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Tytuł:
Zofia Dobrzańska-Fabiańska, Spór o rolę „modus” i „tonalité” w sztuce kompozycji XVI i początku XVII wieku, Kraków 2013 (= Acta Musicologica Universitatis Cracoviensis 24) Musica Iagellonica ss. 376. ISBN 987-83-7099-187-6
Autorzy:
Jasiński, Tomasz
Powiązania:
https://bibliotekanauki.pl/articles/28409439.pdf
Data publikacji:
2018
Wydawca:
Polska Akademia Nauk. Instytut Sztuki PAN
Tematy:
modalność
polifonia
muzyka XVI wieku
modality
polyphony
sixteenth-century music
Źródło:
Muzyka; 2018, 63, 3; 143-149
0027-5344
2720-7021
Pojawia się w:
Muzyka
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Wykorzystanie danych administracyjnych Zakładu Ubezpieczeń Społecznych i uczelni do monitorowania losów absolwentów uczelni wyższych
Using Social Insurance Institution and university’s administrative data to monitor the fate of university graduates
Autorzy:
Jasiński, Mikołaj
Zając, Tomasz
Styczeń, Marek
Izdebski, Albert
Powiązania:
https://bibliotekanauki.pl/articles/639479.pdf
Data publikacji:
2012
Wydawca:
Uniwersytet Jagielloński. Wydawnictwo Uniwersytetu Jagiellońskiego
Tematy:
learning outcomes evaluation
administrative data
university
the fate of graduates
Social Insurance Institution
labour market
ewaluacja efektów kształcenia
dane administracyjne
uczelnia wyższa
losy absolwentów
Zakład Ubezpieczeń Społecznych
rynek pracy
Opis:
Until now there have been two types of analysis used in monitoring graduates’ situation on labour market. The fi rst type of analysis used surveys among graduates and / or employers. The second was based on public statistics. These analyses usually were not combined and did not provide the possibility to identify the links between education path and the success in the labour market. This paper presents a project that is carried out by the Quality Evaluation Unit of the University of Warsaw. The main goal of the project is to create a methodology of evaluation research that is capable of describing relation between success in studying and labour market success. In the project we will use multiple sources of information, which are administrative data collected continuously by various institutions independently from any researchers activities. The register of Social Insurance Institution (ZUS) contains a wealth of information on the professional activity of Poles while institutions of higher education have collected data on the history of students’ educational careers in their electronic registers. Data gathered by University of Warsaw on the educational path of students have been used in the project so far. Combining information from these two sources creates great opportunities for systematic evaluation of learning processes and outcomes in institutions of higher education. The project implemented by Quality Evaluation Unit of UW aims at something seemingly impossible – a systematic study enabling in-depth analysis that is not expensive.
Dotychczas w naszym kraju wnioski o sytuacji absolwentów na rynku pracy wyciągane były na podstawie dwóch rodzajów analiz. Jedne wykorzystywały badania opinii absolwentów i/lub pracodawców. Drugie natomiast opierały się na statystykach publicznych. Te analizy zwykle nie były łączone i nie dawały możliwości określenia związków pomiędzy ścieżką edukacyjną a sukcesem na rynku pracy. W niniejszym tekście przedstawiamy projekt badawczy realizowany przez Pracownię Ewaluacji Jakości Kształcenia Uniwersytetu Warszawskiego (PEJK UW), którego głównym celem jest wypracowanie metodologii badań ewaluacyjnych pozwalających na opisanie tego związku i zbadanie jego siły. W prezentowanym projekcie będą z sobą połączone informacje z wielu źródeł. Są to dane administracyjne gromadzone przez rozmaite instytucje w sposób ciągły, niezależnie od działań badaczy. Rejestr Zakładu Ubezpieczeń Społecznych zawiera bogaty zasób informacji na temat aktywności zawodowej Polaków. Natomiast dane o historii edukacyjnej studentów od kilku lat są powszechnie gromadzone przez wyższe uczelnie w kraju w ich elektronicznych rejestrach. W projekcie wykorzystywane są też informacje o ścieżce edukacyjnej studentów dostępne w rejestrach Uniwersytetu Warszawskiego. Połączenie danych z tych rejestrów stwarza wielkie możliwości do prowadzenia systematycznych badań służących ewaluacji efektów kształcenia na wyższych uczelniach. Projekt realizowany przez PEJK UW umożliwia zatem pogodzenie różnych, pozornie sprzecznych ze sobą postulatów: systematyczność badań, możliwość prowadzenia pogłębionych analiz oraz minimalizację kosztów badań.
Źródło:
Zarządzanie Publiczne; 2012, 3(19); 49-60
2084-3968
Pojawia się w:
Zarządzanie Publiczne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Wykorzystanie analizy skupień do identyfikacji oznaczonych wyników pomiaru jakości energii elektrycznej
Application of cluster analysis to identyfication flagged power quality measurements
Autorzy:
Jasiński, Michał
Sikorski, Tomasz
Kaczorowska, Dominika
Borkowski, Klaudiusz
Powiązania:
https://bibliotekanauki.pl/articles/267514.pdf
Data publikacji:
2019
Wydawca:
Politechnika Gdańska. Wydział Elektrotechniki i Automatyki
Tematy:
jakość energii elektrycznej
analiza skupień
koncepcja oznaczania
power quality
cluster analysis
flagging concept
Opis:
W artykule zaprezentowano wykorzystanie eksploracji danych w analizie parametrów określających jakość energii elektrycznej (JEE) pod kątem identyfikacji danych podlegających regule oznaczania w rozumieniu normy PN EN 61000-4-30 [1]. Przedstawiono zastosowanie analizy skupień jako narzędzia umożliwiającego podział zagregowanych danych pomiarowych na grupy reprezentujące wyniki pomiarów wolne od zdarzeń napięciowych oraz wyniki pomiarów, w trakcie których wystąpiło zdarzenie napięciowe. Przebadano wrażliwość algorytmu k-średnich na identyfikację danych zawierających przerwy, zapady, wzrosty oraz szybkie zmiany napięcia. Za zbiór danych testowych wykorzystano synchroniczne pomiary przeprowadzone w sieci zakładów górniczych. Uzyskane wyniki pozwalają na określenie skuteczności wykorzystania analizy skupień do identyfikacji danych zagregowanych zawierających zdarzenia napięciowe.
The article presents the use of data mining to power quality issue. The application of cluster analysis as a tool which lead to division into groups representing the measurement period for which aggregated data (within the meaning of PN EN 61000-4-30 standard) contain and do not contain aggregated voltage events is presented. The sensitivity of the K-means algorithm to the identification of data containing interruptions, dips, increases and rapid voltage changes was tested. Synchronous measurements carried out in the mining plant network were used for the test data set. The obtained results allow determining the effectiveness of using cluster analysis to identify aggregated data containing voltage events.
Źródło:
Zeszyty Naukowe Wydziału Elektrotechniki i Automatyki Politechniki Gdańskiej; 2019, 67; 57-60
1425-5766
2353-1290
Pojawia się w:
Zeszyty Naukowe Wydziału Elektrotechniki i Automatyki Politechniki Gdańskiej
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Wybrane zastosowania sztucznych sieci neuronowych na rynku walutowym, rynku terminowym i w gospodarce przestrzennej
Autorzy:
Jasiński, Tomasz
Marszal, Anna
Bochenek, Anna
Zawiła-Niedźwiecki, Janusz
Szymański, Grzegorz
Powiązania:
https://bibliotekanauki.pl/books/2014564.pdf
Data publikacji:
2016
Wydawca:
Politechnika Łódzka. Wydawnictwo Politechniki Łódzkiej
Opis:
Monografia została poświęcona praktycznym aspektom wykorzystania sztucznych sieci neuronowych w obszarze szeroko rozumianej ekonomii oraz gospodarki przestrzennej. Obecnie nowoczesne metody analizy danych stają się narzędziami niezbędnymi w dobie rosnącej konkurencji. Narzędzia z obszaru sztucznej inteligencji mogą stanowić zarówno alternatywę dla obecnie popularnych metod analizy, jak i element wspierający je. Oczekiwać należy, że w przyszłości sztuczna inteligencja stanie się elementem stale towarzyszącym działaniom ludzi nie tylko w zakresie działalności gospodarczej, alei w pozostałych obszarach życia, a zatem będzie łączyć optymalizację ekonomiczną z poprawą bezpieczeństwa i jakości funkcjonowania ludzi. Już dzisiaj powszechne są zapowiedzi użycia sztucznych sieci neuronowych w obszarach, gdzie życie człowieka jest szczególnie zagrożone (na przykład w kopalniach), czy też upowszechnienia analiz wspomagających ludzkie zdrowie (takich jak diagnostyka medyczna).
