Missa Requiem Damiana Stachowicza w aspekcie związków słowno-muzycznych

Author(s): Maciej JOCHYMCZYK / Language(s): Polish Publication Year: 0

Missa Requiem by father Damian Stachowicz (1658—1699) is one of the first interpretationsof the texts of a funeral service in seconda practica in the Polish music (probably theoldest one). The composition was created before 1693 whereas the information about itsperformance can be found in a description of funeral celebrations of WojciechSiewierkiewicz, the first prior of the Piarist college in Łowicz who died on 14th September1693.In his Requiem, Stachowicz interpreted both ordinarium missae — Kyrie, Sanctus, Agnus Deiparts as well as some of proprium — introitus, sequentia (apart from stanza no 5, 6, 12, 13 and16) and offertorium. He avoided graduale, tractus and communio. He also left out Christie andthe second Kyrie. The musical form remains tightly connected with the construction of a verbaltext. In its shape, Requiem is marked with similarities with the assumptions of dispositio —a rhetorical arrangement of the musical material, the model for which constituted the orator’sspeech.The work by Stachowicz contains many rhetorical-musical figures. They concern bothmelody, contrapunctal layer and the appropriate usage of pauses. The composer also makesuse of the illustrative effects deriving from the application of distant keys which, unequallytempered, sounded out of tune. Some of the parts of Requiem contain more rhetorical devicesthan the other. Obviously, the frequency of their usage depends on the quality of theverbal text. The fragments which influenced the composer in the strongest way constitutethe stanzas of Dies irae beginning with Quantus tremor, Quid sum miser, Rex tremendae,Recordare and Lacrimosa, as well as parts of Domine Jesu and Agnus Dei II.Stachowicz employs the majority of figures of the common music language, leaving no“meaningful” words without the proper musical illustration. It proves that the composer orientateshimself well in the current conventions especially as the Polish repertoire does notinclude the interpretations of a funeral service which he could follow as an example.

Działalność i repertuar kapeli muzycznej w Rakowie Opatowskim w świetle źródeł archiwalnych

Author(s): Aleksandra Patalas / Language(s): Polish Publication Year: 0

The library of Wyższe Seminarium Duchowne in Sandomierz preserves a precious collectionof musicalias deriving from around the first half of the 18th century, which remainedafter the parish church chapel in Raków Opatowski. The article presents both a generalcharacteristic of the collection and history of the musical ensemble it is connected with. Thefate of the chapel in Raków is tightly connected with the history of the city, especially, the religiousevents which took place in the 17th and 18th centuries. The foundation of the cappellaand its activity inscribed in counterreformation activity of „Kraków church”, aiming at the introductionof Catholicism in the former infidel centre, development of the cult of Mary andenrichment of liturgy on the centenary of the foundation of the parish in Raków. A grand basilica,replacing an Arian congregation was raised in Raków between 1640 and 1645. In 1712a singing college of mansions started to act there. Next, in a more undefined period of time,an organist and cantor were hired in the parish. In 1740 Józef Cyprian Langi, a parish priest,breathed a music chapel to life, defining its composition, duties and privileges. The evidenceof a fairly short activity of the ensemble is a collection of about 95 music manuscripts, containing,in its large part, anonymous compositions. Among 14 composers are Polish names,such as Gorczycki, Kobierkowicz, Maxylewicz, Sieprawski, Stachowicz, Staromieyski, as wellas Lechleitner, Hasse, Rathgeber and Ruth connected with Poland in one way or another.The value of the collection consists in, among other things, unique works, such as, for example,Conductus funebris or Completorium by Gorczycki.

