał się na co dzień nie tylko językiem aramejskim, ale również hebrajskim. Ewangeliści Mateusz i Marek podają pierwsze słowa Psalmu 22, przypisując je Jezusowi konającemu na krzyżu. Można przypuszczać, że Chrystus wiszący na krzyżu modlił się słowami psalmu, i to nie tylko w języku aramejskim, ale również w języku hebrajskim. W związku z powyższym analiza hebrajskiego tekstu Psalmu odsłania niuanse, które można odnieść do Osoby Syna Bożego podczas Jego męki. Wśród nich należy zauważyć nawiązanie do macierzyństwa, które w zestawieniu z rolą Matki Jezusa w Nowym Testamencie wpisuje się w maryjny wymiar męki Mesjasza. Słowa Psalmu rzucają też światło na mękę Chrystusa nie tylko pod względem fizycznym, ale również duchowym w odniesieniu np. do zdrady Judasza. W końcu hebrajski tekst Psalmu odsłania jego liturgiczny wymiar do tego stopnia, że można dostrzec w nim aluzje do Mszy świętej i jej owoców w życiu Kościoła.
EN
There is a growing conviction among exegetes that Jesus used the Hebrew language on a daily basis in addition to Aramaic, as did the Jews of His time in Palestine. This can serve as an incentive to a reexamination of the Hebrew masoretic text of Psalm 22 which might have been recited in its entirety by the Lord on the Cross. Most importantly, as Christ was dying, He could have prayed this Psalm not only in Aramaic, but at least partially in Hebrew as well. An analysis of the Hebrew text reveals details which shed light on the Lord’s Passion. One important detail is the subtle reference to motherhood in the Psalm which, in light of the role of the Mother of God in the New Testament, can be seen as the Marian dimension of Christ’s Passion. Other conclusions derived from numerous Hebrew words and expressions in the Psalm point not only to the physical aspect of the Savior’s suffering, but to its spiritual dimension as well. Finally, there are some liturgical allusions in the Psalm, which can parallel various parts of the Mass and even foreshadow the fruits of Christ’s Sacrifice in the life of the Church.
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Wątki polskie w mszach Jana A. Maklakiewicza i Tadeusza Maklakiewicza

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KARWASZEWSKA M.
Edukacja Muzyczna
|
2016
|
issue 11
41-59
PL
Przedmiotem artykułu są dwie msze z tekstem polskim, które – według typologii Stanisława Dąbka – reprezentują typ tzw. mszy polskiej, znamiennej dla twórczości polskich kompozytorów pierwszej połowy XX wieku. Autorka artykułu wybrała reprezentatywne msze braci Maklakiewi- czów, w których pierwiastek „polski” dotyczy nie tylko tytułu czy użycia polskiego tekstu, ale i elementów narodowych – w postaci idiomu rodzimego folkloru. Analizie poddane zostały Msza polska Jana A. Maklakiewicza z 1944 roku oraz Msza góralska autorstwa Tadeusza Maklakiewi- cza z roku 1981, dedykowana Papieżowi Janowi Pawłowi II.
EN
The subject matter of the article is focused on two Masses with Polish text which, in accord- ance with the typology by Stanisław Dąbek, represent the type of the so-called Polish Mass – characteristic to the works of the Polish composers of the first half of the 20th century. The author of the article has chosen Masses representative for the Maklakiewicz brothers, whose works refer to the “Polish” dimension not only in the title or by the use of Polish text but also by national elements in the form of an idiom of the native folklore. The article analyses the Polish Mass by Jan A. Maklakiewicz, composed in 1944 and the Highland Mass by Tadeusz Maklakiewicz, composed in 1981 and dedicated to the Pope John Paul II.
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K významům slova mše

80%
Koutová M.
Naše řeč (Our Speech)
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2022
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vol. 105
|
issue 4
237-241
EN
The article deals with the meanings and the lexicographical treatment of the word mše ‘Mass’. This word is defined in general monolingual and in theological dictionaries as the main liturgical ceremony of the Roman Catholic Church. In reality, however, the word is often used in a broader sense, generally denoting any religious ceremony. In the article, I recommend using the word bohoslužba ‘service’ instead of the word mše ‘Mass’ in these cases.
7
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Celebracja sakramentu małżeństwa w czasie Mszy Świętej w odnowionym „Ordo celebrandi matrimonium”