Dostawca treści:
Biblioteka Nauki
Książka
Tytuł:
Waste as substrates for agricultural biogas plants : A case study from Poland
Autorzy:
Czekała, Wojciech
Pulka, Jakub
Jasiński, Tomasz
Szewczyk, Piotr
Bojarski, Wiktor
Jasiński, Jan
Powiązania:
https://bibliotekanauki.pl/articles/2203541.pdf
Data publikacji:
2023
Wydawca:
Instytut Technologiczno-Przyrodniczy
Tematy:
biofuels
biogas plant
circular economy
renewable energy
waste management
waste to energy
Opis:
Energy production from renewable sources is one of the main ways to fight against global warming. Anaerobic digestion process can be used to produce biogas containing methane. In the light of the growing demand for substrates, a variety of raw materials are required. These substrates should be suitable for anaerobic digestion, and processing them need to provide the desired amount of energy. This paper aims to discuss the agricultural biogas market in Poland, its current state, and the possibility of development during energy transformation, in particular in terms of using waste as a substrate for energy production. In February 2022, there were 130 agricultural biogas plants registered in Poland. On the other hand, in 2020, 4,409,054.898 Mg of raw materials were used to produce agricultural biogas in Poland. Among all the substrates used, waste played a special role. With the right amount of raw materials and proper management of a biogas plant, it is possible to produce electricity and provide stable and predictable heat supply. Bearing in mind the development of the Polish and European biogas markets, attention should be paid to ensure access to raw materials from which chemical energy in the form of biogas can be generated. Due to limited access to farmland and the increasing demand for food production, one should expect that waste will be increasingly often used for biogas production, especially that with high energy potential, such as waste related to animal production and the meat industry.
Źródło:
Journal of Water and Land Development; 2023, 56; 45--50
1429-7426
2083-4535
Pojawia się w:
Journal of Water and Land Development
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
W poszukiwaniu Piastów
In search of the Piasts
Autorzy:
Handschuh, Luiza
Stolarek, Ireneusz
Juras, Anna
Zeńczak, Michał
Marcinkowska-Swojak, Małgorzata
Myszka, Anna
Trzciński, Dawid
Losik-Sidorska, Aleksandra
Wojtczak, Jakub
Philips, Anna
Różański, Artur
Dębski, Artur
Kozłowski, Piotr
Matla, Marzena
Dobosz, Józef
Jasiński, Tomasz
Piontek, Janusz
Kóčka-Krenz, Hanna
Figlerowicz, Marek
Powiązania:
https://bibliotekanauki.pl/articles/697389.pdf
Data publikacji:
2016
Wydawca:
Uniwersytet Opolski
Tematy:
The Piasts
genetic tests
DNA sequencing
ancient DNA (aDNA)
mitochondrial DNA (mt DNA)
Y chromosome
Opis:
The origin of the Piast dynasty is a matter of lively discussions and disputes. At least a few controversial hypotheses exist, but their credibility is difficult to assess due to the scarcity of written as well as material sources, especially from the time of Polish state formation. Life sciences, however, can support history and archeology. Application of genetic tests, used earlier mainly in forensic laboratories, enabled identification of the remains of King Richard III, the Romanov dynasty members and Nicolaus Copernicus. Contemporary DNA studies, based on next generation DNA sequencing, outreach the narrow area of known markers such as mitochondrial DNA (mtDNA) and selected regions of Y chromosome. Although ancient DNA (aDNA), extracted from remains, is usually highly degraded and contaminated with genetic material of microorganisms, there are methods which allow for the analysis of such material and retrieval of information about origin, kinship and some phenotypic features of an individual. Genetic studies of the Piast dynasty, a subject of our research project, have to deal with numerous difficulties. In or der to gain access to bone samples, we need to meet a number of formal requirements. Moreover, despite the existence of available abundant documentation on the Piast burials, the actual situation is not always consistent with the written sources. Our first experiences show how difficult it is to localize the remains, identify them and extract DNA of sufficient quality.
Źródło:
Opolskie Studia Administracyjno-Prawne; 2016, 14, 4 (2); 63-77
2658-1922
Pojawia się w:
Opolskie Studia Administracyjno-Prawne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Użyteczność modeli parametrycznych i sztucznych sieci neuronowych w prognozowaniu kosztów produkcji
The usefulness of parametric models and artificial neural networks in the estimation of production costs
Autorzy:
Leszczyński, Zbigniew
Jasiński, Tomasz
Powiązania:
https://bibliotekanauki.pl/articles/953077.pdf
Data publikacji:
2017
Wydawca:
Stowarzyszenie Księgowych w Polsce
Tematy:
model prognozowania kosztów
prognozowanie parametryczne
sztuczne sieci neuronowe
koszty prognozowane
model of cost estimation
parametric estimation
artificial neural neurons
estimated costs
Opis:
Celem artykułu jest analiza użyteczności modeli parametrycznych i sztucznych sieci neuronowych w prognozowaniu kosztów produkcji. Prognozowane koszty produkcji stanowią fundamentalną determinantę dla podejmowanych przez inżynierów decyzji technicznych i biznesowych związanych z zarządzaniem produkcją i kosztami produkcyjnymi. W pierwszej części artykułu przedstawiono ramy konceptualne budowy modelu prognozowania parametrycznego kosztów produkcji, wielowymiarowego o zależnościach liniowych i nieliniowych. Następnie omówiono istotę i zastosowanie sztucznych sieci neuronowych jako modelu – nieparametrycznego prognozowania kosztów produkcji. W obu częściach artykułu przeprowadzono badanie empiryczne z wykorzystaniem analizy regresji oraz sztucznych neuronów połączonych w sieci. Badanie empiryczne prezentuje procedury budowy modeli – parametrycznego i nieparametrycznego prognozowania kosztów produkcji oraz ich wady i zalety. W toku procedury badawczej przedstawiono zastosowanie analizowanych modeli prognozowania kosztów produkcji w określonym środowisku przemysłowym.
The aim of the paper is to analyze parametric models and artificial neural networks in terms of their suitability as estimation tools of the production costs. Estimated production costs are a fundamental determinant of the decision-making process by costs engineers relating to design and management costs of new products, infrastructure projects and production lines. The first part of the paper presents a conceptual framework for the construction of a model of production costs parametric estimation, multi-dimensional with linear and nonlinear dependency. It then discusses the nature and use of artificial neural networks as nonparametric estimates of production costs. In both parts of the article, an empirical study is conducted with the use of adequate statistical methods and artificial neurons. This study presents procedures for construction of models of parametric and nonparametric estimation of production costs and discusses their advantages and disadvantages. It also presents the application and usefulness of both models for estimating production costs in production environment.
Źródło:
Zeszyty Teoretyczne Rachunkowości; 2017, 91(147); 87-112
1641-4381
2391-677X
Pojawia się w:
Zeszyty Teoretyczne Rachunkowości
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Thesaurus Musicae Gedanesis, vol. 4 Johann Valentin Meder
Autorzy:
Jasiński, Tomasz
Popinigis, Danuta
Woźniak, Jolanta
Powiązania:
https://bibliotekanauki.pl/books/1075480.pdf
Data publikacji:
2019
Wydawca:
Akademia Muzyczna im. Stanisława Moniuszki w Gdańsku
Opis:
'The famous kapellmeister of Gdańsk' (berühmter Capellmeister in Danzig) - it was with such a complimentary introduction that Johann Mattheson began his entry about Johann Valentin Meder in his famous compendium Grundlage ei ner Ehren-Pforte, published in 1740. A similarly flattering opinion about the composer was expressed by Ernst Ludwig Gerber in 1790. The fact that Meder was mentioned in these lexicons and that his works were so highly praised bears testimony to the composer's reputation shortly after his death, receiving more accolades than other writers of music of equal or even greater talent. Johann Valentin Meder was bom in 1649. He was from the small town of Wasungen in Thuringia, the fifth and youngest son of Anna and Johann Erhard Meder. Baptised on 3rd May 1649 at the Church of the Holy Trinity, where his father was the cantor. It may be assumed that he grew up surrounded by music. His father undoubtedly must have seen to it that not only Johann but also all the other children acquired an education that included music. It must have been comprehensive and meaningful, since all of the sons decided to become musicians and earn their livings as such. Johann Friedrich Meder (1639-1689), who was ten years older than Johann Valentin, took over after their father as the cantor in Wasungen. Two other brothers, Johann Nicolaus and Martenus, found employment as musicians not far from their place of birth, the form er becoming a can tor in Salzungen, and the latter an organist in Meiningen. Yet another brother, David Bernhard Med er, left Thuringia and moved to Copenhagen, where for years he played the organ at the Church of Our Lady (Vor Frue Kirke) - the most important church in Denmark. Johann Valentin Meder spent his childhood and youth in Wasungen. Before becoming a musician, he also studied at German universities. ln 1669, at the age of twenty, he began to study theology in Leipzig. He continued these studies at the University of Jena, but only for a year. ln Leipzig, he certainly did not shy away from contacts with musicians, as is evidenced by the entries in his diary. Among those he knew was the cantor at the Church of St Thomas, Sebastian Knüpfer. After a short academic education, in 1670, Meder returned to his home territory. He visited his brother in Wasungen and then his brother in Salzungen. It seems that these meetings helped in determining his future, that is, he decided to continue the family tradition and, like his four brothers, become a professional musician. A time began in his life of looking for an appropriate post, a time of travelling from city to city, country to country, in search for the right position. His musical peregrinations started in Eisenach, and then towards the end of 1671 he stopped at Gotha. There he found employment as a singer at the court of the Duke of Saxe-Gotha Ernst I. N ext he visited among other cities, Kassel, Bremen and Hamburg. Finally he stopped in Copenhagen, no doubt to visit his brother David Bernhard. He arrived in April 1674 and remained until June. Unable to find employment there, he moved on with a view to obtaining a post at the royal court in Stockholm. On the way he stopped in Lubeck, where Dietrich Buxtehude had been active since 1668. Meeting the outstanding organist at St Mary's Church (Marienkirche) must have been a great experience for the young musician, all the more so because Buxtehude had agreed to leave a dedication in his album, dated 2th June 1674 with a melody Canon duplex per Augmentationem. The next stop in Meder's travels was Tallinn (Reval). He arrived in the summer of 1674, after a vacancy had been created following the recent death of the cantor at the city's gymnasium. Apart from Meder, applying for this post were Daniel Nebel from Germany and Georg Hube from Narva. The city authorities decided that the prestigious post of the most important cantor in Tallinn should go to Johann Valentin Meder, whose advantage was, in addition to musical talent, experience in studying theology. His duties, apart from those as cantor at the gymnasium, were to conduct musicians during the liturgies of two of the city's main churches of St Olaf and St Nicholas. He stayed in Tallinn for nine years, leaving the city towards the end of 1683. His next destination was Jelgava (Mi tau), where he was briefly employed the court of the Duke of Courland and Semigallia, Frederick Casimir Kettler. Then he travelled to Riga, but was unable to find any permanent employment. The term 'Capellmeister' appearing in the City Council minutes is incorrect, because extant archival materials state that Meder was employed in Riga as a singer and a music teacher. In the summer of 1686, the composer arrived in Gdańsk. His presence in the city is confirmed in the cash register, with an entry of 27th July that year stating that 'for certain clock matters' ('aus gewißen Uhrsachen') he was awarded 45 marks. This was most probably remuneration for preparing Protestant melodies for the Main Town Hall carillon. This is because in Gdańsk, this mechanical instrument was commonly referred to as 'the singing clock' ('
Dostawca treści:
Biblioteka Nauki
Książka
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.
