(Nie)znany list Franciszka Karpińskiego

Most of the correspondence of Franciszek Karpiński was collected by Tadeusz Mikulski, and supplemented with comments by Roman Sobol. The newly-found letters were published several times, especially from the time of cooperation between the poet and the Czartoryski’ family, visiting Puławy and administering in Kraśnik and Chrowszczyzna. Nearly forty years ago, a short letter of Karpiński (probably associated with the events of 1812) was donated to Adam Mickiewicz Museum of Literature in Warsaw. The card on which the letter was written is small, it has been cut from a larger sheet, and along the left side there is a tear – the edge is uneven. It is not dated – it has only the day of the week noted, from which it can be concluded that the letter quickly reached the recipient. Everything seems to indicate that Kozierowski, the most-liked relative and grandson of the poet, is the recipient of this letter.Większość korespondencji Franciszka Karpińskiego została zebrana przez Tadeusza Mikulskiego i uzupełniona komentarzami przez Romana Sobola. Później kilkakrotnie publikowano nowo odnalezione listy, szczególnie z czasów współpracy poety z Czartoryskimi, wizyt w Puławach i samodzielnego gospodarowania w Kraśniku i Chrowszczyźnie. Przed blisko czterdziestu laty do zbiorów Muzeum Literatury im. Adama Mickiewicza w Warszawie trafił niewielki liścik Karpińskiego związany zapewne z wydarzeniami 1812 roku. Kartka, na której zapisano list, jest nieduża, została wycięta z większego arkusza, a wzdłuż lewego boku delikatnie wyrwana, brzeg jest bowiem nierówny. Nie jest datowana – ma jedynie zanotowany dzień tygodnia, z czego można wnioskować, że została wysłana na niewielką odległość i szybko dotarła do adresata. Wszystko zdaje się wskazywać, że Kozierowski, najbardziej lubiany krewny i wnuk poety, jest właśnie adresatem tego listu

Utrwalone dziedzictwo - pieśni religijne w twórczości Władysława z Gielniowa, Franciszka Karpińskiego i Kazimierza Brodzińskiego

The study of Polish religious songs shows the literary and musical values of selected works and also presents the authors of these works. This paper presents the achievements of three eminent poets: Władysław of Gielniow (ab. 1440–1505), Franciszek Karpiński (1741–1825) and Kazimierz Brodziński (1791–1835). Their activity in the field of popularization of church chant deserves to be particularly appreciated. Also the motives of fascination with religious chant are interesting. Sometimes this form of expression was the result of personal faith, sometimes it sprang from some additional motives or conditioning. The popularity of a particular poetic work depends to a large extend on its musical form. The religious chants of the poets mentioned above, though coming from various times and composed in various places are truly outstanding and popular, which makes them constantly present in the repertory of church songs. The fact that they were included in the latest edition of Śpiewnik kościelny (Church Songbook) by Fr. Jan Siedlecki may serve as a proof of keen acceptance and a sign of their belonging to cultural heritage

Utrwalone dziedzictwo – pieśni religijne w twórczości Władysława z Gielniowa, Franciszka Karpińskiego i Kazimierza Brodzińskiego

