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O LUBELSKIEJ KARTOTECE KOLĘDOWEJ

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Maksymiuk-Pacek B.

Rocznik Przemyski

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2018

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vol. 54

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issue 2(22): Literatura i Język

131-139

EN

The article is a presentation of the Lublin carol register which is located in the “Ethnolinguistic Archive” Laboratory of the Institute of Polish Philology at the Maria Curie-Skłodowska University in Lublin. The Laboratory collection consists of 1821 phonograms from field recordings from the years 1960-2017 that encompassed various genres of songs and spoken folklore. At the beginning of the 1990s, carol texts were separated from the collection and work on their descriptive-faceted description according to the principles formulated in the Literatura Ludowa (No 4-6, 1979) began. Currently, the carol register contains 6035 texts taken from 97 Polish publications (before 2000) and field recordings. It functions in both computerized (the KarKol database) and paper form. For the KarKol database, special indexes of incipits, sources, geographical names, genres as well as key words were elaborated. One can use the register in the “Ethnolinguistic Archive” Laboratory at the Maria Curie-Skłodowska University in Lublin.

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Twórczość fortepianowa Mariana Sawy

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Łukaszewski M. T.

Seminare. Poszukiwania naukowe

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2011

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vol. 29

317-335

EN

Marian Sawa (1937-2005), composer, organist, improviser and pedagogue, owes his reputation primarily to his prolific organ output (over 200 works for organ solo, including five concertos), choral music (several dozen compositions) and vocal-instrumental sacred music. Pride of place goes to Droga Krzyżowa (The Way of the Cross), Missa claromontana and works for organ: Witraże (Stained-glass), Ecce lignum crucis and Hymnus in honorem sancti Petri et Pauli. Works for piano are modest in number, less known and rather rarely performed but they are hardly of a marginal character. Marian Sawa’s piano output comprises a dozen or so pieces of diverse genres and styles. The earliest compositions, dating from Sawa’s studies at the State Higher School of Music in Warsaw, include Four Etudes, a cycle of Variations and the Prelude and Fugue, all in the neo-Classical style (1966-67). In the etudes the composer explored several problems, such as the technique of double stops and octaves. The later Toccata (1970) and Stylized Prelude (1975) are, by and large, the continuation of the same style. In the Toccata one can notice the genre’s characteristic features including the motoric drive, a sense of mobility and the repetitiveness of notes (similar effects can be found in toccatas by such composers as Bolesław Woytowicz and Sławomir Czarnecki). Sawa’s most interesting piano works date from the 1980s and 1990s, Scherzino (1983) and Four Mazurkas (1993/94) being the most frequently-performed pieces. Sawa’s output also includes compositions which draw freely on the sonata form: Sonatę Ha-Fis (Sonata B-Fsharp) for keyboard instruments (1995, the title refers to the two opening notes), Sonatina for harpsichord, piano or organ (1995) and arrangements of Polish Christmas carols. One of Sawa’s most spectacular pieces is the Fugue-Bolero for two pianos (1996), which is an arrangement of his earlier, highly popular version for organ. Three idioms can be distinguished in Sawa’s piano music: dance/folk, motoric/toccata and sacred. The first employs the dance forms popular in Polish folk music (mazurek, oberek, krakowiak), the rhythm pattern of the ‘mazur’ and bourdon fifths. The main features of the second idiom are the figurative texture, virtuosity, a sense of mobility and, in the majority of works (including those from the 1990s), references to the neo-Classical style. The sacred idiom manifests itself in the use of quotations from church songs. For example, in the Third Mazurka (1993) it is a quotation from the Polish church song to St Joseph, while the musical material of the Three Elegies (1995) is based on the religious song Ja wiem, w kogo ja wierzę / I know in whom I believe. These works are also renowned for their specific mood of meditation and contemplation, creating an aura of spiritual music. The arrangements of Polish Christmas carols also belong to this group (Four Christmas Carols for piano / four hands, 2003; Kolędowe granie / Playing the carols, 2004).

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Jezus Chrystus w Kolędzie i Pasterce Jerzego Lieberta

80%

Jabłoński R. M.

Filologia Polska. Roczniki Naukowe Uniwersytetu Zielonogórskiego

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2015

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vol. 1

105-114

EN

Jerzy Liebert (1904-1931) is an outstanding representative of Polish catholic poetry. In his Carol and Christmas Eve Mass he uses Christmas motifs. The analysis of Carol brings a discovery of texts’ two layers. The first one is the picture of Mother who cares for her Child – this layer is easy to notice. The second one, an announcement of Jesus passion and death, is only indicated by certain poetic words, e.g. allusions to Jan Kochanowski’s Laments [Treny]. Disclosure of this layer is a kind of a hipothesis. Christmas Eve Mass is a lyric poem, in which the poet describes joy (especially of plants and animals) caused by the Saviour’s birth. In worrisome and paradoxical puenta a picture of sad Christ appears. His presence should evoke a deep religious experience and encourage reflections on values connected with Christmas.

PL

Jerzy Liebert (1904-1931) to wybitny przedstawiciel polskiej poezji katolickiej. W Kolędzie i Pasterce wykorzystuje motywy bożonarodzeniowe. Analiza Kolędy zmierza do odkrycia dwóch warstw tekstu. Pierwsza to ukazanie Matki opiekującej się Dzieciątkiem – jest ona łatwa do uchwycenia. Druga, zapowiedź męki i śmierci Jezusa, jest tylko sygnalizowana za pomocą różnych zabiegów poetyckich, np. nawiązań do Trenów Jana Kochanowskiego – odkrycie tej warstwy to swoista hipoteza. Pasterka to liryk, w którym poeta opisuje radość (przede wszystkim roślin i zwierząt) wywołaną narodzinami Zbawiciela. W niepokojącej, paradoksalnej puencie pojawia się obraz smutnego Chrystusa. Ma on wywołać głębokie przeżycie religijne odbiorcy – nakłonić go do refleksji nad wartościami związanymi ze świętami Bożego Narodzenia.

