LAETATUS SUM

The music of Grzegorz Gerwazy Gorczycki (1665-1734) – “the last great talent of Polish baroque music”, as Zygmunt Szweykowski described him – is characterized by unmatched melodic sophistication, harmonic fullness, and clarity of the musical and verbal message. A comprehensively educated composer and clergyman, Gorczycki held the honorable position of the kapellmeister of the Wawel vocal and instrumental ensemble for over thirty years. His involvement and special attention to the high artistic level of the ensemble are evidenced by preserved documents and, above all, compositions written in his hand.

The concert program will open with a ceremonial Missa Paschalis in a style reminiscent of the music of the masters of Renaissance polyphony. At the same time, this piece fits into the tradition of Polish Easter masses: following the example of such outstanding predecessors as Marcin Leopolit, Franciszek Lilius, or Bartłomiej Pękiel, Gorczycki uses the melodic material of well-known Easter songs, sung in Polish churches to this day. For instance, the inspiration for the joyful Gloria was the melody of the song “Wesoły na na się się się”, while for Benedictus – Christ the Lord is Risen. Gorczycki also drew from the richness of traditional vocal pieces of the Western Church. The hymns Deus tuorum militum (I) and Tristes erant Apostoli intended for the Paschal period begin with monodic chants, and the chorale melodies – treated as cantus firmus – constitute the basis for the construction of these compositions.

Gorczycki balances his excellent knowledge of the traditional rules of counterpoint with openness to new ideas. In church concerts, he masterfully employs the concertante technique, juxtaposing sections in various meters, textures, and instrumentation. The most outstanding examples of compositions in this genre include the 9-voice Laetatus sum with a fanfare part of trumpets announcing to the pilgrims that they have reached the long-awaited Jerusalem, and Illuxit sol, which will be heard in the finale of the concert. The last piece is distinguished by a particularly extensive instrumental part which, treated on an equal footing with the vocal parts, enhances the power of expression and increases the expressiveness of rhetorical devices.

PROGRAM

PERFORMERS

THE CHAMBER CHOIR OF THE POLISH ROYAL OPERA

THE PERIOD INSTRUMENTS ENSEMBLE OF THE POLISH ROYAL OPERA CAPELLA REGIA POLONA

RENATA SZCZYPIOR CHOIRMASTER, CONDUCTOR

KRZYSZTOF GARSTKA POSITIVE ORGAN, CONDUCTOR

Duration: approx. 50 min.

The seats in the auditorium are not numbered.