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Tytuł:: „Mentis oculos levavit”. Obrazowe aspekty mistyki Doroty z Mątów
“Mentis oculos levavit”. The pictorial aspects of the mysticism Dorothy’s of Montau
Autorzy:: Jakubek-Raczkowska, Monika
Powiązania:: https://bibliotekanauki.pl/articles/2167814.pdf
Data publikacji:: 2013-12
Wydawca:: Wyższe Seminarium Duchowne Diecezji Elbląskiej w Elblągu
Tematy:: medieval art
women mystics
vision
image
The State of the Teutonic Order in Prussia
Dorothy of Montau
Opis:: The medieval iconography of Dorothy of Montau is exceptionally scanty. The oldest image of her is dating back to the late 15th century, and the possible reception of her visions in the art remains a hypothesis, despite of their creative suggestibility, that could have influenced the artistic creation. On the other hand, many of her visions reveal the dependence on earlier imagery sources, that with use of knowledge of artistic phenomena can be recognized. This is the task for art historian. Such research is of great potential, as the revelations of Dorothy include sensual aspect (characteristic of the Late-medieval feminine mysticism), sensitivity for pictorial details and evidences for her individual sense of beauty. The paper analyses visual aspects of Dorothy’s mysticism, above all basing on treatises of Johannes von Marienwerder: Liber de festis, Septililium, Vita latina. Discussed are types of revelations, their imagery elements and the way of their perception and description by the Prussian visionary. Considering those revelations against the background of sacral iconography demonstrates close associations between mystical experience and the experience of the image. It can be seen in the relations between the description of events, persons (appearance, attributes, garment), places, motifs and the popular iconography (Adoration of the Magi, Coronation of the Virgin etc.). The relationship between contemplation of the vision and the emotional reception of devotional images can be also reconstructed. The key for the interpretation of the sources and meaning of Dorothy’s visions is the consideration in context of scholastic epistemology and ars memorativa as well as from the point of view of anthropology of image (external image / sight – internal image / eye – mystic as medium). By this analysis the mental power and mnemonic function of religious imagery can be proved. The questions for character of revelations have to stay unanswered (supernatural mystical vision, appearing in the mind of visionary as the images that are easy to assimilate for her? Subjective realisation of the “dialogue with image” in her imagination through external images? Subconscious choice of those elements from the whole revelation, that were possible to recognize, understand and explain?). Thus, her religious experience, described using canonical sacral images, is a part of phenomenon of mutual relations of art and mysticism in the late Middle Ages.
Źródło:: Studia Elbląskie; 2013, 14; 307-326
1507-9058
Pojawia się w:: Studia Elbląskie
Dostawca treści:: Biblioteka Nauki

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Tytuł:: Thesaurus Musicae Gedanensis, Vol. 3 Balthasar Erben: Ach! dass ich doch in meinen Augen hätte; Ante oculos tuos, Domine; Confitebor tibi, Domine; Habe deine Lust an dem Herren; Sei getreu bis in den Tod
Autorzy:: Erben, Balthasar
Szombara, Justyna
Jasiński, Tomasz
Zbirohowski-Kościa, Witold
Kociumbas, Piotr
Kotłowski, Grzegorz
Powiązania:: https://bibliotekanauki.pl/books/1070517.pdf
Data publikacji:: 2018
Wydawca:: Akademia Muzyczna im. Stanisława Moniuszki w Gdańsku
Opis:: Balthasar Erben (b. 1626 Gdańsk, d.1686 Gdańsk) was one of the most outstanding Gdańsk composers of the second half of the 17th century. Unfortunately, extant documents do not allow for an accurate reconstruction of his musical education, though it is fairly safe to assume that he was initially instructed by local composers in his native city. In the first half of the 17th century, Gdańsk was a leading economic and political hub in the Polish-Lithuanian Commonwealth as well as a dynamic centre of culture, science and art. Active in the city’s main churches – those of St Mary, St Catherine and St John – were musical ensembles, directed by outstanding musicians and composers. Also employed in Gdańsk churches were organists, often educated abroad by the most eminent masters of this instrument and therefore able to play music of the highest quality. When Polish monarchs visited Gdańsk, it was possible to admire music played by the royal ensemble. Some of the royal ensemble members, most notably the Italian kapellmeister