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Tomasz Szadek
Tomasz Szadek (1550 – 1612) was a Polish composer, singer, and cleric of the late Renaissance. He was a representative of the late style of the Franco-Flemish school in Poland.Zygmunt M. Szweykowski. "Tomasz Szadek." In Grove Music Online. Oxford Music Online, http://www.oxfordmusiconline.com/subscriber/article/grove/music/27286 (accessed December 19, 2011). Gustave Reese gives a birthdate of 1550, but no location. Little is known about his activities prior to his appointment to the royal chapel in Kraków, other than that he had received a baccalaureate degree sometime before his arrival in 1569. He became a curate at the cathedral in the early 1570s, where he also heard confessions. He joined the Capella Rorantistarum, a group of male singers for the Sigismund Chapel of the Wawel Cathedral, and remained with them until 1578. Towards the end of his life, the association of cathedral vicars put him on trial, accusing him of poor performance in administrative duties and ha ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Renaissance In Poland
The Renaissance in Poland ( pl, Renesans, Odrodzenie; literally: the Rebirth) lasted from the late 15th to the late 16th century and is widely considered to have been the Golden Age of Polish culture. Ruled by the Jagiellonian dynasty, the Crown of the Kingdom of Poland (from 1569 part of the Polish–Lithuanian Commonwealth) actively participated in the broad European Renaissance. The multinational Polish state experienced a period of cultural growth thanks in part to a century without major wars, aside from conflicts in the sparsely-populated eastern and southern borderlands. The Reformation spread peacefully throughout the country (giving rise to the Polish Brethren), and living conditions improved, cities grew, and exports of agricultural products enriched the population, especially the nobility ('' szlachta''), who gained dominance in the new political system of Golden Liberty. Overview The Renaissance movement, whose influence originated in Italy, spread throughout Poland ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Divinum Officium
The Liturgy of the Hours ( Latin: ''Liturgia Horarum'') or Divine Office (Latin: ''Officium Divinum'') or ''Opus Dei'' ("Work of God") are a set of Catholic prayers comprising the canonical hours, often also referred to as the breviary, of the Latin Church. The Liturgy of the Hours forms the official set of prayers "marking the hours of each day and sanctifying the day with prayer." The term "Liturgy of the Hours" has been retroactively applied to the practices of saying the canonical hours in both the Christian East and West–particularly within the Latin liturgical rites–prior to the Second Vatican Council, and is the official term for the canonical hours promulgated for usage by the Latin Church in 1971. Before 1971, the official form for the Latin Church was the '' Breviarium Romanum'', first published in 1568 with major editions through 1962. The Liturgy of the Hours, like many other forms of the canonical hours, consists primarily of psalms supplemented by hymns, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Polish Composers
This is a list of notable and representative Polish composers. Note: This list should contain notable composers, best with an existing article on Wikipedia. If a notable Polish composer is missing and without an article, please add the name here. Middle Ages * Wincenty z Kielczy (before 1200-c. 1261) * Mikołaj z Radomia (15th century) * Piotr z Grudziądza (c. 1400-c. 1480) Renaissance * Sebastian z Felsztyna (c. 1480/1490-after 1543) * Nicolaus Cracoviensis (1st half of the 16th century) * Wacław z Szamotuł (c. 1526-1560) * Mikołaj Gomółka (1535-1591) * Marcin Leopolita (c. 1540-c.1589) * Cyprian Bazylik (c.1535-c. 1600) * Jan z Lublina (late 15th century-1540) * Jakub Polak (1540-1605) * Sebastian Klonowic (c. 1545-1602) * Krzysztof Klabon (c. 1550-after 1616) * Wojciech Długoraj (1557-1619) * Diomedes Cato (c. 1570-c. 1603) Baroque *Mikołaj Zieleński (1st half of the 17th century) *Adam Jarzębski (c. 1590-1649) *Franciszek Lilius (c. 1600- ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
1612 Deaths
