Zapomniane kantaty kościelne Georga Antona Bendy ze zbiorów Sing-Akademie zu Berlin:
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | Polish |
| Veröffentlicht: |
Kraków
Wydawnictwo Naukowe Papieskiej Akademii Teologicznej
2008
|
| Schlagworte: | |
| Online-Zugang: | Abstract Inhaltsverzeichnis |
| Beschreibung: | Zsfassung in engl. Sprache |
| Beschreibung: | 278, [1] s. Ill., Notenbeisp. 24 cm |
| ISBN: | 9788374381482 |
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| 500 | |a Zsfassung in engl. Sprache | ||
| 505 | 0 | |a Bibliogr. s. 273-274. Indeks | |
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Datensatz im Suchindex
| _version_ | 1804137755042643968 |
|---|---|
| adam_text | Summary
The year
2001
was a breakthrough for the Sing-
Akademie
zu
Berlin, established in
1791.
The institution, which remembers the days of
Carl Fasch, Ludwig
van Beethoven
and Felix Mendelssohn-Bartholdy, welcomed the return of its archive of notes to Berlin.
The collection was recovered from Kiev, where it had ended up in
1945.
Due to the So¬
viet policy of plunder, many valuable collections of books, works of art and musical
notes were transported from Berlin to the Soviet Union, among them also the posses¬
sions of the Sing-
Akademie.
The collection counted more than
5000
manuscripts.
The value of the preserved scores is evident just from the fact that among them are
e.g. the manuscripts of St Matthew s Passion and other works by J. S. Bach, as well as
hundreds of pieces by
Georg Philipp
Telemarai,
Georg Friedrich Haendel, Johann
Ad¬
olph Hasse
and later composers, such as
Ludwig
van Beethoven, Felix Mendelssohn-
Bartholdy,
Carl Friedrich Rungenhagen
and Prince
Antoni
Radziwiłł.
The most import¬
ant part of the priceless archive is a voluminous collection of unknown and never previ¬
ously performed vocal-instrumental works by Carl
Philipp
Emmanuel Bach.
An important, if not the most extensive part of the archives consists of a few dozen
works by
Georg
Anton
Benda,
who first settled in Prussia and then in the Duchy of Saxe-
Gotha-Altenburg. Born in
1722,
after graduating from the Piarist school in
Kosmonosy
and the Jesuit Collegium in Jicin he traveled to Berlin. After a few years stay in the then
capital of Prussia he moved to Gotha> where for twenty eight years he was the court
composer and kapellmeister of Prince Frederick the 3rd. While he is currently widely
known as a composer of stage works (melodramas and
Singspiels),
numerous symphon¬
ies, concertos and sonatas for keyboard instruments, he also wrote about two hundred
(mainly church) cantatas. The majority of the scores of those works are not extant. There
are good reasons to believe that (with only a few exceptions) the cantatas were never
performed, and it is certain they were not published. The recording of Benda s cantatas,
272
Summary
prepared by the author of the present work and published in
2007,
is a world premiere
recording of all the four compositions.
The first chapter of the work presents the history of the Sing-
Akademie
zu
Berlin
and its achievements in the fields of performance and popularization of oratory music
composed in the
XVIII 1
and XIXй1 centuries. The author attempts to answer the question
of why Benda s music never became part of the esteemed choral group s repertoir.
The second chapter concerns the person of
Georg
Anton
Benda
and his work. The
history of the
Benda
family is presented, as well the particular stages in life of its most
famous member
-
Georg
Anton, while influences on his music on part of the exterior
conditions he had to face, places he visited and members of the artistic world he had
a chance to meet are pointed out. The popularity of Benda s music in the final period of
his life made him a very well-known person, of which Mozart himself spoke highly.
The crucial part of the present book is its third chapter, devoted solely to Benda s
church cantatas. Establishing their place and significance in the composer s output seems
to be noteworthy, since for many years they have been thought to have played only
a marginal role in the composer s creative endeavours. The conducted research indicates,
however, that church cantatas form the biggest part of Benda s output.
