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– 427 – Zofia Dobrzańska-Fabiańska
Zofia DOBRZAńSKA-FABIAńSKA Jagiellonian University, Cracow Zdzisław JACHIMECKI’S Italian INFLUENCES IN POLISH MUSIC: AN Invitation to STUDY THE SIXTEENTH- AND SEVENTEENTH-Century RECEPTION OF Italian MUSICAL Culture IN POLAND Zdzisław Jachimecki’s book on Italian influences in Polish music (Wpływy włoskie w muzyce polskiej),1 his habilitation, takes up a special place in history of Polish musi- cology and in Polish musicological historiography. At the time it was published in 1911, a Seminar of Theory and History of Music was established at the University of Cracow, which meant musicology became a university discipline in Poland.2 Jachimecki’s treat- ise itself proved to be seminal. It initiated an important domain of research of music historians in the twentieth and twenty-first centuries devoted to Italo-Polish relationship in musical culture of the Polish-Lithuanian Commonwealth. It reflects both the state of knowledge on early Polish music and a specific understanding of how this art was related to Italian. 1. Italian influences in Polish music. Type of approach. Notions of ‘Italian music’, ‘Polish music’ and ‘universal style’ Jachimecki did not claim his book was a synthesis. On the contrary: it comprises nine separate studies-chapters, «not bound by historical causality» (p. VII), but arranged chron- ologically. The author intended to provide «an assessment and analysis» of the primary preserved (and known at the time) «monuments of music» of 1540-1640 and their «his- toric al elucidation». Most of these «monuments», proofs of «our -
The Blossoming Vine
CORO CORO Music from the Sistine Chapel Bartłomiej Pękiel Allegri · Anerio The Sixteen The Palestrina · Marenzio Eamonn Dougan “Surprises and rarities “Sit back and relish abound here... this treasure trove a daring journey which has clearly Blossoming of discovery.” been prepared gramophone with passion.” editor’s choice gramophone choice cor16047 cor16110 September 2013 Vine The Earth Resounds Palestrina Volume 4 Italian Maestri in Poland “The disc opens with the The Sixteen most rousing account I continues its have heard of his well- exploration of Asprilio Pacelli known ten-voice Easter Palestrina’s great motet, Aurora lucis art with the fourth Vincenzo Bertolusi rutilat, which almost disc in the series had me out of my chair featuring the G.F. Anerio with excitement… Missa O magnum This is a thrilling disc.” mysterium. cor16097 cor16114 international record review The Sixteen To find out more about The Sixteen, concert tours, and to buy CDs visit EAMONN DOUGAN www.thesixteen.com cor16123 he first volume in this series of recordings focussed on Bartłomiej Pękiel, ierwszy tom w tej serii fonograficznej poświęcono Bartłomiejowi Pękielowi, pierwszemu Tthe first Polish composer to rise to the position of maestro di cappella Pkompozytorowi polskiemu, który osiągnął w XVII wieku pozycję maestro di cappella na during the 17th century. In this second volume we explore works by królewskim dworze. W drugim tomie zagłębiamy się w spuściznę trzech włoskich mistrzów, three of the Italian maestri who came before him, bringing their craft and którzy zajmowali to stanowisko przed nim, przynosząc swój kunszt i doświadczenie na dwór experience to the court of King Sigismund III. -
Music Migration in the Early Modern Age
