Repertuar muzyczny z siedemnastowieczych rękopisów gdańskich:
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | Polish |
| Veröffentlicht: |
Gdańsk
Wydawn. Akad. Muzycznej im. Stanisława Moniuszki
2005
|
| Schriftenreihe: | Seria: Kultura Muzyczna Północnych Ziem Polski
10 |
| Schlagworte: | |
| Online-Zugang: | Abstract |
| Beschreibung: | Zsfassung in engl. Sprache u.d.T.: Musical repertoire in the 17th century manuscripts from Gdansk |
| Beschreibung: | 471 S. Ill., Notenbeisp. |
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Datensatz im Suchindex
| _version_ | 1804135711762284544 |
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| adam_text | Summary
Musical
Century Manyscripts from Qdaesk
Foreword
The scope of this paper is to investigate the contents of the 17th century
Gdansk manuscripts, which are currently kept in the Gdansk Library of the
Polish Academy of Sciences, the
Kulturbesitz«
well as the State Archives in Gdansk, Most of them were handed over in the
1
Stadtbibîiothek),
of Sciences, from the following Gdansk churches; St. Bartholomew s, St.
and St. Catherine s. As a result of World War II, a great number of the
manuscripts disappeared, and a substantial part of the collection was transported
from Gdansk and, in the 50s, was stored in the
(approximately
There are
manuscripts. Moreover, there are copies of the original titles of more than
missing
is to determine the musical repertoire functioning in 17th century Gdansk with
regard to genres, techniques and styles represented by the compositions which
preserved them, as well as to the authors themselves. As far as the scope of this
paper is concerned, the output of local, Gdansk-based composers is particularly
valuable, although the number of such compositions is relatively small. The
largest collection of the compositions by these authors can be found in the
University Library Carolina
The collection has been kept in this library since as early as the
Summary
However, till now, little has been known of their practical musical use in Gdansk
in earlier times. This problem requires separate research. Nevertheless, the
Uppsala manuscripts (Appendix V), although not owned by Gdansk libraries,
have been taken into consideration and treated as supplementary and
comparative
The scope of the research constitutes a part of a larger project entitled
GDAŃSK
Stanislaw
musicologists,
as well as Barbara
project: is the documentation of all the manuscripts gathered in Gdansk libraries
over centuries, from the 16th until the
on the regulations established by the International Inventory of Musical Sources
(RÎSM)
has already been accomplished; its results being included in the Lexicon
Musical Manuscripts (Repertoire International
A/Il
kumulierte Ausgabe 2004, CD-ROM, KL
documentation was conducted within
Scientific Research Committee and the Foundation for Polish
Cooperation, It has been assumed that the GDANSK MUSIC project will also
involve the documentation of the musical prints from the Gdansk Library of
Polish Academy of Sciences, investigation of the collection of compositions
by Gdansk composers from the library in Uppsala, publishing the works of
Gdansk composers, as well as creation of monographs concerning various
aspects of musical culture in Gdansk over the centimes. The abovementioned
assumption was made due to the fact that so
interesi
papers. One exception is Hermann Rauschning s book entitled
Musik und Musikpflege in
book, based mainly on archival materials, is definitely factual and, in essence,
does not provide much information about the character of Gdansk s musical
repertoire. It does not allow one to draw conclusions as to the styles and
composing techniques; therefore, it says little about Gdansk s place on the
musical map of Europe at that time. The present monograph is the first attempt
to embrace this subject matter as seen from the perspective of musical
manuscripts.
441
Summary
17th Century Gdansk
Both rich and playing a significant role in the
thrived in the 17th century in regard to its level of development of art and
science. It was an open city, one of the most populated in the Baltic Sea
basin, in which many customs, languages and denominations coincided.
Staying in touch with many European centres, it would quickly absorb new
ideas and artistic styles and, simultaneously, export its achievements abroad.
As a result, it became an important centre for gathering and the exchange of
cultural values, whose achievements influenced other centres, especially those
of Northern-Europe,
The high level of education, especially at the Gymnasium Dantiscanum,
enhanced the flourishing of art and science. This was the meeting point for art
and science circles; and music played a significant role. Music was an
inseparable element of education not only at the Gymnasium, but also at other
Gdansk schools, which stood in line with education in the
important indicator of the level of culture was the phenomenon of
academica,
having graduated from many leading European centres, would come back to
their home town and join in building its intellectual and artistic potential.
An important element of intellectual culture was also the interest in hooks,
realised through both the process of creating magnificent private book
collections, as well as public libraries, with the famous Bibliotheca Senatus
Gedanensis in the lead. Gdansk-based printing houses were also of great
importance in creating cultural awareness, as, among other things, they would
also print many musical compositions. Apart from that, Gdansk used to be not
only an important publishing centre, but also a significant centre of book trade,
where book auctions took place, attracting the attention of many a bibliophile
from various regions of Europe. Works by local authors, including a number of
which were commemorative, bear great significance among the publications
by Gdansk printing houses, occasions for this type of compositions were various
sorts of town and family festivities, especially weddings. Most of the preserved
old musical prints refer to just such celebrations. Music acquired a special
significance during visits of important men of state, especially Polish kings,
who often visited the city on the Motlawa River. The visit of princess
Maria
exceptionally inspiring for Gdansk-based authors.
442
Summary
The musical setting of most important celebrations depended on the City
Council s Chapel, the best in town, a highly professional vocal-instrumental
group. Among their duties was also the participation in masses at St. Mary s
church and amusing the guests during social gatherings and bails at Arthus*
Court, as well as giving regular concerts there.
The picture of the city which emerges from the preserved
sources shows that its citizens highly valued music, interweaving it with their
everyday and ceremonial, private and public, secular and religious lives.
I. Manuscripts from Gdansk
The inventory of the contents of particular manuscripts is presented
tables in alphabetical order, according to the surnames of the composers (the
spelling of the names in the version included in the Lexicon of Musical
Sources RISM). The tables also include the original title written in the
manuscript; the title as in the version functioning in the RISM lexicon; the
performing cast (number and kinds of voices) resulting from the original title;
as well as the number and kinds of the preserved part-books with the voices
recorded in them. The comparison of the performing cast with the preserved
voices enables us to determine if a particular composition lias survived until
now without any diminution. The position (number) of each composition in
the manuscript is indicated, which sometimes, especially in the case of
manuscripts containing a lot of compositions, serves as additional information,
helpful in drawing conclusions as to the time of a manuscript s creation, or
a composition recorded in it. Furthermore, the tables include types of concordance
existing within the collections of musical requisites in Gdansk libraries, both
among compositions included in various manuscripts, and among compositions
from manuscripts and musical prints. The data gathered in the tables constitute
the basis of the description of particular manuscripts: they indicate the time of
their creation, the state of preservation of the recorded
genres which they represent. Analysis of the water-marks of the paper on which
a manuscript was written, its earlier signatures, as well as any other known
feets making it easier to determine the time and place of creation and the way
of previous storage of each of the manuscripts, provide additional information.
