Katalikų muzikinė kultūra: giesmynai ir giesmės (XVI-XVIII a.)

LTApie lietuviškus katalikiškus giesmynus, jų istoriją, kalbą, eilėdarą, melodijas, autorius ir sudarytojus yra paskelbta daug svarių ir reikšmingų darbų. Šio straipsnio objektas - mažai žinomi ir visai nežinomi giesmynai, kurie buvo išspausdinti XVI-XVIII a. buvusios Lietuvos Didžiosios Kunigaikštystės teritorijoje ir funkcionavo tiek etninėje Lietuvoje, tiek už jos ribų. Kaip žinia, Lietuvos provincija labai ilgai buvo pavaldi Gniezno arkivyskupijai, vėliau, carinės priespaudos metais - Mogiliovo ir Varšuvos metropolijoms, o Klaipėdos krašto katalikai - Varmijos vyskupijai. Tai turėjo įtakos bažnytinės muzikos raidai ir giesmynų sudarymo ypatumams. Nuo pat Lietuvos krikšto iš Lenkijos į Lietuvą atvykdavo daug dvasininkų, tad Katalikų Bažnyčios dokumentai, didelė dalis knygų ir giesmynų buvo parengti lenkų kalba. Apie kai kuriuos lenkų kalba parengtus giesmynus nedaug randama žinių istoriografiniuose šaltiniuose, o kai kurie leidiniai visai nežinomi. Nors šie giesmynai ir giesmynėliai daugiausia spausdinti be natų, juose esančios giesmės vis dėlto plito žodinės, nerašytinės tradicijos keliu ir jas giedojo lietuvių, lenkų, gudų katalikiškos bendruomenės. Straipsnyje nagrinėjama 1613 m. išspausdinto pirmojo Lietuvoje katalikiško giesmyno Rarthenomelica ypatumai, jame esančių giesmių genezė, sąsajos su retorikos menu ir natų leidybos technika. Atskleidžiamas Žygimanto Liauksmino, žymaus retorikos profesoriaus, indėlis ne tik rengiant grigališkojo choralo mokymui skirtas knygas, bet ir pertvarkant choralines giesmes, panaudojant jose menzūrinės notacijos elementus. [...].

ENThere is ample and significant research regarding the history, language, versification, melodics, and authorship of Lithuanian Catholic hymnals. The focus of this article is on the less known or entirely unknown hymnals published in the former territory of the Grand Duchy of Lithuania during the 17th and 18th centuries and which functioned in ethnic Lithuania, as well as beyond its borders. When Lithuania converted to Christianity in the 14th century, many clergymen travelled to Lithuania from Poland, so Catholic Church documents and a large portion of books and hymnals were in Polish. There is little historiographical information about some of these Polish-language hymnals and some publications are entirely unknown. For a long while the Lithuanian ecclesiastical province was under the jurisdiction of the Archbishopric of Gniezno. Although most of these hymnals did not contain musical notation, the hymns proliferated through oral tradition and were sung by the Lithuanian, Polish and Byelorussian communities. The status of Catholic music changed at the beginning of the 17th century when the Catholic Curch grew stronger as a result of the Counter-Reformation. There was a marked increase in hymn repertoire intended for congregational singing. These were church folk hymns sung in Polish and Lithuanian. In Lithuania, one of the first Catholic books og songs (in terms of the united Polish-Lithuanian state) was prepared and published in Vilnius by a Jezuit Walenty Bartoszewski Parthenomelica (1613). Twenty eight of the most popular Latin and Polish songs of that time were published in it and are discussed.Žygimantas Liauksminas (Sigismundus Lauxmin, 1596-1670), a prominent Samogitian figure and professor of rhetorics, prepared publications direcly realted to the teaching of music in Jesuits schools. He are presented regarding books for Gregorian chant instruction, as well as the use of mensural notation elements in new editions of chorale hymns. In Graduale pro exercita tione studentium (Vilnius 1667, 1693) the middle book, completely new material was included in the singing of Gregorian chant. It is as if a separate material has been incorporated into a book of liturgical songs. These three-voiced latin songs,were intended primary for pupils and Graduale also constituted part of the Rorate chants in polisch language in the repertoire of local dioceses. Another important segment of Catholic hymn repertoire are the pilgrimage songs that migrated throughout the territories of Lithuania and Poland, most of which were dedicated to the mother of God. The purpose of these hymns was to highlight local historical events and the miraculous powers of church altar paintings. The publication “Piesn o Naświętszey Pannie w Obrazie Trockim” printed at the Vilnius Jesuit academy printing-house in 1754 is distinctive among this repertoirein terms of content and melodic structure. All of these publications are important historical cultural sources that provide information about momentous past events. They reveal features of Catholic Curch music and supplement the repertoire that was heard in this widespread, multinational area.