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1

Johann Baptist Schiedermayr – życie i twórczość. Przyczynek do monografii1

100%
Bujas J.
Kwartalnik Młodych Muzykologów UJ
|
2018
|
issue 2(37)
63-99
EN
Although nowadays the output of Johann Baptist Schiedermayr is almost completely forgotten, in the 19th century the composer was widely recognized as an author of both sacred and secular music. His compositions were performed mostly in Central Europe, but it should be underlined that the preserved manuscripts display an impressive area in which he must have been known. There are thousands preserved sources that confirm his popularity in the past; therefore, it is disturbing as well as intriguing that Schiedermayr is usually overlooked by scholars investigating music of the early 19th century. In my paper, I present life of the composer, including existing literature that concerns this topic, and I make an attempt to reconstruct his output as hitherto no one have done it. It appears that Johann Baptist Schiedermayr was well-educated and played a crucial role in the musical life of Linz at his time. Besides his achievements as a musi¬cian, conductor and teacher, he composed a vast variety of musical pieces, although he focused mostly on church music. Based on the studies done so far, we can assume that he created hundreds of compositions presenting his excellent compositional technique as well as musicality; many of them were also printed. Nevertheless, further research is absolutely necessary in order to broaden knowledge of this brilliant persona and his oeuvre.
2

Missa in Dis Antoniego Milwida (1755–1837) w kontekście repertuaru kapeli klasztornej z Czerwińska nad Wisłą

100%
Bujas J.
Kwartalnik Młodych Muzykologów UJ
|
2019
|
issue 2(41)
43-72
EN
The musical life of Czerwińsk nad Wisłą at the turn of the 18th and 19th centuries was strictly connected with the artistic activity of Antoni Milwid (1755–1837), a composer and organist. Although there are ten compositions signed with his name preserved in the collection of the monastery’s chapel as well as other manuscripts seemingly written with his hand, the religious output of the composer has not been investigated so far. The article discusses briefly the activity of Czerwińsk’s chapel during the difficult time of the partitions of Poland and secularisation of the monastery, sketching its repertoire based on preserved manuscripts. Then, Antoni Milwid’s life and art is presented in the light of accessible sources. Finally, Missa in Dis CZs Rps 5 from Czerwinsk’s collection is analysed in terms of its form, melody, rhythm, harmony and instrumentation, what allows the author to draw general conclusions concerning the compositional workshop of Antoni Milwid.
3

Twórczość organowa Brunona Steina na tle jego działalności pedagogicznej i muzycznej

100%
Majkrzak B.
Kwartalnik Młodych Muzykologów UJ
|
2018
|
issue 3(38)
25-47
EN
The purpose of this article is to present the life and organ work of Bruno Stein. The preparation for teaching was very important in Prussia, as it somehow traced a path of development for young people not only willing to be teachers but also musicians in the future. Bruno Stein, when composing organ preludes, recognised this situation and simultaneously became a model teacher as well as a composer of reliable and solid artistic achievements. The crucial element constituting the core of this article is the analysis of the selected preludes for organ. Having taken these compositions into account, one can observe the artistic means that were used by the composer, explore their style and purpose. Apart from organ works, Bruno Stein composed many other vocal, instrumental and vocal-instrumental pieces.
4

Bruno Stein’s Organ Music in the Context of Pedagogical and Musical Activity

100%
Majkrzak B.
Kwartalnik Młodych Muzykologów UJ
|
2018
|
issue 3(38) Eng
25-46
EN
The purpose of this article is to present the life and organ work of Bruno Stein. The preparation for teaching was very important in Prussia, as it somehow traced a path of development for young people not only willing to be teachers but also musicians in the future. Bruno Stein, when composing organ preludes, recognised this situation and simultaneously became a model teacher as well as a composer of reliable and solid artistic achievements. The crucial element constituting the core of this article is the analysis of the selected preludes for organ. Having taken these compositions into account, one can observe the artistic means that were used by the composer, explore their style and purpose. Apart from organ works, Bruno Stein composed many other vocal, instrumental and vocal-instrumental pieces.
5