What has been omitted in the descriptions of the manuscripts, however,
is the detailed information concerning their library characteristics, such as the
dimensions, number of pages, their numeration, etc. These data can be found
443
Summary
in the editions of the Lexicon of Musical Manuscripts MSM, available on the
Internet and CDs,
The largest collection of both manuscripts and old prints is owned by the
Gdansk Library of the Polish Academy of Sciences. The 17th century is
represented by
compositions were recorded. Moreover,
were added to the musical old prints from the collection of the Hbrary. Among
the preserved manuscripts: ten
of St. John s church, two
Catherine s church, and those bearing the Ms
belonged to St. Bartholomew s church. Only the origins of the manuscripts
bearing the
manuscript attached to the print,
Apart from the still existing manuscripts, before World War II there were
approximately
recorded in them (Table No,
by Crate Burner, the musical director at St. Catherine s church, from which
most of the missing manuscripts
of his own compositions, as well as a lot of compositions by
representatives of Polish Baroque: Mielczewski, Pejkiei and
as well as Italian musicians, Marco
in the Polish king s chapel.
There are seven manuscripts of Gdansk origin currently stored in the
atsbibliothek zu
over
pieces and one for strings, all dedicated to the Gdansk City Council.
In the State Archives in Gdansk, the
46
led Gdansk
ins the only preserved works by Gdansk musician,
and in the third we can find one composition by Daniel Jacobi, an organist at
St. Mary s church for many years, from whose artistic output
positions still remain.
The inventories of the contents of the manuscripts show that the majority
of the compositions are religious, and that vocal compositions dominate over
vocal-instrumental and instrumental. The texts of the majority of vocal
sitions
444
Summary
mately a half of the previous number, with only a few written for other texts
Polish and Italian. The majority of compositions are recorded in the manu¬
scripts created within the first three decades of the
in the manuscripts written at the turn of the
of the
manuscripts were written in the second half of the
modestly represented in the manuscripts preserved until the present times.
II. The Composers
The manuscripts from Gdansk contain compositions by almost
representing various European centres. Each of them obviously exerted
a different influence on the shape of Gdansk s musical life. Certainly, those
Gdansk-based were of greatest importance in the process of creating the musical
culture of the city, From this perspective, the presentation of those composers,
apart from the basic information concerning the dates of their lives, birthplaces,
places of death, and the time and kind of their employment in Gdansk, given
in the tabular manner (Tables No.
concerning their lives and outputs known from other sources and papers.
Moreover, a list of their compositions written in manuscripts and kept in the
university library tn Uppsala and in other libraries is provided. The compositions
from the collection of old prints kept in the Gdansk Library of the Polish
Academy of Sciences, as well as other publications issued during their lives,
have also been taken into consideration. Furthermore, the compositions
in recently issued source-critical publications have also been listed. The
preseniation of composers from other centres aims mainly at placing their
musical activity in a particular time and place and, according to this, is mostly
limited to the dates of their lives and the cities where they were employed
(Table No,
preferences of Gdansk citizens and indicates the choices made by Gdansk-
based musicians while copying the foreign works,
Gdansk composers
Although all were employed in church chapels, they served different functions
there» Some were connected with Gdansk for many years, for others Gdansk
was only a place of a short visit. Among them were musicians from families
which had already settled in the city and those who came there from other
European centres. Taken into consideration were not only the authors whose
445
Summary
compositions are in the manuscripts currently kept in Gdansk libraries, but
also those whose compositions were kept in the Gdansk City Library before
World War II (the names of the latter are marked with
Indices). The vast majority of composers were connected with St. Mary s church,
where they were employed as chapel-masters (Rivulo, Wanning, Zangius,
Hakeoberger, Förster
(Gremboszewski,
Schni
churches. Werner and Biitner performed their cantor s duties at St. Catherine s
church, the post of cantor at St. John s church belonged to
Gremboszewski playing the cornet in the church s chapel for some time. Two
organists,
Burner was the organist at the suburban Saviour s church for several years,
whereas Lampadius, apart from being a cantor at St. John s, probably held the
post of the organist at St. Bartholomew s church for a short period of time. Two
more authors« Bernardino Borlasca and
of composers active in Gdansk. Although they did not hold any musical posts
in Gdansk, their presence in the city has been confirmed by historical sources.
Gdansk composers, whose works can be found in the investigated
manuscript, are both the most distinguished representatives of the musical life
in the
group lacks several characters significant for the musical culture of those times,
especially those most eminent:
works can be found mainly in the
mention Paul Siefert, a long-time organist at St. Mary s church;
an important representative of the North-European song school ; and
Schnitzkitis, one of Gdansk s first representatives of the motet with elements
of stile
Works created by composers who had never been employed in Gdansk
definitely form the majority of Gdansk manuscripts. Those authors represent
various nationalities and musical centres. Among the authors of the compositions
recorded in Gdansk manuscripts are relatively many composers representing
the chapel of Polish kings (Table No.
between Gdansk and the most prominent musical centre of Poland in those
times in which the excellent chapel currently functioned. Among its members
were many significant Italian artists, as well as the most distinguished Polish
representatives of musical Baroque. All the musical genres and forms of those
times were performed at the king s court and the most up-to-date Italian stylistic
446
Summary
achievements were quickly adopted, which certainly had sortie influence on
the repertoire functioning in the old Gdansk,
Not all of the compositions from Gdansk manuscripts are signed with the
composers names. As a result of comparative research, the authorship of many
compositions written as anonymous has been established and the-meaning of
some of the monograms has been unravelled. There is still a large group of
anonymous compositions and approximately a dozen with monograms which
have still not: been deciphered, On the basis of available sources it has also
been difficult to find information about several authors, such as Jan
D,
L aine.
exist only some fragmentary data concerning the two other composers:
Bohle
only from the dedications which they attached to their compositions given to
the Gdansk City Council.
III. The Compositions
The compositions found in Gdansk manuscripts, dating back mostly to the
end of the
variety of composing styles and techniques. The Renaissance polyphony reaches
its peak; simultaneously, the musical language of Baroque, with all its variety« is
bom and flourishes. The result of this variety is the acceptance of the two different
stylistic attitudes, realised as
century musicians and theoreticians reflect on this subject matter. The polemics
were conducted between a Gdansk citizen, Paul Siefert, and the Polish king s
chapel-master.
almost entire Europe and were of great importance for the popularisation of
seconda pratica
Gdansk, keeping close relationships with the king s court in Warsaw and
with many other European centres, quickly adopted new stylistic solutions whose
origin was in Italy. However, observing changes in Gdansk music throughout
the
of written sources.
In accordance with the origin of the manuscripts, various genres of applied
religions music are predominant, such as masses, motets with both Latin and
German texts,
Summary
concertos and various sorts of religious songs. The songs are composed mainly
to German texts, and elaborations concerning chorales are definitely
predominant among them. Individual examples of songs with Polish texts also
appear. The dominant masses are those consisting of two parts,
which seems obvious as Gdansk was a city of mainly
investigated manuscripts lack compositions belonging to such genres as the
passion, oratorio, or sacred dialogue. The evidence that these genres were known
in Gdansk is provided by missiog compositions belonging to the collection of
manuscripts of the Gdansk City Library before World War II, as well as
publications of passions and oratorios by composers working in Gdansk.
