Muzyka

The Lost First Edition of the Office for the Feast of Blessed Ceslaus Odrowąż, O.P. from 1602: A Copy Found in the Diocesan Library in Sandomierz

Dominika Grabiec — 2025-06-27

The aim of this text is to present a copy of the first edition of the office for the feast of Blessed Ceslaus Odrowąż from 1602, Officium B. Ceslai, Ordinis Praedictorum, in quo Hymnis, Responsorijs, & Antiphonis antiquis, lectiones additae sunt, hitherto regarded as lost, but in fact preserved in the Diocesan Library in Sandomierz. The text contains also a summary of the history of research into this office and a presentation of the present state of research, as well as addressing a few questions raised in the most recent musicological publications.

Zygmunt Marian Szweykowski (12 V 1929–3 VIII 2023)

Aleksandra Patalas — 2025-06-27

'Missa Scaramella': The Second Life of an Incomplete Obrecht Mass

Niels Berentsen — 2025-06-27

Jacob Obrecht’s Missa Scaramella survives as a unicum in two partbooks (altus and bassus) in Kraków’s Biblioteka Jagiellońska. A reconstruction of the mass has recently been published by Fabrice Fitch (in collaboration with Philipp Weller and Paul Kolb). To ‘verify’ the results of that reconstruction, this review will look into claims made about the original notation of the cantus firmus (Scaramella va alla guerra) and compare it with another, independently conceived, reconstruction of the Missa Scaramella by Marc Busnel.

The Study of Intertextuality in Music: The Primary and Secondary Market. On the Book ‘Intertextuality in Music: Dialogic Composition’

Paweł Siechowicz — 2025-06-27

The papers collected in this publication open up promising research perspectives by introducing the concept of intertextuality in music studies. The key articles deal with the following issues: Lawrence Kramer argues that musical intertextuality depends on quotation, allusion and plagiarism; Nicholas Cook contrasts autonomous with multimedia mentality; Michael Klein relates intertextuality to the formation of new subjectivity; J. Peter Burkholder explains it as a mechanism for renewing traditions. The collection contains both studies based on the theory of intertextuality and others that adapt older methodologies for the needs of the subject.

In the Shadow of the Dresden 'Hofkapelle'. Jacob Heinrich von Flemming and His Music Ensemble

Szymon Paczkowski — 2025-06-27

In 1713 Jacob Heinrich v. Flemming (1667–1728), Saxon field marshal and first minister of the Saxon Privy Cabinet, set up his own music ensemble. This article is devoted to the history, line-up and profile of that ensemble. Over the 15 years of the existence of Flemming’s Kapelle, at least 20 musicians played in it, including such outstanding artists as Francesco Cattaneo and Gregor Joseph Werner. The history of this ensemble illuminates the network of connections and musical contacts between Dresden, Köthen, Berlin, Vienna, Warsaw, Leipzig, Brunswick, Zerbst and Schwerin during the early decades of the eighteenth century.

Johann Gottlieb Naumann’s ‘Pria che all’amato bene’, Or the Dresden Trail at the Origins of the Polish Polonaise Aria

Jakub Chachulski — 2025-06-27

This article is devoted to the polonaise aria ‘Pria che all’amato bene’, crucial to the history of opera in Warsaw under the reign of King Stanislaus Augustus, but which has been known hitherto solely from the text preserved in Warsaw prints and from evidence of its popularity at that time. Brought to Warsaw by an Italian company active here between 1774 and 1776 as part of Antonio Sacchini’s opera Il finto pazzo per amore, it was written for the Dresden production of that opera (1769) by Johann Gottlieb Naumann, and then added to his Venetian opera Ipermestra (1774). It presents some of the features typical of the Dresden polonaise style, but they are less prominent than in Saxon instrumental polonaises.

A Previously Unknown Episode from the Stage Career of Antonina Campi: Luigi Cherubini’s Aria ‘Giusto Ciel’ Composed for the Polish Prima Donna (Vienna 1805)

Anna Ryszka-Komarnicka — 2025-06-27

This article discusses the aria ‘Giusto Ciel’, written for Antonina Campi by Luigi Cherubini for the revival of the German-language adaptation of his Lodoïska at the Theater an der Wien (1805). The composer brought out the finest qualities of Campi’s vocal and acting talent (the liveliness of her coloratura soprano, with its high tessitura, her strong and sonorous high range, the recitative segments embedded in the aria), while concealing possible weaknesses (with relatively brief cantabile sections and no cantar di sbalzo technique). While not relinquishing virtuosity, Cherubini subordinated the aria to expressive aims.

On the Margins of Music Aesthetics, Criticism and History. Reflections on Music in the Writings of Culture and Science Historian Waldemar Voisé

Sławomir Wieczorek — 2025-06-27

This article comments on the musical thought of Polish culture and science historian and philosopher Waldemar Voisé (1920–95), author of nearly 250 works. Though music was not at the centre of his interests, he published academic texts on music history and aesthetics, as well as historical analyses, source commentaries and reviews of musicological publications. Between 1946 and 1949 he also wrote music reviews for Ruch Muzyczny. His most important work devoted to music is his unpublished master’s thesis on music perception, written under the supervision of Henryk Elzenberg in 1951.