Introduction to Life and Output of Johann Baptist Schiedermayr1

100%
Bujas J.
Kwartalnik Młodych Muzykologów UJ
|
2018
|
issue 2(37) Eng
63-100
EN
Although nowadays the output of Johann Baptist Schiedermayr is almost completely forgotten, in the 19th century the composer was widely recognized as an author of both sacred and secular music. His compositions were performed mostly in Central Europe, but it should be underlined that the preserved manuscripts display an impressive area in which he must have been known. There are thousands preserved sources that confirm his popularity in the past; therefore, it is disturbing as well as intriguing that Schiedermayr is usually overlooked by scholars investigating music of the early 19th century. In my paper, I present life of the composer, including existing literature that concerns this topic, and I make an attempt to reconstruct his output as hitherto no one have done it. It appears that Johann Baptist Schiedermayr was well-educated and played a crucial role in the musical life of Linz at his time. Besides his achievements as a musician, conductor and teacher, he composed a vast variety of musical pieces, although he focused mostly on church music. Based on the studies done so far, we can assume that he created hundreds of compositions presenting his excellent compositional technique as well as musicality; many of them were also printed. Nevertheless. further research is absolutely necessary in order to broaden knowledge of this brilliant persona and his oeuvre.
6

Samuel Besler (1574–1625) – zarys życia i twórczości1

88%
Wróblewska A.
Kwartalnik Młodych Muzykologów UJ
|
2018
|
issue 4(39)
5-19
EN
Samuel Besler (1574–1625) was born in Brzeg, Lower Silesia. He spent a major part of his life in Wrocław as a cantor at St Bernardine’s Church and then a headmaster of the Holy Spirit school, which belonged to St. Bernardine’s parish. The article presents a biography of the composer including the latest discoveries of the author, made in Wrocław University Library and the State Archive in Wrocław. Biographical information is followed by the short description of Besler’s artistic work in which both symptoms of changes in the music of the early 17th century and manifestation of the composer’s fascination with Gregorian chant are present.
7

Działalność duszpasterska i muzyczna ks. Roberta Gajdy na ziemi kłodzkiej

88%
Prasał A.
Studia Pastoralne
|
2018
|
vol. 14
157-170
EN
The article deals with the activites of Father Robert Gajda (1890–1952) in Kłodzko land in the years 1917–1924. It is based on heretofore unknown source materials from the priest’s personal file in the record office of the former Grand Deanery of Kłodzko as well as mentions in the local press. Father Gajda started his pastoral activities in the county of Kłodzko in mid 1917, when he became chaplain in Ludwikowice Kłodzkie. There he gained a reputation as a zealous priest loved by his parishioners. In the years 1919–1924 he was chaplain in Stary Wielisław, where he combined his priestly duties with academic studies at the Silesian Conservatory in Wrocław as well as activities as a composer. He created 16 of his first works in Stary Wielisław, the most well-known among them being Missa ”Regina pacis”. Those works were mostly performed in Stary Wielisław, but also in Kłodzko and Lądek-Zdrój. Father Gajda also created an arrangement for choir and orchestra to be performed at the mystery plays of the Lord’s Passion in Gorzanów in 1922. He was also involved in the activities of the Cecilian Society of the County of Kłodzko.
8

Znamienici profesorowie i absolwenci królewskich katolickich seminariów nauczycielskich w Pilchowicach i Pyskowicach

88%
Koenig F.
Studia Pastoralne
|
2018
|
vol. 14
142-156
EN
Royal Catholic Teacher Seminars, which first appeared at the beginning of the 19th century as a result of Prussian educational reform, took on an important mission of training future organists. Therefore in many Silesian parishes of the 19th and the first half of the 20th centuries it was a common practice for teachers to be organists at the same time. As it is shown by the experiences of Upper Silesia, teacher seminars were the source of highly qualified church musicians. This resulted from the commitment of very good and skilful music teachers who produced remarkable graduates that later became important figures in Silesian tradition of church music. Among teacher seminars of Upper Silesia that played the most important role in the field of church music particularly noteworthy are the seminars in Pilchowice and Pyskowice. The seminar in Pilchowice existed from 1867 to 1921. Music teachers there were Theophil Halama, Richard Kügele, Wilhelm Osburg, Viktor Kotalla and Franz Werner. The most famous graduates of this seminar in the field of music were Ryszard Gillar, Karol Hoppe and Karl Bauch. The seminar in Pyskowice functioned from 1849 to 1922. Its most prominent music teachers were Józef Nachbar, Paul Gaide, Erdmann Emanuel Wittor, Paul Woehl, Hans Cisner and Vinzenz Laska. Among many graduates of this seminar were Max Borowka, Paul Kraus, Wilhelm Masse, Ernst Gratza, Franz Leischner, Erich Lokay and already mentioned Erdmann Emanuel Wittor.
9