Sylwetka kompozytorska Justa Caspara na tle muzyki u pijarów

Author(s): Marcin Konik / Language(s): Polish Publication Year: 0

The state of research on the Polish religious music in the 18th century remains unsatisfactoryto a great extent. In order to get a relatively full image of the history of music (includingthe works of Polish authors and those working in Poland), it is necesarry to designthe research aiming at retrieving the authors whose names are not known even to experts.One of such composers is Just Caspar (1717—1760), a member of the PR monastery from theCzech Republic who spent most of his life in Poland. For the time being, the only informationconcerning Just Caspar comes from Libri suffragorium, i.e. the books containing notesmade after the death of monks as well as on the occasion of services conducted for theirsouls. Thanks to such recordings, it is known that father Just from the nuptials of the HolyMary was born on 28th January 1717 in the Prusian archidiocese as Franciszek Caspar. Hewent to the monastery, being 22, in 1737 and died in Warsaw on 26th February 1660.Caspar was regarded as an outstanding composer. The compositions known to the Polish researcherswere Missa Pastorica, Litania de Beata Hilaris as well as an interpretation of thehymn entitled Dixit Dominus, stored in the form of manuscriptsin Jasna Góra. Thanks to theresearch conducted at the territory of Slovakia, it was possible to find the so far unknowncompositions of father Just. Currently, 19 compositions by Caspar are relieved.The main aim of the article is to show the necessity of conducting more specific studieson the Polish music from the time of the first half of the 18th century. What is also importantin this context is the indication of the model source material, the analysis of which couldchange an unsatisfactory state of knowledge on the subject of the history of music of thetime-period in question.

Pieśni nabożne Franciszka Karpińskiego — Pieśń poranna i Pieśń wieczorna — świadectwo ponadczasowej żywotności

Author(s): Antoni Reginek / Language(s): Polish Publication Year: 0

Pieśni nabożne by Franciszek Karpiński, the main representative of sentimentalism in thePolish literature, constitutes a significant collection of the poet, edited for the religious andeducational purposes. It was published for the first time in Supraśl in 1792 and later on wasreissued for many times. The series in question consists of 49 works, including 29 hymnsand 20 psalms. The poet skillfully composed the works according to particular periods ofthe Lithurgic year.The article shows first of all the place of the series entitled Pieśni nabożne in the literaryoutput of the poet, and characterises two hymns closer, i.e. Pieśń poranna and Pieśń wieczorna,constituting the frames of the whole collection and being constantly popular.Also, partially, the examples of reception of the works in question in hymn collectionsand oral tradition, as well as their presence in foreign language translations were presented.The article constitutes encouragement for a closer familiarization with religious works byKarpiński, and reading the phenomenon of ageless vitality of his Pieśni nabożne.

Litanie ostrobramskie Stanisława Moniuszki — utwory zapomniane?

Author(s): Magdalena Chrenkoff / Language(s): Polish Publication Year: 0

Church music constituted a separate though important trend for Stanisław Moniuszkocontinued throughout his whole in his works. Litanie ostrobramskie, considered to be themost outstanding religious works Moniuszko created, appeared in the so called “Vilnius period”(1840—1858). Litania ostrobramska do Najświętszej Marii Panny, often performed in thesanctuary in Vilnius, was worked out by Moniuszko four times (I F-dur, 1843; II F-dur, 1849;III e-moll, before 1854, IV C-dur, 1855), giving it an artistic setting in the form ofmulti-partial works on solo voices and mixed choir accompanied with a full symphonic orchestra.The usage of litany imposes, to a certain extent, the way of its musical interpretation,i. e. it begins and ends with the phrases from the mass (Kyrie eleison — Christe audi nosand Agnus Dei) suggests a symmetric perspective of a music presentation, its subsequentcalls and repetitive phrase of ora pro nobis in the main part of the litany demand an antiphonalperspective somehow rewritten into voices, and the nature of prayer indicated the type ofmusical expression. The composer, to diversify a monotonous repetition of a supplicative refrain(miserere nobis, ora pro nobis) changed the nature of a musical interpretation, as well asa disposition of voices, and, additionally, gave the instruments individual parts avoiding“solo shows”.Nowadays, Stanisław Moniuszko is known, first of all, for his operas and songs. His religiousmusic remains scarcely known and is rarely performed. Meanwhile, the author paida lot of attention to Litanie ostrobramskie. In his letter to Feliks Zawadzki, Moniuszko confessed:“I love this music more than anything else”.Church music constituted a separate though important trend for Stanisław Moniuszkocontinued throughout his whole in his works. Litanie ostrobramskie, considered to be themost outstanding religious works Moniuszko created, appeared in the so called “Vilnius period”(1840—1858). Litania ostrobramska do Najświętszej Marii Panny, often performed in thesanctuary in Vilnius, was worked out by Moniuszko four times (I F-dur, 1843; II F-dur, 1849;III e-moll, before 1854, IV C-dur, 1855), giving it an artistic setting in the form ofmulti-partial works on solo voices and mixed choir accompanied with a full symphonic orchestra.The usage of litany imposes, to a certain extent, the way of its musical interpretation,i. e. it begins and ends with the phrases from the mass (Kyrie eleison — Christe audi nosand Agnus Dei) suggests a symmetric perspective of a music presentation, its subsequentcalls and repetitive phrase of ora pro nobis in the main part of the litany demand an antiphonalperspective somehow rewritten into voices, and the nature of prayer indicated the type ofmusical expression. The composer, to diversify a monotonous repetition of a supplicative refrain(miserere nobis, ora pro nobis) changed the nature of a musical interpretation, as well asa disposition of voices, and, additionally, gave the instruments individual parts avoiding“solo shows”.Nowadays, Stanisław Moniuszko is known, first of all, for his operas and songs. His religiousmusic remains scarcely known and is rarely performed. Meanwhile, the author paida lot of attention to Litanie ostrobramskie. In his letter to Feliks Zawadzki, Moniuszko confessed:“I love this music more than anything else”.

