Ornaments in the baroque keyboard music: the questions of notation

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Ornaments in the baroque keyboard music: the questions of notation

Olena Zhukova

The article is devoted to the questions of ornamentation in the baroque keyboard music, which is viewed here as a peculiar code of the communication between composer and performer. Relevance of the study lies in the solving of the problem - the fact that the codes in the musical text are not self-explanatory and requires from the performer a knowledge the symbols themselves and historical context. That is why further explanations or tables were apprended to the musical scores of many baroque composers. In Ukrainian musicology this area is still not enough investigated. Thus, the main objective of the study is in filling the blanks in the topic, involving to the domain of research the foreign scholar sources and the experience of the authoritative foreign colleagues. During the research both theoretical and empirical methods were applied: analysis of pieces of music, comparison of various samples of the ornamentation in the various context and analyzing ornamentation in different national schools.

The Results of research were received during the study of theoretical literature, analysis and processing of the information and during teaching harpsichord at Glier Kiev Music Institute. The study was done following the experience received by empirical way: the masterclasses with the European experts and my own work on this repertoire, I have accumulated significant experience in the field of Baroque ornamentation for passing it to the next generation of performers. One of the results of this process is the acceptance of the one ofmy graduates, D. Kokoshinsky at Schola Cantorum Basiliensis.

Conclusions. The Ukrainian school of HIP should be seen as a phenomenon of a great artistic potential that is developing rapidly, and that is still in need of expansion of its informational- theoretical base. Its significance for art and education lies in the possibility to integrate Ukraine into European context and to raise the level of the cultural life in the country.

Keywords: ornaments, embellishment, music score, music communication.

Е. А. Жукова

Орнаментика в клавирных произведениях эпохи барокко : вопросы нотации

Статья посвящена вопросам орнаментики на примере клавирных произведений барокко, которая является своеобразным кодом для коммуникации между композитором и исполнителем. Актуальность исследования заключается в том, что музыкальный текст не является исчерпывающим; нотная запись требовала дополнительных пояснений. Интерпретация украшений требует от исполнителя знания не только самих символов, но и исторического контекста, литературных и научных источников. В отечественном музыковедении это поле все еще недостаточно исследовано. Таким образом, целью исследования можно считать восполнение пробелов в изучении орнаментики, приобщение к сфере исследования зарубежных источников; вовлечение в учебный и творческий процесс опыта зарубежных коллег. В ходе исследования применялись как теоретические, так и эмпирические методы: анализ музыкальных произведений, наблюдение и сравнение различных образцов мелизматики в различном контексте и на примере разных национальных школ.

Результаты исследования были получены в ходе изучения литературы и музыкальных произведений, анализа и обобщения информации, мастерклассов с европейскими музыкантами, собственной работы над произведениями, преподавательской работы в классе клавесина КИМ им. Р. М. Глиэра. Благодаря этому удалось накопить значительный опыт в вопросах барочной орнаментации для передачи новому поколению исполнителей. Одним из результатов этого процесса можно считать поступление выпускника класса Д. Кокошинского в престижную Schola Cantorum Basiliensis. Таким образом, выводы позволяют позиционировать украинскую школу исторически-информированного исполнительства как феномен, наделенный особым потенциалом и динамично развивающийся, однако нуждающийся в расширении информационно-теоретической базы. Значимость для науки, искусства и образования состоит в том, что активное развитие проблематики интерпретирования музыкальных произведений эпохи барокко в этих сферах способно еще более интегрировать Украину в европейский контекст.

Ключевые слова: мелизмы, орнаментика, украшения, нотный текст, музыкальная коммуникация.

A.-E. Godek

Musical Collection from Latin Cathedral in Lviv

as the Source of the History of the Cathedral

Choir and Orchestra

The article presents unknown sources to the history of music in Latin Cathedral in Lviv in the 19th and early 20th century, both cathedral choir and orchestra. The author focuses on the musical activity of priests serving in the temple as well as on Henryk Jarecki. Latin Cathedral in Lviv may be considered as one of the most important Catholic temples on the territory of the Polish-Lithuanian Commonwealth. The city itself in the 19th and 20th centuries was a multicultural centre, in which the tradition of Polish, Ukrainian, Jewish and Armenian nations and their religions co-existed and influenced each other.