Dostawca treści:
Biblioteka Nauki
Książka
Tytuł:
Thesaurus Musicae Gedanensis vol. 2, Thobias von Düren
Autorzy:
Szlagowska, Danuta
Popinigis, Danuta
Jasiński, Tomasz
Powiązania:
https://bibliotekanauki.pl/books/1034065.pdf
Data publikacji:
2017
Wydawca:
Akademia Muzyczna im. Stanisława Moniuszki w Gdańsku
Opis:
In December 1630, Thobias (Tobias) von Düren (Dühren) offered the Gdańsk City Council, alongwith his best wishes for the approaching New Year, three of his compositions: Ach du herzliebstes Jesulein, Christus meins Herzen Freud und Trost and Freu dich du liebe Christenheit. He sent them from Königsberg together with a letter in which he expressed the greatest respect for the councillors ‘Noble, Illustrious, Most Honourable, Most Wise, Provident, Great, Most Learned and Most Benevolent Lords,’ requesting their memory and hoping that they will remain his ‘benevolent Lords and Benefactors.’ Appealing for the Council’s kindness and support, the composer recalls his late departed father, Mattiss von Düren, who had selflessly served the city for over thirty years, earning the respect of the authorities. This information, clearly suggesting that Thobias von Düren was originally from Gdańsk, started the search in the city’s archives for traces of the composer’s life in Gdańsk and that of his family. The first lead to be found is a document, dated 18th April 1586, certifying the legal origins of Matts von Dueren. Two of the city’s citizens – Godert Moor and Peter von Dueren – confirm that Matts was born in Gdańsk, and that his parents were the by then deceased Matts von Dueren and Sophia. It is possible that the Matts von Dueren applying for citizenship was actually Mattiss von Düren, the father of Thobias von Düren, whom the latter mentioned in the 1630 letter to the City Council, recalling his many years of service in Gdańsk. Another document that probably refers to Thobias von Düren is found in the St Catherine’s Church book of baptisms. There, on the 22nd Sunday after Trinity, 1591, Thobias, the son of Matz (Matts, Mattiss) von Dühren and Hede was baptised. Yet more evidence concerning Thobias von Düren in Gdańsk is an entry in the 1605 student register for the Gdańsk Academic Gymnasium, which mentions two Düren brothers: Thobias and Matthias. There is reason to believe that the name ‘Mattiss’ (Matthias, Mathias, Matts, Matz) was passed down in the Düren family from one generation to the next. If we accept this assumption, the Matthias in the Academic Gymnasium register could have been Thobias’s older brother. Correlation with the St Catherine’s baptismal register allows us to conclude that Thobias started going to the Gymnasium at the age of 14. We do not know, however, which class he went to, because the student register does not provide such information. The known life histories of other Gdańsk students tells us that they usually left the Gymnasium aged 16–20. Gdańsk archive documents from the end of the 16th century do not include too much information about the Düren family. Additional facts, on the other hand, are found in a work by Dorothea Weichbrodt. In her opinion, the Düren family came to Gdańsk from Flanders. At least some of them were originally from the town of Düren, near the German-French border. Weichbrodt points to Mathias ‘aus Düren’, who was the father of Peter and Hans. In turn, Tobias (Thobias) and Mathias (Matthias) could have been the sons of the Mathias who was buried in St Mary’s Church allotment 117 on 14th January 1617, and grandsons of the Mathias who in 1571 was registered as a merchant dealing in skins. Information imparted by Thobias himself in the letter sent with his compositions dedicated to the City Council only confirms the facts that in 1630 he was in Königsberg and that he was a musician. It is known that the City Council responded on 23rd December 1630, but the content of their letter is unknown. The city cash books for the accounting years 1629/1631 and 1630/1631 do not include any entries of payments made to Düren for the compositions he had sent to the Council. The three compositions Thobias von Düren sent to the City Council in 1630 are the composer’s only extant works. Joseph Müller mentions a six-voice Mass by Düren which is now lost. It was included in a 1645 manuscript collection,16 which also contained Masses by Johannes Eccard, Leonhard Lechner, Jacobus Gallus, Hassler (?), Orlando di Lasso, Rudolph di Lasso, Peter Philips and Johann Weichmann. Moreover, both Gottfried Döring and Robert Eitner claim that in the Stadtarchiv in Danzig there was a manuscript containing six of Düren’s German motets for four vocal parts to the accompaniment of instruments, dated 16th December 1630. Today there is no trace of these compositions. Another date, 18th December 1630, appears on three extant compositions that were dedicated to the Gdańsk City Council, and therefore these compositions cannot be the motets mentioned by Döring and Eitner, all the more so since they are intended for different voices and instruments. The compositions sent by Thobias von Düren to the City Council were thematically associated with the Christmas period. The anonymous and unidentified texts, which could have been written by the composer himself, directly or indirectly refer to the birth of the Baby Jesus. The clearest Christmas references are made in the composition text Freu dich du liebe Christenheit: Freu dich du liebe Christenheit, dank deinem Gott in Ewigkeit. Denn dir zu Trost ist heut geborn, der mit Geduld stillt Gottes Zorn, von einer Jungfrauen auserkorn. In further verses there also appear phrases such as: ‘Baby with appealing heart’ (‘das herzeschöne Kindelein’), ‘Child so delicate and fragile’ (‘Das Kindelein ist zart und fein’), ‘Alluring and gentle Child’ (‘holdseliges Kindelein’), ‘most precious Child’ (‘allerliebstes Kindelein’), which directly refer to the newly born Jesus. In the second composition, Ach du herzliebstes Jesulein, although there is no direct reference to the Nativity of Jesus, the phrases used therein clearly address the Baby Jesus: ‘O dearest little Jesus’ (‘Ach du herzliebstes Jesulein’), ‘O delightful little Brother’ (‘O holdseliges Brüderlein’), ‘Little Jesus, delicate and beautiful’ (‘zartes, schönes Jesulein’), ‘dear sweet lips’ (‘liebes Zuckermündelein’), ‘my dear little Jesus’ (‘mein liebes Jesulein’). Also in the text to the third composition, Christus meins Herzen Freud und Trost, there are phrases addressing the Baby Jesus: ‘dear little Jesus’ (‘liebes Jesulein’), ‘dearest little Jesus’ (‘herzliebstes Jesulein’). All the texts are full of the typical Christmas time spirit of joy, thanksgiving and trust in God’s help and care, worshiping and praising Jesus. In Ach du herzliebstes Jesulein is applied a form of dialogue between man and Jesus. To the man pleading for comfort and support Jesus responds with the following words: Fürcht dich gar nicht, sei nur getrost, von Sünden hab ich dich erlöst. Ich bin allein dein Herr und Gott, will dich verlassen in keiner Not. Mein Tod soll sein das Leben dein und wo ich bin, solltu auch sein und aller meiner Herrlichkeit teilhaftig sein in Ewigkeit. The sense of dialogue in the text is reflected in the music. The words uttered by man are sung by the first tenor, whereas the words of Jesus, in accordance with tradition, are sung with a bass voice. The music in all three compositions has many common qualities concerning melody, rhythm, harmony, texture and style. The main differentiating factors are found in the voices and instruments. The least noticeable and also the least detailed description of voices and instruments is found in Christus meins Herzen Freud und Trost. This composition is intended for two sopranos and six instruments. The music for the unspecified six instruments is written in the keys of soprano, alto, tenor and bass with bassus generalis accompaniment. The practice of not specifying which instruments are to be played in a given composition and instead leaving the decision to performing musicians was still common in 1630. The composer has a decidedly more modern approach in Ach du herzliebstes Jesulein, where the instrumental parts are to be played by three cornets, three violins, a dulcian (or trombone) and a bass trombone. The instruments, together with bassus generalis, accompany three voices: first tenor, second tenor and bass. The third composition, Freu dich du liebe Christenheit, is intended for two choirs with the same voices (soprano, alto, tenor and bass) with the accompaniment of bassus generalis. In his compositions, Düren applied solutions typical for stile concertato. Two of them (Ach du herzliebstes Jesulein and Christus meins Herzen Freud und Trost) may be defined as vocal small-scale concertos with the accompaniment of instruments. The two-choir composition (Freu dich du liebe Christenheit), on the other hand, though only accompanied by the organ, is written according to a rule typical for stile concertato whereby the choral fragments oppose fragments sung by solo voices emerging from the two choirs. The music corresponds to the nature of the poetic texts, whose quality is a not without the charm of simplicity. The melody is mostly syllabic, with melismata of several to a dozen or so notes appearing sporadically, chiefly in the solo parts of the two-choir Freu dich du liebe Christenheit. In all three compositions the ambitus of the melody does not generally exceed a sixth, though in the bass part of Ach du herzliebstes Jesulein the words of Christ reach a compound fourth. A frequently used solution is a recitative treatment of the text based on the repetition of a few notes. The melody often progresses in second interval steps, rarely using skips larger than a fifth, though there is a clear tendency to use fourths, fifths and thirds. The melody is of a flowing, often tuneful nature, which is emphasised by the regular rhythm. The bassus generalis parts most often