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Tytuł:
Iatrogenic Bile Duct Injury. A Significant Surgical Problem. Assessment of Treatment Outcomes in the Departments Own Material
Autorzy:
Bobkiewicz, Adam
Krokowicz, łukasz
Banasiewicz, Tomasz
Kościński, Tomasz
Borejsza-Wysocki, Maciej
Ledwosiński, Witold
Drews, Michał
Powiązania:
https://bibliotekanauki.pl/articles/1396002.pdf
Data publikacji:
2015-03-01
Wydawca:
Index Copernicus International
Tematy:
iatrogenic bile duct injuries
cholecystectomy
complications
Opis:
Iatrogenic bile duct injuries (BDI) are still a challenging diagnostic and therapeutic problem. With the introduction of the laparoscopic technique for the treatment of cholecystolithiasis, the incidence of iatrogenic BDI increased. The aim of the study was a retrospective analysis of 69 patients treated at the department due to iatrogenic BDI in the years 2004-2014. Material and methods. In this paper, we presented the results of a retrospective analysis of 69 patients treated at the Department due to iatrogenic BDI in the years 2004-2014. The data were analysed in terms of age, sex, type of biliary injury, clinical symptoms, the type of repair surgery, the time between the primary surgery and the BDI management, postoperative complications and duration of hospital stay. Results. 82.6% of BDI occurred during laparoscopic cholecystectomy, 8.7% occurred during open cholecystectomy, whereas 6 cases of BDI resulted from surgeries conducted for other indications. In order to assess the degree of BDI, Bismuth and Neuhaus classifications were used (for open and laparoscopic cholecystectomy respectively). 84.1% of patients with confirmed BDI, were transferred to the Department from other hospitals. The average time between the primary surgery and reoperation was 6.2 days (SD 4). The most common clinical symptom was biliary fistula observed in 78.3% of patients. In 28 patients, unsuccessful attempts to manage BDI were made prior to the admission to the Department in other centres. The repair procedure was mainly conducted by laparotomy (82.6%) and by the endoscopic approach (15.9%). Hepaticojejunostomy was the most common type of reconstruction following BDI (34.7%). Conclusions. The increase in the rate of iatrogenic bile duct injury remains a challenging surgical problem. The management of BDI should be multidisciplinary treatment. Referring patients with both suspected and confirmed iatrogenic BDI to tertiary centres allows more effective treatment to be implemented.
Źródło:
Polish Journal of Surgery; 2014, 86, 12; 576-583
0032-373X
2299-2847
Pojawia się w:
Polish Journal of Surgery
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Analiza posadowienia fundamentu pierścieniowego chłodni kominowej
Autorzy:
Bogusz, Witold
Kociniak, Michał
Godlewski, Tomasz
Łukasik, Stanisław
Powiązania:
https://bibliotekanauki.pl/articles/128933.pdf
Data publikacji:
2020
Wydawca:
PWB MEDIA Zdziebłowski
Tematy:
analiza posadowienia
wytyczne projektowe
chłodnia kominowa
konstrukcja
warunki gruntowo-wodne
współczynnik podatności sprężystej
fundament pierścieniowy
foundation solution
design guidelines
cooling tower
structure
ground conditions
elastic flexibility coefficient
ring foundation
Opis:
Artykuł prezentuje analizę posadowienia oraz wytyczne do projektu konstrukcji chłodni kominowej w elektrowni konwencjonalnej. Zaprezentowano ogólną charakterystykę konstrukcji, główne założenia projektowe oraz opis warunków gruntowo-wodnych na rozpatrywanym obszarze. Następnie omówiono zakres i główne założenia analizy. Otrzymane na podstawie analizy wyniki prezentują podsumowanie rozważań projektowych związanych z wyborem ostatecznie przyjętego sposobu posadowienia. Ostatecznie uzyskano zoptymalizowany rozkład współczynnika podatności sprężystej podłoża, wraz z przewidywanymi wartościami osiadań po obwodzie fundamentu chłodni kominowej.
The paper presents an analysis regarding the foundation solution as well as provided guidance for structural calculations for a cooling tower of a conventional coal-fired power plant. The characteristic of the structure, its main design assumptions, and description of ground conditions at the site are briefly presented. Then, the scope and main assumptions of the analysis are described. Presented results, based on this analysis, show the summary of design consideration for the optimal foundation solution chosen in the end. Finally, the optimized distribution of modulus of subgrade reaction was obtained, together with predicted settlement, along the circumference of the cooling tower’s foundation.