Keywords: Latin Cathedral, Cathedral choir and orchestra, Henryk Jarecki's music

Formulation of the problem. Even though the Latin Cathedral has a history dating back many centuries, still very little is known about its music. One of the earliest sources proving tradition of performing polyphonic compositions is Kyriale from 1631 (held currently at Scientific library of Lviv National University Наукова бібліотека Львівського національного університету, ms. 1559/IV). Its repertoire is a proof of a great impact of Wawel's Cathedral on Latin Cathedral in Lviv. Also very little is known about the musicians in Latin Cathedral in the Middle Ages, or the Renaissance as well as in later periods. The common belief is that during the second half of the 19th and 20th centuries there was neither choir nor orchestra in the Latin Cathedral. In fact, richness of the musical tradition of the city disposes the researchers to focus rather on the subject of secular music, moving sacred music aside. Even though the history of the city was very complicated, many sources are preserved and awaiting to be rediscovered.

Analysis of recent research. The change of borders in 1945 gravely influenced the archive resources. Although it causes many difficulties in research on musicological subjects, it also opens a new common space for the cooperation between researchers from different countries.

Musical collections can be found in many institutions of the city. Among libraries and archives, there are also sources unknown to the researchers deposited in Latin Cathedral. In the current state of research, the provenance of majority of them remains unknown. A significant percentage of identified sheets comes from the Latin Cathedral, what is proven by precise provenance note.

In the study of historical and musical issues, the author of the paper relies on the following sources: the catalog of the clergy from the archbishopric of Lviv; archival documents of the Latin Cathedral; note collection of the Latin cathedral; the publication "Szkola dla samoukow na klawiaturowym instrumencie i spiewu" [15], "Cantionale Ecclesiasticum" [13], the leading journal "Muzyka Koscielna Parafialna", the memoirs recorded by Leonard Soletsky in 1882 [14, 7].

Objective of the study. Present to the general public the musical collection of the Latin Cathedral and the musical component of Catholic worship. To reveal the historical aspect of the development of the musical performance of the service component and its repertoire during the topic under study.

Presenting main material. One of the oldest examples of such sources is “Missa Pastoralis in D” composed by Frantisek Brixi. In the right bottom corner, there is the inscription: “Proprietas Ecc[lesiae] Metrop [olitanae] Baraniecki Can[icus] [et] Rector Chori”. Based on this information, it is possible to date this manuscript.

The first list of the clergy (schematismus) in the Roman Catholic Archdiocese of Lviv was published in 1814. It does not contain any information about Lukasz Baraniecki, since at this time he was only 16 years old, nor about any person serving as the rector chori or cantor chori. The next catalogue of clergy was published in 1833. It contains a note that Baraniecki was ordained to the priesthood in 1822, and in 1833 was working as a parson in Hodowica (currently in the Pustomyty Raion, Lviv Oblast). In the index from 1837, he is mentioned as Canonicus et Assessor Consistorii, however there is still lack of information about a function called rector chori. The first person confirmed to be a cantor chori is mentioned, however, just in the following catalogue of clergy from 1839 and is known as Henryk Pertak. We know very little about his life and musical activity. He was born in 1807 and ordained to priesthood in 1832. Until 1837, he worked as a vicar in the parish in Jazlowiec (currently in the Buchach Raion, Ternopil Oblast). After this time, he was moved to the Latin Cathedral, where he served as cantor chori. In the 1850s, he also worked as a teacher in cathedral school. In 1857, he was nominated a parson in the Church of Our Lady of the Snows in Lwow, where he stayed until his death in 1878.

