{"id":26879,"date":"2023-03-13T08:30:34","date_gmt":"2023-03-13T07:30:34","guid":{"rendered":"https:\/\/operakrolewska.pl\/?post_type=repetoire&p=26879"},"modified":"2023-05-12T14:59:28","modified_gmt":"2023-05-12T12:59:28","slug":"sacrae-cantiones","status":"publish","type":"repetoire","link":"https:\/\/operakrolewska.pl\/en\/repetoire\/sacrae-cantiones\/","title":{"rendered":"SACRAE CANTIONES"},"content":{"rendered":"

Old Polish sacred music is full of diversity. In addition to the beautifully simple arrangements of the psalms in the native language, there are also sophisticated compositions that can easily be compared to the achievements of the greatest masters of Dutch or Italian polyphony. In the first part of the concert, we will hear selected pieces from the famous Melodies for the Polish Psalter<\/em> by Miko\u0142aj Gom\u00f3\u0142ka from 1580, set to texts translated by Jan Kochanowski. The close relationship between music and text is particularly noteworthy: the descending melody of the fragment \u201episarz pismo leje<\/em>” (“the writer pours words onto paper”) in Psalm XLVb perfectly illustrates the ink flowing down the nib, and, in Psalm XI, the short rhythmic values accompanying the words \u201euciekaj co najdalej\u201d (“run for your life”) are no accident. The motet In Te Domine speravi<\/em> by Wac\u0142aw of Szamotu\u0142y was written in a completely different style and was the first Polish composition published abroad. The work was printed in Nuremberg in 1554, next to the works of such masters as Clemens non Papa or Nicolas Gombert.<\/p>\n

The last section of the concert will be filled with selected compositions from Miko\u0142aj Ziele\u0144ski’s impressive collection Offertoria e comuniones totius anni<\/em>. The work, “for the first time arranged by a Pole in the new style”, as the composer himself noted, was published in Venice in 1611. The offertories in the polychoral Venetian style testify to the composer’s deep sensitivity to sound, accomplished by combining various registers of instruments and the human voice. The most impressive example of this is the solemn Magnificat<\/em> for three four-voice ensembles. The abundance of colors enchanted in the scores by “the greatest composer of free Poland before Chopin” will resound in the interpretation of the Chamber Choir of the Polish Royal Opera led by Agata G\u00f3reczna-Jakubczak.<\/p>\n

 <\/p>\n

PROGRAM<\/strong><\/p>\n

Miko\u0142aj Gom\u00f3\u0142ka<\/strong><\/p>\n

Psalm XLVb Serce mi ka\u017ce \u015bpiewa\u0107 Panu swemu<\/em>
\nPsalm CXL Bro\u0144 mi\u0119, m\u00f3j Panie, od ludzi z\u0142o\u015bliwych<\/em>
\nPsalm XI Panu ja ufam<\/em>
\nPsalm XXX B\u0119d\u0119 Ci\u0119 wielbi\u0142, m\u00f3j Panie<\/em><\/p>\n

Wac\u0142aw of Szamotu\u0142y<\/strong><\/p>\n

In Te Domine speravi
\n<\/em>Psalm CXVI Alleluja. Chwalcie Pana Boga\u2026<\/em>
\nModlitwa, gdy dziatki spa\u0107 id\u0105
\nAch, m\u00f3j niebieski Panie
\nKryste, dniu naszej \u015bwiat\u0142o\u015bci
\n<\/em><\/p>\n

Miko\u0142aj Ziele\u0144ski<\/strong><\/p>\n

Deus firmavit orbem terrae
\nViderunt omnes
\nLaetentur caeli
\nPer signum crucis
\nHaec dies
\nO gloriosa Domina
\nMagnificat<\/em><\/p>\n

PERFORMERS<\/strong><\/h4>\n

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

KRZYSZTOF GARSTKA<\/strong><\/a> POSITIVE ORGAN<\/p>\n

AGATA G\u00d3RECZNA-JAKUBCZAK<\/strong> CONDUCTOR, CHOIR MASTER<\/p>\n

 <\/p>\n

\n
Duration: approx. 1 h<\/h5>\n
The seats in the auditorium are not numbered.<\/h5>\n","protected":false},"excerpt":{"rendered":"

Old Polish sacred music is full of diversity. In addition to the beautifully simple arrangements of the psalms in the native language, there are also sophisticated compositions that can easily be compared to the achievements of the greatest masters of Dutch or Italian polyphony. 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