Music-Related Contacts Between the Courts of the Polish King and the Archdukes of Inner Austria and the Dissemination of musica moderna in Central and East-Central Europe

Authors

  • Barbara Przybyszewska-Jarmińska Polish Academy of Sciences, Institute of Art

DOI:

https://doi.org/10.3986/dmd13.1-2.12

Keywords:

sacred music, small-scale motets, Italian musicians, Sigismund III Vasa, Archduke of Inner Austria Ferdinand II, Cracow, Graz

Abstract

The marriages of the King of Poland Sigismund III Vasa with Anne (1592) and subsequently her sister Constance (1605), who were descendants of the dynasty of Archdukes of Inner Austria, had many cultural consequences. The article recalls some facts on the migrations of musicians and musical repertories in both directions between Cracow (also Warsaw) and Graz at the end of the sixteenth century and during the first two decades of the seventeenth century.

Downloads

Download data is not yet available.

References

Bieńkowska, Irena. “Introduction”. In Dzieła zebrane [Collected works] by Giovanni Battista Cocciola, edited by Irena Bieńkowska. Warsaw: Instytut Muzykologii Uniwersytetu Warszawskiego, 2004.

Bizzarini, Marco. Marenzio: la carriera di un musicista tra Rinascimento e Controriforma. Rodengo Saiano: Promozione Franciacorta, 1998.

Cocciola, Giovanni Battista. Dzieła zebrane [Collected works], edited by Irena Bieńkowska. Warsaw: Instytut Muzykologii Uniwersytetu Warszawskiego, 2004.

Federhofer, Hellmut. “Graz Court Musicians and their Contributions to the Parnassus Musicus Ferdinandaeus (1615)”. Musica Disciplina 9 (1955): 167–244.

———. “Italienische Musik am Hofe des Fürstbischofs von Gurk, Johann Jakob von Lamberg (1603–1630)”. In Collectana historiae musicae, vol. 2, 169–178. Firenze: Leo S. Olschki, 1957.

———. “Musikalische Beziehungen zwischen den Höfen Erzherzog Ferdinands von Innerösterreich und König Sigismunds III. von Polen”. In The Book of the First International Musicological Congress Devoted to the Works of Frederick Chopin. Warszawa 16th–22nd February 1960, edited by Zofia Lissa, 522–526. Warsaw: Polish Scientific Publishers PWN, 1963.

———. Musikpflege und Musiker am Grazer Habsburgerhof der Erzherzöge Karl und Ferdinand von Innerösterreich (1564–1619). Mainz: B. Schott’s Söhne, 1967.

Feicht, Hieronim. “Musikalische Beziehungen zwischen Österreich und Altpolen und Grazer Beiträge zur Polnischen Musikgeschichte”. In Festschrift der Akademie für Musik und darstellende Kunst in Graz, edited by Erich Marckhl, 121–128. Graz: Leykam, 1963.

Göhler, Karl A. Die Messkataloge im Dienste der musikalischen Geschichtsforschung. Hilversum: A. M. Knuf, 1965.

Jackson, Roland, “Marenzio, Luca”. In: The New Grove Dictionary of Music and Musicians, 2nd ed., edited by Stanley Sadie, 15:837. London: Macmillan, 2001.

———. “Marenzio, Poland and the Late Polychoral Sacred Style”. Early Music 27, no. 4 (1999): 622–631. https://doi.org/10.1093/earlyj/xxvii.4.622.

———. “Marenzio’s Polish Sojourn and his Polychoral Motets”. In Musica Antiqua Europae Orientalis VII. Acta Musicologica, 503–525. Bydgoszcz: Filharmonia Pomorska im. Ignacego Jana Paderewskiego, 1985.

———. “The Masses of Marenzio: Authentic or Not?”. In Kirchenmusik in Geschichte und Gegenwart: Festschrift Hans Schmidt zum 65. Geburtstag, edited by Heribert Klein and Klaus Wolfgang Niemöller, in collaboration with Jürgen Schaarwächter, 171–184. Cologne: Dohr, 1998.

Lulewicz, Henryk. “Sapieha Lew”. In Polski słownik biograficzny, vol. 25, 95–96. Warsaw: Polska Akademia Nauk and Instytut Historii im. Tadeusza Manteuffla, 1994.

Pontiroli, Giuseppe. “Notizie di musicisti cremonesi dei secoli XVI e XVII”. Bolletino Storico Cremonense 20 (1963–1964): 149–192.

Przybyszewska-Jarmińska, Barbara. “Annibale Stabile i początki włoskiej kapeli Zygmunta III Wazy” [Annibale Stabile and the beginnings of the Italian cappella of Sigismund III Vasa]. Muzyka 46, no. 2 (2001): 91–99.