In 1839, Lukasz Baraniecki is already known to be a parson in Latin Cathedral. We can assume that he held the function of cantor chori before that date, but certainly after 1833. It means that the manuscript was written down in the late 1830s. What seems to be interesting, the musical collection of Latin Cathedral was extended even in later years. On the dust jacket of “Antiphona et Benedictus pro feria quinta in Caena Domini a Quattro Voci” by Giorgio de Reuttern, an inscription was written: “Proprietas Ecc[lesiae] Metrop[olitanae] Baraniecki Can [onicus] et Par [ochus]”. That means that the manuscript could have been written down between 1839 and 1850, so before Baraniecki became an archbishop of the Archdiocese of Leopolis. It appears obvious that cantor chori was not a function equal to Kapellmeister. Probably, he was in charge of music in Latin Cathedral and served also as a cantor of the Cathedral Chapel. Especially in later years, when the best musicians in the city were hired to provide musical service for the liturgy, the elaborated function had to be secondary. Our attention is also drawn to the fact that abovementioned composers were very important in this period of time. Johann Georg Reutter (1708-1772) was not only a composer, but also a Kapellmeister in St. Stephen's Cathedral in Vienna. That partly proves that the best repertoire of the Austrian Empire was willingly performed in the capital of Galicia.

Thanks to the catalogues of the clergy from Archdiocese of Lviv, it is possible to provide a full list of priests who were appointed as cantor chori. As mentioned earlier, after Lukasz Baraniecki this function was held in years 1837-1857 by Henryk Pertak. Later, until 1871, the position was taken up by Albin Hauptmann. Again, very little can be said about him. He was born in 1827 and ordained to priesthood in 1850. Around 1871, Hauptmann was nominated a parson in Dawidow (currently in the Pustomyty Raion, Lviv Oblast), where he stayed until his death in 1876. In fact, not only was he a cantor chori, but he also served as magister cantus in an Archdiocesan seminary.

Beginning from the year 1862 (except for Jan Stachow and Teofil Moszynski), all priests shared these two functions. Hauptmann may also be considered as a composer. Among the 19th- century musical collection from Latin Cathedral, there is at least one mass for choir and orchestra that may be attributed to him. In the current state of research, it is impossible to confirm this attribution as it requires further studies. In years 1871-1875, the function was held by Jan Stachow.

In the following years, until 1883, he was replaced by Leonard Solecki. He is known especially as a publisher of “Szkola dla samoukow na klawiaturowym instrumencie i spiewu” [15], “Cantionale Ecclesiasticum” [13] and the trailblazing periodical “Muzyka Koscielna Parafialna”, of which idea later was acquired by Surzynski. In 1884, Teofil Moszynski was nominated as cantor chori, but later, until 1887, there was a vacancy. From 1888 to 1892, the function was held by Julian Kaminski. After a vacancy in years 1894-1896, Ludwik Scherff was nominated. One can assume that he was also a composer, since there is a musical piece signed with his name. However, this issue requires further studies. The last known cantor chori was Rudolphus Nowowiejski, who held the function in years 1911-1912. Rudolf was a brother of a popular composer Feliks Nowowiejski. He also was an author of lyrics to at least two of his brother's compositions, from which the Hymn of the Seminary in Lwow is kept among other musical items from Latin Cathedral.

Thanks to the preserved musical compositions, the amount of instruments used in the cathedral orchestra in the 1830s can be evaluated. Mentioned earlier Brixi's Missa Pastoralis is a compositions for Canto, Alto, Basso, Due Violini, Due Corni con Organo. Reuttern's “Antiphona et Benedictus” is a set for four voices a cappella. Unfortunately, other music sheets from these period of time do not have any provenance note. However, among them, there are compositions for small set of voices, ex. W.A. Mozart's “Missa F-dur” for 4 voices and Due Violini col Organo. This brings an idea of a rather small ensemble in Latin Cathedral in the first half of the 19th century.