Marco Scacchi, for many years maintained contact with Gdańsk musicians. It therefore seems certain that Gdańsk in that period provided excellent conditions for the development of musical talent. In 1652, Erben applied in writing to the Gdańsk City Council for the post of City Kapellmeister. The letter includes references to Erben’s earlier experience, namely his performance before the Polish monarch, as well as a presentation of his own compositions in Gdańsk parish churches. His application was not successful. In their written response, the City Council recommended that he should continue his musical education, and stated that his application for the post of kapellmeister would be deferred for later consideration. Erben’s subsequent letters to the city authorities reveal that for twenty weeks in 1653 he served as an imperial musician at the Imperial Diet in Regensburg. It was there that he most probably met Johann Jakob Froberger, who persuaded him to travel across Europe. Erben’s itinerary took him to Nuremberg, Würzburg, Heidelberg, Frankfurt, Bonn, Cologne, Düsseldorf, thence to the Netherlands, and next via Brabant to Antwerp and Brussels, Zeeland, Flanders, England and France. In a letter written in Paris on 19th February 1655, the composer reports: […] I have had the opportunity to meet so many outstanding masters of my profession that it would be impossible to name even half of them, and so I have to forgo naming any at all. Also in this city I have come into good acquaintance with a royal court musician as well as other virtuosos currently staying here, who always show me undeserved respect, even though I am not half as famous as they are. Active in Paris at the time there were, among others, two excellent harpsichordists: Jacques Champion de Chambonnières and Louis Couperin. During his several months’ stay in that city, Erben no doubt had many occasions to admire the performances of local and visiting virtuosos. Perhaps it was in this period that his attention was drawn to instrumental music. Unfortunately, barely a few of his instrumental compositions have survived to this day Passacaglia, Courante and Sarabande for harpsicord, from a manuscript anthology entitled Französische Art Instrument Stücklein, as well as Sonata sopra ut re mi fa sol la for two violins and basso continuo. Further on in the above-mentioned letter, Erben states his intention to continue his travels, this time to Italy, and requests the Gdańsk city authority for financial support to help him realise this plan. On 10th April 1655, paid out from the city coffers were 225 marks ‘an Balthasar Erben zu fortsetzung seiner Music Kunst.’ It is not known exactly when and where the composer travelled in Italy. However, the next letter to be cited by Rauschning was most probably sent at the end of 1657 and reached Erben in Rome, where he had been staying for a few months. This letter bore news that the position of kapellmeister at the Church of St Mary was now again vacant. Erben immediately expressed willingness to return to Gdańsk and again applied for the post of kapellmeister. This time the composer’s efforts were successful. After over five years of peregrinations, Balthasar Erben returned to his hometown and took up the post of kapellmeister at St Mary’s Church, thus becoming at the same time the City Kapellmeister, which was the most prestigious musical position in Gdańsk. With a now stabilised professional status, the composer decided to marry. In 1658, Erben wedded Anna (1631–1669), the younger sister of the astronomer Johannes Hevelius. The couple had three children (two sons, Johann Jakob and Gottfried, as well as a daughter, Anna Konstancja). As an ambitious kapellmeister, Erben was very demanding of his musicians. Initially he complained about difficult work conditions, and in particular the choir, who – in his opinion – frequently neglected their duties without justification. On 19th January 1659 mayor Adrian von der Linde issued a decree specifying kapellmeister’s scope of authority over the choir and instrumentalists. According to this decree, the kapellmeister’s rights included setting the pitch of every choir singer ‘whichever way he wishes and considers appropriate’, whereas slow and negligent musicians he could dismiss ‘without giving any explanation for the termination of contract.’ The kapellmeister’s responsibilities included not only managing the choir and ensemble as well as the repertoire, but also teaching boys – soprano singers. Initially, Erben taught not four, as had been the norm before, but six or even more young singers. In later years, however, the city’s economic situation took a turn for the worse as a result of wars the Polish-Lithuanian Commonwealth was engaged in as well as diminished demand for Polish grain in Europe. Thus the financial possibilities of the ensemble and its kapellmeister also became limited. In 1664, Erben complained that his family was suffering from poverty and proposed to the City Council several solutions that could remedy the situation. These were as follows: 1. First of all: when a groom wishes to entertain his wedding reception guests with pleasant music requiring particularly good compositions, it can be arranged that the kapellmeister would provide such music, for which he could receive a certain (as the most noble Council sees fit) allowance. 2. On account of the fact that I cannot benefit from the profits of other parish churches, in periods when my church does not need me, I should (and willingly would) conduct music at various events, such as funerals, especially those of members of the Old Town authority. 3. While from burials all church and school officials, also on account of the music, make good profits, the kapellmeister receives little (namely 11 groschen). Over a few years (when the post of kapellmeister was vacant, and no one was applying for this post), the profits of school and other officials increased considerably. This [increase in profits] could be shared [with the kapellmeister]. 4. In so far as all church and school officials, and also the organist Paul Siefert receive a salary from the city coffers, the kapellmeister (who performs his duties in honour of God and the Authorities, and for the community when the Council so needs, and engages with great diligence to organise, conduct and compose for the choir and funerals) receives no remuneration. Therefore, he expresses hope and requests that the most noble Council pay the kapellmeister, as you see fit, a suitable allowance every quarter. Unfortunately, we do not know the official response to the kapellmeister’s suggestion. The city’s cash book entries of subsequent years nevertheless reveal that Erben was paid by the city, in total: 115 marks from April to the end of December 1665, 140 marks in 1666, 60 marks in 1667, and 125 marks in 1668. In addition to fixed allowances for fuel (Holzgeld) and the musical accompaniment for ‘Ordinatio’ (the ordination or appointment of the pastor in various churches), the kapellmeister was also paid 30 marks for providing the music at the funerals of deceased City Council members or their relatives (‘vor die Musicam lugubrem’). From an earlier and previously unknown letter written on 12th October 1665 to the then mayor of Gdańsk Nicolaus von Bodeck, we learn that the composer was applying to take over after his deceased father administration of the unloading and loading of coal and grindstone. Unfortunately, no confirmation has been found of whether Erben received this commission. At the end of the 1660s, changes occurred in Erben’s personal life. That was when, at the age of 38, his first wife died. Her funeral was held on 5th July 1669. Then on 16th November 1670 he married again, this time Anna Maria, the daughter of Adam Albertin (Albert).31 In the years 1674–1675 Erben taught Heinrich Rogge (1654–1701), later an organist at St Mary’s Church in Rostock and public prosecutor. According to Mattheson, another of Erben’s students was Christoph Bernhard (1628–1692). Many scholars, however, rule out this possibility if only on account of the very small age difference between the two composers. Balthasar Erben held the post of Kapellmeister of St Mary’s Church and the City Council ensemble right up to his death. His funeral was held on 3rd October 1686. According to Rauschning, in 1688, the composer’s wife proposed to donate to the City Council autographs of her late husband’s music written for St Mary’s Church, including occasional music written for funerals and weddings. Unfortunately, the Council did not take advantage of this offer and the subsequent fate of the above manuscripts is today unknown. Balthasar Erben’s almost thirty years as St Mary’s Church kapellmeister covered a period of the city’s deteriorating economic and financial situation. Yet despite this, he endeavoured to maintain the ensemble at the highest possible standard. This is testified, for instance, by the mayor’s abovementioned decree of 1659 as well as Erben’s constant efforts to have an appropriate number of boy soprano singers. Evidence of the high level of music performed at St Mary’s Church is also found in the Kapellmeister’s extant compositions. On account of the position he held, Erben’s compositional legacy today include primarily religious vocal-instrumental