In the analytic section of the chapter the particular elements of the cantatas music
are described, including their structure, internal division, fabric, type of melodies, rhyth¬
mical aspects and the agogic and articulatory suggestions. All points made have been il¬
lustrated by musical examples. Through the analysis of keys employed by
Benda
the au¬
thor attempts to show a link with the theory of musical affects, refering to an account of
these affects prepared by prominent musicians and musicologists. The meaning of the
word appears to be very important for understanding the message of the composer. This
is why the original and translated texts of the particular cantatas have been provided.
Basing on the literary text, the author claims
Benda
was a master of the Baroque rhetor¬
ic, which was strongly connected with program music and elements of sound-painting.
In the concluding section of the present work the author makes an attempt at estab¬
lishing the place of Benda s cantatas in the history of the genre and points out the indi¬
vidual style of the composer.
Translation:
Leszek Wroński
Spis treści
Wstęp
.................................................................................................................................9
Rozdział I
Źródła.
Sing-
Akademie
zu
Berlin
..................................................................................15
1.
Historia instytucji
.......................................................................................................15
2.
Archiwum
...................................................................................................................51
2.1.
Losy kolekcji
........................................................................................................51
2.2.
Zawartość archiwum
............................................................................................61
3.
Miejsce muzyki Georga
Antona
Bendy
w archiwum Sing-Akademie
.......................76
Rozdział
II
Georg
Anton
Benda
(1722-1795).
Twórca i dzieło
.......................................................83
1.
Kompozytor zapomniany
...........................................................................................83
2.
Dzieje rodu Bendów
...................................................................................................84
3.
Życie Georga
Antona
Bendy.....................................................................................
88
3.1.
Lata dziecięce i młodzieńcze
...............................................................................88
3.2.
Pobyt u Jezuitów w Kosmonosach i
Jičinie
.........................................................91
3.3.
Powody emigracji Bendów. Wyjazd do Berlina
.................................................93
3.4.
Lata spędzone w Berlinie
.....................................................................................94
3.5.
Służba na dworze w Gotha
...................................................................................97
3.6.
Pierwsza podróż do Italii
....................................................................................103
3.7.
Związek twórczości scenicznej
Bendy z
działalnością Grupy Seylera
..............104
3.8.
Zakończenie służby na dworze w Gotha. Ostatnie lata życia
...........................106
8
Spis
tresei
Rozdział
Ш
Kantaty kościelne Georga
Antona
Bendy
...................................................................109
A. Charakterystyka ogólna
........................................................................................109
1.
Czas powstania. Funkcja
.......................................................................................109
2.
Wzorce i inspiracje
................................................................................................113
3.
Miejsce kantat kościelnych w dorobku twórczym kompozytora
..........................116
B. Analiza i interpretacja
...........................................................................................120
1.
Forma kantat
.........................................................................................................120
1.1.
Informacje ogólne
.........................................................................................120
1.2.
Charakter i rola chórów wstępnych
..............................................................124
1.3.
Inne chóralne ogniwa kantat
.........................................................................131
1.4.
Indywidualny rys recytatywów
....................................................................132
1.5.
Arie jako centrum utworu
...........................................................................143
1.6.
Inne formy solowe
........................................................................................151
1.7.
Opracowania melodii chorałowych
..............................................................154
2.
Teksty i autorzy librett
..........................................................................................156
3.
Faktúrái
jej rodzaje
...............................................................................................173
4.
Obsada wykonawcza
.............................................................................................178
5.
Melodyka. Repertuar motywów
............................................................................181
6.
Rytmika i jej znaczenie dla kształtowania formy i wyrazistości tekstu słownego...
191
7.
Harmonika. Wachlarz akordów i zwrotów harmonicznych
..................................205
8.
Dynamika. Repertuar oznaczeń dynamicznych
...................................................214
9.
Artykulacja i jej związek z rytmiką i akcentacją
..................................................216
10.
Agogika. Znaczenie tempa dla przekazu treści libretta
.......................................219
11.
Tonacje kantat i ich związek z teorią afektu muzycznego
..................................219
12.
Nadrzędna rola słowa. Retoryka
.........................................................................226
13.
Programowość. Malarstwo dźwiękowe
..............................................................244
С
Wartość i styl
..........................................................................................................257
1.