The problem of the status of a composition in terms of the musical trends
-
the classification of the compositions into three groups: the first containing a
cappella
accompaniment of the organ (Table No.
the accompaniment of the organ and other instruments (vocal-instrumental
works, Table No.
classification was the shape of the compositions scored in Gdansk manuscripts,
which does not always stand in accordance with the score made by the composer.
Therefore, the classification mainly reflects the aspect of performance in the
17*
have prepared the work for performance and possibly altered its original form.
The connection between
manuscripts and the
between vocal-instrumental compositions and the
vocal compositions with the accompaniment of the organ that are stylistically
equivocal. Within this category, the vast majority of compositions are those
representing the
a few compositions. But each of the abovementioned groups can also be
characterised as internally varied. The factor which determines the variety among
the
Compositions designed for five or six voices usually bear many traditional
features, and, generally, maintain the Renaissance motet style. Chorales, written
for four voices, are simpler. More solutions leading towards the Baroque style
can be observed in the compositions for eight» or more, voices, especially the
polychoral. A special predilection for copying this sort of compositions can be
seen in the investigated manuscripts. The popularity of polychoral music in
448
Summary
Gdansk can be clearly noticed after
earlier, in the last decades of the 16A century, and the technique reached its
peak in the artistic output of Hakenberger. Certainly, the visit of the master of
polychoratity,
influenced the reception of poiychorality in Gdansk. In terms of confrontation
with polychoral productions known from other Polish centres in the first two
decades of the 1
and reception of this kind of music. It is difficult to find any examples of artistic
outputs in Polish music of those times, which would have been equally intensive
as those of Hakenberger or Dulchius. The masterpieces by
are the one exception, However, his output is a unique phenomenon against the
background of
Polychoral compositions, designed mainly for two. but also for three or
even four choirs, are also in great majority in the category of vocal compositions
with the accompaniment of the organ. This group also comprises small-scale
concertos, designed for two, three, or even four solo voices with the
accompaniment of the organ bass voice (mainly by Lodovico
are examples of works in which the organ accompaniment is intended by the
composer. However, originally
added organ voice is the input of the organist, whose task was to accompany
the multi-part music. In the majority of compositions the bass doubles the lowest
vocal voice or several voices in polvchoral compositions, so it is based on the
oassopm
There are also quite a lot of bass parts designed as
lowest notes of a composition existing in various voices (basso
the fewest of those in which the bass constitutes a self-contained
of Baroque, forming the harmonic basis of the
are not many solutions of the latter kind, they prove the practice of the basso
continuo
various phases of the formation of this technique. They increase in value due to
the fact that few similar Old Polish sources from those days have survived.
A small group of vocal-
manuscripts represent various phases of the development of the new style. The
concertato
earliest, closely connected with the Renaissance polichorality, to the fully
developed stage of Baroque style. Gdansk manuscripts contain a significant
part of the preserved
of Polish Baroque. If should be emphasized that almost all compositions from
449
Summary
the collection of the Gdansk City Library which disappeared after World War
II belonged to this category; just like almost all the compositions by Gdansk-
based composers
Large-scale compositions dominate among those of the vocal-instrumental.
The distinguishing feature of both the compositions by Gdansk-based
composers, as well as by others whose productions were copied in Gdansk
manuscripts, is the predilection for monumental music and thus, engaging
enlarged vocal-instrumental ensembles. An inclination to enlarge the original
performing casts with
Such
the acoustic space of Gdansk s great churches, St. John s and St. Mary s. But
performances of polychoral compositions with instruments also took place in
much smaller churches, which is proved by the information contained in the
titles of many currently missing compositions recorded in the manuscripts from
St. Catherine s church.
Secular music constitutes a very small part of the preserved repertoire.
Although there are few of such compositions, they belong to various genres
and forms of secular music and, in this way, indicate the diversity of music
composed and performed in
the most modest way, with barely a few compositions. Among them, the
madrigals by Borlaska draw attention. They are relatively early examples of
the reception of
of madrigal in the city. It is known from many sources that Gdansk citizens
showed great interest in this genre at the turn of the 16th and the beginning of
the
Library of the Polish Academy of Sciences seems to prove this fact.
There are many more instrumental compositions. However, these mainly
consist of examples of lute music, whereas other genres are certainly only a
small trace of what was played in old Gdansk. Over
designed for lutes,
representing solo and orchestral music with basso
be supplemented by approximately a dozen
employed in Gdansk
which can be found in the collection of the
and the compositions by
dances which belonged to the collection of the Gdansk City Library before
World War
450
Summary
Music for the lute is recorded in two tabulatures currently kept in
Staatsbibliothek zu
created in the first half of the 17th century, which can be assumed by the large
number of dances characteristic of the Renaissance and which gradually
disappears in Baroque (pasamezzo, gal Hard), many dances described as
numerous couraniu , a great number of song intabulations, as well as the
Renaissance tuning of the lute. This
belonging to the contemporarily fashionable European repertoire and as
as
to the second half of the 1
is determined by both the Baroque tuning of the lute and the repertoire recorded
in it. It contains more dances typical of the Baroque, such as
sarabanda,
only one exception, intabulations of vocal compositions do not appear in the
tabulatore,
the origin of this tabulature, and it is not certain whether it was known in Gdansk
in the
No. proves that it found its place in the City Library after
the publication of the catalogue of musical manuscripts by
The compositions for a keyboard instrument have survived only in the so
called Gdansk Tabulature dating back to the turn of the
tabulatore
originally written for the organ or another keyboard instrument
one composition without a title). The vocal archetypes constituting the basis for
intabulations belong to those very popular and frequently used in European
tabulatures at that time. The fantasias, on the other hand» are an important document
of those times, bearing in mind the small number of compositions originally
written for a keyboard instrument, which have survived in Old Polish sources.
The only example of music for a solo instrument with basso
Aria voce
to
concerto in Poland. Its value is also increased due to the fact that it is the only
known example of music for a woodwind instrument created by a Polish virtuoso
of this instrument. The
through contrasts within all the elements of the construction of the composition,
as
Music designed for various sets of instruments with basso
represented by only three compositions by Greniboszewski, Borlasea and
451
Summxiry
The wide, 60-year time span separating the compositions by Gremboszewski
and Borlasca from those by
earlier compositions make use of the solutions typical of the early Baroque
concertato,
On the other hand.
a multi-part cyclical
The very limited source material does not allow for generalisations
concerning instrumental
preserved documents, however few of them remain, constitute interesting
examples of various compositional solutions and provide vital documentation
of those times, supplementing the very few preserved Old Polish sources.
Conclusion
The image of the musical repertoire functioning in
outlined on the basis of the preserved manuscripts from Gdansk libraries, is
neither complete, nor distinct. The panorama of 1
popular activity was playing music at home and where there were many
occasions for sumptuous celebrations, exuberant feasting and the attendance
of balls, seen from the perspective of the remaining manuscripts as almost
devoid of the music which should accompany such events, must be definitely
scantier, less colourful and harmonious than it was in reality. Such limited
portrayal of those times makes
stylistics of the
that reflects the most up-to-date stylistic solutions. The selective character of
the sources is connected not only with the very limited number of monuments
of secular music, but also concerns the chronology of manuscripts, the vast
majority of the preserved manuscripts created in the first decades of the
century or even earlier, tt the turn of the
represented by relatively few compositions. The lack of manuscripts from St.