Samuel Besler (1574–1625): The Introduction to Life and Art1

88%
Wróblewska A.
Kwartalnik Młodych Muzykologów UJ
|
2018
|
issue 4(39) Eng
5-19
EN
Samuel Besler (1574–1625) was born in Brzeg, Lower Silesia. He spent a major part of his life in Wrocław as a cantor at St Bernardine’s Church and then a headmaster of the Holy Spirit school, which belonged to St Bernardine’s parish. The article presents a biography of the composer including the latest discoveries of the author, made in Wrocław University Library and the State Archive in Wrocław. Biographical information is followed by the short description of Besler’s artistic work in which both symptoms of changes in the music of the early 17th century and manifestation of the composer’s fascination with Gregorian chant are present.
10
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Ksiądz Michał Winiarz SDB (1911–1988), proboszcz parafii w Skrzatuszu i kustosz sanktuarium w latach 1965–1972. Życie i twórczość

63%
Wąsowicz J.
Rocznik Skrzatuski
|
2019
|
vol. 7
97-120
PL
Ksiądz Michał Winiarz należał do grona wyróżniających się muzyków salezjańskich. W ciągu swojego twórczego życia komponował pieśni i piosenki religijne, był autorem scenariuszy krótkich form teatralnych, dyrygentem chórów i orkiestr dętych. Swoje muzyczne pasje wykorzy¬stywał także w pracy duszpasterskiej. Posługiwał na wielu salezjańskich parafiach, a w latach 1965–1972 był proboszczem parafii pw. Wniebowzięcia NMP w Skrzatuszu oraz kustoszem tamtejszego sanktuarium Matki Bożej Bolesnej. Był bardzo dobrym administratorem powierzonej swojej pieczy wspólnoty, który dbał o jej rozwój duchowy i materialny. Po skończonej kadencji proboszcza ks. Winiarz pracował jeszcze w Pile i Gdańsku, gdzie zmarł w 1988 r.
EN
Fr Michał Winiarz was one among outstanding Salesian musicians. In his artistic life he composed religious hymns and songs, was an author of screenplays to short theater forms, a conductor of choirs and bands. His musical passion he used also in pastoral work. He worked in many Salesian parishes, in years 1965–1972 he was a parish priest in the Assumption of Our Lady parish in Skrzatusz and the custodian of the sanctuary. He was an outstanding administrator of the community entrusted to him, who cared for its spiritual and material development. After finishing his term of office as a parish priest, Fr Winiarz has worked in Pila (Piła) and Gdansk (Gdańsk), where he died in 1988.
11

Prosoodiast meloodiani – eestikeelse Piibli proosatekstil pohineva uhehaalse a cappella kirikulaulu ehk eesti puhalaulu metodoloogia