The study of Polish religious songs shows the literary and musical values of selected works and also presents the authors of these works. This paper presents the achievements of three eminent poets: Władysław of Gielniow (ab. 1440–1505), Franciszek Karpiński (1741–1825) and Kazimierz Brodziński (1791–1835). Their activity in the field of popularization of church chant deserves to be particularly appreciated. Also the motives of fascination with religious chant are interesting. Sometimes this form of expression was the result of personal faith, sometimes it sprang from some additional motives or conditioning. The popularity of a particular poetic work depends to a large extend on its musical form. The religious chants of the poets mentioned above, though coming from various times and composed in various places are truly outstanding and popular, which makes them constantly present in the repertory of church songs. The fact that they were included in the latest edition of Śpiewnik kościelny (Church Songbook) by Fr. Jan Siedlecki may serve as a proof of keen acceptance and a sign of their belonging to cultural heritage.Badania nad polską pieśnią religijną wskazują na walory literacko-muzyczne wybranych utworów, jak również przybliżają sylwetki samych twórców. Niniejszy artykuł przedstawia najważniejsze osiągnięcia trzech wybitnych poetów: Władysława z Gielniowa (ok. 1440–1505), Franciszka Karpińskiego (1741–1825) i Kazimierza Brodzińskiego (1791–1835), których działalność na polu upowszechnienia pieśni kościelnej zasługuje na szczególne uznanie. Interesujące są również same motywy fascynacji poezją pieśniową o tematyce religijnej, czasem taka forma twórczości wynikała z osobistej wiary, niekiedy też z dodatkowych pobudek czy uwarunkowań. Duże znaczenie w upowszechnieniu danego utworu poetyckiego odgrywa forma muzyczna. Pieśni religijne wspomnianych poetów z różnego czasu i miejsca powstania odznaczają się cennymi walorami i popularnością, co sprawia, że są one stale obecne w repertuarze śpiewów kościelnych. Umieszczenie ich w najnowszym wydaniu Śpiewnika kościelnego ks. Jana Siedleckiego może stanowić potwierdzenie żywej recepcji i znak trwałego dziedzictwa

Motywy folklorystyczne w liryce Franciszka Karpińskiego. Pieśń dziada sokalskiego w kordonie cesarskim

The connection between Pieśni dziada sokalskiego w kordonie cesarskim by Franciszek Karpiński(1741–1825) with the folklore is not as intense as in the opinions of the 20th century researchers.Although the author follows the linguistic features of the folk songs, he does not stronglyrelates to the main characteristics of the genre, like the connection between sacrum and profanum,the macabre and emotional descriptions. The use of allegory and philosophical issuescreates a distance between Pieśni dziada sokalskiego w kordonie cesarskim and the folklore aswell as other oral texts. The composition aspires to link with the themes of the higher culture,for example the Golden Age

SEARCHING FOR THE SOURCES OF 18TH AND 19TH CENTURY LATGALIAN RELIGIOUS SONGS

Latgalian „svātuos dzīsmis” (‘sacred songs’) were not only sung in the church in the 18th and 19th centuries. These songs became integral and necessary components of both home and spiritual life.Some publications of spiritual song and prayer books written by the Latvians of Latgale have been preserved until today: „Nabożeństwo” (1771, 1786, etc.) and „Dzismies Swatas” (1801, etc.). Of these are both first editions and reissues. These compilations represent the basic core of 19th century spiritual songs in conjunction with the book „Piļneigajā gruomotā lyugšonu” (“The Complete Book of Prayers”) published in the latter half of the century. Psalms which were written well before the birth of Christ are among the oldest religious songs. Psalms of penance and prayers for the dead were first published in Latgalian in the 1786 edition of „Nabożeństwo”.The diversity of genres of songs is surprising: songs using scriptural texts, hymns of the Fathers of the Church, sequences and antiphonies. The progress of the liturgical year was supported by additional processionary hymns, hour songs (godzinkas), descriptions of the lives of saints set to music, catechism songs and prayers which are written as prose but given a melody in order to be sung. Directly arrhythmic language and certain metrical text used for worship in prayers made it unclear exactly how many texts were in fact songs.It is not possible to determine the authors of all songs. Text recognition is also hampered by the lack of a printed Polish source – the work that the Jesuits translated to create the hymnals has not been found. Thus, for comparison of these texts it is necessary to find them in various books or consult the wider body of 19th century songs, wherein the content of songs is usually altered. The “sacred songs” examined and analyzed in this article were selected at random. The majority of songs so far sourced are from „Nabożeństwo”, but identification work continues at present

Bóg się rodzi, moc truchleje

Cytat jest początkiem popularnej kolędy pt. Pieśń o Narodzeniu Pańskim, napisanej przez Franciszka Karpińskiego w XVIII wieku. Współcześnie pieśń ta nosi tytuł Bóg się rodzi i jest uznawana za królową polskich kolęd (Fragment tekstu)

Recepcja religijnych pieśni Franciszka Karpińskiego w wybranych zbiorach ewangelickich

