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PETER EISENBERG: DVOJITÝ BÁSNICKÝ AKT A DUCHOVNÁ HRA (1651). TEXT PROTESTANTSKEJ ŠKOLSKEJ HRY V DOBOVOM KONTEXTE

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Varšo M.
Slovenské divadlo (Slovak Theatre)
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2015
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vol. 63
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issue 2
100 - 115
EN
The school play written by the German author Peter Eisenberg in 1651 has enjoyed great attention by scholars from various disciplines in the last few decades. Excellent studies prove the excellence of this theatrical act. The present study expands the current state of research by offering a close reading of the text with a view to revealing the thinking of the time and the source of Peter Eisenberg’s inspiration. It was theology, closely connected with the Holy Scripture in the Protestant environment, the works of clerical fathers and confessions. The play is accompanied by music produced by prominent composers of the time, which significantly contributes to its appeal. The play and its rich inner life have the potential to appeal also to contemporary readers, on condition that they understand the symbolism of the time.
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SPOR O MIESTO PIESNE V LITURGII

100%
Pawlak I.
Musicologica Slovaca et Europaea
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2006
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vol. 24
71-84
EN
The sacred song had always played an exceptional role in religiosity and the whole religious culture of the nation in Poland. Sacred songs were a kind of 'Biblia pauperum'. However, they were not appointed for the usage in liturgy because Gregorian chant was still considered to be the liturgical singing. Dispute over the place of song in liturgy began already in times before the Trident Council. The very fact of the sacred song 'liturgical transformation' did not end the disputes. Those disputes take place on two levels: on the level of artistic value and the level of the way of using the song repertory. During the period after the Council there emerged a competition between songs and religious song or a new sacred song. This fact started a new dispute. The dispute over the song's place in liturgy is only a symptom of the deep crisis of liturgy itself, which is often deprived of 'sacrum' on the basis of seeming good.
3
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THE BEGINNINGS OF GERMAN RELIGIOUS POLYPHONY IN KOENIGSBERG, GDANSK AND RIGA (Poczatki niemieckiej polifonii religijnej w Królewcu, Gdansku I Rydze)

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Leszczynska A.
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2007
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vol. 52
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issue 4(207)
45-57
EN
The introduction of the Lutheran faith in the area of Ducal Prussia, Livonia and Royal Prussia in the sixteenth century gave impetus to the development of local religious song-writing in German. The greatest number of such songs comes from Koenigsberg. In the 1540s and 1550s, these were mainly written by Johannes and Paul Kugelmann, musicians at the court of Duke Albrecht, and from the end of the 1570s by Johannes Eccard, one of the most prolific composers of this genre, employed at the cappella of Margrave Georg Friedrich. In the sixteenth-century Gdansk, German polyphony was a marginal phenomenon in the local artistic output. Two first songs of this type were written by Franciscus de Rivulo in about 1560, but during the next 80 years such compositions remained sporadic. In Riga, toward the end of the sixteenth century, German religious polyphony was being composed by Paulus Bucenus who, apart from songs, also wrote Masses using the German language, clearly in accordance with the instructions of the local 'Kirchenordnung'.
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