Psalmy Adama Walacińskiego w filmie Jerzego Kawalerowicza Matka Joanna od Aniołów. Pytanie o tożsamość gatunku

Author(s): Ewa Czachorowska-Zygor / Language(s): Polish Publication Year: 0

The film, being a synthetic work of art, has been connected with music which is beingincorporated into it, and performs different functions in it, since its existence. In the case ofthe film by Jerzy Kawalerowicz, the music was composed by Adam Walaciński specially forthe purposes of the film. The references to the musical tradition a psalm and choral one arevery clear.There exists a clear correlation between the visual and auditory sphere. Dualism of theworld presented centred around the space of the monastery and tavern, has its musicalcounterpart in the sound layer created by the compositions devoted to a female choir a capellaon the one hand, and frivol song sung by Małgorzata, one of the characters, in the tavernon the other hand. In such a way, the musical side of the film is largely limited, whichseems to match the esthetic assumptions of film makers aiming at deepening the expressionof asceticism, severity and simplicity. It is easy to find the elements pointing to the sourcesof inspiration: modeling the sound material on Middle Age scales, asceticism of the melodicline with the advantage of a syllabic singing, flexibilite within the scope of rhythmicisity, andthe appearance of the recitation of incipit psalms, finalis and repercusio sounds in Psalms byWalaciński despite the fact that they were performed by a female choir a capella (which isthe exception to the choral tradition deriving from the plot). All these factors make Psalmsclose to the genre assumptions, introducing, at the same time, a circle of references connectedto the notion of the sacred. In combination with the sphere of the profane, clearlyoutlined both in the visual and auditory layer, a coherent whole is created in which music byAdam Walaciński does not only complete, but, definitely, deepens and develops the pictureby Jerzy Kawalerowicz.

Krzysztof Penderecki w kręgu tradycji obrzędowości religijnej Wschodu i Zachodu

Author(s): Regina Chłopicka / Language(s): Polish Publication Year: 0

The work aims to show the relationship between the 20th century Polish music and thetradition of religious ceremony of the East and the West, on the basis of the works byKrzysztof Penderecki, a contemporary composer. The relations in question concern, amongother things, the subject-matter, the choice of verbal texts, references to particular religiouscelebrations (formal structures and means used in them) and their functions, and, finally,references to the music symbolism connected with the sphere of the sacred strengthened inthe tradition. In works by Krzysztof Penderecki, the very references are strongly diversifieddespite the fact that it is connections with the tradition of the West that dominate, and theaim of the composer is to “re-construct a metaphysical space of man damaged by the 20thcentury cataclysms”.

Stabat Mater Luigiego Boccheriniego — muzyczna interpretacja tekstu średniowiecznej sekwencji