Źródło:
Builder; 2020, 24, 4; 31-33
1896-0642
Pojawia się w:
Builder
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Parameters used for prediction of settlement trough due to TBM tunnelling
Parametry stosowane przy ocenie niecki osiadań wywołanej drążeniem tuneli tarczami TBM
Autorzy:
Bogusz, Witold
Godlewski, Tomasz
Siemińska-Lewandowska, Anna
Powiązania:
https://bibliotekanauki.pl/articles/2036413.pdf
Data publikacji:
2021
Wydawca:
Polska Akademia Nauk. Czytelnia Czasopism PAN
Opis:
One of major design problems associated with shallow tunnelling in urbanized areas is the prediction of ground displacements caused by the construction process. Advanced tunnelling techniques such as shield tunnelling using Earth Pressure Balance Tunnel Boring Machines (EPB-TBMs) allow for significant reductions of settlements observed at the ground surface in comparison to tunnelling methods used in the past. The predictions of these displacements are often based on semi-empirical methods and prior experience. In addition to relative simplicity of such methods, their robustness and decades of validation in many tunnelling projects make them attractive for practical use. The tunnelling-induced settlement trough at the ground surface can be described by inversed Gaussian distribution function. It requires only the assumption of two parameters, namely: expected volume loss (VL) and the distance to the point of inflection (iy ), which is dependent on the empirical trough width parameter (K) and the tunnelling depth (z0). The values of those parameters have a strongly empirical nature; they should be established based on comparable experience obtained from full scale tunnelling projects with similar technique and at similar ground conditions. The paper presents the problem of variability of those parameters and discusses the need for its assessment. As volume loss is strongly related to the tunnelling technique, the study focuses on EPB-TBM tunnelling as the most commonly implemented one in recent years. Variability of parameters observed for different ground conditions in different countries is summarized. Finally, preliminary assessment of variability of settlements observed in Warsaw region is presented.
Jednym z głównych wyzwań związanych z projektowaniem płytko posadowionych tuneli na terenach zurbanizowanych jest predykcja deformacji podłoża wywołana procesem ich drążenia. Zaawansowane techniki realizacje takie jak zastosowanie tarcz zmechanizowanych TBM typu EPB pozwala na znaczną redukcję osiadań obserwowanych na powierzchni terenu, w porównaniu do technik stosowanych w przeszłości. Przewidywanie tych przemieszczeń jest oparte głównie o stosowanie modeli pół-empirycznych oraz wcześniejsze doświadczenia porównywalne. Poza samą prostotą tych metod, dekady ich stosowania w projektowaniu tuneli stanowią wystarczającą walidację skłaniającą projektantów do ich wyboru w analizach projektowych. W podejściu pół-empirycznym, niecka osiadania na powierzchni terenu wywołana tunelowaniem jest opisywana odwróconą funkcją rozkładu normalnego Gaussa. Wymaga to jedynie przyjęcia założeń odnośnie dwóch parametrów, mianowicie: spodziewanej utraty objętości (VL) oraz odległości do punktu przegięcia (iy), która zależy od empirycznego parametru charakteryzującego szerokość niecki (K) oraz głębokości tunelu (z0). Parametry te mają charakter silnie empiryczny i powinny być przyjmowane w oparciu o doświadczenia porównywalne uzyskane w skali rzeczywistej przy realizacji tuneli w danej technologii i podobnych warunkach gruntowych. Niniejszy artykuł przedstawia problem zmienności wyżej wymienionych parametrów oraz rozważa potrzebę ich dokładniejszej oceny. Ponieważ utrata objętości jest silnie związana z technologią realizacji tunelu, praca koncentruje się na technologii EPB-TBM, jako najpowszechniej stosowanej w ostatnich latach. Przedstawiono podsumowanie zmienności parametrów obserwowanych dla różnych warunków gruntowych w różnych krajach. Na koniec, przedstawiono również wstępną ocenę zmienności osiadań obserwowanych dla obszaru Warszawy.
