{"id":32607,"date":"2024-07-09T14:00:00","date_gmt":"2024-07-09T12:00:00","guid":{"rendered":"https:\/\/operakrolewska.pl\/?post_type=repetoire&#038;p=32607"},"modified":"2024-07-09T17:59:01","modified_gmt":"2024-07-09T15:59:01","slug":"in-festo-purificationis-vasa-mass-for-the-feast-of-the-presentation-of-the-lord-2","status":"publish","type":"repetoire","link":"https:\/\/operakrolewska.pl\/en\/repetoire\/in-festo-purificationis-vasa-mass-for-the-feast-of-the-presentation-of-the-lord-2\/","title":{"rendered":"IN FESTO PURIFICATIONIS \u2013 VASA MASS FOR THE FEAST OF THE PRESENTATION OF THE LORD"},"content":{"rendered":"\n<p class=\"wp-block-paragraph\">Since the early days, music has been an integral part of the Holy Mass &#8211; the most important liturgy of the Western Church. Initially, it appeared in the form of chorale songs, then it took the shape of elaborate polyphonic arrangements and, finally, complex vocal and instrumental compositions. The heyday of Polish sacred music took place during the reign of the kings of the Vasa dynasty, which must have been particularly visible during important church ceremonies. One of these was undoubtedly the Feast of the Presentation of the Lord. In the extraordinary form of the Roman Rite introduced by the Council of Trent in 1570, the feast was known as <em>Festo purificationis<\/em>, and in the Polish tradition, it is still commonly known as Candlemas. The program of the concert consists of works by leading composers who shaped the musical repertoire of the Republic of Poland in the 17th century. Arranged in an order that reflects the musical sphere of the solemn liturgy, they give an idea of the refinement of the mass crowning the joyful Christmas season.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The ordinary was taken from <em>Missa Sancta Anna<\/em> by Marcin Mielczewski, a 17th-century composer who was famous both in Poland and throughout Europe. The mass, based on the melody of the then-popular song <em>O Maryja cna dziewica<\/em>, is scored for a six-voice choir, <em>coro capella<\/em> of the same size, and an instrumental ensemble. Reconstructing the musical order of the entire service also requires the selection of adequate proper, i.e. pieces arranged to texts appropriate for a given holiday. The processional entrance by candlelight will be accompanied by the eight-voice <em>Lumen ad revelationem<\/em> by Giovanni Francesca Aneria, derived from a chorale melody, and Pacelli&#8217;s ten-voice <em>Ave Maria<\/em> will act as the introit. Both Italians served as <em>maestro di capella<\/em> at the courts of Polish rulers and introduced the latest Italian compositional techniques to Polish musical practice. The first Polish composer to implement <em>stile moderno<\/em> in his work was Miko\u0142aj Ziele\u0144ski. The Offertory and the Communion come from his famous collection published in Venice in 1611. We will also hear instrumental compositions by Polish bandmasters \u2013 Franciszek Lilius and Adam Jarz\u0119bski, as well as dignified traditional chorale fragments.<\/p>\n\n\n\n<div style=\"height:50px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h4 class=\"wp-block-heading has-text-align-center\"><strong>PROGRAM<\/strong><\/h4>\n\n\n\n<p class=\"has-text-align-center wp-block-paragraph\">PROCESSION OF CANDLES<br>Giovanni Francesco Anerio (1569-1630) \u2013 <em>Lumen ad revelationem <\/em>(a 8)<\/p>\n\n\n\n<p class=\"has-text-align-center wp-block-paragraph\">INTROIT<br>Asprilio Pacelli (1570-1623) \u2013 <em>Ave Maria<\/em> (a 10)<\/p>\n\n\n\n<p class=\"has-text-align-center wp-block-paragraph\">INTONATION<br>Franciszek Lilius (dec. 1657) \u2013 <em>Toccata<\/em><\/p>\n\n\n\n<p class=\"has-text-align-center wp-block-paragraph\">KYRIE AND GLORIA<br>Marcin Mielczewski (dec. 1651) \u2013 <em>Missa Sancta Anna<\/em> (a 12)<\/p>\n\n\n\n<p class=\"has-text-align-center wp-block-paragraph\">GRADUAL<br>Chorale \u2013<em> Suscepimus Deus<\/em><\/p>\n\n\n\n<p class=\"has-text-align-center wp-block-paragraph\">CREDO<br>Marcin Mielczewski (dec. 1651) \u2013 <em>Missa Sancta Anna <\/em>(a 12)<\/p>\n\n\n\n<p class=\"has-text-align-center wp-block-paragraph\">OFFERTORY<br>Miko\u0142aj Ziele\u0144ski \u2013 <em>Felix namque es<\/em> (a 8)<\/p>\n\n\n\n<p class=\"has-text-align-center wp-block-paragraph\">PREFACE<br>Chorale \u2013 <em>Vere dignum et iustum est<\/em><\/p>\n\n\n\n<p class=\"has-text-align-center wp-block-paragraph\">SANCTUS<br>Marcin Mielczewski (zm. 1651) \u2013 <em>Missa Sancta Anna<\/em> (a 12)<\/p>\n\n\n\n<p class=\"has-text-align-center wp-block-paragraph\">ELEVATION<br>Adam Jarz\u0119bski (zm. 1648\/49) \u2013 Concerto a 2<\/p>\n\n\n\n<p class=\"has-text-align-center wp-block-paragraph\">AGNUS DEI<br>Marcin Mielczewski (zm. 1651) \u2013 <em>Missa Sancta Anna<\/em> (a 12)<\/p>\n\n\n\n<p class=\"has-text-align-center wp-block-paragraph\">COMMUNION<br>Miko\u0142aj Ziele\u0144ski \u2013 <em>Responsum accepit<\/em> (a voce sola)<\/p>\n\n\n\n<p class=\"has-text-align-center wp-block-paragraph\">AFTER COMMUNION<br>Tarquinio Merula (1590\/95-1665) \u2013 <em>Nigra sum<\/em> (a voce sola con violino)<\/p>\n\n\n\n<p class=\"has-text-align-center wp-block-paragraph\">Chorale \u2013 Ite missa est<\/p>\n\n\n\n<p class=\"has-text-align-center wp-block-paragraph\">Franciszek Lilius (dec. 1657) \u2013 <em>Jubilate Deo omnis terra<\/em> (a 11)<\/p>\n\n\n\n<div style=\"height:50px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h4 class=\"wp-block-heading has-text-align-center\"><strong>PERFORMERS<\/strong><\/h4>\n\n\n\n<p class=\"has-text-align-center wp-block-paragraph\"><strong><a href=\"https:\/\/operakrolewska.pl\/en\/artysci\/julita-miroslawska\/\">JULITA MIROS\u0141AWSKA<\/a><\/strong> SOPRANO<br><strong><strong><a href=\"https:\/\/operakrolewska.pl\/en\/artysci\/dorota-lachowicz\/\">DOROTA LACHOWICZ<\/a><\/strong><\/strong> MEZZOSOPRANO<br><strong>\u0141UKASZ K\u00d3ZKA<\/strong> TENOR<br><strong><strong>MACIEJ GOCMAN<\/strong><\/strong>\u00a0TENOR<br><strong>MIKO\u0141AJ ZG\u00d3DKA<\/strong> TENOR<br><a href=\"https:\/\/operakrolewska.pl\/en\/artysci\/piotr-chwedorowicz\/\"><strong>PIOTR CHWEDOROWICZ<\/strong><\/a> BASS<\/p>\n\n\n\n<p class=\"has-text-align-center wp-block-paragraph\"><a href=\"https:\/\/operakrolewska.pl\/en\/the-chorus-of-the-polish-royal-opera\/\"><b>THE CHORUS OF THE POLISH ROYAL OPERA<\/b><\/a><\/p>\n\n\n\n<p class=\"has-text-align-center wp-block-paragraph\"><strong><a href=\"https:\/\/operakrolewska.pl\/en\/the-period-instruments-ensemble-of-the-polish-royal-opera-capella-regia-polona\/\">THE PERIOD INSTRUMENTS ENSEMBLE OF THE POLISH ROYAL OPERA CAPELLA REGIA POLONA<\/a><\/strong><\/p>\n\n\n\n<p class=\"has-text-align-center wp-block-paragraph\"><a href=\"https:\/\/operakrolewska.pl\/en\/artysci\/jakub-szafranski\/\"><strong>JAKUB SZAFRA\u0143SKI<\/strong><\/a> CHORUS MASTER<\/p>\n\n\n\n<p class=\"has-text-align-center wp-block-paragraph\"><strong>JAKUB BURZY\u0143SKI<\/strong> CONDUCTOR<\/p>\n\n\n\n<div style=\"height:50px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h5 class=\"wp-block-heading\">Duration: approx. 1 h<\/h5>\n\n\n\n<h5 class=\"wp-block-heading\">The seats in the auditorium are not numbered.<\/h5>\n","protected":false},"excerpt":{"rendered":"<p>Since the early days, music has been an integral part of the Holy Mass &#8211; the most important liturgy of the Western Church. Initially, it appeared in the form of chorale songs, then it took the shape of elaborate polyphonic arrangements and, finally, complex vocal and instrumental compositions. The heyday of Polish sacred music took [&hellip;]<\/p>\n","protected":false},"author":11,"featured_media":16118,"template":"","meta":{"_acf_changed":false,"_kad_blocks_custom_css":"","_kad_blocks_head_custom_js":"","_kad_blocks_body_custom_js":"","_kad_blocks_footer_custom_js":"","footnotes":""},"categories":[1,21],"cykle":[87],"sezon":[86],"class_list":["post-32607","repetoire","type-repetoire","status-publish","has-post-thumbnail","hentry","category-bez-kategorii","category-uncategorized","cykle-3rd-festival-in-tempore-regum-music-in-the-time-of-kings","sezon-2024-2025-en"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.1 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>IN FESTO PURIFICATIONIS \u2013 VASA MASS FOR THE FEAST OF THE PRESENTATION OF THE LORD - Polska Opera Kr&oacute;lewska<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/operakrolewska.pl\/en\/repetoire\/in-festo-purificationis-vasa-mass-for-the-feast-of-the-presentation-of-the-lord-2\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"IN FESTO PURIFICATIONIS \u2013 VASA MASS FOR THE FEAST OF THE PRESENTATION OF THE LORD - Polska Opera Kr&oacute;lewska\" \/>\n<meta property=\"og:description\" content=\"Since the early days, music has been an integral part of the Holy Mass &#8211; the most important liturgy of the Western Church. 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