Mary s church is also a serious limitation of the repertoire. That chapel employed
highly selected musicians, and the post of chapel-master was occupied by
composers of considerable artistic output and held in high esteem. The
fragmentary character of the written material concerns yet another
sphere
artists working in Gdansk around the mid
that century. Compositions by such musicians as
452
Summary
Kaspar Förster
who were so significant for the musical culture of the city, are mostly in the
Universitetsbiblioteket
A question arises of whether it is possible to draw any conclusions about
the repertoire functioning in
manuscripts without the risk of making mistakes leading to distortion of the
past reality? Do the manuscripts allow us to capture the characteristics of the
musical output and reception of music of those times, to situate the meaning of
music in the high culture of the city which is so rich in achievements in other
spheres of art ant! science? And, finally, is it possible to correctly situate Gdansk.
on the musical map of Europe of those days? The answers to these questions,
preceded by the analysis of the contents of the manuscripts and the classification
of the compositions recorded in them, taking into consideration the genres and
forms, as
also indicate some outstanding individual achievements.
Compositions, especially those that are religious, well represent the kinds
of music popular at that time, and their authors belonged to the constellation of
stars of European music. As to the repertoire, the Gdansk collection can be
compared to other popular anthologies of the time, which were created in other
Central European centres. Moreover, Gdansk manuscripts have the value of
containing compositions by little-known composers, or those only known by
Gdansk sources. Therefore, they constitute an important source broadening the
knowledge of musical culture
a relatively large number of compositions by Dutch and Franco-Flemish masters.
Later manuscripts become dominated by, more or less in the same proportions,
compositions by authors from Italian and German centres. On the one hand,
this stands in accordance with the process of the change in the importance of
particular centres of European music, with Italy coming into the lead. On the
other hand, however, this change is connected with the geographical position
of Gdansk. Its close, vicinity with northern countries of the German Reich,
together with the professional activity of many Gennan musicians in Royal
Prussia, must have influenced the popularity of music
Compositions by authors of other nationalities can also be found in the collection.
They are mostly French, with single compositions representing English, Danish,
Spanish and Slovenian authors, Gdansk manuscripts also
of numerous connections between Gdansk and the Polish court. Composers
such as
Różycki,
453
Summary
eminent representatives of Old Polish music It is necessary to acid, that thanks
to the Gdansk collection some of their compositions, not found in other sources,
have survived. Gdansk manuscripts, those preserved until now, as well as those
which disappeared during World War
of compositions by Italian authors working at the courts of Polish kings, among
them LucaMarenzio,
Merala
indicated by the manuscript bearing the Nr inw.1.27
Polish-speaking catholic circles, containing, among others, compositions
connected with St. Mary s cult, and Christmas carols with Polish texts. What is
more, Gdansk manuscripts abound with Polish dances, written for the lute.
Taking the time of creation of most manuscripts into consideration, it is not
surprising that compositions bearing Renaissance characteristics are dominant.
An enormous number of compositions from this category indicate the popularity
of this kind of music and its significance in musical practice of Gdansk in the
first decades of the 17th century. Numerous polychoral compositions form a
particularly distinguishable group. Fondness for polychorality manifests itself
both in the sphere of reception of foreign music, as well as the music created by
local composers. The evidence in support of the cultivation of polychoral
compositions is so ample that Gdansk can be recognized as one of the most
important centres of polychorality of
20s and 30s of the
sphere of religious vocal compositions and, much more intensively, in the
instrumental
works are the first preserved examples of virtuoso concertos, ftiily following the
rates of the Baroque
compositions dedicated to the
Bernardino Bortaska. Hardly any manuscript source from the following decades
of the
of
already reigns in its full power. Evidence of this style is shown by the compositions
included in manuscripts from the second half of the century. They have a noticeable
tendency to be in favour of monumental performance, differing in colour and
realised vocal-instrumental groups enlarged in number.
The rapidity of the polychoral permeation of Gdansk, as well as the arrival
of new. Baroque ideas, can be compared to similar phenomena known from the
history of the king s chapel in Warsaw and certainly proves the high level of
musical life in Gdansk. The explanation of this phenomenon does not seem to be
454
Summary
complicated, Gdansk was European to the core, open to the world, having
numerous contacts with leading centres of culture and science. In the sphere of
music, those contacts involved giving employment in Gdansk to musicians with
previous experience in the Polish king s chapel and other important musical centres
in Europe. Many connections with
importers of modem Italian solutions to Northern Europe, are also of great
importance. Also frequent, and sometimes long-lasting, visits of Polish kings to
Gdansk had far-reaching consequences as they arrived in the city with their
musicians. Certainly the figure who contributed to spreading new ideas in Gdansk
was the king s chapel-master, Marco
the
The repertoire contained in the manuscripts from Gdansk libraries conveys
a musical image of the city which successfully adopts the stylistic achievements
of Italian composers
musicians working in the city were able
culture. Their achievements, known beyond Gdansk s borders, undoubtedly
contributed towards the proliferation of polychoral and
throughout northern Europe.
The attempt to classify and describe the comprehensive repertoire included in
the
leading towards creating a monograph on Gdansk music
analysis of the extremely ample collection of musical prints from Gdansk libraries,
as well as exploration of the outputs of Gdansk-based composers from the
century represented by their works recorded in manuscripts and prints which are
currently kept in. libraries other than Gdansk, should be the indispensable supplement
to
broadening of the scope of scientific research, despite great losses which affected
our musical collections in various moments of history, will make it possible to
draw a more distinct musical picture of
solely from the remaining musical manuscripts, The research concerning this subject
matter will be the next phase in the realisation of the GDANSK MUSIC project
planned by the group of musicologists from Gdansk Academy of Music and,
hopefully, will also become ttie scope of interest of other scientists interested in
musical culture of the Baltic Sea basin countries.
Translated by
Maciej Małmowski
455
|
| adam_txt |
Summary
Musical
Century Manyscripts from Qdaesk
Foreword
The scope of this paper is to investigate the contents of the 17th century
Gdansk manuscripts, which are currently kept in the Gdansk Library of the
Polish Academy of Sciences, the
Kulturbesitz«
well as the State Archives in Gdansk, Most of them were handed over in the
1
Stadtbibîiothek),
of Sciences, from the following Gdansk churches; St. Bartholomew's, St.