music to Latin and German texts, several Protestant songs with basso continuo, an aria composed for the abdication of King Jan Kazimierz as well as the aforementioned instrumental compositions. All of the Gdańsk kapellmeister’s extant works, with the exception of one, were found beyond Gdańsk, which is testimony to their popularity in other centres of European culture. Nevertheless, we may assume that all these works were performed in Gdańsk. The largest number of compositions is found in the Gustav Düben collection at the Uppsala University Library. Gustav Düben was a kapellmeister at the royal court in Stockholm. His collection includes 17 of Erben’s works (some in two or three original versions), and is therefore the most important source regarding the music of the Gdańsk kapellmeister. Six of Erben’s works are found at the Staatsbibliothek Preußischer Kulturbesitz in Berlin, one in Hudobnom múzeu Slovenského národného muzea in Dolná Krupá, Slovakia (as part of a manuscript anthology originating from Zittau in Saxony), whereas three of his harpsichord pieces from a German collection are now found at Yale University – Music Library in New Haven. Georg Neumark’s prints, also containing Erben’s Protestant songs, are found, for instance, at Fondation Martin Bodmer Bibliotheca Bodmeriana in Cologny, Schleswig-Holsteinische Landesbibliothek in Kiel, Leipziger Stadtbibliothek, Musikbibliothek, whereas a print of the aria Halt auff! grosses Himmels-Liecht! [!] – as the only work by Erben to survive in his hometown – is now at the State Archives in Gdańsk and Polish Academy of Sciences Gdańsk Library. Several titles of now lost compositions are found in the inventory and publications of Rauschning. From the artistic point of view, the vocal-instrumental compositions of Balthasar Erben do not differ greatly from those of other excellent composers active in north Germany, such as Franz Tunder or Matthias Weckmann. A wealth of harmonic ideas and a strict interdependence between music and text are the most significant features of his compositional style. As befits a Protestant kapellmeister, a significant part of his creativity is devoted to choral concerts (of the per omnes versus sort). Erben’s extant compositions are diverse in terms of use of instruments and voices. They include pieces for: 1) a soprano solo or three vocal voices in various configurations (3S, SAB, ATB) with the accompaniment of string instruments and basso continuo, 2) only four and five vocal voices with basso continuo,42 as well as 3) compositions for five and six voices (also including additional ripieni parts), instruments and basso continuo. The works presented in this edition belong to the first of the abovementioned categories. Ach! dass ich doch in meinen Augen hätte is a musical adaptation of a poem by an unknown author, perhaps Erben himself. The locus inventionis for the text were the biblical Lamentations of Jeremiah. These emotionally charged fragments from the Old Testament had already been used by many earlier composers, above all the masters of Renaissance polyphony Giovanni Pierluigi da Palestrina and Orlando di Lasso.43 The first verse in the text used by Erben refers the sinner’s lament and appeal to convert in face impending punishment. The second verse bewails the wrath of God befalling Jerusalem (here called Zion and Salem) and begs for mercy. The third and final verse repeats the appeal for grace, to next express faith and trust in God as well as thanksgiving. The musical structure of the work resembles a strophic aria, albeit with each verse varying slightly. Melodic formulae and similar harmonic progressions are, nevertheless, repeated. The strophic form is emphasised by recurring instrumental fragments. A twelve-bar Sinfonia (in source defined as Sonata or Sinf.) at the start of the composition next returns as an element dividing successive verses of text. Another, three times repeated four-bar instrumental insertion (also referred to in the source as Sinf.) musically divides each stanza into two parts, each comprising four verses of text. The whole composition is therefore strongly unified. The use of instruments in the vocal parts is limited to the accompaniment of two viola da gamba and basso continuo (in the first four verses in each stanza) as well as instrumental tutti appearing simultaneously or alternately with the vocal voice (in subsequent verses). The first part of each stanza resembles an aria, though here the typically regular phrase structure and melodic flow is disrupted by the repetition of words or the introduction of short motifs separated by rests. Then in the instrumental interpolations that