Music Migration in the Early Modern Age Centres and Peripheries – People, Works, Styles, Paths of Dissemination and Influence Advisory Board Barbara Przybyszewska-Jarmińska, Alina Żórawska-Witkowska Published within the Project HERA (Humanities in the European Research Area) – JRP (Joint Research Programme) Music Migrations in the Early Modern Age: The Meeting of the European East, West, and South (MusMig) Music Migration in the Early Modern Age Centres and Peripheries – People, Works, Styles, Paths of Dissemination and Influence Jolanta Guzy-Pasiak, Aneta Markuszewska, Eds. Warsaw 2016 Liber Pro Arte English Language Editor Shane McMahon Cover and Layout Design Wojciech Markiewicz Typesetting Katarzyna Płońska Studio Perfectsoft ISBN 978-83-65631-06-0 Copyright by Liber Pro Arte Editor Liber Pro Arte ul. Długa 26/28 00-950 Warsaw CONTENTS Jolanta Guzy-Pasiak, Aneta Markuszewska Preface 7 Reinhard Strohm The Wanderings of Music through Space and Time 17 Alina Żórawska-Witkowska Eighteenth-Century Warsaw: Periphery, Keystone, (and) Centre of European Musical Culture 33 Harry White ‘Attending His Majesty’s State in Ireland’: English, German and Italian Musicians in Dublin, 1700–1762 53 Berthold Over Düsseldorf – Zweibrücken – Munich. Musicians’ Migrations in the Wittelsbach Dynasty 65 Gesa zur Nieden Music and the Establishment of French Huguenots in Northern Germany during the Eighteenth Century 87 Szymon Paczkowski Christoph August von Wackerbarth (1662–1734) and His ‘Cammer-Musique’ 109 Vjera Katalinić Giovanni Giornovichi / Ivan Jarnović in Stockholm: A Centre or a Periphery? 127 Katarina Trček Marušič Seventeenth- and Eighteenth-Century Migration Flows in the Territory of Today’s Slovenia 139 Maja Milošević From the Periphery to the Centre and Back: The Case of Giuseppe Raffaelli (1767–1843) from Hvar 151 Barbara Przybyszewska-Jarmińska Music Repertory in the Seventeenth-Century Commonwealth of Poland and Lithuania. -
Asprilio Pacelli, Sacrae Cantiones, Wyd./Ed. Barbara Przybyszewska
D e M u s i c a XVI· 2012 Asprilio Pacelli, Sacrae cantiones, wyd./ed. Barbara Przybyszewska-Jarmińska (Monumenta Musicae in Polonia), Instytut Sztuki Polskiej Akademii Nauk, Stowarzyszenie Liber Pro Arte, Warszawa 2012: Introduction (fragment) B a r b a r a P r z y b y s z e w s k a-J a r m i ń s k a Asprilio Pacelli’s life and preserved legacy Asprilio Pacelli was born c. 1569–70 in Vasciano near Narni (Umbria) and died in Warsaw on 4 May 1623. In all probability, he was a relative (possibly a nephew) of Fulginia Pacelii, the wife of Maurizio Anerio – a trombonist in the papal ensemble in Castel Sant’Angelo – and the mother of the famous composers Felice and Giovanni Francesco Anerio.1 As a child (between 23 February 1581 and 31 August 1582) Asprilio sang as a soprano in the Roman Cappella Giulia.2 During that period, the office of the chapel master was held by Giovanni Pierluigi da Palestrina, who also supervised the education of boy singers and Pacelli was very likely among his pupils. It is possible that in later years the musician became involved in the activities of the Jesuit English College. It cannot be ascertained, however, whether Pacelli and the chapel master “Asperino” mentioned in the archive records of the college were in fact the same person.3 There is some probability that from as early as 1586 (July 1587 at the latest) until April 1588, and occasionally later until 1590, Pacelli held the function of the chapel master of a small vocal ensemble formed several years earlier by Felice Anerio in Arciconfraternità del Gonfalone.4 From 1 Noel O'REGAN, “Asprilio Pacelli, Ludovico da Viadana and the Origins of the Roman «Concerto Ecclesiastico»”, Journal of Seventeenth–Century Music 6 (2000), p. -
Niech Żyje Polska Long Live Poland! – Music Of