Year 161 ( CLXI) was a common year starting on Wednesday (link will display the full calendar) of the Julian calendar. At the time, it was known as the Year of the Consulship of Caesar and Aurelius (or, less frequently, year 914 ''Ab urbe condita''). The denomination 161 for this year has been used since the early medieval period, when the Anno Domini calendar era became the prevalent method in Europe for naming years. Events By place Roman Empire * March 7 – Emperor Antoninus Pius dies, and is succeeded by Marcus Aurelius, who shares imperial power with Lucius Verus, although Marcus retains the title Pontifex Maximus. * Marcus Aurelius, a Spaniard like Trajan and Hadrian, is a stoical disciple of Epictetus, and an energetic man of action. He pursues the policy of his predecessor and maintains good relations with the Senate. As a legislator, he endeavors to create new principles of morality and humanity, particularly favoring women and slaves. * Aurelius reduces ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
1550 Births
Year 155 ( CLV) was a common year starting on Tuesday (link will display the full calendar) of the Julian calendar. At the time, it was known as the Year of the Consulship of Severus and Rufinus (or, less frequently, year 908 ''Ab urbe condita''). The denomination 155 for this year has been used since the early medieval period, when the Anno Domini calendar era became the prevalent method in Europe for naming years. Births * Cao Cao, Chinese statesman and warlord (d. 220) * Dio Cassius, Roman historian (d. c. 235) * Tertullian, Roman Christian theologian (d. c. 240) * Sun Jian, Chinese general and warlord (d. 191) Deaths * Pius I, Roman bishop * Polycarp, bishop of Smyrna (b. AD 65 AD 65 ( LXV) was a common year starting on Tuesday (link will display the full calendar) of the Julian calendar. At the time, it was known as the Year of the Consulship of Nerva and Vestinus (or, less frequently, year 818 ''Ab urbe condita''). ...) References {{DEFAULTSORT:155 [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Communion (chant)
The Communion ( la, communio; grc-gre, κοινωνικόν, ''koinonikon'') is a refrain sung with psalm recitation during the distribution of the Eucharist in the Divine Liturgy or Mass. As chant it was connected with the ritual act of Christian communion. The koinonikon cycle of the Divine Liturgy in Orthodox rites According to Dimitri Conomos the koinonikon (κοινωνικόν), as it is sung as an elaborated communion chant during the Divine Liturgy, has derived from an early practice of psalm recitation similar to Western liturgies, when the ''Koinonikon'' served as a troparion. The oldest troparion which was used for communion, was "Γεύσασθε καὶ ἴδετε" ("O taste and see that the Lord is good", Ps. 33:9). It was supposed to symbolize the last supper celebrated on Maundy Thursday. During the 5th century, when the Divine Liturgy of the Presanctified Gifts had established and this communion chant became associated with it, the custom spread over the Lenten ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gradual
The gradual ( la, graduale or ) is a chant or hymn in the Mass, the liturgical celebration of the Eucharist in the Catholic Church, and among some other Christians. It gets its name from the Latin (meaning "step") because it was once chanted on the step of the ambo or altar. In the Tridentine Mass, it is sung after the reading or chanting of the epistle and before the Alleluia, or, during penitential seasons, before the tract. In the Mass of Paul VI, the gradual is usually replaced with the responsorial psalm. Although the Gradual remains an option in the Mass of Paul VI, its use is extremely rare outside monasteries. The gradual is part of the proper of the Mass. A gradual can also refer to a book collecting all the musical items of the Mass. The official such book for the Roman Rite is the Roman Gradual (). Other such books include the Dominican Gradual. History The Gradual, like the Alleluia and Tract, is one of the responsorial chants of the Mass. Responsorial chants de ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Introit
The Introit (from Latin: ''introitus'', "entrance") is part of the opening of the liturgical celebration of the Eucharist for many Christian denominations. In its most complete version, it consists of an antiphon, psalm verse and ''Gloria Patri'', which are spoken or sung at the beginning of the celebration. It is part of the Proper of the liturgy: that is, the part that changes over the liturgical year. In the Roman Rite of the Catholic Church it is known as the ''antiphona ad introitum'' (Entrance antiphon), as in the text for each day's Mass, or as the ''cantus ad introitum'' (Entrance chant) as in the General Instruction of the Roman Missal, 47 and the First Roman Ordo (sixth to seventh century).Fortescue, A. (1910)"Introit" ''The Catholic Encyclopedia''. Retrieved 2 May 2009 In pre-1970 editions of the Roman Missal, the word ''Introitus'' was used, distinguished from the normal meaning of the word (entrance) by being capitalized. In Ambrosian chant and Beneventan chant, the c ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mass (music)