occur later on the influence of the concerto style becomes noticeable. Attention is drawn to the vocal melodic line, which with the accentuating of individual words also starts bearing the characteristics of the concerto style rather than of an aria. Therefore a distinct feature of this work is the combination of styles from both genres. A factor that distinguishes Erben’s composition is the large scale musical interpretation of the text. The typically baroque affectation and emotionally charged lamentation are primarily expressed in the melodic line. Imitations of sobbing and sighing as well as varied rhythmic patterns are elements enhancing the evocativeness of the text. The mood of regret and suffering is also suggested through the use of short phrases preceded by rests or the application of larger interval jumps. The composition includes many examples of rhetorical figures and renaissance sound painting. First and foremost among these is the use of suspiratio (sighing) with the words ‘ach’, ‘Tränen’ and ‘Seufzen’ as well as exclamatio (exclamation) accompanying, for example, the phrase ‘hör auf, o Gott’ or repetition as an amplification function for the words ‘ich bitt, ich fleh, ich schrei!’. Melismatic phrases using small rhythmic values and correlating with the words ‘fließen’, ‘brennen’ and ‘berennen’ are typical figures reflecting movement. The large number of such figures shows the affinity of Erben’s compositional style with the madrigal. The expressive qualities of the composition are largely determined by the correlation between harmony and words. Erben selected the C minor (with one flat key signature) for his composition, by various theorists described as sad, even distressing, though the main cadences most often lead to a C major third and thus emphasise the positive message of the whole text. In the Catholic Church tradition, music with the Lamentations of Jeremiah text is sung and played during the Dark Matins (Officium tenebrarum) of Holy Week, also called the Paschal Triduum. Likewise the Ach! dass ich doch in meinen Augen hätte composition of the Lutheran kapellmeister based on a poetic paraphrase of the biblical Lamentations could grace the Holy Week liturgy or resound during other religious services of Lent. Reflections on man’s sinful condition, the finding of merciful God and submission to His will return in Erben’s next work: Ante oculos tuos, Domine, for soprano solo, three violas and organ basso continuo. This time the composer uses a Latin prayer attributed to St Augustine. The work is composed in a segmented form, though there is a clear tendency to link several segments into a larger whole, unified in material and expressive terms. After a 22-bar Sinfonia, shaped by the imitation technique, resounds the solo voice with a discreet instrumental accompaniment, harmonically playing predominantly subordinate chords. And such accompaniment dominates throughout the composition, while the vocal part starts off as an expressive declamation, very occasionally interrupted by melismatic accentuations of particular words, to eventually transform into melodic singing at the very end of the composition. Also introduced at the end is a change of rhythm into a three-part metre, reflecting the transition in the text from reflections on our sinful condition to the act of trusting in God’s mercy. Particularly noteworthy are the composer’s harmonic solutions used to deepen emotional expression. These include numerous dissonances – normally associated with affectus doloris – delays and halftone deviations. A different mood prevails in the Sei getreu bis in den Tod concerto for – as can be deduced from the registers of voices – a soprano, alt, bass, two violins and basso continuo. The text for this relatively short, barely 45-bar composition is a verse from St John’s Book of Revelation (2, 10): ‘Be faithful unto death, and I will give you the crown of life.’ This is one of the many appeals in the New Testament to persist in faith regardless of all the trials and adversities. With regard to motif, the music is coherent and concise. The whole composition includes several melodic-rhythmic motifs, with one appearing already in the 14th bar with a pitched major and descending triad that persists for almost 70% of the piece. The vocal and instrumental parts are more or less equally balanced. Appearing throughout the composition are imitation and concerto technique elements. In the composition, one may discern several sections ended with a cadence, though these are not distinctly emphasised or contrasted. The notes constituting one cadence are usually also the start of the next section of music, or