use fifth, fourth, octave and third interval skips. This was not yet common practice in the early 17th century, so we may consider it to be a modern approach to harmony. More typical for this phase of the Baroque period is Düren’s treatment of texture – homorhythmic choral fragments, and two-voice parts preceded by short initial imitations, passing into a parallel motion of thirds. He frequently uses the compositional techniques of short motifs being exchanged between the solo voices and progressions. With regard to compositional forms, however, Düren’s treatment of multi-sectional structures (used in accordance with the spirit of the age) is different in the case of each of the compositions. The Freu dich du liebe Christenheit has a typical rondo form, derived from Venetian vocal concerto tradition. Here the function of the refrain is fulfilled by the two choirs singing a fourfold repetition of the first two verses of the text. ‘Rejoice, dear Christians, to your God forever thankful be’ (‘Freu dich du liebe Christenheit, dank deinem Gott in Ewigkeit’) is the chief message of the whole text. In between the refrains, three sections are sung by solo voices from the two choirs, initially the soprano from the first choir, next the tenors from both choirs and then the sopranos and the tenors of both choirs. The solo voices are always only accompanied by continuo. The Ach du herzliebstes Jesulein composition for three solo voices (two tenors and a bass) and instruments also shows references to the rondo structure, but it is treated differently than in the case of Freu dich du liebe Christenheit. The refrain is a three times repeated instrumental Sinfonia played by a large ensemble – three cornets, three violins, a dulcian (or trombone) and a bass trombone with the accompaniment of bassus generalis. The vocal sections appearing in between the sinfonias differ from each other in the number of voices, melody and duration. The first (bars 8-18) is relatively short: six verses of the text sung by the first and second tenors with continuo accompaniment. The second vocal section (bars 26-60), decidedly more expanded, encompasses the remainder of the text. It can be divided into three segments. The first (bars 26-30) corresponds to the second five-verse stanza, an invocation to the Baby Jesus, pleading for comfort and help, which is sung by the first tenor. The second (bars 31-40) is the eight-verse response of Jesus, promising help: ‘Fear not, be calm’ (‘Fürcht dich gar nicht, sei nur getrost’), ‘I do not want to leave you in distress’ (‘will dich verlassen in keiner Not’). The third one (bars 41-60), sung by the first and second tenor and symbolising humankind collectively, comprises words of thanks to the Baby Jesus for the promised care: ‘Thank you, my dear little Jesus, replenishing my heart’ (‘Hab Dank, mein liebes Jesulein, der du erquickst das Herze mein’). The last verse of the text, ‘I will always be with you’ (‘soll ewig um und bei dir sein’), confirming Jesus’s constant presence and serving as the culmination of the whole composition, is repeated after the last sinfonia by three voices, accompanied by all the instruments (bars 68-70). Noteworthy is the fact that Ach du herzliebstes Jesulein is based on a tune that predates the composition. It is an anonymous chorale melody to the text Warum betrübst du dich, mein Herz, originating from the mid-16th century. The composer uses the initial sections of the melody (the melic g-b-a-d1-c1-b-a), which is cited in the first tenor (bars 8-9, 41-44) and in the second tenor (bars 10-11, 45-48), and also serves for the construction of diverse melodic line variations sung by individual voices. The Christus meins Herzen Freud und Trost composition for two sopranos and six different instruments corresponding to the voices of the singers ‒ the first and second soprano, the alto, the first and second tenor and the bass – also has a multi-sectional structure. Two main sections can be distinguished thanks to the inclusion of an instrumental sinfonia. It is worth noting that this sinfonia is different from the one at the start of the composition. The division of the composition into two sections is justified by the semantics of the text. The first section (bars 14-34), appearing after the initial sinfonia, refers to the leading role of Christ in the life of man: ‘You direct every plan and deed’ (‘Richt du all mein Anschläg und Tat’), ‘Jesus, you as the best advisor’ (‘Jesu, du bist der beste Rat’). After the second sinfonia, the longer section (bars 48-79) refers to the man, full of uncertainty, calling for confirmation in faith, ‘So help me, dear little Jesus, to be able to trust in you’ (‘So hilf nun, liebes Jesulein, dass ich dir mög vertrauen’). Both sections are performed by two sopranos, only accompanied by continuo. Next, after a general pause, a short seven-bar fragment follows (bars 80-86) that is different from the other parts and involves the entire vocal-instrumental ensemble. This is the culmination of the composition and is the musical expression of the last two verses as a collectively sung hymn in praise of Jesus ‘Praise be to you always for your incarnation forever’ (‘Nun dir sei Lob in Ewigkeit für dein Menschwerdung allezeit’). The rhetoric of the music, such an important aspect of style in Düren’s time, primarily concerns expressive compatibility between the music and the text and provides all three compositions an emotional aura. The composer does not actually utilise Renaissance painting with sounds, in particular the ‘imitative’ figures (hypotyposes) of the assimiliatio group. Occasionaly he emphasises with melismata (in Christus meins Herzen Freud und Trost) those words that express references to the Nativity of Jesus, ‘[…] today was born’ (‘[…] ist heut geboren’) or ‘Baby’ (‘Kindelein’). For rhetorical effect, the composer accentuates fragments of text that are particularly important on account of content through multiple repetition. In Freu dich du liebe Christenheit, the greatest significance is attached to the first two verses of the text, ‘Rejoice, dear Christians, to your God forever thankful be’ (‘Freu dich du liebe Christenheit, dank deinen Gott in Ewigkeit’). These form the basis for the refrain, which is repeated in the composition four times. In each case the first verse ‘Freu dich du liebe Christenheit’ is repeated five times, whereas the second verse, ‘dank deinen Gott in Ewigkeit’, only twice. On the other hand, the ‘in Ewigkeit’ phrase is repeated three times in the final bars of the composition. The composer therefore clearly emphasises the main message of the text, i.e. the joy of the birth of Christ and eternal gratitude to God. Another text fragment which acquires particular significance through threefold repetition is the verse ‘preserve me from the torments of hell’ (‘hilf mir doch aus der Höllen Pein’), with the phrase ‘aus der Höllen Pein’ later being repeated another two times. With regard to the symbolism of numbers, we may try to interpret the significance of the numbers ‘five’ and ‘two’. Five is often used in reference to the five wounds of Christ on the cross and symbolises His suffering for the salvation of humankind. Two frequently refers to the dual nature of Christ: the human and the Divine. Such an interpretation may be justified especially when we take into account the way in which the verse ‘hilf mir doch aus der Höllen Pein’ is emphasised. The phrase ‘aus der Höllen Pein’ is repeated in total five times, whereas ‘hilf mir doch’ is repeated three times. Therefore to the identified significance of five and two, we may add the number three, which foretells the Divine power making it possible to ‘preserve [humankind] from the torments of hell’. As confirmation of eternal Divine perfection we should also consider the threefold repetition of ‘in Ewigkeit’ in the final bars. In Ach du herzliebstes Jesulein none of the verses are repeated. Here, on the other hand, the rhetorical effect is achieved by having the words of Christ sung with a bass voice and adding other specific musical qualities to the vocal part. It is characterised by a wide ambitus (compound fourth) that does not appear in the other two compositions, as well as conspicuous use of intervals such as the third, fourth, fifth and octave. Combined with the constant rhythmic formula and repetition of motifs, the words of Christ sound like an expression of strength and dependability, which for humankind is an unassailable bulwark of faith. Repetitions of text in Christus meins Herzen Freud und Trost are primarily phrases referring to Jesus: ‘So help me’ (‘So hilf ’), ‘Oh dearest little Jesus’ (‘Ach du herzliebstes Jesulein’), ‘your name’ (‘dein Nam’). The threefold repetitions refer to the ‘perfect’ number three, symbolising the Holy Trinity and Divine perfection. The phrase ‘you have redeemed me’ (‘du hast mich erlöst’), on the other hand, is repeated five times, and again can be interpreted as a reference to the five wounds of Christ suffering on the cross as a price for the redemption of humanity. To sum up, we may conclude that the compositions of Thobias von Düren, originating from 1630 and representing the musica moderna trend, are an important element in the music culture of old Gdańsk. It is one of the only very few extant examples of musica moderna found in early 17th-century sources. Many music manuscripts from that period which had been for centuries kept in Gdańsk libraries were lost as a result of the Second World War. Today Renaissance polychoral music is the predominant type of music still found in Gdańsk documentary sources from the early 17th century. Therefore, Thobias von Düren’s compositions are a rare Gdańsk document confirming the early adoption of typically baroque stile concertato solutions originating from Italy. Düren’s work is consequently yet another example of the cultural influence of Italy on 17th-century Gdańsk music.