Miejsce kantat
Bendy
w historii gatunku
.............................................................257
2.
Indywidualne cechy stylu muzyki kościelnej
Bendy
...........................................259
Zakończenie
...................................................................................................................263
Aneks
..............................................................................................................................267
Summary
.......................................................................................................................271
Bibliografia
....................................................................................................................273
Indeks nazwisk
..............................................................................................................275
|
| adam_txt |
Summary
The year
2001
was a breakthrough for the Sing-
Akademie
zu
Berlin, established in
1791.
The institution, which remembers the days of
Carl Fasch, Ludwig
van Beethoven
and Felix Mendelssohn-Bartholdy, welcomed the return of its archive of notes to Berlin.
The collection was recovered from Kiev, where it had ended up in
1945.
Due to the So¬
viet policy of plunder, many valuable collections of books, works of art and musical
notes were transported from Berlin to the Soviet Union, among them also the posses¬
sions of the Sing-
Akademie.
The collection counted more than
5000
manuscripts.
The value of the preserved scores is evident just from the fact that among them are
e.g. the manuscripts of St Matthew's Passion and other works by J. S. Bach, as well as
hundreds of pieces by
Georg Philipp
Telemarai,
Georg Friedrich Haendel, Johann
Ad¬
olph Hasse
and later composers, such as
Ludwig
van Beethoven, Felix Mendelssohn-
Bartholdy,
Carl Friedrich Rungenhagen
and Prince
Antoni
Radziwiłł.
The most import¬
ant part of the priceless archive is a voluminous collection of unknown and never previ¬
ously performed vocal-instrumental works by Carl
Philipp
Emmanuel Bach.
An important, if not the most extensive part of the archives consists of a few dozen
works by
Georg
Anton
Benda,
who first settled in Prussia and then in the Duchy of Saxe-
Gotha-Altenburg. Born in
1722,
after graduating from the Piarist school in
Kosmonosy
and the Jesuit Collegium in Jicin he traveled to Berlin. After a few years' stay in the then
capital of Prussia he moved to Gotha> where for twenty eight years he was the court
composer and kapellmeister of Prince Frederick the 3rd. While he is currently widely
known as a composer of stage works (melodramas and
Singspiels),
numerous symphon¬
ies, concertos and sonatas for keyboard instruments, he also wrote about two hundred
(mainly church) cantatas. The majority of the scores of those works are not extant. There
are good reasons to believe that (with only a few exceptions) the cantatas were never
performed, and it is certain they were not published. The recording of Benda's cantatas,
272
Summary
prepared by the author of the present work and published in
2007,
is a world premiere
recording of all the four compositions.
The first chapter of the work presents the history of the Sing-
Akademie
zu
Berlin
and its achievements in the fields of performance and popularization of oratory music
composed in the
XVIII"1
and XIXй1 centuries. The author attempts to answer the question
of why Benda's music never became part of the esteemed choral group's repertoir.
The second chapter concerns the person of
Georg
Anton
Benda
and his work. The
history of the
Benda
family is presented, as well the particular stages in life of its most
famous member
-
Georg
Anton, while influences on his music on part of the exterior
conditions he had to face, places he visited and members of the artistic world he had
a chance to meet are pointed out. The popularity of Benda's music in the final period of
his life made him a very well-known person, of which Mozart himself spoke highly.
The crucial part of the present book is its third chapter, devoted solely to Benda's
church cantatas. Establishing their place and significance in the composer's output seems
to be noteworthy, since for many years they have been thought to have played only
a marginal role in the composer's creative endeavours. The conducted research indicates,
however, that church cantatas form the biggest part of Benda's output.
In the analytic section of the chapter the particular elements of the cantatas' music
are described, including their structure, internal division, fabric, type of melodies, rhyth¬
mical aspects and the agogic and articulatory suggestions. All points made have been il¬
lustrated by musical examples. Through the analysis of keys employed by
Benda
the au¬
thor attempts to show a link with the theory of musical affects, refering to an account of
these affects prepared by prominent musicians and musicologists. The meaning of the
word appears to be very important for understanding the message of the composer. This
is why the original and translated texts of the particular cantatas have been provided.
