Italian sacred monody north of the Alps : from Chiara Margarita Cozzolani's Scherzi di sacra melodia (1648) to Daniel Speer's Philomela angelica (1688)

The arrangements of the six solo motets originally composed in the 1640s by Milanese singer and composer Chiara Margarita Cozzolani (1602–1676/1678), which were elaborated by the Silesian composer Daniel Speer (1636–1707), and published in his Philomela angelica collection, are specific examples of the intricate ways and various forms of dissemination of Italian music beyond the Alps and its assimilation and adaptation in different periods and places. The article presents the current research on the facts and circumstances which caused Speer's interest in the 40 year old music of the Milanese nun. Some hypotheses for further research are introduced and the procedures applied in the creation of these arrangements are discussed. Speer intentionally wanted to propose a modernised version of the originals reflecting the development of the concertante style of the high-Baroque period

Philomela angelica Daniela Speera – k neznámemu dielu známeho hudobníka

Philomela Angelica Cantionum Sacrarum by Daniel Speer is one of the lesser known works of this famous Silesian musician, music theoretician, writer and composer. The collection, which contains 24 small-scale sacred concertos (or concertant motets) with Latin biblical and original period religious texts, was printed in an unknown printing house in 1688. This study comprises the results of research of the music published in this collection which show direct inspiration sources based on the repertoire of the Milan motet of the 1640s. Criticism regarding the source has also raised other questions related to the true origin of this collection, its period reception and extreme popularity in the musical centers of the 17th century on the territory of present day Slovakia, as well as the issues related to solo motet style transformations and regional customs in instrumentation practice

Bernard Clairvaux’s Poetry as the Inspiration for the Composers of the 17th Century

In searching for a way to deepen and intensify its spiritual life, the post-trident community found considerable inspiration in medieval philosophical-theological leanings and artistic expressions. The personality and work of Bernard of Clairvaux (ca. 1090–1153) represent one of the best examples of the diverse forms and levels of this impact. Several typical themes of Baroque mysticism had their archetype in Bernard’s mysticism and their symbols were applied to visual art as well as music through texts set in music. However, it was the hymn to the name of Jesus (Jesu dulcis memoria) that became the most popular inspirational source for poets and musicians of the 17th century. Originally only some stanzas of the hymn, which were sung in a simple, monodic, syllabic form with a rhythm based on Latin prosody, became a relatively popular source of musical adaptation in the polyphonic setting from the last two decades of the 16th century. The initiative came from Rome, where the first musical anthologies with Bernard’s rhytmis were published in the 1580s. It is probable that the Roman anthologies stirred up greater interest in setting Bernard’s poetry to music in polyphonic style, even in the Trans-Alpine region, but there were also other incentives which led Lutheran musicians to begin composing works on text of the hymn attributed to Bernard. The tradition of setting several stanzas to music in a musical cycle caught on among Lutheran composers of the 17th century. Thomas Schattenberg, Andreas Hakenberger, Samuel Capricornus as well as Daniel Speer followed it. Jubilus Bernhardi, Capricornus’s cycle of 24 concertato motets, is unique because it was the only one in which all 48 stanzas of the hymn were set to music. It was composed during the period in which he served as director musicae in the Lutheran church in Bratislava in the 1650s. At the time when Capricornus was the Kapellmeister at the court in Stuttgart he published this work (1660) with modified instrumentation. This new adaptation was most probably a reaction to the local tradition in response to Bernard’s work and instrumentation practice

Italian sacred monody north of the Alps : from Chiara Margarita Cozzolani's Scherzi di sacra melodia (1648) to Daniel Speer's Philomela angelica (1688)

The arrangements of the six solo motets originally composed in the 1640s by Milanese singer and composer Chiara Margarita Cozzolani (1602–1676/1678), which were elaborated by the Silesian composer Daniel Speer (1636–1707), and published in his Philomela angelica collection, are specific examples of the intricate ways and various forms of dissemination of Italian music beyond the Alps and its assimilation and adaptation in different periods and places. The article presents the current research on the facts and circumstances which caused Speer's interest in the 40 year old music of the Milanese nun. Some hypotheses for further research are introduced and the procedures applied in the creation of these arrangements are discussed. Speer intentionally wanted to propose a modernised version of the originals reflecting the development of the concertante style of the high-Baroque period.The arrangements of the six solo motets originally composed in the 1640s by Milanese singer and composer Chiara Margarita Cozzolani (1602–1676/1678), which were elaborated by the Silesian composer Daniel Speer (1636–1707), and published in his Philomela angelica collection, are specific examples of the intricate ways and various forms of dissemination of Italian music beyond the Alps and its assimilation and adaptation in different periods and places. The article presents the current research on the facts and circumstances which caused Speer's interest in the 40 year old music of the Milanese nun. Some hypotheses for further research are introduced and the procedures applied in the creation of these arrangements are discussed. Speer intentionally wanted to propose a modernised version of the originals reflecting the development of the concertante style of the high-Baroque period