Dostawca treści:
Biblioteka Nauki
Książka
Tytuł:
Thesaurus Musicae Gedanensis vol. 1, Bernardino Borlasca
Autorzy:
Szlagowska, Danuta
Popinigis, Danuta
Jasiński, Tomasz
Powiązania:
https://bibliotekanauki.pl/books/972674.pdf
Data publikacji:
2016
Wydawca:
Akademia Muzyczna im. Stanisława Moniuszki w Gdańsku
Opis:
Accentus Musicalis, a manuscript of the works of the Italian composer Bernardino Borlasca, was dedicated to the Gdańsk Senate in 1933. The collection comprises five compositions: two Italian madrigals – Carco d’honori and O quante volte, two concertato motets – Audite fac mihi and Domine, quis habitabit and an instrumental piece called Sinfonia La vaga danzicana, as well as two literary texts, probably also authored by Borlasca. It was written with the composer’s own hand and is one of his three extant autographs, alongside two versions of Fioretti musical leggiadri, dedicated to senators in Regensburg and Frankfurt. The Accentus Musicalis manuscript, which up to the Second World War had been in the City Library in Gdańsk (Danziger Stadtbibliothek), after the war, disappeared from the Gdańsk collection and was considered lost. Over a decade ago, however, it was rediscovered together with a host of other manuscripts of Gdańsk provenience which had also disapeared as a result of the war and post-war politics. These Gdańsk manuscripts include in total some two thousand compositions currently found at the Staatsbibliothek zu Berlin – Preuβischer Kulturbesitz, Musikabteilung mit Mendelssohn-Archiv. Bernardino Borlasca’s Accentus Musicalis manuscript clearly indicates the composer’s association with Gdańsk. This is testified not only by his dedication, but also by a document, dated 6th June 1933, which confirms that Borlasca was paid compensation for expenses associated with his trip to Gdańsk and the delivery of the compositions dedicated to the city’s Senate. It is therefore highly probable that Borlasca did appear in Gdańsk in 1633. The Gdańsk sources from 1633 are evidence relevant to the year of Borlasca’s death, which negates information found in some studies stating that he died around the year 1631. The fact that he actually lived longer is also confirmed by archive documents from 1638, in which Borlasca’s name is featured in the payroll of the court of Maximillian I of Bavaria. It follows that at least up to that year he was still alive and was associated with the ensemble of the prince of Munich. The next known reference to Borlasca’s name was in 1646, when the Amsterdam printer Paulus Matthysz published the second anthology of then popular instrumental pieces by Dutch and foreign composers, such as Johann Schop of Hamburg, Louis Constantin of Paris as well as Italian composers such as Tarquinio Merula and Bernardino Borlasca. The 1646 publication, however, cannot be regarded as reference to Borlasca’s life, since the anthology could have been printed and published after his death. Not only has the date of Borlasca’s death not yet been established, but also the date of his birth remains unclear. In literature one can find various, very diverse opinions on the subject. Some authors claim he was born around the year 1560, while others believe the date of birth was between 1580 and 1590. It seems that 1560 would have been too early, because Borlasca’s second opus, Scherzi musicali ecclesiastici, is dated no earlier than 1609, and, as is testified by archive documents from the Bavarian court, the composer was still active in 1638. Information about Borlasca’s life is found in extant archive sources as well as the composer’s notes to manuscripts and printed collections of his works. The first pieces of such information come from his Scherzi musicali ecclesiastici collection, published in Venice in 1609. The title page states Borlasca’s place of origin and noble title (‘nobile di Gavio Genovese’). Borlasca therefore came from Gavio, a small town near Genoa. Borlasca’s ‘noble of Gavio’ title may have been inherited from his father, who was a Genoese with Corsican ancestry. The noble title probably originated from one of his Corsican ancestors for, according to Giazotto, information contained in the political correspondence of the Sforza family (from the years 1464‒1478) points to a Corsican called De Borlasca, who served as a representative in negotiations regarding the acquisition of Corsica. Bernardino Borlasca’s dedication in the Scherzi musicali ecclesiastici collection, written in Venice on 10th June 1609, suggests that at the time he could have been employed at the court of Cardinal Benedetto Giustiniani, a legate of Pope Paul V in Bologna. Using words of the deepest respect, Borlasca calls the cardinal a benefactor and himself the humblest and most devoted servant of his court (‘servitore della Casa’). In the text Borlasca reveals yet one more significant piece of information when he states that Scherzi musicali ecclesiastici is his ‘second child’ (‘seconda mia creatura’), and his first religious work (‘primo parto Spirituale’). Borlasca’s first opus is now lost. One might nevertheless suppose that it was the first volume of the Canzonette collection, whose second volume was published in 1611. The next piece of information on Borlasca comes from 1610 and indicates by then he had a different benefactor, Prince Maximilian I of Bavaria, with whose court he was to be associated for a number of years. In 1611, however, the composer dedicates his Canzonette collection to Cardinal Bonifacio Caetano (‘legato di Romagna’) and enters the signature: ‘Di Venetia li 4. di Settembre 1611’. Full primary source confirmation of Borlasca’s employment in the ensemble of Maximillian I appears no earlier than in the court accounts for 1612. That year he was paid 133 florins for work as Vice-Kapellmeister, commencing from 1st July and to this was added information that the sum was remuneration for one third of a year. The next relevant entry is on 8th October 1612. This confirms that Borlasca had been employed in the same position since 1st September 1612 with a yearly payment of 400 florins. The sum of 400 florins was annually paid to the composer in subsequent years up until the end of 1624. In 1625 Borlasca left Munich, most probably to flee from creditors, as is testified by a drafted response, dated 30th September 1925, to Borlasca’s letter of 13th September 1625, sent from Pflatz-Neuburg. It is possible that the composer had moved there to the court of Wolfgang Wilhelm Wittelsbach, whose wife at the time, Magdalena, was the sister of Maximillian I. Wolfgang Wilhelm must have already been important to Borlasca, because in 1616 he dedicated a collection of his religious compositions, entitled Scala Jacob, to this ‘most serene prince … most merciful lord’ („Serenissimo Principi … Domino meo Clementissimo”). The author of the reply to Borlasca’s letter of 13th September 1625 reports on events that had taken place in Munich after the composer’s departure. He says that Borlasca’s creditors had seized his compositions and other belongings (possibly furniture, plates, etc.) and demanded that these items should be auctioned to partly pay off his debt of around 600 florins. This sum would not include Borlasca’s debts to other people. Extant sources allow us to assume that during his stay in Munich and also in later years Borlasca went on various trips. He most probably travelled to Italy, as is testified by his dedication in the printed edition of Scala Jacob, which he wrote in Venice on 1st October 1616. It is also possible that Borlasca was again in Italy in 1628, when he sent to the Munich court his compositions with an Italian text, for which he was paid 18 florins in gold. e do not know, however, what sort of compositions these were since none of Borlasca’s works from that year survive. There is also a document that confirms the composer was paid money for a trip to Innsbruck in 1612, which is also evidence of his contacts with that Habsburg court. Apart from the family connections between the Habsburg court and that of Maximilian I, here were also musical ones. Often they employed the same musicians or at least ‘loaned them out’ to each other. Archival data shows that for a time in his later years, between 1629 and 1637, Borlasca was hired as an instrumentalist in the ensemble of Emperor Ferdinand II. Borlasca was also in Regensburg, as is testified by the Fioretti collection, which is dedicated to the councillors of that city in 1630. At the time he could have been in the service of Ferdinand II, who in July that year presided over the imperial electors’ diet in Regensburg. For several months the emperor resided there together with his wife, Eleonora Gonzaga, and his oldest son, Ferdinand. Accompanying them was also the emperor’s ensemble, comprising 74 musicians. In 1631 Borlasca visited Frankfurt, as is testified in his personal dedication to the senators of that city included in the Fioretti collection. In turn, Borlasca’s Gdańsk manuscript confirms his visit to that city in 1633. Although no source explains the purpose of his visit to Gdańsk, one cannot rule out that by offering the City Council his compositions he wished to ingratiate them so as to find employment i the famous City Council ensemble. More information on the places Borlasca visited is found in his letter written to Maximilian I from Ulm on 2nd August 1628. In the letter, the musician mentions numerous problems he had encountered in Brussels and Paris. He asks the prince for forgiveness, stating that all the misunderstandings associated with his person have now been resolved (this is most probably reference to the events caused by his departure from Munich in 1625). He hopes to regain the prince’s favour and probably the possibility to return to the Bavarian court. In asking for the prince’s forgiveness, he requests for help in bringing his eleven-year-old son ‘pigliar in Argentina’. Ensuring appropriate living conditions for his child require considerable expenditures, for which money could be acquired by serving the prince. As proof of his devotion and gratitude, Borlasca has his servant deliver to the prince‘a new small piece of light music’ (‘un operetta musical leggiadra’) as well as a five-month greyhound of the sort that king James of England had. musical leggiadra’)33 as well as a five-month greyhound of the sort that king James of England had. We do not know what Maximilian’s reaction to this letter was, nor do we know Borlasca’s subsequent fate (apart from what can be deduced from the composer’s three manuscripts). Nevertheless, Borlasca’s connections