63%
Joks E.
Mäetagused
|
2017
|
vol. 68
53-82
EN
The most widespread Estonian Christian chant is Lutheran chorale, which is based on a text of strophic verses, in which all verses can be sung with the same tune. The roots of the written tradition of the Western Christian chant (9th–10th cc.), however, are in the prose text of the Latin Bible. Nowadays a chanted vernacular prose text from the Bible or vernacular plainchant has found its way to the Lutheran repertoire. The article demonstrates how consideration of the parameters of Estonian prosody can contribute to the creation and practice of Estonian plainchant. In other words, the article describes a system of principles following which the stylistically versatile Estonian plainchant is created. The styles of vernacular plainchant are: (1) contemplative, (2) declarative, and (3) free style. The Estonian or vernacular plainchant can be defined either through the categories of linguistics or those of Christian piety. In terms of linguistics, the vernacular plainchant follows the three parameters of prosody: (1) the temporal parameter, (2) the dynamic parameter, and (3) the intonation parameter, while pronouncing the texts of the Holy Scriptures and realising as well as considering these three parameters in shaping the melodic information and bearing it in mind in performance. In terms of Christian piety, the vernacular plainchant is a monodic musical a cappella pronunciation of the unaltered prose texts of the Holy Scriptures, which is based on prayerful concentration and/or sacred conviction, and is trying to follow in every point the authority of the Word of God and consider the prosodic peculiarities of a particular language. The contemplative style is based on “switching off” the personal prosodic intonations of the text. To a certain extent the result resembles a phenomenon that is known in music performance as “recitation”. However, it differs from recitation, because there is no intention of a performer to express him- or herself through music. The result that is similar to recitation happens simply because the performer begins to say the syllables at the same height without any intention to sing. Melodic formulas are then applied to this recitation-like contemplative talking. There are two kinds of melodic formulas in Western plainchant: (1) formulas with accentual cadences, and (2) formulas with cursive cadences. Accentual cadence takes into consideration the prosodic principles of Latin as well as other Indo-European languages in which an accented syllable is usually perceived as the longest syllable of a word. This means that the accented syllables are always marked with dominant notes of a cadence. Cursive cadence, on the other hand, always applies the same amount of syllables in the cadences without any accentual considerations. Estonian prosody differs significantly from Indo-European prosody, as the accented syllable is not always the longest syllable of the word. Therefore, in Estonian formula-based plainchant a cursive principle should be preferred. While the contemplative style stands on “switching off” personal prosodic interpretation, the declarative style attempts to achieve the opposite: personal conviction in pronouncing the text should be enhanced and extracted as a melody. The free style is a further development of the declarative style, in which the composer decorates the melody according to his or her personal creativity and taste. Describing the contemplative, declarative, and free styles of Estonian plainchant showed that we are dealing with a genre of extensive possibilities, which appreciates our mother tongue, recognises the tradition from which our musical culture springs, and gives a dignified position to the core text of the Estonian language and culture – the Bible.
12
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К ВОПРОСУ О МУЗЫКАЛЬНОЙ КУЛЬТУРЕ ПШЕМЫСЛЯ ПЕРВОЙ ПОЛОВИНЫ ХІХ ВЕКА

63%
Новакович М.
Ars inter Culturas
|
2016
|
issue 5
305-316
EN
The article is devoted to the musical life of Przemysl, which in the first half of the nineteenth century was the area of cultural borderland, where different cultural identities were constructed, particularly Ukrainian. In the Greek Catholic Church the singing school was established, and in 1829 the choir, headed by wellknown Czech composer Alois Nankе was formed. An example for Nankе and his students, among whom was the famous Ukrainian composer subsequently M. Verbitsky, were spiritual choral concerts of the famous Ukrainian composer D. Bortniansky. The music by Bortniansky became an excellent example of creativity for Ukrainian composers of the nineteenth century in Galicia.
13
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Poglądy Stefana kardynała Wyszyńskiego na rolę muzyki w Kościele

63%
Ropiak S.
Studia Elbląskie
|
2021
|
vol. 22
365-385
EN
Stefan Card. Wyszyński, Primate of Poland, expressed his views on music during his speeches and sermons, especially to organists and church choirs. It follows from them that the basic source of music in the Church is the contemplative celebration of the Mystery of Faith. Music is to be performed first of all for the glory of God and secondly for the benefit of people. Cardinal Wyszyński considered as music worthy of the Lord’s temple only that musicwhich is directed to the adoration of the Creator’s majesty and arises from the contemplation of the Incarnate Word of God. Chorale, church singing as well as organ music have a therapeutic meaning, as they calm shattered emotions and help to focus scattered thoughts. Music with true artistic qualities soothes pain and suffering, gives solace, awakens hope and joy.The creators and performers of music should shape their Marian spirituality so that they can fulfil their honoured vocation well. The service in the celebration of the Holy Sacrifice demands from church musicians an exemplary life, a good knowledge of the liturgy and a high artistic level. According to Cardinal Wyszyński, the need to cultivate folk singing, which is an expression of piety and patriotism, is still valid. It is also connected with the development of new musical forms growing out of Christian culture.
PL
Prymas Polski Stefan kard. Wyszyński wyrażał swoje poglądy o muzyce podczas swoich przemówień i kazań, zwłaszcza do organistów i chórów kościelnych. Wynika z nich, że podstawowym źródłem muzyki w Kościele jest kontemplacyjne celebrowanie Misterium wiary. Muzyka w pierwszej kolejności ma być wykonywana na chwałę Boga, a w drugiej na pożytek ludzi. Kard. Wyszyński uważał za muzykę godną świątyni Pańskiej tylko tę, która ukierunkowana jest na uwielbienie majestatu Stwórcy i wyrasta z kontemplacji Wcielonego Słowa Bożego. Chorał, śpiew kościelny, a także muzyka organowa mają terapeutyczne znaczenie, gdyż uciszają rozbite emocje i pomagają w skupieniu rozbieganych myśli. Muzyka o prawdziwych znamionach sztuki łagodzi ból i cierpienie, daje ukojenie, budzi nadzieję i radość. Twórcy i wykonawcy muzyki winni kształtować swą duchowość maryjną, tak by dobrze wywiązywać się ze swego zaszczytnego powołania. Posługa w celebracjach Najświętszej Ofiary domaga się od muzyków kościelnych wzorowego życia, dobra znajomości liturgii i wysokiego poziomu artystycznego. Według kard. Wyszyńskiego wciąż aktualna jest potrzeba pielęgnowania śpiewu ludowego, który stanowi wyraz pobożności i patriotyzmu. Łączy się to także z rozwojem nowych form muzycznych wyrastających w chrześcijańskiej kultury.
14
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Some observations on the VatS 18 and BoIC Q19 Settings of the Antiphon Da Pacem: Were They Composed by Costanzo Festa?