The situation changed completely in the last decades of the 19th century. At the unknown time, Henryk Jarecki got involved in the musical matters in the Latin Cathedral. Jarecki was born in 1846. He was a favourite pupil of Stanislaw Moniuszko. Not only did he compose a music, but also performed it in many centres. In fact, he is mostly known as the conductor of the opera in Lwow from 1872. His connection with the cathedral choir and orchestra still requires further studies. In fact, one can assume that in the late 19th century the Latin Cathedra did not have its own instrumental ensemble and used an orchestra from the opera. In this very time, the opera ensemble used a Skarbkowski Theatre in Lwow. A search query in the 19th century press proves, however, that the cathedral orchestra was a separate ensemble, though sharing members with the orchestra of the opera cannot be excluded. Designating which musical items were the property of Henryk Jarecki appears to be rather easy. On majority of them, a seal “Henryk Jarecki” was put.

On the dust jackets of many compositions from the musical collection of Latin Cathedral, inscriptions proving dates of performances were added. Mozart's “Missa F-dur” was performed at least 6 times: in 1822, 1823, 1825, 1826, 1835 and 1876. On the dust jacket of Moniuszko's “Missa in Es-dur” the inscription was written: “Wykonana dnia 12 pazdziernika 1896 r. [w] Archikatedrze sw. Jura na Jubileusz 300. lecia Unii Brzeskiej”, which means that this mass was performed in St. George's Cathedral in Lwow at the jubilee celebration of the Union of Brest. This fact was confirmed by the relation published in “Gazeta Lvivska” stating that during the solemn mass “the adequate compositions” were performed by the Cathedral Choir conducted by Henryk Jarecki [5, 4]. Thanks to the press, we know that one of the most important solemnity, during which cathedral choir used to sing every year, was the birthday of Emperor Franz Joseph. On this occasion, every year after the liturgy people sang “Te Deum laudamus”, after which the choir performed the national anthem [6, 3]. What is worth noticing is the fact that Jarecki was also involved in the activity of Lwowskie Towarzystwo Spiewackie, with which he performed Kurpinski's Mass in 1884, playing organ part. Together with Lutnia choir, he performed Kurinski's Oratorio. In later years, Jarecki was also known as a conductor of Lutnia choir. Just in 1883, together with Stanislaw Cetwinski, the Lutnia's conductor, they organised a new choir called “The Mixed Choir”. This ensemble consisted of male members from Lutnia and ladies “already fluent in singing”. The city casino was appointed as a place of rehearsals on each Wednesday. Together with this choir, Jarecki performed - among others - Mendelssohn's “Elijah”. The music sheets from this performance were incorporated into the cathedral collection.

Thanks to other dates which were noted on music sheets, we also know that Rossini's “Missa Solemnis” (or in fact: “Le Petite messe solennelle”) was a very popular composition, performed for the first time in 1877, later 4 times in 1882 and once in 1883. Gruber's “Requiem” was repeated on the anniversary of Empress Elisabeth death (on the 10th of September) in years 1907-1909 and in 1911. This composition was also performed in years 1907-1910 and 1912-1913 on the memorial of All Souls' Day (on the 2nd of November) and on the 28th of June 1909, which was the 34th anniversary of Emperor's Ferdinand I death. According to the press, the prayers for the peace of the soul of Emperor Ferdinand took place in all three cathedrals in the city [7, 3]. In 1902, the Cathedral choir and the orchestra conducted by Henryk Jarecki performed in Latin Cathedral during the solemn anniversary of the Lwow Oath, however the repertoire from this event remains unknown [12, 1].

Performing mentioned Gruber's “Requiem” requires (according to preserved voices): Vio- lino I, Violino II, Viola, Basso and Organo. According to the published score, the compositions requires also two clarinets, two horns and trombone. That leads to two possible conclusions. Either not all the voices have been preserved or the cathedral ensemble performed only selected voices from the entire compositions. However, it is more likely that rather in the late 19th century the size of the orchestra ensemble in Latin Cathedral did not enlarge.