with the Bavarian court could not have been entirely severed, because in his 1630 manuscript dedicated to the senators of Regensburg he states he is ‘maestro delle musiche di camera e de concerti’ of prince Maximilian I, and in 1638 he was paid 45 florins from the court coffers. This is also the last documented date referring to the composer in his lifetime. Archive sources as well as extant manuscripts and prints of his works indicate what musical posts Borlasca held. In the cash books of the Bavarian court he was described as a Vice-Kapellmeister. In a letter from the court office secretary of 18th July 1622, and another letter from another of Maximilian I’s officials in 1625 he is called ‘maestro di concerti’. In the Cantica divae Mariae (1615) and Scala Jacob (1616) collections – ‘praefecto musicae camerae’, whereas in the Ardori spirituali collection (1617) – ‘maestro delle musiche di camera e de concerti’. In the 1630 Fioretti manuscript dedicated to the senators of Regensburg the composer describes himself also as ‘maestro delle musiche di camera e de concerti’ at the court of ‘His Majesty the Prince-Elector of Bavaria’ (‘del Ser.mo Elettor Duca di Baviera’). Borlasca was also a teacher of music, as is testified in his letter of 18th July 1622, where he requests extra payment for lessons in composition for the organist Antonio Ulzenza and in singing for Elias Salspurg, whom were in the service of Maximilian I. He notes that he is always ready to offer additional services, apart from those stipulated in his contract of employment. About a hundred of Bernardino Borlasca’s compositions have survived to this day in his own collections. Five of his individual prints were published in his lifetime: four in Venice between 1609 and 1616 (Scherzi musicali ecclesiastici, Canzonette, Cantica divae Mariae, Scala Jacob) and one in Munich in 1617 (Ardori spirituali), whereas three of Borlasca’s autographed manuscripts appeared in the years 1630, 1631 and 1633 (two copies of Fioretti and Accentus Musicalis). Apart from Borlasca’s own collections, several of his compositions have survived in collections comprising the works of various composers. These compositions include: a four-voice motet O sacrum convivium in an anthology published in Ingolstadt in 1626, and eight instrumental fantasies for two discant voices and bass in the aforementioned Paulus Matthysz anthology (Amsterdam, 1646). Most of Borlasca’s extant compositions are religious works – mass, magnificats and motets – predominantly published in collections (over sixty pieces in all). Borlasca’s secular works, on the other hand, are found primarily in his manuscripts (Fioretti, Accentus Musicalis), in one of his prints (Canzonette) and in an anthology of instrumental pieces by various authors (fantasies). Apart from the secular pieces, the manuscripts include two psalm motets (in Accentus Musicalis) and two madrigali spirituali (in Fioretti). Borlasca’s first collection of compositions, Scherzi musicali ecclesiastici (1609), was published before his departure from Italy. This was his second opus and included his first religious work (‘primo parto Spirituale’). As is stated in the title page, ‘appropriate for singing at serious concerts in stile rappresentativo’ (‘appropriate per cantar fra Concerti gravi in stile rappresentativo’). This may therefore be considered an early example of applying stile rappresentativo in religious music. The collection comprises 15 compositions for three vocal parts (two sopranos and a bass) and basso pro organo. Almost all the texts, with the exception of Iter faciente Paulo (the final piece in the collection), are taken from Song of Songs. The next collection of religious music, Cantica divae Mariae (1615) ‘opus quintum’, was written during Borlasca’s stay in Munich. Dedicated to Maximilian I, it was most probably intended for the prince’s excellent ensemble. The collection includes 12 polychoral pieces – seven magnificats and five motets with Marian texts, intended for two and four choirs (SATB) accompanied by basso pro organo. The composer recommends the use of diverse instruments during the performance, but does not specify their parts. The publisher’s comments ‘to benign readers’ (‘a benigni lettori’), however, include Borlasca’s precise instructions on performing the polychoral pieces with instruments. The composer states that the first choir should comprise four main voices with a soprano, castrato or ‘pleasant falsetto’, to be accompanied by string instruments, such as a viola da braccio, viol, harp, lirone or other similar instruments – two of each kind. He stresses that the court ensemble possesses a very wide range of instruments, as well as the ‘very finest’ musicians. The second choir should comprise the same voices as the first but a different instrumental accompaniment. If the first choir has bowed or plucked string instruments, the second should have wind instruments, such as cornetts, trombones, ‘well and gracefully’ in tune with the string instruments. In the case of compositions for four choirs, the third and fourth choirs should be the same as the first two. Borlasca adds that observing these guidelines will allow for the achievement of ‘graceful and pleasant harmony’ (...). In the musical text the composer includes signs indicating how the music is to be performed: ‘V’ means that the part should be sung with one voice, the word ‘Sinfonia’ signifies instrumental fragments, whereas the letter ‘T’ fragments where voices and instruments are sung and played together. Such a disposition of voices shows that Borlasca wrote polychoral music in the concertato style. Noteworthy is Borlasca’s dedication in the printed Cantica divae Mariae. Here the composer refers to Timotheus of Miletus, a ‘famous musician’ (‘praestabilem illum Musicum’), who perfected music by adding an extra string to the lyre (‘quod addita corda tantum una concentum musicum augere attentasset’), though at the time it was considered that in this way he had ‘corrupted’ the spirit of the citizens. Borlasca himself does not hesitate to add his string to Bavarian music because he is convinced that, in contrast to Timotheus of Miletus, it will not introduce anything sacrilegious that would ‘corrupt’ the state but instead offer something pleasant to God that will enhance piety (‘Nihilominus tamen ego Musicae Bavariae chordam unam apponere … offere nullus dubitavi, eo quod scirem chordam hanc meam non perinde ac Timothei illius Milesij profanum aliquid, quod civitatem corrumperet, fed divinum potius, quod ad pietatem excitaret, sonare’). He adds that Maximilian, to whom the compositions are dedicated, will be delighted by harmonies that ‘mortals know and immortals praise’ (‘mortales notunt, Immortales laudant’). The next collection, Scala Jacob (1616) ‘opus sextum’, contains ten compositions with basso pro organo (nine for two choirs and one for four choirs) and is intended for various feasts in the liturgical year. As in the Cantica divae Mariae collection, the composer does not specify the instrumental parts, but in the ‘a benigni lettori’ comments he again indicates what role instruments should play in the two choirs. Noteworthy is the publisher’ s annotation, stating that he had always had the desire to serve posterity by publishing the works of outstanding composers. Among these he clearly includes Borlasca, writing: ‘so it is now when into my hands has come the Scala Jacob of that excellent musician’ (‘cosi hora sendomi capitata alla mani la SCALA JACOB di questo Eccellentissimo Musico’). Published in 1617, the print Ardori spirituali ‘opera settima’ is a collection of 24 motets for two, three or four voices with basso pro organo. This is Borlasca’s only work that is not dedicated to any particular person on earth, but instead to the ‘Empress of Heaven, the Blessed Virgin Mary, Queen of Angels, Mistress of the Earth, Ruler of Heaven, Immaculate, married to God, the daughter and mother of God, most effective defender.’ He adds to his dedication a poem in honour of the Virgin Mary: (...) and signs it ‘a devoted servant, pleading at your feet, Bernardino Borlasca’ (‘devoto, e suplice à piedi tuoi’). The composer includes instructions regarding the singing (‘Avvertimento nel cantare), as well as the playing of instruments (‘Avvertimento al sonare’). Recommended is a variation of tempo in accordance with the text. He generally advises a slow tempo with the necessity of occasional increases. Stressed is the significance of the text and the need to sing it in such a way so that the listener hears all the words. For the person performing the basso pro organo he advises moderation, which should be the attribute of a good musician, and knowledge how to appropriately accompany singers. Borlasca’s guidelines therefore suggest a typical musica moderna style. The only print containing secular music, Canzonette (1611), includes 21 compositions for three voices (two sopranos and a bass) accompanied by instruments. On the title page Borlasca specifies which instruments should accompany the canzonettas, but, as in his other publications, he does not enter their parts. Mentioned are the chitarrone, lyra doppia, cembalo, arpone and chitarriglia alla spagnuola. Moreover, the composer states that the ensemble may be enlarged to include ‘concert instrument as is usually played at the Roman court’ (‘strumento da concero; com’hoggi di si costuma nella Corte di Roma’). The reference to the Roman canzonetta style (‘puramente alla Romana’) may be explained by the fact that the collection is dedicated to Cardinal Bonifacio Caetani, the papal legate in Romagna (‘legato di Romagna’), who was originally from Rome. Borlasca adds a few words to the addressee: ‘Although for your Eminence no other lyre is appropriate than that of Orpheus, please deign to accept these simple bagpipes, because that is all I can offer’ (‘di V.S. Illustrissima non converrabbe altra Lira che quella d’Orfeo; gradisca da me questa poca roza Zampogna, che è tutto quel che posso’). The poetic texts for the canzonettas primarily concern love themes, while only two compositions are of a religious nature. The next collection of secular music are two manuscripts with the same title Fioretti musical leggiardi. Their contents, both in terms of text and music, is almost identical. The earlier manuscript, from 1630, is dedicated to the senators of Regensburg, whereas the second, dated a year later (1631), is addressed to the city authorities of Frankfurt. Both contain 18 vocal compositions, adaptations of Italian poetry, predominantly