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- ItemMusica fatta spirituale. Aquilino Coppini’s contrafacta of Monteverdi’s Fifth Book of Madrigals(Katedra Muzykologii, Wydawnictwo Naukowe PTPN, Wydawnictwo Naukowe UAM, 2012) Budzińska-Bennett, AgnieszkaThis article focuses on Aquilino Coppini’s contrafacta of Monteverdi madrigals from the Fifth Book, Musica tolta da i Madrigali di Claudio Monteverde, e d’altri autori […] e fatta spirituale, published in Milan in 1607. Coppini (d. 1629), a Milanese priest, professor of rhetoric at the University of Pavia and man of letters, was Monteverdi’s personal friend and admirer. He was associated with the circle of Cardinal Federico Borromeo (1564–1631), Archbishop of Milan and a great connoisseur of the arts, and his cousin, Cardinal Carlo [Charles] Borromeo (1538–1584), principally responsible for the Tridentine reform of church music, to whom Coppini dedicated the fi rst of his three collections of contrafacta discussed here. Coppini’s efforts in re-texting Monteverdi’s compositions and transforming them into madrigali spirituali were very much welcomed by the mighty Borromeo family, as they allowed the newest stylistic achievements of the seconda prattica to be transferred to church music. Coppini’s contrafacta are of interest for their concentration on madrigals by Monteverdi, as Coppini chose to work on eleven madrigals from Monteverdi’s controversial Fifth Book. His treatment of the poetic text is quite elaborate. First, his Latin contrafacta are creative re-textings in which he reproduces the metric structure and the sound quality of Guarini’s original Italian texts through the careful placement of phonemes, vowels and consonants. Second, he transforms them into madrigali spirituali, always following their original affetti, creating strong associations and often profound intertextual relationships among the original and the new texts, in which he elevates the profane situations from Guarini’s texts to the spiritual level of the Gospel teachings. In this respect, Coppini’s work remains a fascinating contribution to the enduring discussion on the thin line between the sacred and the profane.
- ItemSeventeenth-century chant manuscripts held at University of Warsaw Library in the context of Bernardine musical culture(Katedra Muzykologii, Wydawnictwo Naukowe PTPN, Wydawnictwo Naukowe UAM, 2012) Grabiec, DominikaThe Music Department at Warsaw University Library is in possession of three seventeenthcentury chant manuscripts. All three were probably produced in the Bernardine community, although only two of them contain provenance notes which allow us to establish more precisely where they were compiled or used. In the present paper, the focus is on one of those manuscripts, which formerly belonged to the Bernardine nuns of Łowicz. This source provides valuable information on such subjects as the exchange of musical experiences and cooperation among various congregations.
- ItemThe mysterious provenance and uncommon repertoire of the music collection belonging to the Dominican Pius Hancke(Katedra Muzykologii, Wydawnictwo Naukowe PTPN, Wydawnictwo Naukowe UAM, 2012) Hauptman-Fischer, EwaFather Pius Hancke’s music collection includes numerous pieces written for harp. Its outstanding repertoire and provenance distinguishes it from other monastic collections. Hancke expanded it throughout his life and took it with him when moving home. He spent the last thirty years of his life in the Dominican monastery in Nysa. Music for the liturgy contained in his collection (masses, litanies) was certainly used there and is currently the only testimony of that monastery’s musical culture. Besides liturgical compositions, Hancke’s collection includes a number of instrumental pieces for harp with the accompaniment of other instruments and contrafacta of operatic arias. The latter often include parts arranged for harp, probably by Hancke himself. The scriptors’ names link this collection to a unique manuscript containing a Credo ascribed to Antonio Vivaldi.
- ItemMusical life in Slutsk during the years 1733–1760 in the light of archive materials(Katedra Muzykologii, Wydawnictwo Naukowe PTPN, Wydawnictwo Naukowe UAM, 2012) Bieńkowska, IrenaThis article represents the very fi rst attempt at reconstructing musical life in Slutsk (Pol. Słuck) during the fi rst half of the eighteenth century, and it merely outlines the issues involved. Slutsk was a typical private town – a multicultural centre inhabited by Jews, Orthodox Ruthenians, Lithuanians and Poles of the Protestant and Roman-Catholic faiths. Among the representatives of the Roman-Catholic faith, the Jesuits were the main animators of the town’s cultural and educational life, alongside the court of Prince Hieronim Florian Radziwiłł. A medium-sized music boarding school attached to the Jesuit College in Slutsk existed from around 1713. Musical instruments were purchased for the school quite regularly, often in faraway Koenigsberg. The contacts between the boarding school and the prince’s court were relatively frequent and good, and some school-leavers found jobs at the court, chiefl y in the garrison or janissary band, and sporadically also in Prince Radziwiłł’s music ensemble. The court was the main centre of the town’s cultural life. Among its numerous artistic ventures, stage shows seem to have been the most spectacular. For the purposes of such performances, a free-standing theatre was built in the centre of Slutsk at the turn of 1753. This building is worth mentioning because of the rarity of such projects in the Commonwealth of Poland-Lithuania during the 1750s. The repertoire of the Slutsk theatre was initially dominated by commedia dell’arte in German and the occasional dramma per musica, but during the second half of the 1750s, one-act ballets began to dominate. Among the instrumental works performed in Slutsk were compositions by Carl Heinrich and Johann Gottlieb Graun, Georg Christoph Wagenseil, and musicians active at the Radziwiłł court (Andreas Wappler, Joseph Kohaut and Johannes Battista Hochbrucker), as well as improvisations by Georg Noëlli. The town’s artistic heyday ended with the death of Prince Hieronim Florian Radziwiłł, in 1760, and the dissolution of the Society of Jesus, a decade or so later.
- ItemSacred music by Amandus Ivanschiz: attributions and variants of extant compositions(Katedra Muzykologii, Wydawnictwo Naukowe PTPN, Wydawnictwo Naukowe UAM, 2012) Jochymczyk, MaciejThe Pauline father Amandus Ivanschiz (1727–1758) was a composer whose music heralded the style of the early Classical period. He worked mainly in Austria (Wiener Neustadt and Mariatrost), as well as in Rome (it has recently been established that he spent three years there). His sacred music, especially masses, litanies and cantata-style pieces to non-liturgical texts, has been preserved in numerous manuscripts (over 260 items) held in eight countries of Central Europe (Austria, the Czech Republic, Germany, Poland, Slovakia, Slovenia, Switzerland and Hungary). Comparative analysis of all the manuscripts allows one to distinguish several problems commonly encountered in research into eighteenth-century musical sources, such as variants, multiple versions of works and contradictory attributions of authorship, further exacerbated by the lack of originals. This article focusses on the most recent fi ndings relating to Ivanschiz’s life and religious music, as well as discussing and illustrating discrepancies between various copies of the same compositions by reference to selected works. We will also consider the differentiation of authorial variants from variant versions arising from custom.