Niech Żyje Polska: Long Live Poland! Music of the Polish Baroque The 17th and 18th centuries were filled with dramatic political and artistic turmoil in Poland – the once stable Polish-Lithuanian Commonwealth was plagued by conflict from without and within. From the Italian and Dresden-influenced Chapel Royal in Warsaw to the rise of Poland’s own native masters, instrumental music began its ascension amidst a tapestry of war and economic decline. Examining this unique and relatively unknown repertoire, New Comma Baroque presents music by 17th-century pioneers Jarzębski, Mielczewski, Pękiel, Rohaczewski and Żelechowski as well as 18th-century masters Podbielski, Janitsch and Szarzyński. Join New Comma Baroque, with guest artists Jessica Powell Eig, Marilyn Fung & Peter Lekx, in our celebration and exploration of Polish culture. Niech Żyje Polska! Long Live Poland! Leighann R. Daihl, traverso Matthew C. Cataldi, Baroque violin Peter Lekx, Baroque violin & viola Jessica Powell Eig & Phillip W. Serna, violas da gamba Marilyn Fung, violone Emily J. Katayama, harpsichord Concerto a3, 2 soprani e basso: Corona Aurea Adam Jarzębski (d.1649) Matthew C. Cataldi & Peter Lekx, Baroque violins Phillip W. Serna, viola da gamba Emily J. Katayama, harpsichord Polish Dances and Other Pieces from Biblioteka Jagiellońska, Ms.127/56 Anonymous (ca.1633-1650) Leighann R. Daihl, traverso Emily J. Katayama, harpsichord Canzon a4 from Vol. VI of the Tabulatura Peplińska (c.1620) Andrzej Rohaczewski (fl.ca.1620) Emily J. Katayama, harpsichord Canzona a2, 2 soprani e basso Marcin Mielczewski (ca.1600-1651) Leighann R. Daihl, traverso Peter Lekx, Baroque violin Jessica Powell Eig, viola da gamba Emily J. -
Compositions, Techniques, Reception
Aleksandra Patalas Jagiellonian University, Cracow ASPRILIO PACELLI IN POLAND: COMPOSITIONS, TECHNIQUES, RECEPTION In the music of early seventeenth-century Poland one may notice important stylistic changes and, initially, in this process the most significant role was played by Italian musi- cians and composers, among whom – Asprilio Pacelli (after 15601-1623).2 He was the longest-active Italian chapel master at the Polish royal court: in fact, he most probably 1 According to the epitaph affixed to the monument dedicated to Pacelli by the Polish King Sigismund III in the collegiate church of St. John the Baptist in Warsaw, which was destroyed in the Second World War (cf. szymon sTarowolski, Monumenta Sarmatarum, Cracovia, Viduae et Haeredes Francisci Cesarii, 1655, p. 247), the composer died on 4 May 1623, at the age of 53 (cf. note 5). This gives a date of birth of 1570, but in Noel OʼRegan’s opinion, the documents that testify to Pacelli’s activities in Rome as choirmaster since 1586 lead him to backdate Pacelli’s birth to the previous decade. See noel oʼregan, Asprilio Pacelli, Ludovico da Viadana and the origins of the Roman «Concerto Ecclesiastico», «Journal of Seventeenth Century Music», VI/1, 2000, http://www.sscm-jscm.org/v6/no1/oregan.html; daniele v. filiPPi - aleksandra PaTalas, Asprilio Pacelli, in DBI on-line, Treccani.it, http://www.treccani.it/ (14/12/2014). 2 The first monograph on Pacelli’s life and work was that of aM tteo gliński, Asprilio Pacelli, insigne Maestro di Cappella della Corte Reale di Polonia (1570-1623), Città del Vaticano, Tipografia Poliglotta Vaticana, 1941. -
Franciszek Lilius' Musical Output and Its Dissemination in the Seventeenth