Author(s): Renata Borowiecka / Language(s): Polish Publication Year: 0

Stabat Mater, a Middle Age sequence text was musically interpreted by different national-ity composers many times. The scene under the cross has become a universal art theme. Inthe Italian circle, around 70 musical interpretations of the work in question, including theone by Boccherini, were created in the 18th century. The phenomenon of such a big numberof compositions can be certainly connected with the importance of the subject-matter ofStabat Mater, but also with the function of this text in the Latin liturgy and hegemony of theseria opera which influenced other musical (also religious) genres or with the fame of com-position by Pergolesi from 1736.Luigi Boccherini composed two versions of Stabat Mater (1781 and 1800), however, thelatter is only the variant of the former enriched with two extra solo voices. Boccherini’s inter-pretation, on the one hand, constitutes a visible reference to Pergolesi’s work in terms of thetype of cast, way of shaping form and melodic line, choice of key (f-moll), and presents typi-cal features of the language used by the composer, e. g. symmetry of construction and pri-vacy on the other hand. The work is characterized by the atmosphere of intimacy. It isrelated to the type of cast the instruments of a delicate sound (bows) and vocal voices ofa clear tone, clear texture, dominance of small dynamics, notions of dolce, dolcissimo, soave,sotto voce (a mezza voce), and also morendo in the interpretation from 1800. The constructionof expression is built by means of a reference to a musical rhetoric, reflected both in themeans of shaping the form (the principle of varietas, diversified types of arias, includingcharacteristic ones, e.g. siciliana, serenada), the choice of key and the usage of rhetorical fig-ures adequate to its content. Out of 11 works (solo parts arias and recitations, as well asansamble ones duets and trios in the second version), the key elements for this type ofdramaturgy are exordium and conclusio and sections: III the first growth of emotions, centralVI, VII (paying attention to the most important characters of the poem Mother and Son),and X the last “explosion” of expression. Because of a relatively different coda interpretation,the end of the first version seems to be a quiet reflection and expression of a trustful re-quest: “make the soul give the grace of paradise”. The last texts in the second version, on theother hand, bring the type of apotheosis, emphasizing the message of man’s unshakablehope and faith in salvation through the cross.

Bohater operowy między sacrum a profanum. Wątki religijne o charakterze epifanicznym w operach: Robert Diabeł Giacoma Meyerbeera, Faust Charlesa Gounoda, Doktor Faust Ferruccia Busoniego

Author(s): Małgorzata Pawłowska / Language(s): Polish Publication Year: 0

The play belonging to the sphere of the sacred and the profane is possible in the oper-atic work. Most visibly, it concerns the works, the subject-matter of which is based on a dual-ity of divine and devil elements, often with an exposed role of the latter. Usually, it is thesphere of the profane, with a devil protagonist that dominates, whereas those attributed tothe sacred appear as a distinguished value, in special moments.A sudden stoppage of a multi-aspectual dramatic-music action takes place amonga whole theatrical noise and what appears is the fragment moving into the transcendentalsphere, somehow connected with the phenomenon of the sacred. This moment of breakingaway from the here and now could be referred to as “an epiphanic moment”, to quoteMieczysław Tomaszewski. The moments of that type are presented on the basis of the situa-tion of seduction by devil in Robert the Devil by Giacomo Meyerbeer (1829), Faust by CharlesGounod (1857) and Doctor Faust by Ferruccio Busoni (1925). If at all we can speak of thepossibility of constituting an epiphanic moment in the opera, it is tightly connected witha dramatic action. In the case of seduction, the protagonist is suspended between the sacredand the profane; between these two worlds, and has to make a choice. A clear reference tothe idiom of church music when the character refers to God is visible in each scene underinvestigation and in each opera in question. There is a strong contrast of the qualities be-longing to the sacred and the profane respectively, the contrast which, according toWładysław Stróżewski, can serve the purpose of triggering the phenomenon of the sacred.

Teozoficzne inspiracje w muzyce europejskiej XX wieku

Author(s): Renata Skupin / Language(s): Polish Publication Year: 0

“Theosophy” (wisdom, knowledge about God) defines various and difficult to reconcileChristian and non-Christian views. Thus, it entails an esoteric and developing from internalrevelation, interpretation of holy texts, conducted on the margin of the instruction of officialchurches. Theosophy is also related to a syncretic para-religious movement, based on the elementsof eastern religions, mainly Hinduism and Buddhism, institutionalized in line with thefoundation of the Theosophical Society in New York in 1875. Helena Pietrowna Bławatska,an immigrant from Russia practicing spiritism, magnetism and hypnosis, created the doctrineand co-founded the society in question and Henry S. Olcott, an American, wasa co-initiator of the movement.Theosophical inspirations seem to be, to a certain extent, the source of creative stimulafor the 20th century European composers. Theosophical interests are most frequently ascribed to such artists as Aleksander Skriabin, a composer from the Vienna school, ArnoldSchönberg, and Josef M. Hauer, as well as Giacinto Scelsi. Commentators and interpreters ofthese artists are usually not very precise as to the meaning hidden under the label of “theosophy”.The differences between the doctrines under the common name of “theosophy” aresubstantial. In the case of the majority of composers connected with theosophy, it was theiractual or only potential contacts with the members of H.P. Blawatska’s Theosophical Societythat constituted the main reason or argument for inscribing the sources of their creative inspirationsinto the theosophical context. What was decisive for the research conducted wasthe information on how authorized and not just hypothetical the opinions on the influencesof theosophy on the works of particular composers are. “The theosophical aspect” was alsodealt with from the perspective of the role the theosophical movement played in the historyof reception of the philosophy and religion of the East in the West.