and St. Catherine's. As a result of World War II, a great number of the
manuscripts disappeared, and a substantial part of the collection was transported
from Gdansk and, in the 50s, was stored in the
(approximately
There are
manuscripts. Moreover, there are copies of the original titles of more than
missing
is to determine the musical repertoire functioning in 17th century Gdansk with
regard to genres, techniques and styles represented by the compositions which
preserved them, as well as to the authors themselves. As far as the scope of this
paper is concerned, the output of local, Gdansk-based composers is particularly
valuable, although the number of such compositions is relatively small. The
largest collection of the compositions by these authors can be found in the
University Library 'Carolina
The collection has been kept in this library since as early as the
Summary
However, till now, little has been known of their practical musical use in Gdansk
in earlier times. This problem requires separate research. Nevertheless, the
Uppsala manuscripts (Appendix V), although not owned by Gdansk libraries,
have been taken into consideration and treated as supplementary and
comparative
The scope of the research constitutes a part of a larger project entitled
GDAŃSK
Stanislaw
musicologists,
as well as Barbara
project: is the documentation of all the manuscripts gathered in Gdansk libraries
over centuries, from the 16th until the
on the regulations established by the International Inventory of Musical Sources
(RÎSM)
has already been accomplished; its results being included in the Lexicon
Musical Manuscripts (Repertoire International
A/Il
kumulierte Ausgabe 2004, CD-ROM, KL
documentation was conducted within
Scientific Research Committee and the Foundation for Polish
Cooperation, It has been assumed that the GDANSK MUSIC project will also
involve the documentation of the musical prints from the Gdansk Library of
Polish Academy of Sciences, investigation of the collection of compositions
by 'Gdansk' composers from the library in Uppsala, publishing the works of
'Gdansk' composers, as well as creation of monographs concerning various
aspects of musical culture in Gdansk over the centimes. The abovementioned
assumption was made due to the fact that so
interesi
papers. One exception is Hermann Rauschning's book entitled
Musik und Musikpflege in
book, based mainly on archival materials, is definitely factual and, in essence,
does not provide much information about the character of Gdansk's musical
repertoire. It does not allow one to draw conclusions as to the styles and
composing techniques; therefore, it says little about Gdansk's place on the
musical map of Europe at that time. The present monograph is the first attempt
to embrace this subject matter as seen from the perspective of musical
manuscripts.
441
Summary
17th Century Gdansk
Both rich and playing a significant role in the
thrived in the 17th century in regard to its level of development of art and
science. It was an open city, one of the most populated in the Baltic Sea
basin, in which many customs, languages and denominations coincided.
Staying in touch with many European centres, it would quickly absorb new
ideas and artistic styles and, simultaneously, export its achievements abroad.
As a result, it became an important centre for gathering and the exchange of
cultural values, whose achievements influenced other centres, especially those
of Northern-Europe,
The high level of education, especially at the Gymnasium Dantiscanum,
enhanced the flourishing of art and science. This was the meeting point for art
and science circles; and music played a significant role. Music was an
inseparable element of education not only at the Gymnasium, but also at other
Gdansk schools, which stood in line with education in the
important indicator of the level of culture was the phenomenon of
academica,
having graduated from many leading European centres, would come back to
their home town and join in building its intellectual and artistic potential.
An important element of intellectual culture was also the interest in hooks,
realised through both the process of creating magnificent private book
collections, as well as public libraries, with the famous Bibliotheca Senatus
Gedanensis in the lead. Gdansk-based printing houses were also of great
importance in creating cultural awareness, as, among other things, they would
also print many musical compositions. Apart from that, Gdansk used to be not
only an important publishing centre, but also a significant centre of book trade,
where book auctions took place, attracting the attention of many a bibliophile
from various regions of Europe. Works by local authors, including a number of
which were commemorative, bear great significance among the publications
by Gdansk printing houses, occasions for this type of compositions were various
sorts of town and family festivities, especially weddings. Most of the preserved
old musical prints refer to just such celebrations. Music acquired a special
significance during visits of important men of state, especially Polish kings,
who often visited the city on the Motlawa River. The visit of princess
Maria
exceptionally inspiring for Gdansk-based authors.
442
Summary
The musical setting of most important celebrations depended on the City
Council's Chapel, the best in town, a highly professional vocal-instrumental
group. Among their duties was also the participation in masses at St. Mary's
church and amusing the guests during social gatherings and bails at Arthus*
Court, as well as giving regular concerts there.
The picture of the city which emerges from the preserved
sources shows that its citizens highly valued music, interweaving it with their
everyday and ceremonial, private and public, secular and religious lives.
I. Manuscripts from Gdansk
The inventory of the contents of particular manuscripts is presented
tables in alphabetical order, according to the surnames of the composers (the
spelling of the names in the version included in the Lexicon of Musical
Sources RISM). The tables also include the original title written in the
manuscript; the title as in the version functioning in the RISM lexicon; the
performing cast (number and kinds of voices) resulting from the original title;
as well as the number and kinds of the preserved part-books with the voices
recorded in them. The comparison of the performing cast with the preserved
voices enables us to determine if a particular composition lias survived until
now without any diminution. The position (number) of each composition in
the manuscript is indicated, which sometimes, especially in the case of
manuscripts containing a lot of compositions, serves as additional information,
helpful in drawing conclusions as to the time of a manuscript's creation, or
a composition recorded in it. Furthermore, the tables include types of concordance
existing within the collections of musical requisites in Gdansk libraries, both
among compositions included in various manuscripts, and among compositions
from manuscripts and musical prints. The data gathered in the tables constitute
the basis of the description of particular manuscripts: they indicate the time of
their creation, the state of preservation of the recorded
genres which they represent. Analysis of the water-marks of the paper on which
a manuscript was written, its earlier signatures, as well as any other known
feets making it easier to determine the time and place of creation and the way
of previous storage of each of the manuscripts, provide additional information.
What has been omitted in the descriptions of the manuscripts, however,
is the detailed information concerning their library characteristics, such as the
dimensions, number of pages, their numeration, etc. These data can be found
443
Summary
in the editions of the Lexicon of Musical Manuscripts MSM, available on the
Internet and CDs,
The largest collection of both manuscripts and old prints is owned by the
Gdansk Library of the Polish Academy of Sciences. The 17th century is
represented by
compositions were recorded. Moreover,
were added to the musical old prints from the collection of the Hbrary. Among
the preserved manuscripts: ten
of St. John's church, two
Catherine's church, and those bearing the Ms
belonged to St. Bartholomew's church. Only the origins of the manuscripts
bearing the
manuscript attached to the print,
Apart from the still existing manuscripts, before World War II there were
approximately
recorded in them (Table No,
by Crate Burner, the musical director at St. Catherine's church, from which
most of the missing manuscripts
of his own compositions, as well as a lot of compositions by
representatives of Polish Baroque: Mielczewski, Pejkiei and
as well as Italian musicians, Marco
in the Polish king's chapel.
There are seven manuscripts of Gdansk origin currently stored in the
atsbibliothek zu
over
pieces and one for strings, all dedicated to the Gdansk City Council.
In the State Archives in Gdansk, the
46
led 'Gdansk
ins the only preserved works by Gdansk musician,
and in the third we can find one composition by Daniel Jacobi, an organist at
St. Mary's church for many years, from whose artistic output
positions still remain.
The inventories of the contents of the manuscripts show that the majority
of the compositions are religious, and that vocal compositions dominate over
vocal-instrumental and instrumental. The texts of the majority of vocal
sitions
444
Summary
mately a half of the previous number, with only a few written for other texts
Polish and Italian. The majority of compositions are recorded in the manu¬
scripts created within the first three decades of the
in the manuscripts written at the turn of the
of the
manuscripts were written in the second half of the
modestly represented in the manuscripts preserved until the present times.