63%
Odoj W.
Hudební věda (Musicology)
|
2014
|
vol. 51
|
issue 1-2
115-132
XX
Studie se zabývá novými zjištěními v případě uvedených rukopisů a možností, že jako autora antifony Da Pacem je možno určit Costanza Festu.
15
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Marek Bebak, „Franciszek Lilius. Życie i twórczość na tle epoki”, Kraków 2018 Musica Iagellonica (= Acta Musicologica Universitatis Cracoviensis XXXv), ss. 460. ISBN 978-83-7099-230-9

63%
Przybyszewska-Jarmińska B.
Muzyka
|
2021
|
vol. 66
|
issue 4
143-148
16
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Oficium svaté Ludmily v rukopisech kláštera sv. Jiří v Praze

63%
Kolář F.
Hudební věda (Musicology)
|
2014
|
vol. 51
|
issue 1-2
53-88
XX
Studie se zabývá chorálním repertoárem hodinkového oficia ke svaté Ludmile v hudebních pramenech svatojiřského kláštera na Pražkém hradě. Součástí je notová edice i srovnání obsahu jednotlivých pramenů.
17
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Posługa muzyka kościelnego w świetle Musikalisch-liturgisches Wörterbuch Bernharda Kothego (1821–1897)

63%
Pawlik K.
Liturgia Sacra. Liturgia - Musica - Ars
|
2021
|
vol. 58
|
issue 2
141-159
EN
In the tradition of the Catholic Church, music is an indispensable and integral part of its solemn liturgy. This statement is a reminder of a centuries-old belief in the unity of these two realities. Over the centuries, various causes have resulted in periods of better or worse condition of liturgical music. The second half of the 18th century and the beginning of the 19th century were considered a time of crisis. It manifested itself primarily in the low level of education, carelessness and frolics of church musicians, as well as the lack of appropriate musical literature and drawing on secular models. In response to these phenomena, the Allgemeiner Cäcilienverein society was founded in 1868. This movement brought together clergy and laity concerned about the state of contemporary church music. Particular emphasis was placed on education. For this purpose, collections of music literature, textbooks and magazines began to be developed. One of such items is Bernhard Kothe's Musikalisch-liturgisches Wörterbuch dictionary published in 1890. It is an organized collection of information presented in the form of basic entries with their descriptions, which gives it the form of a lexicon. It contains not only general music and liturgical knowledge, but also the author's thoughts on the ministry of a church musician.
PL
W tradycji Kościoła katolickiego muzyka stanowi nieodzowną i integralną część jego uroczystej liturgii. To stwierdzenie przypomina o trwającym od wieków przekonaniu o jedności tych dwóch rzeczywistości. Na przestrzeni wieków różne przyczyny powodowały okresy lepszej lub gorszej kondycji muzyki liturgicznej. Drugą połowię XVIII i początek XIX wieku przyjęło się uważać za czas kryzysu. Przejawiał się on przede wszystkim w niskim poziomie wykształcenia, niedbalstwie i swawoli muzyków kościelnych, a także braku odpowiedniej literatury muzycznej i czerpaniu ze świeckich wzorców. W odpowiedzi na te zjawiska w 1868 roku powstało towarzystwo Allgemeiner Cäcilienverein. Ruch ten zrzeszał duchownych i świeckich zaniepokojonych stanem ówczesnej muzyki kościelnej. Szczególny nacisk położono na edukację. W tym celu zaczęto opracowywać zbiory literatury muzycznej, podręczniki, czasopisma. Jedną z takich pozycji jest wydany w 1890 roku słownik Musikalisch-liturgisches Wörterbuch Bernharda Kothego. Jest to uporządkowany zbiór wiadomości ujętych w formie podstawowych haseł wraz z ich opisami, co nadaje mu formę leksykonu. Zawiera on nie tylko ogólną wiedzę muzyczno-liturgiczną, ale także przemyślenia autora na temat posługi muzyka kościelnego.
18