Źródło:
Archives of Civil Engineering; 2021, 67, 4; 351-367
1230-2945
Pojawia się w:
Archives of Civil Engineering
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Binding of SPXK- and APXK- peptide motifs to AT-rich DNA. Experimental and theoretical studies
Autorzy:
Brzeski, Jan
Grycuk, Tomasz
Lipkowski, Andrzej
Rudnicki, Witold
Lesyng, Bogdan
Jerzmanowski, Andrzej
Powiązania:
https://bibliotekanauki.pl/articles/1044874.pdf
Data publikacji:
1998
Wydawca:
Polskie Towarzystwo Biochemiczne
Źródło:
Acta Biochimica Polonica; 1998, 45, 1; 221-231
0001-527X
Pojawia się w:
Acta Biochimica Polonica
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
The Molecular and Crystal Structure of Benzyloxycarbonyl- L, D-Phenylalanyl-(α, β, dehydro) Phenylalanine (1)
Struktura kryształów i cząsteczki benzylokarhonylo-L, D-fenyloalanylo-(α, β, dehydro) fenyloalaniny (1)
Autorzy:
Brzozowski, Andrzej M
Olszak, Tomasz A
Stępień, Andrzej
Grabowski, Mieczysław J
Wasiak, Tadeusz
Koziołkiewicz, Witold
Lecocq, Silvain
Powiązania:
https://bibliotekanauki.pl/articles/944835.pdf
Data publikacji:
1988
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Opis:
This work was supported by the project R.P.2.10. from the Polish Ministry of Science, Technology and Higher Education.
Źródło:
Acta Universitatis Lodziensis. Folia Chimica; 1988, 8
0208-6182
Pojawia się w:
Acta Universitatis Lodziensis. Folia Chimica
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Wykorzystanie technologii mobilnych w handlu elektronicznym
Autorzy:
Chmielarz, Witold
Parys, Tomasz
Powiązania:
https://bibliotekanauki.pl/articles/609806.pdf
Data publikacji:
2018
Wydawca:
Uniwersytet Marii Curie-Skłodowskiej. Wydawnictwo Uniwersytetu Marii Curie-Skłodowskiej
Tematy:
mobile technologies
e-commerce
m-commerce
technologie mobilne
handel elektroniczny
Opis:
The aim of this article is the analysis of the possibilities of using in mobile commerce and mobile browsers on the mobile devices (smartphone, tablet) and traditional (laptop, desktop computer) from the customer’s point of view. This analysis was carried out in two stages. The first stage assessed the possibilities and conditions for the use of mobile and traditional devices in e-commerce. In the second stage, electronic commerce conducted on mobile devices was compared with the use of mobile applications and web browsers, with electronic commerce carried out using browsers on traditional devices. The structure of the article consists of presenting the assumptions of the study, describing the methodology and the research sample as well as analyzing and discussing the obtained results. A qualitative study was conducted using the CAWI method on a selected sample of university students.
Celem niniejszego artykułu jest analiza możliwości wykorzystania w handlu elektronicznym aplikacji mobilnych oraz przeglądarek internetowych na urządzeniach mobilnych (smartfon, tablet) i tradycyjnych (laptop, komputer stacjonarny) z punktu widzenia klienta. Analizy tej dokonano dwustopniowo. W pierwszym etapie oceniono możliwości i uwarunkowania wykorzystania urządzeń mobilnych i tradycyjnych w handlu elektronicznym, a w drugim porównano handel elektroniczny prowadzony na urządzeniach mobilnych przy pomocy aplikacji mobilnych i przeglądarek internetowych z handlem elektronicznym dokonywanym za pomocą przeglądarek na urządzeniach tradycyjnych. Struktura artykułu składa się z przedstawienia założeń badania, opisu metodyki i próby badawczej oraz analizy i dyskusji uzyskanych wyników. Badanie mające charakter jakościowy przeprowadzono metodą CAWI na wyselekcjonowanej próbie studentów uczelni wyższych.
Źródło:
Annales Universitatis Mariae Curie-Skłodowska, sectio H – Oeconomia; 2018, 52, 2
0459-9586
Pojawia się w:
Annales Universitatis Mariae Curie-Skłodowska, sectio H – Oeconomia
Dostawca treści:
Biblioteka Nauki
Artykuł
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
Wyświetlanie 1-15 z 65

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