Pieśniowa twórczość religijna Franciszka Karpińskiego została z pietyzmem podjęta przez autorów kancjonałów ewangelickich. Wśród nich niezwykle ważną rolę odegrał G. C. (Krzysztof, Celestyn) Mrongovius (1764–1855) – kaznodzieja polski przy kościele Świętej Anny w Gdańsku, lektor języka polskiego „przy gimnazjum akademicznym” oraz członek ministerium luterańskiego w Gdańsku, językoznawca, tłumacz, edytor, filozof. Należy on do najwybitniejszych przedstawicieli piśmiennictwa polskiego na Pomorzu 1, a z racji zajmowania się folklorem Kaszubów i Mazurów, uznawany jest za pierwszego badacza tych terenów, zwłaszcza kaszubszczyzny 2

Książe, „co krajowi byt swój poświęcił”. Portrety IX ordynata Ołyckiego, pułkownika Dominika Hieronima Radziwiłła (1786–1813)

THE PRINCE, “WHO DEDICATED HIS LIFE FOR THE HOMELAND”. PORTRAITS OF COLONEL DOMINIK HIERONIM RADZIWIŁŁ (1786–1813) – THE IX ORDYNAT OF OLYKA. Dominik Hieronim Radziwiłł (1786–1813) was the last Ordynat of Olyka from the Nesvizh line. He was the son of Hieronim Wincenty Radziwiłł (1759-1786) and the nephew of Karol Stanisław „Panie Kochanku” Radziwiłł (1734–1790). Despite the fact, that in his period family residences had deteriorated or became derelict, the estimation about his owner behaviour cannot be negative. It is not denying that this nobleman was a patriot who dedicated his life for the homeland. In 1812, Prince joined Napoleon Army and died in 1813 after the Battle of Hanau. In consequence his name became famous and respected by such an influential generals as Józef Załuski and Zygmunt Krasiński. The symbols of Radziwiłł’s heroism were presented in archival documents, graphics and paintings (for example in pictures from the collections stored in the National Museum in Warsaw and in Schillingsfürst residence). The selected aspects of his life and interpretations of portraits were presented in that paper

Songs during the Canonization Mass of Blessed Kinga Chaired by Pope John Paul II in Stary Sącz (June 16, 1999)

The 7th Pilgrimage of the Holy Father to Poland was a special time for the Tarnowski Church community, because during the pilgrimage John Paul II was to come to Stary Sącz to canonize Saint Kinga. An important element of any liturgical meeting are song sand liturgical music. The present study aims to show various aspects of preparations in the musical field, from the liturgical theme of the celebration, through the performers, to the planned repertoire of songs. The canonization of Saint Kinga decided the subject matter of the texts, the performers were joined by choirs and orchestras, while the repertoire consisted of songs in honor of Saint Kinga, Eucharistic songs intended for the common singing of the entire community and choral works with orchestra accompaniment. Its character emphasized the very festive mood of this feast of faith.The 7th Pilgrimage of the Holy Father to Poland was a special time for the Tarnowski Church community, because during the pilgrimage John Paul II was to come to Stary Sącz to canonize Saint Kinga. An important element of any liturgical meeting are song sand liturgical music. The present study aims to show various aspects of preparations in the musical field, from the liturgical theme of the celebration, through the performers, to the planned repertoire of songs. The canonization of Saint Kinga decided the subject matter of the texts, the performers were joined by choirs and orchestras, while the repertoire consisted of songs in honor of Saint Kinga, Eucharistic songs intended for the common singing of the entire community and choral works with orchestra accompaniment. Its character emphasized the very festive mood of this feast of faith

Chinese studies in Poland : history and current perspectives

The earliest pieces of knowledge and research on China in Poland reflected the development of Sinological studies in Western Europe. Being located on the sidelines of trade routes through which Eastern ideas and goods reached Western Europe, Poles used to get their information about China mostly from intermediaries: medieval travelers, merchants, and envoys, and since the sixteenth century, letters, writings, and books by Jesuit missionaries. The Poles contributed the very first comprehensive description of Chinese flora, and were important in spreading mathematical knowledge among Chinese scientists. A Pole established Monumenta Serica, still published today, and another Pole applied formal logic to the research of Chinese classical texts for the very first time. Despite all that, regular Sinological research in Poland did not take off until the twentieth century, and even then it was interrupted by political upheaval in Poland and by researchers’ fight either for freedom or with i