The Mass ( la, missa) is a form of sacred musical composition that sets the invariable portions of the Christian Eucharistic liturgy (principally that of the Catholic Church, the Anglican Communion, and Lutheranism), known as the Mass. Most Masses are settings of the liturgy in Latin, the sacred language of the Catholic Church's Roman Rite, but there are a significant number written in the languages of non-Catholic countries where vernacular worship has long been the norm. For example, there have been many Masses written in English for a United States context since the Second Vatican Council, and others (often called "communion services") for the Church of England. Masses can be ''a cappella'', that is, without an independent accompaniment, or they can be accompanied by instrumental ''obbligatos'' up to and including a full orchestra. Many masses, especially later ones, were never intended to be performed during the celebration of an actual mass. History Middle Ages The earli ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Franco-Flemish School
The designation Franco-Flemish School, also called Netherlandish School, Burgundian School, Low Countries School, Flemish School, Dutch School, or Northern School, refers, somewhat imprecisely, to the style of polyphonic vocal music composition originating from France and from the Burgundian Netherlands in the 15th and 16th centuries as well as to the composers who wrote it. The spread of their technique, especially after the revolutionary development of printing, produced the first true international style since the unification of Gregorian chant in the 9th century. Franco-Flemish composers mainly wrote sacred music, primarily masses, motets, and hymns. Term and controversy Several generations of Renaissance composers from the region loosely known as the Low Countries (Imperial and French fiefs ruled in personal union by the House of Valois-Burgundy in the period from 1384 to 1482)—i.e. present-day Northern France, Belgium and the Southern Netherlands—are grouped under "Fran ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Parody Mass
A parody mass is a musical setting of the mass, typically from the 16th century, that uses multiple voices of another pre-existing piece of music, such as a fragment of a motet or a secular ''chanson'', as part of its melodic material. It is distinguished from the two other most prominent types of mass composition during the Renaissance, the ''cantus firmus'' and the paraphrase mass. Etymology In the sense considered here, the term ''parody mass'' applies to masses where a polyphonic fragment from another work is used as the basis of a new composition. The term ''imitation mass'' has been suggested instead of ''parody mass'', as being both more precise and closer to the original usage, since the term ''parody'' is based on a misreading of a late 16th-century text. In contradistinction, masses which incorporated only a single voice of the polyphonic source, treated not as a ''cantus firmus'' ('Tenor Mass') but elaborated and moving between different parts, are referred to by write ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Thomas Crecquillon
Thomas Crecquillon or Créquillon ( – probably early 1557) was a Franco-Flemish school composer of the Renaissance. While his place of birth is unknown, it was probably within the region loosely known at the time as the Low Countries, and he probably died at Béthune. Biography Very little is known about his early life. He was a priest and a member of the chapel of Emperor Charles V, but whether he was ''maître de chapelle'' or merely a singer is still a matter of dispute; the surviving documents are contradictory. Later he seems to have held positions at Dendermonde, Béthune, Leuven, and Namur. Unlike many of the composers of the Franco-Flemish school, he seems never to have left his home region for Italy or other parts of Europe. Crecquillon was retired by 1555, and most likely he died in 1557, probably a victim of the serious outbreak of the plague in Béthune that year. The location of his burial remains a mystery, and no likeness of Crecquillon is known to exist. Crecqui ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
