Chair: Ewa Hauptman-Fischer (University of Warsaw)
Sanna Raninen (Uppsala University)
Music books in church inventories from Sweden and Finland, 1500–1750.
Justyna Szczygieł (Jagiellonian University, Kraków)
Polish-Czech musical contacts in the eighteenth and early nineteenth centuries in light of preserved sources at Jasna Góra.
Marija Kostić (School for Musically Gifted Children in Ćuprija, Music history teacher and Music librarian, Ćuprija)
The legacy of Dragutin Čolić at the library of The School for Musically Gifted Children in Ćuprija (Serbia)
Abstracts:
Sanna Raninen (Uppsala University) Music books in church inventories from Sweden and Finland, 1500–1750.
A book surviving over several hundred years has often had fortuitous circumstances preventing it from being destroyed, either by accident or by design. Swedish liturgical and devotional music books the first two hundred years after the religious Reformation retained a long shelf-life compared to many other types of books of the time: printed or handwritten melodies –many of which pre-date Reformation– remained in use for many generations, with some alterations made as the preferences on liturgical practices and linguistic properties changed. Despite this, the number of surviving sources from early modern Sweden reflect only a fraction of the books in use at the time, but many books now lost can be researched through their presence at the surviving church inventories. My presentation analyses the various ways in which the music books owned by churches in the kingdom of Sweden are described and catalogued in the surviving church inventories from the first two hundred years after the Reformation. In addition, I assess the provenance and ownership of the surviving music sources and source types in light of the inventories. Research of the surviving church inventories allows a view on the material culture of liturgical and devotional music books as part of the overall possessions of the churches in the kingdom, as well as the cultural history of music book ownership in Swedish and Finnish churches, even from areas where no books have survived to this day.
Justyna Szczygieł (Jagiellonian University, Kraków) Polish-Czech musical contacts in the eighteenth and early nineteenth centuries in light of preserved sources at Jasna Góra.
The purpose of my speech is to show the musical contacts that connected an important religious center, which was Jasna Góra, with Moravia. From the beginning of the 18th century, Jasna Góra was under the influence of our southern neighbors: 1) musicians from Bohemia and Moravia were employed in the Paulin vocal-instrumental ensemble; 2) works by Czech composers appeared in the musical band repertoire. Ad 1 Ludwik Maader, violinist and composer of religious music in Poland, came to Jasna Góra from Dub nad Moravou at the end of 1784. We know little about Ludwik Maader's early youth. He came from Moravia, was born around 1763 and initially joined the ensemble at the Church of the Purification of the Blessed Virgin Mary in Dub (near Olomouc) , where he learned to play the violin and probably developed a compositional workshop. At the age of 21, he came to Jasna Góra, where he took the position of the Pauline bandmaster. He worked there for 14 years, until 1798, when he suddenly died. He left behind about 20 compositions dominated by Marian themes. In 1815, Florian Gotz (born Novy Rousinov) came from Opava to Jasna Góra, and then became a bandmaster. His contacts with his hometown were still alive and thanks to this, in 1817 Leopold Mesznik (Mężnicki), a violinist and organist, member of a Novy Rousinov band joined the monastery ensemble. Ad 2 The Jasna Góra musical collection contains about 130 compositions that belonged to the band operating at the church of Maria Magdalena in Novy Rousionov - a small town located near Brno. The history of their presence at Jasna Góra is still unknown. Hence, numerous research questions arise: 1) about mentioned musical repertoire known and performed at Jasna Góra – which of its pieces come from Rousinov; what were their routes to the Republic of Poland, how can we divide them in terms of genres and styles, what cast or techniques they include; 2) artists and musicians from Rousinov, who were present in Poland - what was their activity like, how and why did the musicians reach the territory of Poland, was it an evidence of wider cooperation, what were the contacts between music and monastery centers; 3) reception and role of the repertoire - to what extent the repertoire of Nowy Rusinów provenance preserved at Jasna Góra was modified and spread to other music centers, as well as whether the manuscripts of these works show traces of being used, and whether the compositions were adapted to local performance conditions. In my presentation, I will attempt to characterize the collections and answer the above questions.
Marija Kostić (School for Musically Gifted Children in Ćuprija, Music history teacher and Music librarian, Ćuprija)
The legacy of Dragutin Čolić at the library of The School for Musically Gifted Children in Ćuprija (Serbia) Dragutin Čolić (1907‒1987) was a Serbian composer. From 1929 to 1932 he was studying at the Prague conservatory with Jaroslav Křička, Karel Boleslav Jirák, and Alois Hába, while at the Prague's Meisterschule he was a student of Josef Suk. He was a professor in theoretical subjects at the Belgrade Music Academy (1940–1977). At the same time, he contributed, as a journalist and music critic. During the interwar period, Čolić was politically engaged. As a member of the Communist Party, he continued to develop ideas of the labor movement he met while studying in Prague. After WWII he was a conductor of the folklore ensemble ,,Abrašević'', and from 1949 he was a member of the Professional Council of The National Ensemble ,,Kolo''. Being the member of the Composers' Association of Serbia from its founding, Čolić was editor and publisher of the first catalog of works by the Association members. Together with Ljubica Marić, Vojislav Vučković, Stanojlo Rajičić, and Milan Ristić, Čolić was recognized as a part of the Prague group, the new wave at those days Serbian music scene.