Musica Iagellonica 2019 ISSN 1233–9679 eISSN 2545-0360 Marek Bebak (The John Paul II Catholic University of Lublin) Franciszek Lilius’ musical output and its dissemination in the seventeenth and eighteenth centuries* Biographical context At the beginning of the seventeenth century the number of Italians in the Polish-Lithuanian Commonwealth was increasing. In all of the occupational groups – mainly merchants, but also architects, painters, bricklayers and musi- cians – we can see the influence of Italian culture. 1 King Sigismund III Vasa brought to his royal court in Cracow (and later in Warsaw) the greatest musi- cians from Western Europe, especially from Italy (mainly from Rome). In the first half of the century, there were many Italians in the royal ensemble, in roles including maestri di cappella and composers (Luca Marenzio, Asprilio Pacel- li, Giovanni Francesco Anerio, Marco Scacchi), instrumentalists (Tarquinio 2 Merula), and virtuoso singers (Baldassare Ferri, Margherita Basile-Cattaneo). * This article is based on my book Franciszek Lilius. Życie i twórczość na tle epoki [Fran- ciszek Lilius. The Life and Work in the Context of the Era] (Kraków: Musica Iagellonica, 2018). The author would like to express his gratitude to Professor Zofia Fabiańska for her valu- able remarks on the draft of this article. 1 See e.g. Wojciech TYGIELSKI, Włosi w Polsce XVI–XVII wieku. Utracona szansa na modernizację [Italians in Poland in the 16th–17th century. A lost chance for modernization] (Warszawa: Biblioteka “Więzi”, 2005), esp. 89–96. The book points to further literature. 2 See e.g. Anna and Zygmunt M. SZWEYKOWSKI, Włosi w kapeli królewskiej polskich Wazów [Italians in Polish Vasa dynasty’s band] (Kraków: Musica Iagellonica, 1997); Barbara PRZYBYSZEWSKA-JARMIŃSKA, Muzyczne dwory polskich Wazów [Musical courts of the Vasas] (Warszawa: Semper, 2007). -
Il Giorno Che Ha Cambiato Il Mondo
www.umbriaradio.it 1,10 euro Periodico settimanale - Poste N. 15 Italiane S.p.A. Spedizione in Abbonamento Venerdì Postale D.L. 353/2003 (conv. in L. 18 Aprile 2014 27/02/2004 n. 46) art. 1, comma 1, DCB Fil. di Perugia Uff. A/P GIOR- NALE LOCALE ROC Buona Pasqua! La bella notizia della Pasqua di Gualtiero card. Bassetti entre sul mondo si accumulano sempre nuovi motivi di apprensione, di violenze e di Mangoscia, giunge, con la luna piena di primavera, la bella notizia della Pasqua. Ebrei e cristiani insieme celebrano il memoriale di una liberazione antica - che si rinnova per ogni generazione - da ogni forma di schiavitù, e apre la strada dell’Esodo verso la Terra promessa. Per noi cristiani questa Terra promessa è il Cristo risorto da morte, vivo e presente nella nostra storia quotidiana. La Chiesa lo annuncia e vive di lui, come suo Corpo animato dal suo Spirito. Un grande segno della sua presenza, in questo felice anno di grazia per il popolo di Dio e per tutti gli uomini di buona volontà che amano Dio e da Lui sono amati, è dato anche dall’elevazione canonica alla gloria della santità di due Papi che moltissimi di noi abbiamo conosciuto, seguito e amato: Giovanni XXIII, il Papa buono, e Giovanni Paolo II, il gigante atleta di Dio, infaticabile missionario di pace in tutte le nazioni del mondo. Essi sono il sigillo di Dio sulla nostra storia di popolo pellegrino verso il Regno, chiamato a camminare nei sentieri del mondo, a costruire un mondo umano e Il giorno cristiano migliore di come lo abbiamo trovato, e a confessare la bontà di Dio e della Sua salvezza. -
Migratory and Traveling Musicians at the Polish Royal Courts in the 17Th Century the Case of Kaspar Förster the Younger
