Pregledni rad
A researches overview of Paulines contributions to Croatian music
Lucija Konfic
orcid.org/0000-0003-3515-4862
; Odsjek za povijest hrvatske glazbe HAZU, Opatička 18, HR-10000 Zagreb, Hrvatska
Sažetak
In all papers that are covering some of the aspects of relations between Paulines and music, we can find a statement about the importance of the contribution of Paulines to Croatian music culture. These statements are emphasized by the considerably small number of preserved (or recovered by now days) primary sources that can testify to that. This article focuses primarily on the review of published papers concerning Pauline contribution to Croatian music culture. To have a transparent presentation, the article is divided in three parts: 1. „Pauline collection“ (Pavlinski zbornik) and researches of Pauline contribution to church song in Croatia 2. Studies of organs in Pauline monasteries in Croatia 3. Researches of the life and work of Pauline composer Amando Ivančić (1727-1758?) Although we won’t elaborate next two subjects, they should be mentioned: Stanislav Tuksar’s research on terminology of music in encyclopedic dictionary Gazophylacium […] by Ivan Belostenec (1593 or 1594-1675), and paper by Nina Jukić who made music iconographic analysis of angels players from St. Jerome church’s murals in Štrigova by Pauline painter Ivan Ranger (170 0-1753). That music, especially church singing, was important to Paulines, is proved even in constitutions of the Pauline order (chapter de officio rectoris chori) which was described by Janko Barlč (1869-1941). Ladislav Šaban (1918-1985) followed his researches and showed that Paulines in Croatian monasteries cultivated „only single voice church singing (choral and folk church hymn/ religious song), and never vocal-instrumental or instrumental music - except organ accompaniment“. One of the most elaborated aspects of the contribution of Paulines to music is related to their involvement in the field of church song which is closely related to the investigation of music part of so-called „Pauline collection“ from the 1644. There are few thematic complexes discussed in relation with Collection: 1. problem of its name, 2. problem of authorship, 3. problem of use/purpose, 4. problem of origin and development of texts of the Collection together with other specific language, liturgical and musical issues. The first presentation of musical part of the Collection („Pauline songbook“, in a specific sense) with the analysis of the texts and melodies is by J. Barlč, and then we find works of M. Demović and L. Šaban, mainly as reviews, with the inclusion in the discourse about authorship of the Collection, but the most valuable are professional studies by musicologist Koraljka Kos who devoted several papers to Pauline collection. Methodologically very clear and precise, with valuable musical paleographic aspect of the research, Kos indicated the place of the songs in the Collection in the context of early baroque Croatian music culture, but also their relationship with the context of counter-reformation aspirations in Europe. Second issue relates to the investigation of organ, the only instrument (as currently known) that was used by Croatian Paulines in their churches. In this area we must put in the first place the figure of Ladislav Šaban, who left precious data from late 1970s collected in field research, as well as great diligence in archival research. Šaban has published individual studies on organs in Lepoglava and Svetice, as well as several works on musical contribution of Paulines in the environment in which they worked. His traces were followed by Emin Armano, and a report on organs in Pauline monasteries in Croatia gave also Jagoda Meder. According to Šaban’s and Armano’s statements, Paulines, until the abolishment of the order, possessed organs only in four locations in Croatia: in Lepoglava, Purga Lepoglavska, Svetice and Sveti Petar u Šumi, and Armano states that they „fully satisfy the acoustic requirements of the space for which they were built and they are the best witnesses of Pauline musical taste“. In this paper special attention is given to the example of organ in Lepoglava, on which we can find the richest literature. The third section is devoted to researches of life and work of the composer Amando Ivančić (Amandus Ivanschitz, 1727-1758?) who provoked interest of researches throughout Europe, and even his works are spread out in numerous locations. The first detailed research in Croatia was carried out by Albe Vidaković (1914-1964), and his research was followed by the Croatian musicologist Lovro Županović (1925-2004) whose papers remain the only detailed studies on Ivančić’s life and music in Croatia. Among recent studies, there are contributions by Vjera Katalinić on Ivančić compositional legacy. In the international range, the figure and the work of Amando Ivančić is al-ready outlined as co-creator of the music culture of his time. However, future researches should be more focusing on specific segments of Ivančić’s compositional language, not only in general terms, which is also the possible perspective for Croatian musicology. Another fertile area for researches is the question of connections between Ivančić and Croatia. In all of the aspects of the contribution of Paulines to music art in Croatia has already been proven and on several occasions confirmed their importance. However, lack of sources and lots of obscurities we have found which have to be cleared do not indicate a hopeless situation be-cause there are indications that with lot of diligence, good will and luck some indicated, but also some unknown, details could be traced, that could shed a new light on our understanding about our own culture and music art through the activity of Pauline community.
Ključne riječi
Paulists; music; musicology; Pau-list 1644 almanac; Amando Ivančić; organ
Hrčak ID:
67959
URI
Datum izdavanja:
1.2.2011.
Posjeta: 2.914 *