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Tabulatura z historią. O mało znanym XVII-wiecznym rękopisie z Biblioteki Uniwersyteckiej w Poznaniu

100%

Kowal M.

Kwartalnik Młodych Muzykologów UJ

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2021

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issue 4(51)

5-57

EN

Research on French lute music is currently a rather rarely discussed topic among Polish musicologists. The reason for this is probably the fact that most manuscripts with lute tablatures have already been described and the repertoire is quite wellknown. However, it turns out that Polish libraries still store little-known manuscripts, which are interesting not only because of the music, but also because of the non-musical material they contain. The copy of 17th-century French lute music stored by the University Library in Poznań, where apart from music, there are also non-musical elements showing its fascinating history, is an example of this. The article presents the preliminary results of the research into the structure, content, provenance and dating of this manuscript. In the first part, the author focuses on the physical features of the tablature source, and then she characterises its musical and non-musical content. The work is also accompanied by photographs of the manuscript and tables presenting its structure and repertoire concordances.

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An inconspicuous relative of the Speciálník Codex. On the dating and structure of the manuscript CZ–Pu VI C 20a:

51%

Hlávková L.

Hudební věda (Musicology)

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2020

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vol. 57

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issue 4

436-453

EN

The music manuscript CZ–Pu VI C 20a, known as Racek’s collection (after the Czech humanist Jan Racek z Chotěřiny/Johannes Rodericus a Chotěřina), belongs to the main corpus of Bohemian Utraquist sources. It contains a miscellaneous selection of plainchant, cantiones, and polyphony, but precise dating of this source is still lacking. This study presents new findings based on a codicological analysis of the manuscript. The dating of the paper points to four principal stages in the creation CZ–Pu VI C 20a: ca. 1450 (XV), ca. 1460 (VII–X), after 1490 – ca. 1510 (II, IX, XIII–XIV) and ca. 1520 – 1530s (I, III–VI, with later additions up to ca. 1550). The third chronological layer of the manuscript is contemporary with gatherings in the Speciálník Codex (CZ–HKm II A 7) written by the scribe B in the 1490s. Both manuscripts share twelve compositions as well as the same layout and a specific style of black and white initials. The collection was most likely connected with the school at the church of St Nicholas in the Lesser Town of Prague. This hypothesis is supported not only by the local context of some compositions shared with the Speciálník Codex – Patrem malostranské (Lesser Town Patrem) and Patrem Motyčkovo (Motyčka’s Patrem) – but also by the close connection between the probable last scribe of CZ–Pu VI C 20a and Jan Racek. Racek was employed as a school rector in 1540 and served as a city scribe in the Lesser Town from 1542. The manuscript, known to scholars already in the nineteenth century but neglected in research, is an important source for understanding the musical culture of the Bohemian lands in the period between ca. 1450 and 1550.

CS

Hudební rukopis CZ–Pu VI C 20a náleží k hlavnímu korpusu pramenů utrakvistického původu a je znám také jako tzv. Rackův sborník (podle českého humanisty Jana Racka z Chotěřiny). Obsahuje různorodý výběr chorálních zpěvů, písní (cantiones) a vícehlasých skladeb, přesná doba vzniku pramene dosud nebyla známá. Tato studie představuje nová zjištění založená na kodikologické analýze rukopisu. Datování papíru odhalilo čtyři hlavní etapy, ve kterých CZ–Pu VI C 20a vznikal: kolem roku 1450 (XV), kolem roku 1460 (VII–X), po roce 1490 – kolem roku 1510 (II, IX, XIII–XIV) a kolem roku 1520 – 30. léta 16. století (I, III–VI, s pozdějšími dodatky až do doby kolem roku 1550). Třetí chronologická vrstva je současná se složkami Kodexu Speciálník (CZ–HKm II A 7), které opisoval písař B v 90. letech 15. století. V obou rukopisech se nachází dvanáct shodných skladeb, oba dále sdílejí stejný vizuální styl zápisu vícehlasé hudby a ojedinělé černobílé iniciály. Sborník CZ–Pu VI C 20a pravděpodobně souvisel s činností školy u kostela sv. Mikuláše na pražské Malé Straně. Tuto hypotézu podporují nejen lokální kontext některých skladeb dochovaných v obou rukopisech – Patrem malostranské a Patrem Motyčkovo – ale též blízké vazby pravděpodobně posledního písaře rukopisu k Janu Rackovi. Ten působil jako rektor malostranské školy kolem roku 1540 a od roku 1542 je doložen jako městský písař. Rukopis, který byl znám odborné veřejnosti již od 19. století, ale který dosud unikal pozornosti muzikologického výzkumu, je důležitým pramenem pro pochopení hudební kultury českých zemí v období zhruba mezi lety 1450 a 1550.

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Rerum patris Pii Hancke. O muzykaliach nyskiego dominikanina

38%

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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1 Hereditas Monasteriorium

1 Hudební věda (Musicology)

1 Kwartalnik Młodych Muzykologów UJ

1 Hauptmn-Fischer E.

1 Hlávková L.

1 Kowal M.

1 2021

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Tabulatura z historią. O mało znanym XVII-wiecznym rękopisie z Biblioteki Uniwersyteckiej w Poznaniu

An inconspicuous relative of the Speciálník Codex. On the dating and structure of the manuscript CZ–Pu VI C 20a:

Rerum patris Pii Hancke. O muzykaliach nyskiego dominikanina