Philomela angelica Daniela Speera – k neznámemu dielu známeho hudobníka

Philomela Angelica Cantionum Sacrarum by Daniel Speer is one of the lesser known works of this famous Silesian musician, music theoretician, writer and composer. The collection, which contains 24 small-scale sacred concertos (or concertant motets) with Latin biblical and original period religious texts, was printed in an unknown printing house in 1688. This study comprises the results of research of the music published in this collection which show direct inspiration sources based on the repertoire of the Milan motet of the 1640s. Criticism regarding the source has also raised other questions related to the true origin of this collection, its period reception and extreme popularity in the musical centers of the 17th century on the territory of present day Slovakia, as well as the issues related to solo motet style transformations and regional customs in instrumentation practice.Philomela Angelica Cantionum Sacrarum by Daniel Speer is one of the lesser known works of this famous Silesian musician, music theoretician, writer and composer. The collection, which contains 24 small-scale sacred concertos (or concertant motets) with Latin biblical and original period religious texts, was printed in an unknown printing house in 1688. This study comprises the results of research of the music published in this collection which show direct inspiration sources based on the repertoire of the Milan motet of the 1640s. Criticism regarding the source has also raised other questions related to the true origin of this collection, its period reception and extreme popularity in the musical centers of the 17th century on the territory of present day Slovakia, as well as the issues related to solo motet style transformations and regional customs in instrumentation practice

Repertoire und Aufführungspraxis der mehrstimmigen Musik in der Slowakei im 17. Jahrhundert

Die Studie ist der Versuch einer Bewertung des bisherigen Standes der Erforschung des Repertoires der mehrstimmigen Musik auf dem Gebiet der Slowakei im 17. Jahrhundert und eine Betrachtung der Forschungsperspektiven. Diese werden in zwei Richtungen umrissen. Die erste ist die Untersuchung der Migration von Musikern und Musikalien, der Kontakte und Einflüsse der Musikzentren im Rahmen der sogenannten „Karpatenregion“, die über das Gebiet des ehemaligen Oberungarns hinausreicht. Die zweite ist die Betrachtung des Musikrepertoires aus der Sicht der Zeitpraxis, wo die musikikonographischen Quellen eine bislang wenig erforschte Bereicherung der Quellenbasis bilden. Schriftliche Erwähnungen der Musikinstrumente, die sich in Archivdokumenten befinden, liefern wertvolle Aussagen über das lokale Instrumentarium

Music by the Gabrielis in the Levoča and Bardejov Collections

Current research into the adoption of Andrea Gabrieli’s and Giovanni Gabrieli’s oeuvres in former Upper-Hungarian music centres (situated mainly in the Spiš and Šariš regions of present-day Slovakia) is based on examinations of the music sources that have been preserved in two extensive music collections: the Levoča Music Collection and the Bardejov Music Collection. They demonstrate the importance of the late 16th- and early 17th-century anthologies, compiled by German editors, in the dissemination of Gabrielis’ compositions — and Italian music in general — into the Spiš-Šariš regions. Anthologies had become the main source of transcriptions and further spreading of both authors’ pieces. On the other hand, in its content they were a source of limitation for further choice options. Among the known local composers, the most significant interest in Gabrielis’ works had been recognized by the Bardejov organist Zachariáš Zarewutius in his transcription of 13 units. Further transcriptions of Gabrielis’ pieces have survived in the manuscripts of unknown origin. The time of their creation and the names of intavolators are also unclear or unknown. The study therefore contains also information on the current research proceedings in these questions and hypothetical thoughts on the genesis and possible sources of these transcriptions as well as the routes of their transferring and their connections to the musical life of the Spiš-Šariš centres. Special attention is dedicated to the local version of the contrafactum of Lieto godea sedendo madrigal by Giovanni Gabrieli

Music and Religion in the Spiritual World of the Hungarian Aristocracy: The Case of Count Anton Erdődy (1714–1769)

This study deals with the forms and expressions of the Christian piety of the Hungarian aristocracy in the early modern period on the example of Anton Erdődy (1714–1769), a representative of one of the most influential and most ancient Hungarian–Croatian noble families. The personal piety of this socially high-ranking aristocrat was shaped by familial, social, and spiritual traditions, which determined the nature of his artistic patronage. The unique Baroque organ preserved in the chapel of his no longer existing mansion in Trenčianske Bohuslavice, Slovakia (former Bohuslavice, Upper Hungary) is a magnificent manifestation of this patronage. The reconstruction of Anton Erdődy’s idea of the spiritual world and of his piety enables us to formulate a hypothesis that the atypical architectural and structural design of this organ did not result only from the aesthetic requirements of its commissioner, but also had a theological foundation and religious essence in addition to its visual effect. This study is the result of extensive heuristic research and analysis of sources and extant artefacts using the methods of music historiography