80%
Makowski P.
Studia Elbląskie
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2023
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vol. 24
331-345
EN
The submitted article takes a closer look at the theology, symbolism and beauty of the liturgy of the sacrament of marriage and its links with the mystery of the Eucharist. These links are indicated by the documents of the Church (Constitution on the Liturgy Sacrosanctum Concilium, Catechism of the Catholic Church) and especially by the apostolic exhortation Sacramentum Caritatis of Pope Benedict XVI. The rooting of the sacrament of marriage in the mystery of the Eucharist is confirmed above all by the liturgical book "Obrzędy sakramentu małżeństwa dostosowane do zwyczajów diecezji polskich" / Rites of the Sacrament of Marriage adapted to the customs of Polish dioceses (the latest third model edition of 2021), which gives the celebration of marriage during Mass as the first of the proposed forms
PL
Przedłożony artykuł przybliża teologię, symbolikę i piękno liturgii sakramentu małżeństwa oraz jego łączność z misterium Eucharystii. Na więzi te wskazują dokumenty Kościoła (Konstytucja o liturgii "Sacrosanctum Concilium", Katechizm Kościoła Katolickiego), a zwłaszcza adhortacja apostolska "Sacramentum Caritatis" papieża Benedykta XVI. Zakorzenienie sakramentu małżeństwa w misterium Eucharystii potwierdza przede wszystkim księga liturgiczna "Obrzędy sakramentu małżeństwa dostosowane do zwyczajów diecezji polskich" (najnowsze trzecie wydanie wzorcowe z 2021 r.), która celebrację małżeństwa w czasie Mszy Świętej podaje jako pierwszą z zaproponowanych form.
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Great musical forms dedicated to Saint Martin of Tours. Outline of the issues

80%
Towarek P.
Nurt SVD
|
2023
|
issue 1
189-217
EN
This article gives an overview of the great musical forms dedicated to St Martin of Tours. These are primarily liturgical compositions, connected with the reverence for the person of the saint which has been formed in the Church over the centuries. This group includes single-voice parts of the proprium Missae (Alleluia verses, sequences), multi-voice liturgical motets of the medieval period (Brassart, Roullet, Fresneau), as well as extra-liturgical works (de Grudencz, de Machaut). These compositions show the process of transformation of the image of St Martin, which was taking place at the time and was extremely important in terms of liturgical worship and popular piety: from a follower, bishop and monk, to a noble knight and soldier of Christ (miles Christi). Evidence of liturgical reverence towards St Martin can be found in the two masses (ordinarium Missae) of the medieval period (d’Amaerval, Obrecht), the motets of the Renaissance and Baroque (di Lasso, Palestrina, de Monte, Handl, Marenzio, Anerio, Mielczewski), the masses of the Romanticism (Stahl, Kircher, Bottazzo) and the 20th and 21st centuries (Miškinis, Pitzl, Nowak, Halter), as well as oratorio and cantata works (Kocsár, Schlenker) and hymns (Augustinas, Monks, Łukaszewski). The theological reflection presented in this article falls within in the field of aspectual hagiology, i.e. one that brings together specialists from various disciplines on a common research subject, i.e. ‘saints, holiness’, aiming at innovation.
PL
Prezentowany artykuł stanowi przegląd wielkich form muzycznych poświęconych św. Marcinowi z Tours. Są to przede wszystkim kompozycje liturgiczne związane z czcią wobec świętego, jaka ukształtowała się w Kościele na przestrzeni wieków. Do tej grupy należą jednogłosowe części proprium Missae (wersety Alleluja, sekwencje), wielogłosowe motety liturgiczne okresu średniowiecza (Brassart, Roullet, Fresneau), a także utwory pozaliturgiczne (de Grudencz, de Machaut). Kompozycje te ukazują dokonujący się w tym czasie niezmiernie ważny na gruncie kultu liturgicznego i pobożności ludowej proces przemiany wizerunku św. Marcina od wyznawcy, biskupa i mnicha do szlachetnego rycerza i żołnierza Chrystusa (miles Christi). Dowody liturgicznej czci wobec św. Marcina można znaleźć w dwóch mszach (ordinarium Missae) z okresu średniowiecza (d’Amaerval, Obrecht), motetach renesansu i baroku (di Lasso, Palestrina, de Monte, Handl, Marenzio, Anerio, Mielczewski), mszach romantyzmu (Stahl, Kircher, Bottazzo) oraz XX i XXI wieku (Miškinis, Pitzl, Nowak, Halter), a także utworach oratoryjno-kantatowych (Kocsár, Schlenker) i hymnach (Augustinas, Monks, Łukaszewski). Przedstawiona w niniejszym artykule refleksja teologiczna mieści się w obszarze hagiologii aspektowej, czyli takiej, która skupia specjalistów z różnych dyscyplin nad wspólnym tematem badawczym, tj. „święci, świętość”, dążąc do innowacyjności.
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Rerum patris Pii Hancke. O muzykaliach nyskiego dominikanina

61%
Hauptmn-Fischer E.
Hereditas Monasteriorium
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2013
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vol. 2
81-93
EN
The collection of Pius Hancke’s works includes numerous pieces written for the harp. Its outstanding repertoire and provenance distinguishes it from other monastic collections. The collection belonged to the monk who developed it during his whole life and carried it with him when changing places he lived in. Last 30 years of his life Pius Hancke spent in Dominican monastery in Nysa. Notes used during the liturgy (masses, litanies) certainly were used there and currently are the only testimony of the music culture of this monastery. Next to liturgical pieces Hancke’s collection includes a number of instrumental pieces for the harp with the accompaniment of other instruments and contrafacta of opera arias. The latter often include arrangements of harp parts, most probably made by Hancke himself. Scriptors’ names relate this collection to the unique manuscript containing Antonio Vivaldi’s Credo.
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