II. The Composers
The manuscripts from Gdansk contain compositions by almost
representing various European centres. Each of them obviously exerted
a different influence on the shape of Gdansk's musical life. Certainly, those
Gdansk-based were of greatest importance in the process of creating the musical
culture of the city, From this perspective, the presentation of those composers,
apart from the basic information concerning the dates of their lives, birthplaces,
places of death, and the time and kind of their employment in Gdansk, given
in the tabular manner (Tables No.
concerning their lives and outputs known from other sources and papers.
Moreover, a list of their compositions written in manuscripts and kept in the
university library tn Uppsala and in other libraries is provided. The compositions
from the collection of old prints kept in the Gdansk Library of the Polish
Academy of Sciences, as well as other publications issued during their lives,
have also been taken into consideration. Furthermore, the compositions
in recently issued source-critical publications have also been listed. The
preseniation of composers from other centres aims mainly at placing their
musical activity in a particular time and place and, according to this, is mostly
limited to the dates of their lives and the cities where they were employed
(Table No,
preferences of Gdansk citizens and indicates the choices made by Gdansk-
based musicians while copying the foreign works,
'Gdansk' composers
Although all were employed in church chapels, they served different functions
there» Some were connected with Gdansk for many years, for others Gdansk
was only a place of a short visit. Among them were musicians from families
which had already settled in the city and those who came there from other
European centres. Taken into consideration were not only the authors whose
445
Summary
compositions are in the manuscripts currently kept in Gdansk libraries, but
also those whose compositions were kept in the Gdansk City Library before
World War II (the names of the latter are marked with
Indices). The vast majority of composers were connected with St. Mary's church,
where they were employed as chapel-masters (Rivulo, Wanning, Zangius,
Hakeoberger, Förster
(Gremboszewski,
Schni
churches. Werner and Biitner performed their cantor's duties at St. Catherine's
church, the post of cantor at St. John's church belonged to
Gremboszewski playing the cornet in the church's chapel for some time. Two
organists,
Burner was the organist at the suburban Saviour's church for several years,
whereas Lampadius, apart from being a cantor at St. John's, probably held the
post of the organist at St. Bartholomew's church for a short period of time. Two
more authors« Bernardino Borlasca and
of composers active in Gdansk. Although they did not hold any musical posts
in Gdansk, their presence in the city has been confirmed by historical sources.
Gdansk composers, whose works can be found in the investigated
manuscript, are both the most distinguished representatives of the musical life
in the
group lacks several characters significant for the musical culture of those times,
especially those most eminent:
works can be found mainly in the
mention Paul Siefert, a long-time organist at St. Mary's church;
an important representative of the North-European 'song school'; and
Schnitzkitis, one of Gdansk's first representatives of the motet with elements
of stile
Works created by composers who had never been employed in Gdansk
definitely form the majority of Gdansk manuscripts. Those authors represent
various nationalities and musical centres. Among the authors of the compositions
recorded in Gdansk manuscripts are relatively many composers representing
the chapel of Polish kings (Table No.
between Gdansk and the most prominent musical centre of Poland in those
times in which the excellent chapel currently functioned. Among its members
were many significant Italian artists, as well as the most distinguished Polish
representatives of musical Baroque. All the musical genres and forms of those
times were performed at the king's court and the most up-to-date Italian stylistic
446
Summary
achievements were quickly adopted, which certainly had sortie influence on
the repertoire functioning in the old Gdansk,
Not all of the compositions from Gdansk manuscripts are signed with the
composers' names. As a result of comparative research, the authorship of many
compositions written as anonymous has been established and the-meaning of
some of the monograms has been unravelled. There is still a large group of
anonymous compositions and approximately a dozen with monograms which
have still not: been deciphered, On the basis of available sources it has also
been difficult to find information about several authors, such as Jan
D,
L'aine.
exist only some fragmentary data concerning the two other composers:
Bohle
only from the dedications which they attached to their compositions given to
the Gdansk City Council.
III. The Compositions
The compositions found in Gdansk manuscripts, dating back mostly to the
end of the
variety of composing styles and techniques. The Renaissance polyphony reaches
its peak; simultaneously, the musical language of Baroque, with all its variety« is
bom and flourishes. The result of this variety is the acceptance of the two different
stylistic attitudes, realised as
century musicians and theoreticians reflect on this subject matter. The polemics
were conducted between a Gdansk citizen, Paul Siefert, and the Polish king's
chapel-master.
almost entire Europe and were of great importance for the popularisation of
seconda pratica
Gdansk, keeping close relationships with the king's court in Warsaw and
with many other European centres, quickly adopted new stylistic solutions whose
origin was in Italy. However, observing changes in Gdansk music throughout
the
of written sources.
In accordance with the origin of the manuscripts, various genres of applied
religions music are predominant, such as masses, motets with both Latin and
German texts,
Summary
concertos and various sorts of religious songs. The songs are composed mainly
to German texts, and elaborations concerning chorales are definitely
predominant among them. Individual examples of songs with Polish texts also
appear. The dominant masses are those consisting of two parts,
which seems obvious as Gdansk was a city of mainly
investigated manuscripts lack compositions belonging to such genres as the
passion, oratorio, or sacred dialogue. The evidence that these genres were known
in Gdansk is provided by missiog compositions belonging to the collection of
manuscripts of the Gdansk City Library before World War II, as well as
publications of passions and oratorios by composers working in Gdansk.
The problem of the status of a composition in terms of the musical trends
-
the classification of the compositions into three groups: the first containing a
cappella
accompaniment of the organ (Table No.
the accompaniment of the organ and other instruments (vocal-instrumental
works, Table No.
classification was the shape of the compositions scored in Gdansk manuscripts,
which does not always stand in accordance with the score made by the composer.
Therefore, the classification mainly reflects the aspect of performance in the
17*
have prepared the work for performance and possibly altered its original form.
The connection between
manuscripts and the
between vocal-instrumental compositions and the
vocal compositions with the accompaniment of the organ that are stylistically
equivocal. Within this category, the vast majority of compositions are those
representing the
a few compositions. But each of the abovementioned groups can also be
characterised as internally varied. The factor which determines the variety among
the
Compositions designed for five or six voices usually bear many traditional
features, and, generally, maintain the Renaissance motet style. Chorales, written
for four voices, are simpler. More solutions leading towards the Baroque style
can be observed in the compositions for eight» or more, voices, especially the
polychoral. A special predilection for copying this sort of compositions can be
seen in the investigated manuscripts. The popularity of polychoral music in
448
Summary
Gdansk can be clearly noticed after
earlier, in the last decades of the 16A century, and the technique reached its
peak in the artistic output of Hakenberger. Certainly, the visit of the master of
polychoratity,
influenced the reception of poiychorality in Gdansk. In terms of confrontation
with polychoral productions known from other Polish centres in the first two
decades of the 1
and reception of this kind of music. It is difficult to find any examples of artistic
outputs in Polish music of those times, which would have been equally intensive
as those of Hakenberger or Dulchius. The masterpieces by
are the one exception, However, his output is a unique phenomenon against the
background of
Polychoral compositions, designed mainly for two. but also for three or
even four choirs, are also in great majority in the category of vocal compositions
with the accompaniment of the organ. This group also comprises small-scale
concertos, designed for two, three, or even four solo voices with the
accompaniment of the organ bass voice (mainly by Lodovico
are examples of works in which the organ accompaniment is intended by the
composer. However, originally
added organ voice is the input of the organist, whose task was to accompany
the multi-part music. In the majority of compositions the bass doubles the lowest
vocal voice or several voices in polvchoral compositions, so it is based on the
oassopm
There are also quite a lot of bass parts designed as
lowest notes of a composition existing in various voices (basso
the fewest of those in which the bass constitutes a self-contained
of Baroque, forming the harmonic basis of the
are not many solutions of the latter kind, they prove the practice of the basso
continuo
various phases of the formation of this technique. They increase in value due to
the fact that few similar Old Polish sources from those days have survived.