are played so freely that they give the impression of continuation. The first fragment of text (‘Be faithful unto death’, bars 2-8) is accompanied by a harmonic tension sequence without a cadence, which thus emphasises the idea of persistence. However, the leading motif of the whole work is the promise of eternal life – ‘and I will give you the crown of life’ (‘so will ich dir dieKrone des Lebens geben’). This many times repeated phrase forms the basis for the most elaborate section of the composition, in which gradually intensified texture gives the effect of mounting tension. The key words, ‘Krone’, ‘Lebens’, ‘geben’, are here additionally emphasised with melismata using small rhythmic values. Likewise, the applied key (B-flat major) correlates with the positive message of the text. Only the short, 2-bar ending gives the impression of being somewhat premature. The mood of hope and joy also prevails in the text for the next composition, Habe deine Lust an dem Herren, for three sopranos, two violins and organ. This time selected is the Book of Psalms, one of the most popular sources of inspiration for composers in that period. The whole work is based on the 4th and 5th verses of Psalm 37: ‘Delight thyself also in the Lord: and he shall give thee the desires of thine heart. Commit thy way unto the Lord; trust also in him; and he shall bring it to pass’. In the music one can distinguish four main sections relating to four subsequent parts of the Psalm’s verses. As in the case of Sei getreu bis in den Tod, Erben refrains from using an introductory instrumental Sinfonia. The violins use the same music as the vocal parts. These instruments anticipate the vocal phrases, participating in imitations or playing concertato, more rarely simply adding harmony. The work starts with imitation introductions of successively sopranos I, II and III accompanied by the organ, next they are joined by the string instruments, presenting the same thematic phrase. The entire first section (bars 1-23) is built with the help of the bass formula repeated with greater or lesser modifications. The next section (bars 23-45) is dominated by the concerto texture, with a short phrase switching between individual voices and instruments. This section ends with a distinct caesura, separating it from the next verse of the Psalm. The texture of the third section (bars 46-63) is one of contrasts, starting with a homorhythmic tutti to emphasise the text: ‘Befiehl dem Herren deine Wege’. In the elaborated final section (bars 63-104), maintained in the concerto technique, attention is drawn to the melismatic figures correlated with the word ‘wohlmachen’. The last of the compositions to be presented in this volume, intended for three vocal voices (alt, tenor, bass), two violins and basso continuo, refers to one of the most popular vesper psalms: Confitebor tibi, Domine (Psalm 111). The emotionally uniform text is essentially a prayer of thanksgiving and praise. This is the main factor in the composition’s architecture. The structure of the verses determines the formal caesuras, which most often appear in the middle of the verse, more rarely at its end. Consequently, a structure of many sections is formed, though the composer seeks to integrate it by repeating in the last phase of the composition the instrumental Sinfonia as well as the verbal-musical first section (as a tie). In the music to particular verses, attention is drawn to the numerous repetitions of individual words or entire phrases. These repetitions, however, do not seem to perform any expressive function. Likewise, the relatively rarer melismata fall on words that have fairly neutral meanings ‘meo’, ‘testamenti’ and ‘nomen’. An exception in this case is the conventionally melismatic word ‘laudatio’. In the Confitebor tibi, Domine composition, solutions typical of the stile concertato predominate. Individual sections are contrasted with others in terms of texture, instruments and voices, and metre. The composer juxtaposes imitation and concertato section with homorhythmic tutti, and sections where the whole ensemble is playing are juxtaposed with ones with vocal solos. Applied throughout the composition is the principle of alternate duple and triple metre. In the compositions presented in this volume, Erben strives as far as possible to fully reflect the semantic and affective qualities of the texts, thus realising the chief goal of seconda pratica. Erben’s emotionally charged musical interpretations are very much stylistically in keeping with the work of his St Mary’s Church kapellmeister predecessor Kaspar Förster Jr.
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