about love. The exception are two religious poems (spirituali) in which the poet reflects on the weakness of mankind, the suffering and sorrow for one’s own sins as well as the search for guidance to refuge in the heavens. Noteworthy is the fact that as many as eleven of the texts are the same as those used in the Canzonette collection, though the music is different. The Fioretti manuscripts are intended for three voices: two sopranos and a bass as well as an ensemble of instruments. The composer only enters the vocal parts and mentions the accompanying instruments on the title pages. The 1630 manuscript title page mentions the lute, theorbo, chitarriglia, bandore, lirone, arpone and manicordo, whereas the 1631 manuscript mentions the lute, theorbo, chitarriglia and arpicordo. Borlasca suggests the possibility of using other similar instruments and points to the necessity of applying ‘basso continuo per sonar et per cantar’. He notes that his works are addressed to professional musicians, virtuosos employed in academies and princely courts: ‘appropriati concertarsi fra Virtuose Accademie, et Camera de Prencipi’ (in the manuscript dedicated to the senators of Regensburg) and ‘fra Virtuose Accademie’ (in the manuscript for the senators of Frankfurt). The fact that the works were intended for such musicians is confirmed by the composer’s instruction in both manuscripts (...). In the composer’s opinion, the text is exceptionally important: ‘the word is the soul of the harmonious body’ (‘la parola come anima del corpo armonico’). The text decides the nature of the music, so the singer has to understand it thoroughly, ‘internalise it’ (‘s’imprims’) through repeated reading. The composer recommends that the voices should be sung evenly, so that none of them dominate, but that they should ‘gracefully follow each other’. The bass underlying the composition should correspond to both the vocal and the instrumental parts. Borlasca warns against overusing quarters, sixths and dissonances that may disrupt the evenness of sound. He nevertheless does leave the performer considerable freedom, trusting that he is referring to a good, experienced musician who knows the rules of accompaniment. He trusts that by following his instructions the performers will achieve‘a graceful and delightful harmony’ (‘gratiosa, e dilettevole armonia’). In both Fioretti manuscripts the compositions are preceded by texts from the author, written on several separate pages. These include extensive dedications, short laudatory poems addressing cities and their authorities, the above mentioned instructions for the musicians and Prohemio, an introduction to the Fioretti cycle of poetic texts. The Prohemio is, in a sense, the composer’s personal message to those in love. He advises lovers to avoid the ‘Flower that bears the cruel child of Love’, continually tempting with a delight that brings torture and suffering, and instead search for the ‘Mild Flower’, providing loving harmony, which leads us to eternal life (...). The dedication in the 1630 Fioretti manuscript, addressed to the governors, consuls and magistrates of the ancient imperial city of Regensburg, is filled with admiration for the magnificent metropolis that hosts the ‘Grand Imperial Conclave’.50 The composer wishes the officials good fortune in governing the city and appeals to Heaven for peace, prosperity and fame to be bestowed upon Regensburg. This dedication is followed by a panegyric poem lauding the nobility, courage and beauty of Regensburg; the mainstay of the empire, the only city worthy of carrying the Palm of Victory (...). The next panegyric addressed to the Regensburg city authorities praises the Senate, which governed the bastion on the banks of the Danube; the Senate, which is dear to all, embodies all virtues, settles disputes and sweetens bitterness (...). The 1631 manuscript dedicated to the ‘most worthy, noble and learned sirs, Gian Martin Baur of Yoenech, the judge; consuls and senators of the imperial city of Frankfurt from the humblest and most devoted servant Bernardino Borlasca.’ (‘Illustrissimi, generosissimi et Beneruditi Signori Gli Signori Gian Martin Baur a Yoenech, Pretore, Concoli e Senato dell’Imperial città di Francforte di Bernardino Borlasca suo humilissimo et devotissimo Ser.re’). On the basis of this dedication Remo Giazotto believes that Borlasca could have been in the service of Martin Baur, a consul and senator of that city. This, however, is contradicted by Borlasca’s own words, who states in the manuscript that he was in Frankfurt for the first time (‘prima volta ch’io passassi per Francfort’). He admires ‘a city among others in Germany which is famous and royal … endowed with the laurels and crown of the Great Emperor Augustus’ (‘città fra l’altre d’Alemagna celeberrima, e Regale … lauri, e le corone in capo à i Grand Augusti Imperadori’). With words of deep respect, he offers his small, new collection as a token of his devotion, humbly requesting that he be considered their servant. One therefore cannot rule out that this musical gift was part of an effort to find employment in Frankfurt. In the panegyric in honour of the noble, free and strong (‘Franco, e forte’) royal city adorned with the imperial crown and bringing honour to emperors, Borlasca states that the city holds a foremost position among the Frankish famous cities (...). In the next poem Borlasca extols the virtues and dignity of the city based in religion; a city adorned with royal honours (...). The style of the compositions in the Fioretti collection is derived from the Roman canzonetta, which had been developed by Luca Marenzio in Il Terzo Libro delle Villanelle a Tre Voci (1585), combining the qualities of the traditional villanella with Marenzio’s own madrigals, Orazio Vecchi’s canzonettas and contemporary improvisations in performance practice. This style was exceptionally popular throughout Italy, leading to a number of new solutions, including the three-voice texture, involving two high voices and a bass. Borlasca’s compositions therefore belonged to the musica moderna trend, as is evidenced not only by the overriding role of the text, but also the essential use of the basso continuo. Moreover, the composer’s stated necessity of using many instruments allows for the creation of diverse combinations of voices and instruments, which is typical for the concertato style. The Accentus Musicalis manuscript, whose compositions are the subject of this edition, includes, as in the case of the Fioretti collection, not only musical works (two madrigals, two motets and an instrumental sinfonia), but also a dedication to the ‘noble and great’ senators of the Gdańsk City Council and a poetic laudations to the city itself and its governers. The dedication clearly shows that in 1633 Borlasca was in Gdańsk for the very first time (‘per la prima volta, ch’io son stato in Danzica Città cosi famosa’), which contradicts Robert Eitner’s view that Borlasca had visited Gdańsk already at the start of the 17th century. The composer signs his dedication as the ‘modest and devoted servant Bernardino Borlasca’ (‘Humiliss.o et Devotiss.o servo’). Following the dedication, the poem Madrigale Pannegirico is a typical example of laus urbis and therefore in the general realm of laudatory topoi. The madrigal, though conventional, is significant from the Gdańsk perspective. Laudes urbis, so typical of Baroque poetry, is only a tiny fraction of exceptionally rich Gdańsk 17th-century laudatory poetry. In Madrigale Pannegirico Gdańsk is presented as a great, truly royal city, which thanks to its wisdom and might ensures for its residents a feeling of security – one of the most cherished values. In a similar panegyric manner is maintained the Italian text of Canzon Pannegirica, which constitutes the basis for the musical composition Carco d’honori – one of the two madrigals in the collection. This poem is addressed to the Magistratus Gedanensis, to whom the author expresses the highest esteem, respect and admiration. It draws attention to the highly valued moral attributes of the Gdańsk senators, such as compassion, generosity and love for the city and its inhabitants. It emphasises the contradictory attributes of the Senate: compassion and severity, severity and gentleness, which together guarantee wise and firm authority. The Senate bears a crown, the symbol of royal authority, from which shine the jewels of generosity, glory and honour. The text of the second madrigal, O quante volte, ascribed to Guarino Guarini, is the poetic portrayal of amorous yearning. Longing evokes the desire to see the loved maiden, and her imagined eyes invoke ‘sweet death’. Amore’s arrow wounds, love like fire consumes, but at the same time it fills the heart with unfathomable sweetness. The texts of both motets are taken from the Book of Psalms. In Auditam fac mihi the composer uses selected verses from Psalm 142: 9-11 and 14. In these verses there is pleading for mercy, for protection against the enemy and for showing the way that should be followed as well as words of trust in God. In the motet Domine, quis habitabit Borlasca uses the first seven verses in Psalm 14, which indicate the virtues that lead man to salvation. Important from the point of view of style in those times is the relationship between the music and the text. The close relationship between the words and the music is especially noticeable in the two madrigals, which is indeed consistent with the purpose of madrigals as a poesia per musica genre. The composer tries to express the general emotional aura of two very different texts, which results in the two madrigals also being very different musically. In the panegyric madrigal calmness and seriousness are achieved thanks to the prevalence of even rhythms and second steps in a diatonic melody and consonant harmonies. In the second madrigal the composer tries to express the intensity of love by using greater rhythmic, melodic and harmonic variation. The melody, often descending, includes more interval leaps and the highly expressive an ascending minor sixth skip (exclamatio), emphasising the love-sick poet’s pleading for his loved one to appear. Key words in the texts of both madrigals are accentuated with multiple repetitions and melismata. In the Carco d’honori madrigal only the word ‘crown’ is embellished with an almost 30-note melisma, contrasting it with the syllabic treatment of remaining text fragments, whereas the repetitions are associated with the praising of the Senate’s virtues of ‘glory’ and ‘honour’. In the O quante