Symbolika w twórczości Sofii Gubajduliny na przykładzie Siedmiu słów na wiolonczelę, bajan i orkiestrę (1981)

Author(s): Magdalena Stochniol / Language(s): Polish Publication Year: 0

The article is devoted to considerations on the role of symbolizm in the context of SofiaGubajdulina, a Russian composer. First, a biographical outline was provided, and subsequently,the most important aspects of her technique were emphasized. What follows is thebasic information concerning the work creation and its construction. More specifically,Gubjdulina’s symbolic elements were discussed, appearing in her works as:— the number symbolism in which Fibonacci’s sequence and means of using it in Siedemsłów was prominent;— the music instruments symbolism, consisting in ascribing a certain role to each of the instruments;baia instrument symbolizes the God father, cello the Christ whereas an orchestrathe Holy Ghost. This peculiar nature of an instrument determines the form ofcomposition;— a symbolic meaning of music figures: the way of realization of Gubajdulina’s one of themost frequently used structure, i. e. the cross figure; it appears in all instrumental parts,and the article presents the means of its realization in this work.

Karlheinz Stockhausen a sfera sacrum

Author(s): Agnieszka Draus / Language(s): Polish Publication Year: 0

Karlheinz Stockhausen is, without a doubt, the most outstanding composer in Germanythese days. A artist has written over 350 works, minor and major ones, vocal and instrumentalones, covering various forms and genres. He is associated mainly with an avant-gardeschool in Darmstadt, experiments within organization of a music material, sound, formalcontinuum and note record. However, the latest works devoted to Stockhausen portray it ina different way. They emphasise the importance of messages in these works, their extramusicinspirations, religious content, conception of the ritualisation of the course as well asspecial experiences accompanying their performance and reception. Stockhausen himself,more and more often, describes his works as spiritual music (geistliche Musik), sharing withit in an unusual way, i.e. co-celebrating its mysticism. The very process, as well as the phenomenonof life sacralization Stockhausen experiences, inspire him to search for the relationsbetween his works and a mysterious sphere of the sacred. The article presents selectedworks which reflect the features of the sacred. On the one hand, these are the universal features;both unambiguous (e.g. a religious theme) and ambiguous (e.g. triggering numinoticexperiences). On the other hand, the very features are individual, for example, from thepoint of view of the content or music. In the former case, it is visible in a combination of thesphere of the most important values with the sphere of the surrounding macro-cosmos andman’s internal micro-cosmos, introduction of texts in different languages in order to makethe message as clear as possible. In the latter, it can be seen in a vocal cast, referring to traditionalsinging practices of all religions and an instrumental cast, often beyond conventions,i.e. apart from traditional means of extracting sounds, it introduces acoustic and onomatopoeicsounds, different types of noise and electronic sounds.

Inspiracje tradycją liturgiczną Wschodu i Zachodu w twórczości Arvo Pärta

Author(s): Kazimierz Płoskoń / Language(s): Polish Publication Year: 0

The term “liturgy”, in a Christian tradition of both the East and the West, in its mostgeneral interpretation, means official prayers and celebrations conducted by a congregationin the sacred place on behalf of the Church. Both traditions differ as to their liturgical formsand ways of experiencing the message encapsulated in it.Traditional liturgical texts, irrespective of their origins, return to their primary function,i. e. start to express the transcendental again with a discrete help of he music thanks to ArvoPärt’s music “free asceticism”.Arvo Pärt, asked about inspirations accompanying the process of composing Te Deum,says: “I wanted to create the atmosphere of indefiniteness. Te Deum searches for transcendence,something lost a long time ago or not yet explored”.On the basis of a unique technique of tintinnabuli, Pärt makes an attempt to build an artisticand spiritual unity, respecting separateness. Two big liturgical traditions, that of theEast and the West, come closer in Arvo Pärt’s music. It is not an artificial combination and itdoes not cross out the specificity of either of them. Arvo Pärt, searching for common roots offaith in one Christian God, shows an artistic path of a dialogue and ultimate agreement beyonddivisions.