Migratory and Traveling Musicians at the Polish Royal Courts in the 17th Century The Case of Kaspar Förster the Younger B P-Jń The period under research spans the reigns of ive Polish kings, who were żrand Dukes of Lithuania at the same time. They were Zygmunt III Vasa (who reigned 1587-1632) followed by his sons Władysław IV (1632-48) and Jan II Kazimierz (1648-68), and also Michał Korybut Winiowiecki (1669-73) and Jan III Sobieski (1674-96). Towards the end of the 17th century, in 1697, the irst of the two Polish kings from the Saxon Wet- tin dynasty ascended to the throne. These inal years of the century are already within the chronological range researched in the MusMig project by Alina órawska-Witkowska.1 I decided to accept the year 1595 as the beginning of the period under scrutiny. It was in that year that Zygmunt III, an elected monarch born in Sweden, son of Johan III Vasa and the Polish princess Katarzyna Ja- giellonka, reorganized the royal ensemble.2 As a result of a recruitment action that took place in Rome and was inspired by the Polish king, more than 20 Italian musicians came to Poland, including two KapellmeisterŚ Annibale Stabile (who died in April 1595, probably during the journey or shortly after his arrival in Cracow/Krakau) and Luca Marenzio (whose 1 See her article on pp. 151-169 in the present volume. 2 S/S, 1997, pp. 22-53ś P-J- ń , 2007, pp. 15-27. 135 Barbara Przybyszewska-Jarmińska stay in Poland lasted from 1595 until 1597 or 1598).3 Żrom that time until the monarch’s death, his court hosted a group of Italian musicians whose number remained stable. -
Giovanni Battista Cocciola's Activity
Prejeto / received: 1. 2. 2017. Odobreno / accepted: 10. 4. 2017 DOI: 10.3986/dmd13.1-2.06 GIOVANNI BATTISTA COCCIOLA’S ACTIVITY IN THE POLISH-LITHUANIAN COMMONWEALTH AND HIS CONCERTO AVE MUNDI SPES MARIA FROM THE PARNASSUS MUSICUS FERDINANDAEUS ALEKSANDRA PATALAS Uniwersytet Jagielloński, Kraków Izvleček: Giovanni Battista Cocciola je bil ita- Abstract: Giovanni Battista Cocciola was one lijanski skladatelj 17. stoletja, ki je nekaj časa of the seventeenth-century Italian composers deloval tudi v Poljsko-litovski zvezi. Njegova active for a period in the Polish-Lithuanian Com- glasbena zapuščina, ki se je le deloma ohra- monwealth. His musical legacy, only partially nila in je v mednarodni muzikološki literaturi preserved and unknown to the international mu- tako rekoč neznana, obsega motete, cerkvene sicological literature, comprises motets, church koncerte, kanconete in maše. Med drugim je concertos, canzonettas and masses. Cocciola is napisal tudi en motet za antologijo Parnassus also the author of one concerto included in the musicus Ferdinandaeus. Parnassus Musicus Ferdinandaeus. Ključne besede: cerkveni koncert, Giovanni Keywords: church concerto, Giovanni Battista Battista Cocciola, glasba na Poljskem, glasba Cocciola, music in Poland, music in Lithuania, v Litvi, glasba 17. stoletja. seventeenth-century music. Giovanni Battista Cocciola belongs to that group of seventeenth-century Italian musi- cians and composers which spent part of their artistic lives in the Polish-Lithuanian Commonwealth. Cocciola’s legacy remains little known in the international musicological literature; one notices the absence of his name in Italian encyclopaedias and reference books, as well as in the German Die Musik in Geschichte und Gegenwart. His music still awaits performances and recordings. -
Daniele V. Filippi: Quale Roma Al Nord? L'immagine Musicale Di Roma Nel Primo Seicento a Partire Dal Caso Di Giovanni Frances