Nowa instrukcja Konferencji Episkopatu Polski o muzyce kościelnej

51%
Tyrała R.
Studia Pastoralne
|
2018
|
vol. 14
71-85
EN
During its meeting on 14 October 2017 in Lublin the Polish Episcopal Conference issued a new instruction on church music which has been being introduced in the Polish dioceses since that day. It is worthwhile to mention that the former and the first Instruction of the Polish Episcopate on Liturgical Music after the 2nd Vatican Council was issued i n 1979, b e t he result of t he conciliar revival of liturgy and music incorporated in it. This first instruction was approved in the context of post-conciliar reform, and from the time perspective it proved its expediency although in certain points it was certainly not uniformly and fully observed whereas in others somewhat outdated. The new Instruction of the Polish Episcopal Conference on Church Music was preconditioned by the church musicians from all over Poland who are the members of the Association of Church Musicians, and was later perfected by the Sub-Commission of Church Music of the Polish Episcopal Conference. To produce the Instruction in its final form the voices of the bishops responsible for the liturgy and music in the Polish dioceses were carefully considered. Preparation of the new Instruction lasted over 5 years and it is history which will judge whether all the matters were properly dealt with. We can say with absolute certainty that no instruction is able to resolve all the problems which occur in the daily preparation of liturgy and liturgical music. However, the instruction has surely every chance to re-settle certain matters of the entire Polish Church which is what probably the bishops were counting on while approving this document. The new Instruction consists of 12 chapters, introduction and summary. It encompass 66 points with numerous sub-points. The successive chapters are: I. General Rules; II. Musical Functions in Liturgy; III. Music in the Liturgy of the Holy Mass; IV. Music in Liturgical Year; V. Singing the Liturgy of the Hours; VI. Music in the Liturgy of the Holy Sacraments and Sacramentals and during Services; VII. Music in Liturgy Broadcast by Media; VIII. Instrumental Music; IX. Songbooks and Supporting Materials; X. Concerts of Religious Music; XI. Musical Education and Formation; XII. Commissions of Sacred Music and Other Supporting Organizations. All of these issues are thoroughly discussed in the Instruction with a very important note at the end, in which we can read: “[…] the bishops encourage the Polish Association of Church Musicians to prepare a detailed commentary to this Instruction, amongst those the most desirable ones seem to all explanations and focus on all the aspects of the pastoral care of the Church for sacred music” (Instruction of the Polish Episcopal Conference on Church Music, no. 64). The above mentioned note seem particularly important due to the fact that it is impossible to include everything in one document so as to make it substantive and concise. Therefore the Polish Association of Church Musicians, which initiated this new norm in the Polish Church, is about to add the required commentary. It seems a good and proper way of procedure. This article presents the New Instruction in its entirety so as to demonstrate its tremendous role. It also discusses the problems included in the said document. The choice of the subject and its rendition in the jubilee book of Rev. Professor Antoni Reginek PhD Habilitatus stem from the fact that the jubilee celebrator is one of the creators of the Instruction – first as the Chairman of the Polish Association of Church Musicians, then as a Consultant of the Sub-Commission for Church Music – thus it seems perfectly logical that the topic is meaningful and important to him. The author’s wish is to make this article a peculiar kind of tribute paid to the Reverend Professor himself and the token of immense gratitude for Rev. Reginek’s knowledgeability, benevolence and inestimable, friendly and long-lasting cooperation to be hopefully continued in the future.
19
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Działalność muzyczna ojców bernardynów w sanktuarium Matki Bożej Budosławskiej na Białorusi