volte madrigal long, over 30-note melismata appear frequently on especially important words in relation to the yearning for the presence of the loved one and the love for her that fills every part of the heart (‘chiamo’, ‘gl’amo’, ‘parte’, ‘hamo’); whereas the most frequently repeated phrase is ‘my heart’ (‘cor mio’). In the motets decisive importance is given to individual words or groups of words associated with the main idea of the text. This is primarily done by means of repetitions and melismata. Thus, for example, in the motet Auditam fac mihi especially important become the phrases ‘doce me’, ‘Deus meus es tu’ and ‘quoniam ego servus tuus sum’, and in this last phrase especially frequently are repeated the words ‘servus tuus’. Through frequently exposing selected fragments of the Psalm the composer evokes their penitential and pleading nature in the musical adaptation of the words: ‘teach me – thou are my God – for I am thy servant. In the Domine, quis habitabit motet particular gravity is attached to the first verse: who will live in the temple of the Lord, who will rest on the holy mountain? This fragment of text is highlighted because it is sung by a single voice, the first soprano. Another emphasised phrase is ‘timentes autem Dominum glorificat’, especially the word ‘Dominum’, embellished with long melismata. The accentuation of this phrase is additionally enhanced by pointed rhythm, sharply contrasted with the sections preceding and following it. The culmination of the work is the homorhythmically treated and several times repeated final verse: ‘He that doth these things shall not be moved for ever!’ (‘qui facit haec, non movebitur in aeternum’). All the compositions in the Accentus Musicalis are in the seconda pratica style, with the presence of basso continuo and a clear interdependence between music and text. The architectonics of the compositions provide an multi-sectional structure based on contrasts between successive sections in terms of metre, tempo, rhythm, melody and texture. The Domine, quis habitabit motet, written for a large ensemble, is divided into sections, differing in the timbre and volume of the sound, thanks the particular arrangement of performers at a given time. Sections where the whole ensemble is playing are contrasted with sections played by a chamber ensemble, often using the trio or solo variant. Widely applied are exchanges of phrases between voices, so characteristic for the concertato technique, as well as parallel series of consonances, chiefly thirds, homorhythmic sections in triple metre based on a narrow ambitus, static melody, contrasted with a more musically diversified sections maintained in duple metre. Manifestation of the Baroque approach is also noticeable in the treatment of the instrumental parts, which are granted a certain degree of freedom. In both motets there are instrumental introductions and short instrumental ritornelli, introducing music which is independent of the vocal parts. In Sinfonia La vaga danzicana, where the instruments are only a means to communicate the composer’s own thoughts, there admittedly do appear some idiomatic phrases for a string instruments part, but the technical possibilities of these instruments is not fully utilised. It is hard to compare Borlasca’s compositional solutions with those applied by the violin virtuoso Carlo Farina, who, as is worth noting, was active in Gdańsk barely three years after Borlasca’s stay there. Certainly Borlasca’s precise instructions regarding the instruments is a sign of his progressive attitude, for this was not yet common practice. Sinfonia La vaga danzicana is a work which may be considered significant in the culture of old Gdańsk as the only extant instrumental composition devoted to the city, the only one intended for string instruments and only one of very few instrumental compositions with basso continuo found in Gdańsk manuscripts of the first half of the 17th century. Although at the start of the 1630s basso continuo was already known in Gdańsk, as is testified, for instance, in the extant works of Marcin Gremboszewski, or some of the compositions found in the organ book of the Church of St Bartholomew from around the year 1620, these are only a tiny fraction of the extant Gdańsk repertoire. Instead, decidedly prevalent is vocal music, especially polychoral music. Therefore, also in this respect Borlasca’s compositions are interesting as part of a small group of works applying the Baroque practice of instrumental accompaniment in the form of basso continuo. Borlasca’s compositions in the Accentus Musicalis manuscript are a valuable treasure of 17th-century Gdańsk music. They constitute yet more evidence of the Gdańsk’s connections with Italy, alongside the numerous other musical manuscripts and prints preserved for centuries in the city’s libraries. They complement the city’s repertoire of seconda pratica pieces from the first half of the 17th-century. What is more, the Accentus Musicalis collection enriches the Gdańsk sources of that time with new musical genres, such as, string chamber music and the Italian madrigal with basso continuo accompaniment. Today it is difficult to say for certain whether this kind of music was exceptional in Gdańsk. It is possible that the lack of such music in the Gdańsk sources resulted from the simple fact that it was secular and therefore not appropriate for church libraries, where the vast majority of today’s extant musical records were held. Moreover, the Accentus Musicalis manuscript is evidence of how attractive Gdańsk was for the recognised musicians of Europe. Perhaps Borlasca was one of those who applied for a prestigious position in Gdańsk City Council Ensemble. Perhaps the musical collection presented as gift to the Gdańsk councillors was intended as a means of winning favour and thus facilitate finding employment in the city. To summarise, one can say that Borlasca’s work is a typical example of the progressive Italian music of the period. The recitative style, the concertato style, polychoral singing with instruments, the trio texture and basso continuo were all associated with the musica moderna genre. In some of his solutions Borlasca may be considered avant-garde. For example, already in 1609 he applied stile rappresentativo in church music (Lodovico da Viadana’s Cento concerti ecclesiastici was published in 1602) and he also placed great emphasis on the fundamental role of the text in how the music should be played. Borlasca’s instructions regarding the performance of his compositions are an excellent source of information on the musical practice of his day, and those included in his 1617 Ardori musicali collection are remarkably similar to the comments in the first book of Girolamo Frescobaldi’s toccatas (1615). Borlasca’s treatment of instrumental parts in his vocal pieces is interesting. It is an example of the close collaboration between composers and performers in the creation of musical works that was typical in the late 16th and early 17th century. The possibility of adding to a written score numerous instruments, which were only named by the composer, allowed for a considerable degree of improvisation, one which required highly qualified musicians of the sort that could be found in princely ensembles. Similarly high qualifications were required to appreciate the masterful interpretation of the composer’s intentions, the ability to express the significance and beauty of the music and words or the sheer virtuosity. Persons with such qualifications of appreciation no doubt were found in the academies and among the audiences of the court concerts for which Borlasca wrote most of his music. The lack of specificity in the musical notation, so typical in Baroque music and appearing in the works of Borlasca, especially with regard to the instrumental parts, poses a difficult challenge to today’s musicians to find improvisational solutions in accordance with the style of that period. On the other hand, this is a very interesting challenge, one which provides the musician a wide range of possibilities in shaping the composition. Bernardino Borlasca’s interesting and varied work, bringing together the innovative achievements of early Italian Baroque music, plays an important role what was in the process of being adopted by other composers from beyond Italy. It was thanks to such works that the rich ideas born in Italy spread to lands beyond the Alps and influenced the later history of European music.
Dostawca treści:
Biblioteka Nauki
Książka
Tytuł:
The origins of the Polish state in new light
Autorzy:
Jasiński, Tomasz
Powiązania:
https://bibliotekanauki.pl/articles/703624.pdf
Data publikacji:
2007
Wydawca:
Polska Akademia Nauk. Czytelnia Czasopism PAN
Tematy:
origin of the Polish state
dendrochronology
Opis:
Dendrochronological analyses undertaken in the 1990s allowed for the establishment of a new time-line in determining a more precise date for the origins of the Polish state. It appeared from these data that the creation of the Polish state occurred much later than it had been thought before. The formation of the early medieval state was initiated by vast and multi-faceted cultural changes occurring on the territory of the Gniezno plateau at the turn of the 9th and the 10th century. As the culminating point of that process, one can consider the consolidation of the local population in reaction to the threat posed by the outbreak of the great uprising of the Slavs along the Elbe River in 936-940.
Źródło:
Nauka; 2007, 4
1231-8515
Pojawia się w:
Nauka
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Staropolskie pieśni nabożne z basso continuo. Zapisane w Gdańsku roku 1765
Autorzy:
Jasiński, Tomasz
Powiązania:
https://bibliotekanauki.pl/articles/634363.pdf
Data publikacji:
2015
Wydawca:
Uniwersytet Marii Curie-Skłodowskiej. Wydawnictwo Uniwersytetu Marii Curie-Skłodowskiej
Opis:
Brak streszczenia w języku polskim.
Źródło:
Annales Universitatis Mariae Curie-Sklodowska, sectio L – Artes; 2015, 13, 2
2083-3636
1732-1352
Pojawia się w:
Annales Universitatis Mariae Curie-Sklodowska, sectio L – Artes
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Słowo wstępne
Autorzy:
Jasiński, Tomasz
Powiązania:
https://bibliotekanauki.pl/articles/510243.pdf
Data publikacji:
2019
Wydawca:
Polska Akademia Nauk. Biblioteka Kórnicka PAN
Źródło:
Pamiętnik Biblioteki Kórnickiej; 2019, 36; 9-10
0551-3790
Pojawia się w:
Pamiętnik Biblioteki Kórnickiej
Dostawca treści:
Biblioteka Nauki
Artykuł
Wyświetlanie 1-15 z 54

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