Tabulatura Warszawskiego Towarzystwa Muzycznego
Ars Nova

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2010
Travers CD 008

kwiecień i czerwiec 2010
Kościół Ewangelicko-Reformowany, Warszawa

1 - Jakub SOWA: Salve Regina
2 - Me expectaverunt peccatores
3 - Jakub SOWA: Kirie Pascale
4 - Krzysztof KLABON: Aliud Kyrie
5 - Marcin LEOPOLITA: Spiritus Domini replevit orbium terrarum
6 - Marcin WARTECKI: Introitus De Santa Cruce...
7 - Introitus Infra octavam...
8 - Introitus In festotrium regum...
9 - Prosa Veni Sancte Spiritus...
10 - In labore...
11 - Gloria Patri...
12 - Sine tuo nomine
13 - Flecte quod est
14 - Introitus In die ascensionis
15 - Laquebar de testimonis
16 - Salve Sancta Parens
17 - Da virtutis
18 - Resurrexi et adhuc tecum sum
19 - Quintus tonus Magnificat
20 - Benedicte Dominum omnes angeli...






Weronika Grozdew • śpiew
Dagmara Barna • śpiew

Ars Nova
Jacek Urbaniak

Agnieszka Obst • fidel
Joanna Nogal • fidel
Marta Zalewska • skrzypce
Marcin Zalewski • viola da gamba
Paweł Zalewski • viola da gamba
Piotr Wawreniuk • puzon renesansowy
Robert Krajewski • puzon renesansowy
Krzysztof Owczynik • flety, cornamuse
Jacek Urbaniak • pomorty, cornamuse, flety

The compositions collected in the Warsaw Musical Society Tablature originated in the circles of the Polish royal court after 1550. It was possible to identify some of their authors: Jakub Sowa (the virtuoso organ player at the court of Sigmund III Vasa, working there under the direction of Asprillo Pacelli, murdered during the trip of the king across Sweden, in 1594), Marcin Wartecki (a royal musician in 1564-1568), Marcin Leopolita (died 1589; educated in Lvov and at Cracow Academy; he was probably a student of Sebastian of Felsztyn; in 1560 he became a composer of the king Sigmund August; his Missa Paschalis is one of the most outstanding works of the Polish Renaissance). Krzysztof Klabon (1550-1616; a composer, flautist, lutinist and singer at the royal courts of Sigmund II, Sigmund III and Stefan Batory). The Tablature contains also a composition of the famous Waclaw of Szamotuly. The range of the late Renaissance works, recorded in the Tablature, corresponds to the royal employment of their authors. Four and five voice, short organ compositions accompanied church ceremonies, sometimes as a prelude, sometimes an interlude, sometimes a commentary on the liturgy, most probably celebrated in the Warsaw collegiate church or Cracow cathedral. The Warsaw at the close of the 16th century, for only a few years then the capital of Poland, can be proud of its beautiful musical chapter, while Warsaw musicians of the 21th century undertake its creative interpretation.