Abstract

During the Week of Science and Technology, musicological departments also prepared noteworthy events. On 10 November 2015, the Faculty of Arts of Comenius University in Bratislava housed a scientific event organized by its Department of Musicology on Thematic Catalogues and Databases of Early Music, focusing on the Middle Ages, the Renaissance, and the Baroque. The meeting of music historians had an international character, with speakers, besides local musicologists, also from the neighbouring Czech Republic and from Italy. The paper summarizes the main ideas of the discussion.

Abstract

The study traces the differences in the two possible forms of interpreting the character of the Evangelist in a scenic and in a concertante performance of Johann Sebastian Bach’s passion.  It is based on the analysis of the text and on the musical and scenic arrangement of the passions in Bach’s oeuvre.

Abstract

Abstract

The posthumously published collection of eight sacred motets for solo voice and one or two instruments did not get preserved in its complete form. However, it can be reconstructed from several preserved handwritten copies whose confrontation reveals various versions of the compositions, as well as other alterations and corrections made by the copyists. The editor thus faces the question which of the available sources to consider as the primary one. The study aims at presenting the current state of the sources which form the basis of the study of this collection and, at the same time, at pointing to the specific cases of problems and their solutions. Several procedures are generally applied in the case of the urtext editions of other collections of 17th-century music, which may serve as practical examples, analogies, or starting points for us.

Abstract

The compositions for double choir by the Silesian composer Matthäus Apelles von Löwenstern (1594 – 1648) were preserved in primary sources exclusively as manuscripts. Because they never appeared in print, there are differences between the various versions of his pieces. By comparing his selected compositions preserved in the “Sammlung Bohn” and in the “Levoča Music Collection”, this paper aims at evaluating the degree of these differences and at arriving closer to an answer to the question of whether the intabulations in the tablature books of the Levoča Music Collection, recorded with new German organ tablature, represent the complete versions of his works.

Abstract

The study focuses on the reception of the oeuvre of two important musicians of the High Renaissance, namely Philippe de Monte and Jacob Regnart (both active at the imperial court of Rudolf II), in the territory of present-day Slovakia, i.e. in the territory of historical Hungary in the 16th and the 17th century. Through handwritten copies, these musicians’ compositions found their way into the repertoire of our royal towns, and their oeuvre is present not only in the Catholic church environment, but also in the Evangelical one.