51%
Ivashkevich T.
Studia Sandomierskie. Teologia-Filozofia-Historia
|
2020
|
vol. 27
171-183
EN
The church in Budslau is the main Belarusian Marian center. From the beginning of its existence (16th century), Budslau was associated with the activities of the Bernardine order. They remained faithful custodians and promoters of religious music until the mid-19th century. After the suppression of the order (1858), Budslau church was passed to the diocesan clergy. The Bernardines returned to the sanctuary in Budslau in 1996. The importance of the sanctuary increased greatly after inclusion of the Budslau Fest into the UNESCO list 2018.The Bernardine fathers left behind an unexplored legacy at the sanctuary in Budslau. The article points to three testimonies: the musical ensemble, the antiphonary, and the organ. The preserved documents allow for an incomplete reconstruction of the ensemble’s history, a partial reconstruction of a list of musicians, and the inventory of music sheets and instruments. The increasing repression did not allow the ensemble to be restored. The musical group in Budslau existed for about 100 years (from the mid-18th to the mid-19th century). The liturgical manuscript, described as an antiphonary, is currently stored in the National Historical Museum of the Republic of Belarus in Minsk (ref. КП 13633) and dates from the 18th century. The organ built in 1783 by Nikolaus Jantzen has survived to this day. This 20-voice instrument has undergone little documented restoration. It is known that some changes were made at the beginning of the 20th century by Piotr Wojciechowicz and around 1923 the works on the Budslau organ were carried out by Wacław Biernacki’s company.
PL
Kościół w Budsławiu jest głównym białoruskim ośrodkiem maryjnym. Od początku istnienia (XVI w.), miejscowość ta była związana z działalnością zakonu bernardynów. Pozostawali oni wiernymi kustoszami i promotorami religijnej kultury muzycznej aż do połowy XIX w. Po kasacji zakonu (1858) świątynię oddano duchowieństwu diecezjalnemu. Bernardyni powrócili do budsławskiego sanktuarium w 1996 r., a jego rangę znacząco podniosło wpisanie Festynu Budsławskiego na listę UNESCO w 2018 r.Ojcowie bernardyni pozostawili po sobie nieprzebadane jeszcze dziedzictwo związane z sanktuarium w Budsławiu. W artykule wskazano na trzy świadectwa historyczne, jakimi są: zespół muzyczny, antyfonarz i organy. Zachowane dokumenty pozwalają na niepełną rekonstrukcję dziejów zespołu, częściowe odtworzenie listy muzyków oraz inwentarza partytur i instrumentów. Nasilające się represje nie pozwoliły na odbudowę zespołu. Kapela muzyczna w świątyni budsławskiej funkcjonowała ok. 100 lat (od połowy XVIII do połowy XIX w.). Opisany rękopis liturgiczny przechowywany obecnie w Narodowym Muzeum Historycznym Republiki Białorusi w Mińsku (sygn. КП 13633), znany jako antyfonarz, pochodzi z XVIII w. Strona tytułowa, zawartość i styl pisma nutowego wskazują jego bernardyńską proweniencję. Do dziś zachowały się organy zbudowane w 1783 r. przez Nikolausa Jantzenego. Ten 20-głosowy instrument był poddawany mało udokumentowanym renowacjom. Wiadomo, że pewnych zmian dokonał na początku XX w. Piotr Wojciechowicz, natomiast ok. 1923 r. prace przy organach budsławskich prowadziła firma Wacława Biernackiego.
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Muzyka kościelna w archidiecezji krakowskiej w latach 1997–2017

51%
Tyrała R.
Ruch Biblijny i Liturgiczny
|
2018
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vol. 71
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issue 3
EN
This article deals with the institutions and events that in 1997–2017 had a decisive impact on Church music in the Archdiocese of Krakow. It discusses the activity of the Archdiocesan Church Music Committee, the Archdiocesan Music Schools of the First and Second Level, the Interuniversity Institute of Church Music, and major liturgical events in which three popes participated.
PL
Artykuł omawia instytucje i wydarzenia, które w latach 1997–2017 miały decydujący wpływ na muzykę kościelną w archidiecezji krakowskiej. Omówiona została działalność Archidiecezjalnej Komisji Muzyki Kościelnej, Archidiecezjalnej Szkoły Muzycznej I i II stopnia, Międzyuczelnianego Instytutu Muzyki Kościelnej, a także wielkie wydarzenia liturgiczne z udziałem trzech papieży.
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