———. “Cantiones sacrae (RISM 16021) z dedykacją Ferdinanda di Lasso dla Zygmunta III Wazy. Prezent nie na czasie?” [Cantiones sacrae (RISM 16021) with Ferdinand di Lasso’s dedication to Sigismund III Vasa. An untimely gift?]. In Ars musica and its contexts in medieval and early modern culture: Essays in honour of Elżbieta Witkowska-Zaremba, edited by Paweł Gancarczyk, 439–457. Warsaw: Liber Pro Arte, 2016.

———. “Introduction”. In Missa super Iniquos odio habui by Luca Marenzio, edited by Barbara Przybyszewska-Jarmińska, 5–6. Warsaw: Liber Pro Arte, 2016.

———. “Italian Schools of Polychorality from the Perspective of the Courts of the Polish Vasas and the Austrian Habsburgs”. Musicology Today 3 (2006): 53–74.

———. “Melodiae sacrae (Kraków 1604) – ślad muzycznych związków dworów Zygmunta III Wazy i arcyksięcia Ferdynanda z Grazu” [Melodiae sacrae (Cracow 1604) – a vesige of the musical ties between the courts of king Sigismund III Vasa and Archduke Ferdinand of Graz]. Gazeta antykwaryczna 1, no. 11 (1998): 34–36.

———. Muzyczne dwory polskich Wazów [The musical courts of the Polish Vasas]. Warsaw: Wydawnictwo naukowe Semper, 2007.

———. “Muzycy z Cappella Giulia i z innych rzymskich zespołów muzycznych w Rzeczypospolitej czasów Wazów” [Musicians from the Cappella Giulia and from other Roman music ensembles active in the Commonwealth during Vasa times]. Muzyka 49, no. 1 (2004): 33–52.

———. “Początek opery, czyli uszczęśliwienie Orfeusza” [The beginning of opera, or happyness of Orfeo]. In Mit Orfeusza: Inspiracje i reinterpretacje w europejskiej tradycji artystycznej, edited by Sławomira Żerańska-Kominek, 148–167. Gdańsk: słowo / obraz terytoria, 2003.

———. “Włoskie wesela arcyksiążąt z Grazu a początki opery w Polsce” [The Italian weddings of Archdukes from Graz and the beginnings of opera in Poland]. Muzyka 50, no. 3 (2005): 3–27.

———. “W poszukiwaniu dawnej świetności: Glosy do książki Anny i Zygmunta Szweykowskich Włosi w kapeli królewskiej polskich Wazów (Kraków 1997)” [In search of former splendour: Comments on the book by Anna Szweykowska and Zygmunt Szweykowski Italians in the royal chapel of the Polish Vasa Kings (Cracow 1997)]. Muzyka 43, no. 2 (1998): 91–115.

———. “The Music-Related Contacts of Polish Vasas’ Royal Courts with Rome and Vienna”. In Poland and Artistic Culture of Western Europe. 14th–20th Century, edited by Barbara Przybyszewska-Jarmińska and Lech Sokół, 157–203. Polish Studies – Transdisciplinary Perspectives, 6, edited by Krzysztof Zajas and Jarosław Fazan. Frankfurt am Main: Peter Lang, 2014. https://doi.org/10.3726/978-3-653-04152-1/7.

———. “Stabile, Marenzio, Gabussi e Pacelli, i primi maestri di cappella italiani alla corte polacca”. Hortus Musicus 2, no. 7 (2001): 89–91.

Saunders, Steven. Cross, Sword, and Lyre: Sacred Music at the Imperial Court of Ferdinand II of Habsburg (1615–1637). Oxford: Oxford University Press, 1995.

Seifert, Herbert. “Polonica–Austriaca: Schlaglichter auf polnisch-österreichische Musikbeziehungen vom 17. bis ins 19. Jahrhundert”. In Muzyka wobec tradycji. Idee – dzieło – recepcja, edited by Szymon Paczkowski, 249–258. Warsaw: Instytut Muzykologii Uniwersytetu Warszawskiego, 2004.

Szweykowska, Anna, and Zygmunt M. Szweykowski. Włosi w kapeli królewskiej polskich Wazów [Italians in the royal chapel of the Polish Vasa Kings]. Cracow: Musica Iagellonica, 1997.

Downloads

Published

2017-12-28

How to Cite

Przybyszewska-Jarmińska, B. (2017). Music-Related Contacts Between the Courts of the Polish King and the Archdukes of Inner Austria and the Dissemination of musica moderna in Central and East-Central Europe. De Musica Disserenda, 13(1-2), 223–233. https://doi.org/10.3986/dmd13.1-2.12

Issue

Section

Articles