Very valuable information about music is a flashback written down by Leonard Solecki in 1882. He recalled Franciszek Wierzchlejski's jubilee of 50 years of the ordination to priesthood, who was an Archbishop in Lwow in the mentioned year 1876. During that solemn mass, cathedral choir and orchestra conducted by Henryk Jarecki with the help of other musicians (perhaps the musicians from the opera?) performed “one of the most glamorous masses”. Solecki does not provide us with the authorship of the composition but only with the information that the Agnus Dei was “lovely” [14, 7].

Again, the exact date when Jarecki stopped being in charge of Cathedral choir remains unknown. Probably, at the very end of his life, he got engaged in music at Dominican Order's convent [9, 162]. In 1913, Stefan Surzynski became the new conductor of the choir and Cathedral organist. After his death in 1919, at the current state of research there are no further information about any music ensemble in Latin Cathedral.

From the early 20th century, the Lutnia Choir was involved in performing music in the Latin Cathedral. Probably, from 1925 Lutnia sung during every Sunday mass and during solemnities - both religious and national. The repertoire in the temple did not change very much -masses by Mozart and Moniuszko were still performed - but the repertoire was enriched by Gounod's and Perosi's masses and Rheinberger's “Missa solemnis in C”, of which performances we had no previous information [1, 114-115]. Only in 1928, the choir performed compositions of Pembauer, Messner, Palestrina, Lotii, Haendel, Mozart, Moniuszko, Munheimer, Jarecki, Niewiadomski, Surzynski, Nowowiejski, Rutkowski, Gall, Kagerer, Perosi, Prosnak, R^czka and Rozycki [2, 205-206].

In the 1920s, Jozef Nowakowski became the organist of Latin Cathedral. In his possession was the music sheet of an oratorio “Sluby Krolewskie” composed by Mieczyslaw Soltys, whose pupil he was [16, 81]. It remains unknown whether he took part in performing this piece, but it proves a long-lasting tradition of music in Lwow. Nowakowski became a director of a Cathedral's school [3, 407; 8, 31]. Very little is known about music education there. In the late 19th century, the organ teacher was Jan Piotrowski. The number of students was diversified and varied among 30 and 44. The school used to heave its own pipe organs build by Roman Duchenski around 1880 [8, 31].

Finally, it should be stated that the issue of the history of music in Latin Cathedral in presented period of time is a very complex matter. Thanks to the recently unknown sources, several new facts have come to the light. It appears that until the early 20th century a choir and a small orchestra conducted for many years by Henryk Jarecki existed in the church. The repertoire was also very diversified and consisted of compositions of local origin as well as of the most recognised works in mentioned period in Western and Central Europe.

The musical collection discussed in this article consists mostly of disordered documents, so using them in the further research appears to be impossible. A current research plan is to order mentioned sources and prepare a full catalogue of them. Since information mentioned in this article are the result of recent studies, supplementing missing details will require further search query.

References

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Lipanowicz, S. (1929), Lutnia-Macierz , Almanach Lwowski “Ateneum”, Towarzys- two Wydawnicze Ateneum, Lwow, 282 p. [in Polish]

Chodynicki, I. (1929), Historya stolecznego krolestw Galicyi i Lodomeryi miasta Lwowa od zalozenia jego az do czasow teraznieyszych, Naklad Karola Boguslawa Pfaffa, Lwow, 466 p. [in Polish]

Feicht, H. (2008), Wspomnienia, Wydawnictwo Instytutu Teologicznego Ksi^zy Misjonarzy, Krakow, 220 p. [in Polish]

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Kaliberda, S. (2014), Orhany Lvova i Halychyny, Vydavnytstvo Apriori, Lviv,. 448 p.) [in Ukrainian] 9. Piekarski, M. (2018), Muzyka we Lwowie. Wydawnictwo Akademickie Sedno, Warszawa,. 354 p. [in Polish]

Piekarski, M. (2017), Przerwany kontrapunkt. Adolf Chybinski i pocz^tki polskiej muzykologii we Lwowie 1912-1944, Wydawnictwo Aspra-JR, Warszawa, 462 p. [in Polish] baroque ornament Music

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