Daniele V. Filippi: Quale Roma al Nord? L’immagine musicale di Roma nel primo Seicento a partire dal caso di Giovanni Francesco Anerio Schriftenreihe Analecta musicologica. Veröffentlichungen der Musikgeschichtlichen Abteilung des Deutschen Historischen Instituts in Rom Band 45 (2011) Herausgegeben vom Deutschen Historischen Institut Rom Copyright Das Digitalisat wird Ihnen von perspectivia.net, der Online-Publikationsplattform der Max Weber Stiftung – Deutsche Geisteswissenschaftliche Institute im Ausland, zur Verfügung gestellt. Bitte beachten Sie, dass das Digitalisat der Creative- Commons-Lizenz Namensnennung-Keine kommerzielle Nutzung-Keine Bearbeitung (CC BY-NC-ND 4.0) unterliegt. Erlaubt ist aber das Lesen, das Ausdrucken des Textes, das Herunterladen, das Speichern der Daten auf einem eigenen Datenträger soweit die vorgenannten Handlungen ausschließlich zu privaten und nicht-kommerziellen Zwecken erfolgen. Den Text der Lizenz erreichen Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode Quale Roma al Nord? L’immagine musicale di Roma nel primo Seicento a partire dal caso di Giovanni Francesco Anerio* Daniele V. Filippi Introduzione »All’inizio di tutto c’è Roma, una certa immagine di Roma, che si annida nel più profondo di ogni anima umana.« Così lo storico dell’arte francese Gérard Labrot apre il libro il titolo della cui traduzione italiana suona Roma »caput mundi«. L’im- magine barocca della città santa 1534–1677.1 In questo affascinante studio si indaga la costruzione e recezione dell’immagine di Roma nella coscienza europea nell’arco di tempo, cruciale per la cristianità, imperniato sul Concilio Tridentino. Labrot cerca di ricostruire l’immagine della città attraverso le fonti documentarie, dedicandosi in particolare agli strumenti che veicolano quest’immagine all’esterno: raccolte di »mirabilia«, guide e racconti di viaggio, manuali per i pellegrini, mappe, disegni, dipinti ecc. -
Barbara Przybyszewska-Jarmińska Instytut Sztuki, Polska Akademia Nauk ————
o życiu muzycznym w warszawskim kościele św. marcina w xvii wieku 25 barbara przybyszewska-jarmińska instytut sztuki, polska akademia nauk ———— INFORMACJE ZE ŹRÓDEŁ AUGUSTIAŃSKICH O ŻYCIU MUZYCZNYM W WARSZAWSKIM KOŚCIELE ŚW. MARCINA W XVII WIEKU ORAZ O DZIAŁAJĄCYCH W TYM CZASIE MUZYKACH KRÓLEWSKICH ościół św. Marcina oo. augustianów w Warszawie od XVII w., kiedy warszawski K Zamek Królewski stał się główną siedzibą kolejnych królów Polski, stanowił nie tylko miejsce dość intensywnego uprawiania muzyki przez samych zakonników i muzyków przez nich wynajmowanych, ale i występów kapeli królewskiej. W samym klasztorze zaś znajdowali mieszkanie muzycy królewscy, którzy należeli do zakonu św. Augustyna. Zachowane, pomimo ogromnych strat związanych z kasatą klasztoru po powstaniu styczniowym, rozproszone źródła związane z jego dziejami, jak rów- nież dokumenty prowincji polskiej oo. augustianów, nie tylko poświadczają działal- ność w kościele zakonnych kantorów, organistów i muzyków innych specjalności, a także fakt zatrudniania lub zapraszania muzyków z zewnątrz w celu uświetnia- nia najważniejszych uroczystości kościelnych, ale też przynoszą nieznane informacje do biografii konkretnych muzyków należących w tym czasie do kapeli królewskiej. Główną bazę źródłową niniejszego artykułu stanowią rękopisy z XVII, a wyjątkowo XVIII i XIX w., przechowywane przede wszystkim w różnych zbiorach warszaw- skich: w Archiwum Archidiecezjalnym1, Bibliotece Muzeum Warszawy2, Bibliotece Uniwersyteckiej3, Bibliotece Narodowej4 i Bibliotece Instytutu Badań Literackich 1 Archiwum Archidiecezjalne w Warszawie, Zgromadzenia zakonne: OO Augustianie. W tym zespole zachowane są, jeżeli chodzi o wiek XVII, dwie rękopiśmienne księgi rachunkowe klasztoru św. Marcina: za lata 1631–37 (sygn. 7) i lata 1681–94 (sygn. 41). Będą one dalej cytowane jako Wa Aug. 7 i Wa Aug. 41. 2 Biblioteka Muzeum Warszawy, rps A/I/3261: Tabula censuum klasztoru św.