Simone Gatto, vodja nadvojvodske kapele v Gradcu, je avtor treh magnifikatov. V enem od njih, tj. Magnificat primi toni, je uporabil kantikov ton. Glede na način rabe tega koralnega melodičnega ...obrazca lahko Gattov Magnificat slogovno umestimo med tovrstne skladbe njegovega predhodnika Annibala Padovana in Orlanda di Lassa.
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Knjiga Ennia Stipčevića z naslovom Renaissance Music and Culture in Croatia je v precejšnji meri napisana za nestrokovnjake, izobraženo splošno publiko, ki jo zanima glasbena in širša renesančna ...kultura, povezana s historičnim hrvaškim ozemljem. Osredotočena je ne le na samo glasbo, temveč tudi na tiste, ki so jo ustvarili, izvajali, tiskali ipd., in na okoliščine, v katerih je glasba nastala, bila izvajana in tiskana. Po eni strani je zastavljena široko, po drugi pa je bogata s fascinantnimi podrobnostmi in ponuja vpogled v najnovejše stanje vedenja. Poleg tega odraža zanimanja, predsodke in usmeritve današnjega časa.
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An early-seventeenth-century choirbook originating from Graz surviving in Ljubljana (SI-Lnr, MS 343) contains alongside other compositions thirty-one hymns by Francesco Stivori uniquely known from ...this source. Stivori’s hymns form a cycle for the entire liturgical year. They follow a long tradition of polyphonic settings based on plainsong melodies, although they are set for a larger performing group than usual – eight voices distributed in two choirs. Polyphonic hymn settings in use earlier at the Graz court were not liturgically obsolete. It seems, therefore, that Stivori composed his own cycle to cater for the personal aesthetic needs of Archduke Ferdinand, who greatly favoured polychoral music.
On the basis of direct and indirect evidence, three main types of musical repertoire in the early-seventeenth-century Slovenian lands can be established that directly relate to the ...Counter-Reformation: plainchant, sacred song in the vernacular, and contemporary polyphonic music. The textual emphasis of the preserved musical pieces above all helped to shape a distinctly Counter-Reformation religious identity: contemporary polyphonic compositions, above all Litanies and Marian antiphons, with the emphasis of the dogma of sanctoral intercession; the acclamations Christus vincit with the stating of the pope Clemens VIII’s religious integrity; and responsory Sedil ie k’misi with accentuation of the transubstantiation. Although the vernacular songs heard in Corpus Christi processions are lost to us, they were probably characteristic of the Catholic soundscape and also must have attracted the attention of the listeners and confronted them with the confessional challenge directly. With the campaign of reform and propaganda, promoted principally by the bishop Hren, the successful progress of Catholic reform in the Slovenian lands at the beginning of the seventeenth century stabilised the situation in many musical institutions.
The article establishes the most appropriate context for understanding Pietro Antonio Bianco’s Missa Percussit Saul mille. In 1601 the Inner-Austrian Archduke Ferdinand II appears to have ...commissioned a Mass based on Giovanni Croce’s militaristic motet Percussit Saul mille for a solemn Mass celebrated before his departure for the battle of Kanisza. Its composition was entrusted to Ferdinand’s kapellmeister, Bianco. The latter’s Mass seems to be a musical statement of political ideas and demonstrates the function, convention and ideology of ceremonial sacred music at the Graz court around the turn of the sixteenth century. It reflects a political-musical culture that flourished even more greatly after Ferdinand became Emperor.
Gornjegrajski rokopisni zvezki – SI-Lnr, Ms 207, Ms 232, Ms 284 in Ms 285 – vsebujejo repertoar, ki je značilen za notranjeavstrijske glasbene vire. Tudi uporabljen papir je bil okoli leta 1600 v ...Notranji Avstriji močno razširjen, zato so gotovo tam tudi nastali. Še več, del rokopisa Ms 232 je mogel nastati na Kranjskem, kar nakazujeta zapisa aklamacij, v katerih je omenjen ljubljanski škof Tomaž Hren, in responzorij v slovenskem jeziku. Zaradi paleografskih značilnosti pa se zdi, da so tudi ostali trije zvezki nastali na Kranjskem, in sicer jih je domnevno prepisal Sebastian Kuglmann, pisar škofa Hrena.
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Hrenove korne knjige so zbirka šestih dobro ohranjenih velikih kodeksov iz začetka 17. stoletja, ki jih danes hrani Rokopisna zbirka Narodne in univerzitetne knjižnice v Ljubljani (SI-Lnr, Mss ...339–344). Kdaj so rokopisi postali del knjižnega fonda v Ljubljani, ni znano, a najverjetneje po reformah Jožefa II. konec 18. stoletja, ko je bil pridobljen škofijski arhiv iz Gornjega Grada (knjižnica se je tedaj imenovala Lyceal Bibliothek). Obravnavani kodeksi so v folijskem formatu in obsegajo do 591 folijev. Napisani so na kakovostnem papirju, večinoma nepoškodovanem zaradi korozije, ki ga povzroča tinta, in drugih dejavnikov, zato so foliji domala v celoti čitljivi. Vse knjige, razen ene (342), imajo ohranjeno izvirno vezavo v belo usnje prek lesene opore, le ena (Ms 339) je vezana v rjavo usnje. Platnice so dekorirane s slepimi odtisi na zelo podoben način.
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There are five scribal hands evident in the Hren choirbooks. The main scribe for these choirbooks was Georg Kuglmann; the others are unknown. Three scribes (among them, Kuglmann) worked closely ...together and formed part of a scribal workshop at Graz. The presence of two other scribal hands suggests that not all the repertory was copied in Graz. The Missa L’homme armé of Palestrina was probably copied in Innsbruck in the late sixteenth century (given the paper type), and a few responses in falsobordone style were added in later years, perhaps in Ljubljana.
Traktom osmega modusa ni skupna le enaka modalna pripadnost, temveč je njihova povezanost vidna tudi v melodični tvarini – grajeni so namreč s skupnimi frazami. Na podlagi analize repertoarja je ...mogoče rekonstruirati proces njihovega snovanja. Prispevek prikazuje enega od možnih pogledov na to, kako so pred in v času zapisovanja glasbe obstajali in nastajali trakti osmega modusa.
Parody masses based on secular compositions are intriguing due to their employment of profane music in strictly liturgical music, which has inspired research in traversing boundaries between sacred ...and profane. As can be seen from the case of two masses, one by Bartolomeo Spontone and the other by Costanzo Antegnati, based on the madrigal Nasce la pena mia by Alessandro Striggio, secular music in the sixteenth century seems to be transformed in a way to elevate it, turning the attention of the listener toward God.
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