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1

ON THE PLAYING STYLE AND REPERTORY OF POLISH BAGPIPE PLAYERS

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Przerembski Z. J.
Musicology Today
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2006
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vol. 3
167-188
EN
The earliest sources of history of bagpipes in Poland mention mainly the circumstances under which they were played. Iconographic sources confirm the presence of the instrument in Poland from at least the first half of the 14th century. Two centuries later, chronicles mention bagpipe players in cappellas employed at the courts of kings and nobles, sometimes also in city and military bands. From such sources as tax censuses and literature of the period it is known that bagpipe players provided dance music during weddings and parties at city and country inns, accompanied religious processions and welcoming celebrations. Traces of information about the repertory of Polish bagpipe players during the first Commonwealth of Poland and Lithuania are found in extant compositions, as reminiscences of bagpipe melodies, mostly in works associated with pastoral themes. Particularly in the 17th and the first decades of the 18th centuries Polish bagpipe music was fashionable. Among those who appreciated it were Ph. Telemann and J. S. Bach. The nature, repertory, performances styles, and place of bagpipe music in later epochs are also described, taking into account changes in the contemporary folklore practice.
2

THE 'COMICI ITALIANI' ENSEMBLE AT THE WARSAW COURT OF AUGUSTUS III

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Zorawska-Witkowska A.
Musicology Today
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2005
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vol. 2
72-105
EN
The 'comici italiani' troupes, active both in their native land and in many countries of the 17th- and 18th-century Europe, specialized in performing 'commedia dell'arte' and, at a later stage, Italian literary comedies. Although strictly musical works were rare in their repertory, music, singing and dance played a significant role, whereas the intermezzi and the operas presented by these companies constitute characteristic variants of the genre. The paper provides abundant source material on the subsequent visits of the ensemble of 'comici italiani' of Augustus III in Warsaw (1738-1739; 1740; 1748-9; 1754), its actors, repertoire (among others Carlo Goldoni's plays and a satirical opera by Salvatore Apollini) and the circumstances surrounding their performances. The authoress argues that the Warsaw repertoire shows the beginning of a conflict between the improvised comedy and the literary comedy represented by the great achievements of Goldoni and his imitators, and that the theatres of Augustus III, both in Warsaw and in Dresden, were among the first do disseminate the latter genre north of the Alps.
3

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

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Przybyszewska-Jarminska B.
Musicology Today
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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.
4

FACTS ABOUT CONTRAFACTA. NETHERLANDISH-ITALIAN MUSIC IN SAXON-SILESIAN SOURCES FROM THE LATE FIFTEENTH CENTURY

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Wieczorek R. S.
Musicology Today
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2004
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vol. 1
16-37
EN
Whereas in Central Europe the repertory of the second half of the 16th and in 17th centuries (manuscripts, prints, contrafacta, paraphrases and parodies) testifies to the great popularity of Italian, French and Netherlands music, the scope and mechanisms of the reception of foreign repertory in the 15th century are still not well known. Traces of such reception are present in sources connected with Central European universities (Vienna, Leipzig, Cracow). The analysis of three manuscripts from the late 15th century provides more information on the subject. This study is preceded by a preview of foreign repertory in Saxon-Silesian codices. After examining the general characteristics of Central-European contrafactum procedure, the attention is focused on French-language chansons, then Latin motets and Mass movements. In conclusion, several hypotheses on unica are proposed.
5

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

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Przybyszewska-Jarminska B.
Musicology Today
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2006
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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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