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This article was written in relation to the growing interest in the music of the 17th and 18th century church and monastery bands, which one might observe in recent times. The purpose of this paper is to broaden knowledge of the vocalists and instrumentalists of the Jesuitical band of Saints Peter and Paul’s Church in Cracow. The content of the article was founded on the analysis of manuscripts and printed sources. On the basis of this material the background, place of education and skills of the aforementioned band’s musicians were described. The main part of the paper consists of the produced catalogue of the band’s vocalists and instrumentalists, extending the knowledge of the already known musicians and providing new names, which are missing in the hitherto reference books. It lists 611 musicians altogether.
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The first Handel’s biographer, John Mainwaring, maintained that ‘his [Handel’s] chief practice, and greatest mastery was on the organ and harpsichord’. Johannes Mattheson stated that ‘probably only Bach himself in Leipzig can catch up with Handel in his playing the organ’. However, nowadays Handel is perceived chielfy as a theatrical icon, immortal creator of operas and oratorios. How can one explain the state of affairs then? Quite a number of organ works by Handel has sunk into oblivion, and only his famous organ concertos Op. 4 and 7 have remained core repertoire items. The organ versions of Handel’s overtures to his operas and oratorios which were so much popular erstwhile have completely disappeared from a present organ repertoire. Those sixty-four works that were published in numerous partial editions by his publisher in London, John Walsh, at the end of the composer’s life came out in a complete edition which was to become the largest collection of the 18th century keyboard music. Although it seems to be quite incredible, at present the works are not included in the lists of Handel’s works (if only with a note about doubtful authorship), performed in concerts, nor are they taken into consideration by musicologists, as if they did not exist at all. The organ overtures by Handel fully deserve to be performed again in the concert halls. They are not only an amazing document of the epoch, reflecting the practice of keyboard transcriptions which were so common in the baroque, but they also add to variety and significance of a repertoire in which Handel is shown as a peerless organ virtouso and, at the same time, the king of a drama theatre.
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Munich is the place where Chavdar Mutafov has matured, the town, where he returned twice - to complete his study, tragically interrupted by the wars, the town, which challenged by deprivation his love to the master of history novel - Fany Popova-Mutafova, and finally, this is the place where his son - Dobry - was born. Yet another fact, in 1923 the Mutafov family met a true impressive colony of Bulgarian artists in Munich - poets, writers, architects, musicians. Together with the subjects of machine engineering and art of architecture which Mutafov studied, he got to know thoroughly the history and theory of painting, admired the innovative synthetic cinematography art, which influenced strongly his manner of work. The present article "restores" the vital relationship between Mutafov and Munich through Mutafov's letters and aims to reveal the creative influence which the European capital of arts has exerted on the works by the Bulgarian modernist. During the first period of stay – from 1908 to 1912 - Mutafov still found the climax and witnessed the end of the Munich Secession. He was at Munich when the second group of German expressionism - "Der Blaue Ritter" - was established. As he wrote "all famous and unknown authors of the Munich satirical and humorous "Simplicissimus" and "Jugend" magazines had been my teachers - all these masters of mockery and style tricks". During his second stay - from 1922 to 1925 - Mutafov witnessed further development of expressionism, part of which was the fraction "Neue Sachlichkeit" (the "new materiality"). Contemporary critics are inclined to think that it is Bauhaus' "new materiality" which has influenced Mutafov's manner of neorealistic expression in his short stories from the 30 s of the last century. Munich, in this sense, is the place which has created this unconventional modernist, the philosopher, who, being sensitive to the newest in art, has written magnificent essays and art critic studies with the significance of a manifest for Bulgarian culture between the World Wars.