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Rękopiśmienne wierszowane litteraria od średniowiecza do końca XVIII wieku w zbiorach benedyktynek sandomierskich. Część druga: winszujące kolędy klasztorne dla ksieni Marianny Siemianowskiej

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Trościński G.

Tematy i Konteksty

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2016

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issue 6(11)

385-406

EN

The article describes the collection of carols which were written in the Benedictine convent in Sandomierz in the latter half of the 18th century. They belong to the type of congratulatory carols and were dedicated to Prioress Marianna Siemianowska on the occasion of subsequent jubilees of her office as prioress of the Benedictines in Sandomierz. They are preserved in manuscript in Diocesan Library in Sandomierz. They are an interesting contribution to the history of convent folklore and research into the customs of the Benedictine Order in Sandomierz. The pieces centre upon two fundamental themes: firstly, the birth of Christ, and, secondly, creation of the panegyric image of the prioress as well as wishes on the occasion of Christmas and the jubilee.

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Kultura muzyczna dzieci i młodzieży na przykładzie Dziecięco-Młodzieżowego Stowarzyszenia Śpiewaczego Sancta Musica w Tyczynie

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Fudali A., Bober S., Stasiowska-Chrobak B.

Prace Historyczno-Archiwalne

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2020

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issue 32

260-269

EN

The article ‘The musical culture of children and youths – on the basis of Singing Association for Children and Youths “Sancta Musica” in Tyczyn’ is an attempt to present a short summary of the association’s decade-long activity. The main goals of the association are to spread and develop musical passion among children and youths and combine choral singing with learning history The article presents the ten years of artistic activities of the choir ‘Sancta Musica’. This so-called ‘jubilee’ is a great opportunity to introduce the choir’s performances on the selected examples. It describes the choir’s performances in its homecountry and abroad. This article proves that combining passion with learning history is worthwhile and can be done. ‘Sancta Musica’ from Tyczyn teaches and educates. It can be said without a hint of exaggeration that the contents and matters raised in this article prove the very active role of small local circles. The article shows that taking part in the Tyczyn’s association’s activities is satisfactory for the choristers, their parents, and the people in charge of the choir’s artistic activities.

PL

Artykułu jest próbą zaprezentowania i pewnego niewielkiego zresztą podsumowania dziesięcioletniej działalności Stowarzyszenia. Upowszechnianie i rozwijanie wśród dzieci i młodzieży muzycznych pasji, łączenie chóralnego śpiewu z nauką historii to główne założenia i zadania, które realizowane są przez działające w Tyczynie Stowarzyszenie. Artykuł prezentuje działalność artystyczną chóru „Sancta Musica” na przestrzeni dziesięciu lat jego działalności. Ten swego rodzaju „jubileusz” jest okazją do zaprezentowania, działalności koncertowej na podstawie wybranych przykładów. Mowa w nim o występach chóralnych w kraju oraz poza jego granicami. Artykuł ten dowodzi, że można i warto łączyć pasję muzyczną z nauką historii. Tyczyńska „Sancta Musica” uczy i wychowuje. Bez cienia przesady można stwierdzić, że treści i sprawy poruszone w niniejszym artykule dowodzą dużej aktywności niewielkich środowisk lokalnych. Artykuł pokazuje, że udział w działalności tyczyńskiego Stowarzyszenia stanowi powód do niekłamanej satysfakcji dla chórzystów, ich rodziców oraz osób prowadzących i organizujących działalność artystyczną.

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Rękopiśmienne wierszowane litteraria od średniowiecza do końca XVIII wieku w zbiorach benedyktynek sandomierskich. Część pierwsza: pieśni z kancjonału L 1642

61%

Trościński G.

Tematy i Konteksty

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2014

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issue 4(9)

EN

The object of interest is a description of manuscript L 1642 which belongs to the Diocesan Library in Sandomierz. This manuscript is a Hymnal, which was written in 1721 and it belonged to the Benedictine Sisters in Sandomierz. The material includes medieval European and Polish 16th and 17th century liturgical and paraliturgical songs. The texts in the manuscript are written in Latin and Polish. The Hymnal contains carols, the Advent, Easter and Passion songs among others; there are 77 works in total and only one has no musical notes (its text is written at the end of the manuscript). Most works are known and correspond with the content of other hymnals, e.g. the ones that belonged to the Benedictine Sisters in Staniątki, the Carmelite Sisters in Kraków, and the Clarisse Sisters in Gniezno. There are also some songs in Walenty Bartoszewski’s ("Parthenomelica albo Pienia nabożne o Pannie Najświętszej", 1613) and Stanisław Serafin Jagodyński’s works ("Pieśni katolickie nowo reformowane", 1638). The Hymnal is compiled by Anna Stogniewówna or, according to Magdalena Walter-Mazur, by Zofia Bratysiewiczówna. The manuscript is an interesting source of the known literary and musical culture of the Benedictine Sisters in Sandomierz. It also shows the popularity of these religious works. The Hymnal also contains some unknown versions of songs.

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1 Filologia Polska. Roczniki Naukowe Uniwersytetu Zielonogórskiego

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1 Seminare. Poszukiwania naukowe

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