Nabożeństwa majowe przy kapliczkach i krzyżach przydrożnych

Author(s): Jacek Jackowski / Language(s): Polish Publication Year: 0

May is the time of beautiful Marian services, the aim of which is a common performanceof Litania loterańska and Marian songs, sung not only in churches, but also by road crossesand chapels. The tradition of folk Marian prayers, commonly referred to as “May services”, isslowly disappearing, though, it is one of few forms of folk piety Church officially recommendsand advocates.In Western Church, the first evidence of May being devoted to the Mother of God comesfrom the end of the 16th century. May prayers, whose cradle was probably Italy, were popularisedat the turn of the 18th and 19th centuries in western Europe, i. e. in Spain, France, Germanyand Austria. In 1815, Pius VII the Pope accepted the prayer in question and providedit with indulgence. May prayer was instilled in Poland by Jesuits in the 19th century, in thebeginning in the environment of schools and teenagers in Gallicia, and subsequently, it becamepopular in many churches, not only monastic ones.In a temple, the May prayer is celebrated in front of the exposition of the Blessed Sacramentwith the priest’s engagement. The whole prayer is usually sung. Singing constitutes itsmain element. It is Litania loterańska after which the Marian song follows as well as considerationsreferring to the Marian theology.Countries situated far from parish churches have strengthened the tradition of the so called“May prayers” conducted by the congregation by the cross or chapel where the veryprayer is usually performed without the priest’s presence. It is difficult to say why May prayershave gained such a big popularity among people. The assumption is that “May prayers”replaced old folk traditions of a secular nature connected with spring celebration, and assimilatedby church imposing new Christian symbolic meanings on them. On the other hand,popularity of the prayers under discussion could be ascribed to a strong involvement of manorhouses. May prayers constitute the expression of folk piety, and although they are deprivedof liturgical celebrations, they emanate with fierce and sincere prayer.

Jana Długosza Teoria muzyki w liczbach

Author(s): Stanisław SJ Ziemiański / Language(s): Polish Publication Year: 0

The article presents the work by Jan Długosz, Jesuit (1901—1981), left out in the form ofthe manuscript, 137 A5 pages (apart from pages 117—124). In his deliberations, J. Długoszstarts from a Pitagorian mathematical scale, composed of seven intervals. He uses it in orderto investigate the ultimate basis of music. More specifically, he makes use of the theory of se-quences and combinations. In this way, Długosz wants to find an objective basis for subjec-tive feelings. He claims that it is just the latter that contains intervals, and bigger intervalsare created by means of composing the smaller ones. This composition is expressed in themultiplication of number relations. Długosz conducted a kind of interval calculation creatingthe whole table of its constituents: quints, thirds, seconds and halftones. Next, he introducesthe method of a mathematical discovery of top and down consonances. Using number rela-tions, he constructs all possible scales within an octave. He admits that each minor scale isa contraposition of a given major scale. Except for that, he differentiates complex frommixed scales. The former cover both major and minor features. Further on, he ponders overthe problem of tempered scales. In Chapter VII, he discusses unison and pause scales. Allthese considerations are theoretical in nature. Though, they allow for an explanation of men-tal feelings: cheerful and cheerless moods, as well as the phenomenon of pentatonics, com-mon to many folk cultures.

I Kongres Muzyki Liturgicznej w archidiecezji katowickiej

Author(s): Wiesław Hudek / Language(s): Polish Publication Year: 0

The first Congress of the Liturgical Music of the Archidiocese in Katowice, organized bythe Committee of Sacred Music at the Theological Department at the University of Silesiaand the Academy of Music as well as the Silesian branch of the Polish Association of Choirsand Orchestras took place on 21—23 October 2005 in the Archidiocese in Katowice. Ba-sically, the congress days were devoted to the organic and vocal music, however, the last ofthem was announced A Day of Liturgical Music in the Archidiocese. The programme of par-ticular days consisted in lectures, concerts, and model liturgy celebrations.

„[…] przeważnie siedzę w swej klatce i stawiam kropki […]”

Author(s): Ryszard Gabryś / Language(s): Polish Publication Year: 0

Fugi fortepianowe Jana Sztwiertni – analiza formalna

Author(s): Tomasz Orlow / Language(s): Polish Publication Year: 0

Dwudziestowieczne prezentacje opery ludowej Sałasznicy

Author(s): Hubert Miśka / Language(s): Polish Publication Year: 0

Opera ludowa Sałasznicy Jana Sztwiertni w repertuarze Zespołu Pieśni i Tańca „Śląsk” im. Stanisława Hadyny

Author(s): Izabela Migocz / Language(s): Polish Publication Year: 0