A small group of vocal-
manuscripts represent various phases of the development of the new style. The
concertato
earliest, closely connected with the Renaissance polichorality, to the fully
developed stage of Baroque style. Gdansk manuscripts contain a significant
part of the preserved
of Polish Baroque. If should be emphasized that almost all compositions from
449
Summary
the collection of the Gdansk City Library which disappeared after World War
II belonged to this category; just like almost all the compositions by Gdansk-
based composers
Large-scale compositions dominate among those of the vocal-instrumental.
The distinguishing feature of both the compositions by Gdansk-based
composers, as well as by others whose productions were copied in Gdansk
manuscripts, is the predilection for monumental music and thus, engaging
enlarged vocal-instrumental ensembles. An inclination to enlarge the original
performing casts with
Such
the acoustic space of Gdansk's great churches, St. John's and St. Mary's. But
performances of polychoral compositions with instruments also took place in
much smaller churches, which is proved by the information contained in the
titles of many currently missing compositions recorded in the manuscripts from
St. Catherine's church.
Secular music constitutes a very small part of the preserved repertoire.
Although there are few of such compositions, they belong to various genres
and forms of secular music and, in this way, indicate the diversity of music
composed and performed in
the most modest way, with barely a few compositions. Among them, the
madrigals by Borlaska draw attention. They are relatively early examples of
the reception of
of madrigal in the city. It is known from many sources that Gdansk citizens
showed great interest in this genre at the turn of the 16th and the beginning of
the
Library of the Polish Academy of Sciences seems to prove this fact.
There are many more instrumental compositions. However, these mainly
consist of examples of lute music, whereas other genres are certainly only a
small trace of what was played in old Gdansk. Over
designed for lutes,
representing solo and orchestral music with basso
be supplemented by approximately a dozen
employed in Gdansk
which can be found in the collection of the
and the compositions by
dances which belonged to the collection of the Gdansk City Library before
World War
450
Summary
Music for the lute is recorded in two tabulatures currently kept in
Staatsbibliothek zu
created in the first half of the 17th century, which can be assumed by the large
number of dances characteristic of the Renaissance and which gradually
disappears in Baroque (pasamezzo, gal Hard), many dances described as
numerous couraniu', a great number of song intabulations, as well as the
Renaissance tuning of the lute. This
belonging to the contemporarily fashionable European repertoire and as
as
to the second half of the 1
is determined by both the Baroque tuning of the lute and the repertoire recorded
in it. It contains more dances typical of the Baroque, such as
sarabanda,
only one exception, intabulations of vocal compositions do not appear in the
tabulatore,
the origin of this tabulature, and it is not certain whether it was known in Gdansk
in the
No. proves that it found its place in the City Library after
the publication of the catalogue of musical manuscripts by
The compositions for a keyboard instrument have survived only in the so
called "Gdansk Tabulature" dating back to the turn of the
tabulatore
originally written for the organ or another keyboard instrument
one composition without a title). The vocal archetypes constituting the basis for
intabulations belong to those very popular and frequently used in European
tabulatures at that time. The fantasias, on the other hand» are an important document
of those times, bearing in mind the small number of compositions originally
written for a keyboard instrument, which have survived in Old Polish sources.
The only example of music for a solo instrument with basso
Aria voce
to
concerto in Poland. Its value is also increased due to the fact that it is the only
known example of music for a woodwind instrument created by a Polish virtuoso
of this instrument. The
through contrasts within all the elements of the construction of the composition,
as
Music designed for various sets of instruments with basso
represented by only three compositions by Greniboszewski, Borlasea and
451
Summxiry
The wide, 60-year time span separating the compositions by Gremboszewski
and Borlasca from those by
earlier compositions make use of the solutions typical of the early Baroque
concertato,
On the other hand.
a multi-part cyclical
The very limited source material does not allow for generalisations
concerning instrumental
preserved documents, however few of them remain, constitute interesting
examples of various compositional solutions and provide vital documentation
of those times, supplementing the very few preserved Old Polish sources.
Conclusion
The image of the musical repertoire functioning in
outlined on the basis of the preserved manuscripts from Gdansk libraries, is
neither complete, nor distinct. The panorama of 1
popular activity was playing music at home and where there were many
occasions for sumptuous celebrations, exuberant feasting and the attendance
of balls, seen from the perspective of the remaining manuscripts as almost
devoid of the music which should accompany such events, must be definitely
scantier, less colourful and harmonious than it was in reality. Such limited
portrayal of those times makes
stylistics of the
that reflects the most up-to-date stylistic solutions. The selective character of
the sources is connected not only with the very limited number of monuments
of secular music, but also concerns the chronology of manuscripts, the vast
majority of the preserved manuscripts created in the first decades of the
century or even earlier, tt the turn of the
represented by relatively few compositions. The lack of manuscripts from St.
Mary's church is also a serious limitation of the repertoire. That chapel employed
highly selected musicians, and the post of chapel-master was occupied by
composers of considerable artistic output and held in high esteem. The
fragmentary character of the written material concerns yet another
sphere
artists working in Gdansk around the mid
that century. Compositions by such musicians as
452
Summary
Kaspar Förster
who were so significant for the musical culture of the city, are mostly in the
Universitetsbiblioteket
A question arises of whether it is possible to draw any conclusions about
the repertoire functioning in
manuscripts without the risk of making mistakes leading to distortion of the
past reality? Do the manuscripts allow us to capture the characteristics of the
musical output and reception of music of those times, to situate the meaning of
music in the high culture of the city which is so rich in achievements in other
spheres of art ant! science? And, finally, is it possible to correctly situate Gdansk.
on the musical map of Europe of those days? The answers to these questions,
preceded by the analysis of the contents of the manuscripts and the classification
of the compositions recorded in them, taking into consideration the genres and
forms, as
also indicate some outstanding individual achievements.
Compositions, especially those that are religious, well represent the kinds
of music popular at that time, and their authors belonged to the constellation of
"stars" of European music. As to the repertoire, the Gdansk collection can be
compared to other popular anthologies of the time, which were created in other
Central European centres. Moreover, Gdansk manuscripts have the value of
containing compositions by little-known composers, or those only known by
Gdansk sources. Therefore, they constitute an important source broadening the
knowledge of musical culture
a relatively large number of compositions by Dutch and Franco-Flemish masters.
Later manuscripts become dominated by, more or less in the same proportions,
compositions by authors from Italian and German centres. On the one hand,
this stands in accordance with the process of the change in the importance of
particular centres of European music, with Italy coming into the lead. On the
other hand, however, this change is connected with the geographical position
of Gdansk. Its close, vicinity with northern countries of the German Reich,
together with the professional activity of many Gennan musicians in Royal
Prussia, must have influenced the popularity of music
Compositions by authors of other nationalities can also be found in the collection.
