{"id":18402,"date":"2021-02-24T22:29:47","date_gmt":"2021-02-24T21:29:47","guid":{"rendered":"https:\/\/operakrolewska.pl\/?post_type=repetoire&p=18402"},"modified":"2021-03-18T15:23:33","modified_gmt":"2021-03-18T14:23:33","slug":"melodies-for-the-polish-psalter-mikolaj-gomolka","status":"publish","type":"repetoire","link":"https:\/\/operakrolewska.pl\/en\/repetoire\/melodies-for-the-polish-psalter-mikolaj-gomolka\/","title":{"rendered":"MELODIES FOR THE POLISH PSALTER \/ MIKO\u0141AJ GOM\u00d3\u0141KA"},"content":{"rendered":"

The Melodies for the Polish Psalter<\/em> by Miko\u0142aj Gom\u00f3\u0142ka are among the most important treasures of the musical culture of the Polish Renaissance. The work has survived to this day thanks to the preserved Krakow edition from 1580 and is one of the first attempts to make the Polish language more musical. The use of a translation of the psalms by Jan Kochanowski means that we are dealing with a work that is unique both in terms of text and music.<\/p>\n

Born in Sandomierz, the future composer spent several years in service at the court of King Zygmunt August. It is there that he had the opportunity not only to gain experience as an instrumentalist in the most interesting cultural centre in the Republic of Poland but also to meet the most important Polish composers of the time. However, the collection of 150 four-part compositions was created only after leaving the court. The initiator of this original undertaking was most probably Bishop Piotr Myszkowski, a patron of Kochanowski and an aficionado of the mother tongue and national music.<\/p>\n

Gom\u00f3\u0142ka’s four-voice psalms perfectly fulfil the role of a universal \u201cwork for everyman\u201d. Despite the religious text, they were not intended to serve the liturgy and their purpose was rather domestic communal music-making. The arrangements are therefore quite simple, yet Gom\u00f3\u0142ka did not abstain from the use of – sometimes very sophisticated – means of musical text illustration. Various melodic, rhythmic or harmonic solutions, in line with the Renaissance convention, reflect not only the general character of the pieces but also the meaning of individual words. An attentive ear will notice these techniques, including the dissonant sound that accompanies terms related to evil, sin and death, a falling melody that often illustrates the words “earth”, “fall” or “deep”, as well as small rhythmic values representing the terms associated with fast movement.<\/p>\n

<\/h4>\n

PROGRAM<\/strong><\/h4>\n

Psalms (instrumental version):
\n16 O, kt\u00f3ry siedzisz na wysokim niebie<\/em>,
\n4 Wzywam Ci\u0119, Bo\u017ce<\/em><\/p>\n

Psalm 6 Czasu gniewu i czasu swej zapalczywo\u015bci<\/em><\/p>\n

Psalm 142 Pana wo\u0142am, Pana prosz\u0119<\/em><\/p>\n

Psalms (instrumental version):
\n86 Nak\u0142o\u0144 o Panie uszu swoich<\/em>,
\n53 G\u0142upi m\u00f3wi o sercu swoim<\/em>,
\n83 Bo\u017ce, moja nadziejo<\/em><\/p>\n

Psalm 32 Szcz\u0119\u015bliwy, komu grzechy odpuszczono<\/em><\/p>\n

Psalm 22 Bo\u017ce, czemu\u015b mi\u0119 opu\u015bci\u0142<\/em><\/p>\n

Psalms (instrumental version):
\n11 Panu ja ufam<\/em>,
\n20 Wsiadaj z dobrym sercem<\/em>,
\n28 Kr\u00f3lu niebieski<\/em><\/p>\n

Psalm 51 Bo\u017ce w mi\u0142osierdziu swoim nieprzebrany<\/em><\/p>\n

Psalm 130 W troskach g\u0142\u0119bokich ponurzony<\/em><\/p>\n

Psalms (instrumental version):
\n45b Serce mi ka\u017ce \u015bpiewa\u0107<\/em>,
\n97 Pan nasz, B\u00f3g nasz panuje, niech si\u0119 Ziemia raduje<\/em><\/p>\n

Psalm 140 Bro\u0144 mi\u0119, m\u00f3j Panie, od ludzi z\u0142o\u015bliwych<\/em><\/p>\n

Psalm 103 B\u0142ogos\u0142aw duszo moja, Panu swojemu<\/em><\/p>\n

 <\/p>\n

PERFORMERS<\/strong><\/p>\n

IWONA LUBOWICZ<\/strong><\/a>\u00a0 SOPRANO
\nDOROTA LACHOWICZ<\/a><\/strong>\u00a0 MEZZOSOPRANO
\nMIKO\u0141AJ ZG\u00d3DKA<\/strong>\u00a0TENOR
\nKRZYSZTOF \u0141AZICKI<\/strong> BARITONE<\/p>\n

THE CHAMBER CHOIR OF THE POLISH ROYAL OPERA<\/strong><\/p>\n

THE ORCHESTRA OF THE POLISH ROYAL OPERA<\/strong><\/a><\/p>\n

JACEK URBANIAK<\/strong> MUSICAL ARRANGEMENT<\/p>\n

RENATA SZCZYPIOR<\/strong> CHORUS MASTER<\/p>\n

TADEUSZ KAROLAK<\/strong> CONDUCTOR<\/p>\n

 <\/p>\n

\n
The seats in the auditorium are not numbered.<\/h5>\n
PLEASE NOTE: the entrance to the Royal Theatre in the \u0141azienki Park is located in Agrykola street.<\/strong><\/h5>\n
One hour before the performance as well as for an hour after it is finished, the audience can use the electric cart running between the Royal Theater and the \u0141azienki Gate at the corner of My\u015bliwiecka \/ Agrykola streets.<\/h5>\n
\n

We kindly encourage you to read the rules of participation in cultural events organized by the Polish Royal Opera:<\/p>\n