Basing on the literary text, the author claims
Benda
was a master of the Baroque rhetor¬
ic, which was strongly connected with program music and elements of sound-painting.
In the concluding section of the present work the author makes an attempt at estab¬
lishing the place of Benda's cantatas in the history of the genre and points out the indi¬
vidual style of the composer.
Translation:
Leszek Wroński
Spis treści
Wstęp
.9
Rozdział I
Źródła.
Sing-
Akademie
zu
Berlin
.15
1.
Historia instytucji
.15
2.
Archiwum
.51
2.1.
Losy kolekcji
.51
2.2.
Zawartość archiwum
.61
3.
Miejsce muzyki Georga
Antona
Bendy
w archiwum Sing-Akademie
.76
Rozdział
II
Georg
Anton
Benda
(1722-1795).
Twórca i dzieło
.83
1.
Kompozytor zapomniany
.83
2.
Dzieje rodu Bendów
.84
3.
Życie Georga
Antona
Bendy.
88
3.1.
Lata dziecięce i młodzieńcze
.88
3.2.
Pobyt u Jezuitów w Kosmonosach i
Jičinie
.91
3.3.
Powody emigracji Bendów. Wyjazd do Berlina
.93
3.4.
Lata spędzone w Berlinie
.94
3.5.
Służba na dworze w Gotha
.97
3.6.
Pierwsza podróż do Italii
.103
3.7.
Związek twórczości scenicznej
Bendy z
działalnością Grupy Seylera
.104
3.8.
Zakończenie służby na dworze w Gotha. Ostatnie lata życia
.106
8
Spis
tresei
Rozdział
Ш
Kantaty kościelne Georga
Antona
Bendy
.109
A. Charakterystyka ogólna
.109
1.
Czas powstania. Funkcja
.109
2.
Wzorce i inspiracje
.113
3.
Miejsce kantat kościelnych w dorobku twórczym kompozytora
.116
B. Analiza i interpretacja
.120
1.
Forma kantat
.120
1.1.
Informacje ogólne
.120
1.2.
Charakter i rola chórów wstępnych
.124
1.3.
Inne chóralne ogniwa kantat
.131
1.4.
Indywidualny rys recytatywów
.132
1.5.
Arie jako centrum utworu
.143
1.6.
Inne formy solowe
.151
1.7.
Opracowania melodii chorałowych
.154
2.
Teksty i autorzy librett
.156
3.
Faktúrái
jej rodzaje
.173
4.
Obsada wykonawcza
.178
5.
Melodyka. Repertuar motywów
.181
6.
Rytmika i jej znaczenie dla kształtowania formy i wyrazistości tekstu słownego.
191
7.
Harmonika. Wachlarz akordów i zwrotów harmonicznych
.205
8.
Dynamika. Repertuar oznaczeń dynamicznych
.214
9.
Artykulacja i jej związek z rytmiką i akcentacją
.216
10.
Agogika. Znaczenie tempa dla przekazu treści libretta
.219
11.
Tonacje kantat i ich związek z teorią afektu muzycznego
.219
12.
Nadrzędna rola słowa. Retoryka
.226
13.
Programowość. Malarstwo dźwiękowe
.244
С
Wartość i styl
.257
1.
Miejsce kantat
Bendy
w historii gatunku
.257
2.
