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The Regensburg music inspirations in sacred liturgy of the cathedral church in Łomża in the years 1949–1951

100%
Ankudowicz-Bieńkowska M.
Zeszyty Naukowe Ostrołęckiego Towarzystwa Naukowego
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2017
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vol. Zeszyt
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issue XXXI
215-226
PL
W artykule opisane zostały regensburskie inspiracje muzyczne w liturgii sakralnej łomżyńskiego Kościoła katedralnego w latach 1949–1951. Zostały one wprowadzone przez wileńskiego muzyka – Władysława Kalinowskiego – absolwenta Szkoły Muzyki Kościelnej w Regensburgu – który po II wojnie światowej (w ramach przesiedlenia zwanego przez lata repatriacją) zamieszkał w Łomży, gdzie za namową ówczesnego biskupa wileńskiego Czesława Falkowskiego podjął pracę organisty i dyrygenta chóru.
EN
In the article, Regensburg music inspirations in sacred liturgies of the Łomża Cathedral Church in the years 1949–1951 are described. They were introduced by a Vilnius musician – Władysław Kalinowski – a graduate of the School of Church Music in Regensburg – who after the Second World War (as a result of the resettlement which for many years was called repatriation) settled in Łomża, where, encouraged by the Vilnius bishop Czesław Falkowski, started working as an organist and a choir conductor.
2
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Projekt profesora Antonína Smrčka na vybudování vodní cesty Praha – Regensburg

85%
Frajer J., Kopp J.
Historická geografie (Historical Geography)
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2015
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vol. 41
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issue 2
155-178
EN
The article discusses the project of a water canal planned from Plzeň to Regensburg and designed by a leading Czech hydraulic engineer, Antonín Smrček, in 1922. The presented study is not only aimed at describing the technical solution of the canal, acquired on the basis of exploring the inheritance collection of A. Smrček, but also at mapping out the wider context of ideas concerning the construction of the water canal from Prague to Plzeň and further to Germany in the course of the 20th century.
3
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Orgeln und Orgelbauer in Regensburg. Das Regensburgische Diarium von 1760–1810 als Quelle orgelbauhistorischer Aspekte

71%
Haberl D.
Folia Organologica. International yearbook of organ and organ music
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2018
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issue 1
95-111
EN
The Regensburg organ life in the second half of the 18th century and at the beginning of the 19th century is characterized by a surprisingly large variety. The playing and the building of organs and the organ trade have left clear traces in the Regensburg newspapers (“Regensburgisches Diarium”, “Regensburgische Frag- und Anzeige-Nachrichten” and “Kurfürstlich Erzkanzlerisches Regierungs- und Intelligenzblatt”). Organ music did not only take place in the Regensburg sacred buildings, but was also played on numerous verifiable house and chamber organs in the private houses and apartments of different social classes. Advertisements of about 40 organ instruments were documented during the reporting period. The domestic organ playing seems to have fulfilled a function in Regensburg at the end of the 18th century, which was replaced by the piano at the beginning of the 19th century. This large base of organ playing in Regensburg promoted the construction of organ positivs and house organs in different sizes (with up to three manuals and pedal) by the local organ builders. During their travels, numerous organ builders stayed as guests in Regensburg. The Regensburg and Regensburg-Stadtamhof-based organ builder families Herberger, Mälzel, Schmahl und Späth are documented with numerous entries in the “Diarium”. Both, the company and family stories of the individual organ building workshops like the contacts between local and traveling organ builders were extensively documented by newspaper reports. Especially the story of the famous Regensburg workshop Späth-Schmahl could be supplemented by the “Diariums” data to new findings. Also the knowledge of the organ and instrument maker family Mälzel and her best known son, the so-called metronome inventor Johann Nepomuk Mälzel the younger was augmented with important facts. The present evaluation of the organ-specific aspects of the “Regensburg Diarium” sees itself as a music-historical basic research for the local, regional as well as the national area. It would like to provide data and facts for later constructive research, well-founded starting point for new research approaches, detailed knowledge of the current state of research and reliable corrective of older researches.
4
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Feliks Nowowiejski o Szkole Muzyki Kościelnej w Ratyzbonie

70%
Dulisz I.
Studia Warmińskie
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2014
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issue 51
297-308
PL
Szkoła Muzyki Kościelnej w Ratyzbonie, założona w 1874 r. przez F.X. Haberla, od początku swego istnienia zyskała międzynarodowe znaczenie, zwłaszcza w katolickich krajach Europy. Tu kształciło się wielu wybitnych kompozytorów religijnych, do których z pewnością zalicza się F. Nowowiejski, w roku 1900 uczestnik 26. edycji kursu muzyki kościelnej. Pobyt kompozytora w Ratyzbonie dokumentują niezwykle pochlebne świadectwa, wystawione przez tamtejszych mistrzów Haberla i Hallera oraz cykl artykułów zatytułowanych O znaczeniu Ratyzbony dla ruchu kościelno-muzycznego, zamieszczonych w „Muzyce Kościelnej” w latach 1933–1934, autorstwa F. Nowowiejskiego. W artykułach zawarto cenne informacje na temat historii szkoły, propagowanych przez nią idei oraz absolwentów. Teksty przesycone są osobistymi refleksjami kompozytora na temat miasta oraz tradycji, pobrzmiewa też w nich duch muzyki.
EN
School of Church Music in Regensburg founded in 1874 by F.X. Haberl, from the beginning of its existence has gained an international importance, especially in the Catholic countries of Europe. In this place many prominent religious composers were educated including F. Nowowiejski, in the year 1900 participant 26 – of that edition of church music course. The composer's stay in Regensburg is documented by extremely flattering certificates issued by the local masters Haberl and Haller and a series of four articles entitled About the significance of Regensburg for a church-music movement, appearing in “Church Music” in the years 1933-1934 by F. Nowowiejski. The articles contain valuable information about the history of the school, ideas promoted by it and their graduates. They feature personal reflections of the composer associated with the atmosphere of the city, its tradition, and the sound of music.
DE
Die Kirchenmusikschule in Regensburg, gegründet im 1874 von Franz Xaver Haberl, gewann von Anfang an eine internationale Bedeutung, vor allem in den katholischen Ländern Europas. Hier bildeten sich viele hervorragende Komponisten religiöser Musik, unter anderem Feliks Nowowiejski, Teilnehmer der 26. Auflage des Kirchenmusik- Kurses im Jahre 1900. Sein Aufenthalt in Regensburg wird durch schmeichelhafte Zeugnisse, die ihm die Meister der Kirchenmusikschule Haberl und Haller ausgestellt haben, belegt sowie durch Nowowiejski`s Beiträgen unter dem Titel O znaczeniu Ratyzbony dla ruchu kościelno-muzycznego (Über die Bedeutung von Regensburg für die kirchlich – musikalische Bewegung), die in der Zeitschrift „Muzyka Kościelna“ („Kirchenmusik“) in den Jahren 1933-34 erschienen. Sie beinhalten wertvolle Informationen über die Geschichte der Schule, propagieren Ideen und Schulabgänger, sowie die persönlichen Reflexionen des Komponisten über die Stadt, ihre Tradition und dort erklingende Musik.
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