They are mostly French, with single compositions representing English, Danish,
Spanish and Slovenian authors, Gdansk manuscripts also
of numerous connections between Gdansk and the Polish court. Composers
such as
Różycki,
453
Summary
eminent representatives of Old Polish music It is necessary to acid, that thanks
to the Gdansk collection some of their compositions, not found in other sources,
have survived. Gdansk manuscripts, those preserved until now, as well as those
which disappeared during World War
of compositions by Italian authors working at the courts of Polish kings, among
them LucaMarenzio,
Merala
indicated by the manuscript bearing the Nr inw.1.27
Polish-speaking catholic circles, containing, among others, compositions
connected with St. Mary's cult, and Christmas carols with Polish texts. What is
more, Gdansk manuscripts abound with Polish dances, written for the lute.
Taking the time of creation of most manuscripts into consideration, it is not
surprising that compositions bearing Renaissance characteristics are dominant.
An enormous number of compositions from this category indicate the popularity
of this kind of music and its significance in musical practice of Gdansk in the
first decades of the 17th century. Numerous polychoral compositions form a
particularly distinguishable group. Fondness for polychorality manifests itself
both in the sphere of reception of foreign music, as well as the music created by
local composers. The evidence in support of the cultivation of polychoral
compositions is so ample that Gdansk can be recognized as one of the most
important centres of polychorality of
20s and 30s of the
sphere of religious vocal compositions and, much more intensively, in the
instrumental
works are the first preserved examples of virtuoso concertos, ftiily following the
rates of the Baroque
compositions dedicated to the
Bernardino Bortaska. Hardly any manuscript source from the following decades
of the
of
already reigns in its full power. Evidence of this style is shown by the compositions
included in manuscripts from the second half of the century. They have a noticeable
tendency to be in favour of monumental performance, differing in colour and
realised vocal-instrumental groups enlarged in number.
The rapidity of the polychoral permeation of Gdansk, as well as the arrival
of new. Baroque ideas, can be compared to similar phenomena known from the
history of the king's chapel in Warsaw and certainly proves the high level of
musical life in Gdansk. The explanation of this phenomenon does not seem to be
454
Summary
complicated, Gdansk was European to the core, open to the world, having
numerous contacts with leading centres of culture and science. In the sphere of
music, those contacts involved giving employment in Gdansk to musicians with
previous experience in the Polish king's chapel and other important musical centres
in Europe. Many connections with
"importers" of modem Italian solutions to Northern Europe, are also of great
importance. Also frequent, and sometimes long-lasting, visits of Polish kings to
Gdansk had far-reaching consequences as they arrived in the city with their
musicians. Certainly the figure who contributed to spreading new ideas in Gdansk
was the king's chapel-master, Marco
the
The repertoire contained in the manuscripts from Gdansk libraries conveys
a musical image of the city which successfully adopts the stylistic achievements
of Italian composers
musicians working in the city were able
culture. Their achievements, known beyond Gdansk's borders, undoubtedly
contributed towards the proliferation of polychoral and
throughout northern Europe.
The attempt to classify and describe the comprehensive repertoire included in
the
leading towards creating a monograph on Gdansk music
analysis of the extremely ample collection of musical prints from Gdansk libraries,
as well as exploration of the outputs of Gdansk-based composers from the
century represented by their works recorded in manuscripts and prints which are
currently kept in. libraries other than Gdansk, should be the indispensable supplement
to
broadening of the scope of scientific research, despite great losses which affected
our musical collections in various moments of history, will make it possible to
draw a more distinct musical picture of
solely from the remaining musical manuscripts, The research concerning this subject
matter will be the next phase in the realisation of the GDANSK MUSIC project
planned by the group of musicologists from Gdansk Academy of Music and,
hopefully, will also become ttie scope of interest of other scientists interested in
musical culture of the Baltic Sea basin countries.
Translated by
Maciej Małmowski
455 |
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| spelling | Szlagowska, Danuta 1946-2018 Verfasser (DE-588)1154889955 aut Repertuar muzyczny z siedemnastowieczych rękopisów gdańskich Danuta Szlagowska Gdańsk Wydawn. Akad. Muzycznej im. Stanisława Moniuszki 2005 471 S. Ill., Notenbeisp. txt rdacontent n rdamedia nc rdacarrier Seria: Kultura Muzyczna Północnych Ziem Polski 10 Zsfassung in engl. Sprache u.d.T.: Musical repertoire in the 17th century manuscripts from Gdansk Geschichte 1600-1700 Geschichte 1600-1700 gnd rswk-swf Geschichte Musik Music Poland Gdańsk 17th century History and criticism Musikhandschrift (DE-588)4040847-4 gnd rswk-swf Polen Gdańsk (Poland) History Sources Danzig (DE-588)4011039-4 gnd rswk-swf (DE-588)4135952-5 Quelle gnd-content Danzig (DE-588)4011039-4 g Musikhandschrift (DE-588)4040847-4 s Geschichte 1600-1700 z DE-604 Seria: Kultura Muzyczna Północnych Ziem Polski 10 (DE-604)BV000023499 10 Digitalisierung BSB Muenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=015010329&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Szlagowska, Danuta 1946-2018 Repertuar muzyczny z siedemnastowieczych rękopisów gdańskich Seria: Kultura Muzyczna Północnych Ziem Polski Geschichte Musik Music Poland Gdańsk 17th century History and criticism Musikhandschrift (DE-588)4040847-4 gnd |
| subject_GND | (DE-588)4040847-4 (DE-588)4011039-4 (DE-588)4135952-5 |
| title | Repertuar muzyczny z siedemnastowieczych rękopisów gdańskich |
| title_auth | Repertuar muzyczny z siedemnastowieczych rękopisów gdańskich |
| title_exact_search | Repertuar muzyczny z siedemnastowieczych rękopisów gdańskich |
| title_exact_search_txtP | Repertuar muzyczny z siedemnastowieczych rękopisów gdańskich |
| title_full | Repertuar muzyczny z siedemnastowieczych rękopisów gdańskich Danuta Szlagowska |
| title_fullStr | Repertuar muzyczny z siedemnastowieczych rękopisów gdańskich Danuta Szlagowska |
| title_full_unstemmed | Repertuar muzyczny z siedemnastowieczych rękopisów gdańskich Danuta Szlagowska |
| title_short | Repertuar muzyczny z siedemnastowieczych rękopisów gdańskich |
| title_sort | repertuar muzyczny z siedemnastowieczych rekopisow gdanskich |
| topic | Geschichte Musik Music Poland Gdańsk 17th century History and criticism Musikhandschrift (DE-588)4040847-4 gnd |
| topic_facet | Geschichte Musik Music Poland Gdańsk 17th century History and criticism Musikhandschrift Polen Gdańsk (Poland) History Sources Danzig Quelle |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=015010329&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
| volume_link | (DE-604)BV000023499 |
| work_keys_str_mv | AT szlagowskadanuta repertuarmuzycznyzsiedemnastowieczychrekopisowgdanskich |