Indywidualne cechy stylu muzyki kościelnej
Bendy
.259
Zakończenie
.263
Aneks
.267
Summary
.271
Bibliografia
.273
Indeks nazwisk
.275 |
| any_adam_object | 1 |
| any_adam_object_boolean | 1 |
| author | Delimat, Wiesław |
| author_facet | Delimat, Wiesław |
| author_role | aut |
| author_sort | Delimat, Wiesław |
| author_variant | w d wd |
| building | Verbundindex |
| bvnumber | BV023381959 |
| contents | Bibliogr. s. 273-274. Indeks |
| ctrlnum | (OCoLC)749765275 (DE-599)BVBBV023381959 |
| format | Book |
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| id | DE-604.BV023381959 |
| illustrated | Illustrated |
| index_date | 2024-07-02T21:16:41Z |
| indexdate | 2024-07-09T21:17:20Z |
| institution | BVB |
| isbn | 9788374381482 |
| language | Polish |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-016565044 |
| oclc_num | 749765275 |
| open_access_boolean | |
| owner | DE-12 |
| owner_facet | DE-12 |
| physical | 278, [1] s. Ill., Notenbeisp. 24 cm |
| psigel | DHB_JDG_ISBN_1 |
| publishDate | 2008 |
| publishDateSearch | 2008 |
| publishDateSort | 2008 |
| publisher | Wydawnictwo Naukowe Papieskiej Akademii Teologicznej |
| record_format | marc |
| spelling | Delimat, Wiesław Verfasser aut Zapomniane kantaty kościelne Georga Antona Bendy ze zbiorów Sing-Akademie zu Berlin Wiesław Delimat Kraków Wydawnictwo Naukowe Papieskiej Akademii Teologicznej 2008 278, [1] s. Ill., Notenbeisp. 24 cm txt rdacontent n rdamedia nc rdacarrier Zsfassung in engl. Sprache Bibliogr. s. 273-274. Indeks Benda, Jiří Antonín / (1722-1795) jhpk Benda, Jiří Antonín <1722-1795> jhpk Benda, Georg 1722-1795 (DE-588)118655329 gnd rswk-swf Kantaty / historia i krytyka jhpk Kantaty - historia i krytyka jhpk Kantate (DE-588)4029509-6 gnd rswk-swf Benda, Georg 1722-1795 (DE-588)118655329 p Kantate (DE-588)4029509-6 s DE-604 Digitalisierung BSB Muenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016565044&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Abstract Digitalisierung BSBMuenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016565044&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Delimat, Wiesław Zapomniane kantaty kościelne Georga Antona Bendy ze zbiorów Sing-Akademie zu Berlin Bibliogr. s. 273-274. Indeks Benda, Jiří Antonín / (1722-1795) jhpk Benda, Jiří Antonín <1722-1795> jhpk Benda, Georg 1722-1795 (DE-588)118655329 gnd Kantaty / historia i krytyka jhpk Kantaty - historia i krytyka jhpk Kantate (DE-588)4029509-6 gnd |
| subject_GND | (DE-588)118655329 (DE-588)4029509-6 |
| title | Zapomniane kantaty kościelne Georga Antona Bendy ze zbiorów Sing-Akademie zu Berlin |
| title_auth | Zapomniane kantaty kościelne Georga Antona Bendy ze zbiorów Sing-Akademie zu Berlin |
| title_exact_search | Zapomniane kantaty kościelne Georga Antona Bendy ze zbiorów Sing-Akademie zu Berlin |
| title_exact_search_txtP | Zapomniane kantaty kościelne Georga Antona Bendy ze zbiorów Sing-Akademie zu Berlin |
| title_full | Zapomniane kantaty kościelne Georga Antona Bendy ze zbiorów Sing-Akademie zu Berlin Wiesław Delimat |
| title_fullStr | Zapomniane kantaty kościelne Georga Antona Bendy ze zbiorów Sing-Akademie zu Berlin Wiesław Delimat |
| title_full_unstemmed | Zapomniane kantaty kościelne Georga Antona Bendy ze zbiorów Sing-Akademie zu Berlin Wiesław Delimat |
| title_short | Zapomniane kantaty kościelne Georga Antona Bendy ze zbiorów Sing-Akademie zu Berlin |
| title_sort | zapomniane kantaty koscielne georga antona bendy ze zbiorow sing akademie zu berlin |
| topic | Benda, Jiří Antonín / (1722-1795) jhpk Benda, Jiří Antonín <1722-1795> jhpk Benda, Georg 1722-1795 (DE-588)118655329 gnd Kantaty / historia i krytyka jhpk Kantaty - historia i krytyka jhpk Kantate (DE-588)4029509-6 gnd |
| topic_facet | Benda, Jiří Antonín / (1722-1795) Benda, Jiří Antonín <1722-1795> Benda, Georg 1722-1795 Kantaty / historia i krytyka Kantaty - historia i krytyka Kantate |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016565044&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016565044&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
| work_keys_str_mv | AT delimatwiesław zapomnianekantatykoscielnegeorgaantonabendyzezbiorowsingakademiezuberlin |