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Joseph Riepel als Vorreiter der modernen Kompositionslehre und Autor der Musikwerke pro processione. Joseph Riepel gehört zu den berühmtesten aber auch zu den in Polen am wenigsten bekannten Theoretikern des 18. Jahrhunderts. Seinen Einfluss auf die moderne Theorie der Musik betont man sowohl in zahlreichen Schriften von so bekannten alten Autoren, wie z.B. F.W. Marpurg, J.A. Hiller, J.N. Forkel, H.Ch. Koch, Ch.F.D. Schubart, als auch in neueren Artikeln und Büchern (z.B. von P. Benary, W. Budday, G. Wagner, Th. Emmerig). In diesem Artikel zitiert man zahlreiche Autoren, um die besondere Bedeutung Riepels für die Entwicklung der Kompositionskunst (statt der älteren Kompositionslehre) zu zeigen. Es gibt auch die Beschreibung der theoretischen Werke Riepels, weil seine Arbeiten nicht nur aus den meritorischen Gründen aber auch aufgrund der spezifischen Form hochinteressant zu sein scheinen. Zu den interessantesten wissenschaftlichen Problemen gehört die Tätigkeit Riepels in Polen um 1745. Zu dieser Zeit beendete Riepel sein Studium in Dresden. Es scheint, dass er von seinem Dresdner Meister, Zelenka, die Tradition der Kirchensymphonie nach Polen mitbrachte. Bis zum heutigen Tag kann man nicht zweifellos bestimmen, in welchen von polnischen Musikzentren Riepel tätig war, aber sowohl deutsche Musikwissenschaftler als auch Autorin dieses Artikels glauben, dass er zu dieser Zeit in Tschenstochau wohnte. Nach Worten von Th. Emmerig „Eine für die Verbreitungsverhältnisse von Riepels Werk überraschend große Zahl von Autographen liegt in der Musiksammlung des Paulinerklosters in Tschenstochau vor”. Es scheint fast unmöglich zu sein, dass so frühe Werke von dem zu dieser Zeit noch ganz nicht bekannten jungen Musiker verbreitet worden waren. Die aus diesem Archiv stammenden und in dieser Arbeit analysierten Kirchensymphonien Riepels bilden mit den Werken von M.J. Żebrowski, F. Perneckher und F. Kottritsch eine hochinteressante Sammlung der sog. Prozessionswerke. Unabhängig davon, dass die Kirchensymphonie von der Kammersymphonie sich sehr stark unterscheidet, scheint es, dass die Prozessionswerke der oben genannten Komponisten nach einem für dieses berühmteste Musikzentrum in Tschenstochau spezifischen und von Riepel bestimmten Muster komponiert worden waren.
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This article is dedicated to the history of the University Museum, which was created in 1932 with the donation of Canon Jan Władziński. It is based on preserved archives and iconographic sources and is especially focused on the description of the collection consisting of over 4 thousand objects, which was also supplemented in 1938 by Professor Kazimierz Michałowski’s gift as well as by the circumstances of the occupancy of the collection by the Gestapo which took place in December of 1939. Only four objects from this rich collection were found after World War II within the walls of the Catholic University of Lublin — a girl’s portrait by an anonymous artist, a sculpture of an old woman’s head and two candlesticks. A set of 343 coins deposited by the Germans in the Royal Castle in Cracow has also been found. In the face of the complete loss of the collection, the authorities of the Catholic University of Lublin have begun to reconstruct it. In 1956 there was the fi rst donation consisting of 26 medieval and modern Silesian sculptures which included splendid works such as Saint Catherine of Alexandria by Jacob Beinhart’s workshop. In the same year, the state authorities sent a large set of altar sculptures for didactic purposes to the Catholic University of Lublin. However, the final shape of the collection was primarily formed by three private donations — by Olga and Tadeusz Litawińscy, Stanisława and Tadeusz Witkowscy, and Joanna Gliwa. Thanks to them, the Catholic University of Lublin has come into possession of outstanding examples of Polish painting of the 19th and the beginning of the 20th century as well as a considerable collection of arts and crafts.
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Dynamic changes processing in the worldwide museology force us to ask questions about the role and importance of ecclesiastical museums. The specificity of their collections, which mainly contain objects representing a widely understood religious art, allow us to build a thesis that these institutions should take care to keep their identity. In this way they will realize the role of a museum’ idea curator, rooted back to ancient Greek Culture.
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The article focuses on the pipe organ in St. Nicolaus Parish Church in Dzielów (germ. Eiglau). The instrument was built by Agnieszka Biernacka-Grandys. She continued the traditions of the organ builders family Biernacki. Agnieszka Biernacka-Grandys took over the organ factory from her brother. The article describes and characterizes the instrument from the parish church in Dzielów and also presents records from the parish chronicle that come from the time of the organs building. The important part of the article is the presentation of the history of Biernacki Factory’s three generations.
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