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1

FROM THE LUTHERAN SELECTION: THE SURVIVING REPERTORY OF VOCAL-INSTRUMENTAL RELIGIOUS MUSIC OF THE MUSICIANS OF THE POLISH VASAS

100%
Przybyszewska-Jarminska B.
Musicology Today
|
2005
|
vol. 2
59-71
EN
All music in prints and manuscripts from the collection of the royal ensemble at the court of the Vasa dynasty has been lost, however a part of this repertoire - vocal-instrumental religious music composed towards the end of the reign of Sigismund III, the reign of his sons Wladyslaw IV and Jan Kazimierz, survived mostly in handwritten copies destined for the use of Lutheran communities. Thus, almost all extant repertory of the Roman Catholic court of the Polish Vasas is preserved thanks to the Lutherans, albeit only those works, which could be adapted to their doctrine and liturgy - by changing the texts, language (from Latin to German) and selections made of the five-part Mass cycle. This repertory is composed of over 100 works (over 80 church concertos, 7 Biblical dialogues, a few arie spirituali, 8 Masses, fragments of other Masses), preserved in manuscripts written in Gdansk and by foreign copyists working for the Swedish royal ensemble, Duke's ensemble from the Gottorf castle in Schleswig and others.
2
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THE MANUSCRIPT BOOK OF MUSIC SCORES D-W COD. GUELF. 34.7 AUG. 2O AS THE SOURCE OF INSTRUMENTAL MUSIC BY FRANCISCUS LILIUS AND OTHER COMPOSERS WITH LINKS TO THE 17TH-CENTURY COMMONWEALTH OF POLAND & LITHUANIA (Polish title - below)

100%
Przybyszewska-Jarminska B.
Muzyka
|
2008
|
vol. 53
|
issue 4(211)
139-150
EN
(Title in Polish - 'Rekopismienna ksiega partytur D-W Cod. Guelf. 34.7 Aug. 2o jako zrodlo muzyki instrumentalnej Franciszka Liliusa oraz innych tworcow zwiazanych w XVII wieku z Rzeczpospolita'). The Herzog-August-Bibliothek in Wolfenbüttel holds a manuscript with the reference number Cod. Guelf. 34.7 Aug. 2o - 'Partitur-Buch voll Sonaten, Canzonen, Arien, Allemanden, Couranten, Sarabanden, Chiquen etc. mitt 1.2.3.4.5.6.7.8 Instrumenten (...) Gotha, 1662', now available online. This is an anthology comprising about 100 instrumental compositions, mainly by artists working in central Germany, compiled by Jakob Ludwig (1623-1698). Ulrich Konrad was most probably the first to cite this work in musicologial literature. 'Partitur-Buch'- includes works by musicians who at some stage of their life had links to the Commonwealth of Both Nations. These are: Giovanni Valentini, who had worked as an organist at the court of Sigismund III during the years 1604-14, but who, by the time the collection was being compiled, was famous as an imperial musician and chapel master of many years' standing; Adam Drese, who was a pupil of Marco Scacchi, the chapel master of King Ladislaus IV and who, after his return from Poland, became himself a chapel master at the ducal court of Weimar; and Nathanael Schnittelbach, born in Gdansk, a violin virtuoso who from 1655 was employed as a musician by the city of Lübeck (the 'Sonata' for solo violin and basso continuo, preserved in the scorebook, is one of Schnittelbach's compositions known to us). 'Aria a 3. 2 Violin(i) e Gamba Francisci Lilii', included in the collection, is of particular interest to scholars researching music in the Polish-Lithuanian Commonwealth. According to the current state of our knowledge, this is the only extant composition for an instrumental ensemble by this artist, who initially had been one of the musicians at the court of Sigismund III, and who from 1630 until his death (in 1657) was the chapel master of the vocal-instrumental ensemble at Wawel Cathedral. The composition is particularly important in providing comparative material for research into the works of this genre by Lilius' pupil, Marcin Mielczewski. 'Partitur-Buch' also contains single works, signed with names which are undoubtedly misspelt; this might suggest that the composers were of Polish origin. The items in question are another 'aria', by a composer whose name was 'Mometschki' or 'Mometski', and a sonata with the inscription 'cujusdam Zunucki'. At the present stage of research it would be premature to put forward any hypotheses as to what the actual names of these musicians might possibly be.
3

ITALIAN 'SCHOOLS' OF POLYCHORALITY FROM THE PERSPECTIVE OF THE COURTS OF THE POLISH VASAS AND THE AUSTRIAN HABSBURGS

100%
Przybyszewska-Jarminska B.
Musicology Today
|
2006
|
vol. 3
53-74
EN
The aim of the article is to demonstrate the distinctiveness of different Italian schools of polychorality and their influence on local creative output in Central Europe. Musical repertory of the court of Polish kings during the last years of the reign of Zygmunt III, the reign of Wladyslaw IV and the beginning of Jan Kazimierz's reign showed a clear opposition of polychorality in prima and seconda pratica. The first was practiced by Giovanni Francesco Anerio and Marco Scacchi, who were Asprilio Pacelli's successors to the position of the royal maestro di capella, as well as in some compositions of local musicians influenced by them, e.g. Bartlomiej Pekiel and Marcin Mielczewski. Apart from the two known exceptions constituted by Mielczewski's compositions for 'Venetian' vocal-instrumental choirs of varying registers, the extant polychoral output in the old style and in concertato style from the courts of Polish Vasas in the second quarter of the seventeenth century displays a striking preference for the practice of employing identical choirs. This was the mark imprinted on the Vasa musicians by the maestri di cappella from Rome - Luca Marenzio, Pacelli, Anerio and Scacchi. The analysis of this repertoire permits to discern its characteristic features and compare it with the polychoral music composed at the court of Habsburgs at that time.
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