New Contexts – New Perspectives
Edited By Pawel Gancarczyk and Lenka Hlávková-Mrácková
Barbara Przybyszewska-Jarminska: Marcin Mielczewski (d. 1651) and Alberik Mazák (1609–1661): A Silesian Perspective
Marcin Mielczewski (d. 1651) and Alberik Mazák (1609–1661): A Silesian Perspective Barbara Przybyszewska-Jarmiska Instytut Sztuki Polskiej Akademii Nauk, Warszawa In 1659 Erster Theil Geistlicher Concerten (RISM B/I 16593), an anthology of vocal-instrumental small-scale sacred concerti with Latin texts, was printed in Jena. It had been prepared for publication in Berlin by Johannes Havemann, director of sacred music employed by the Elector of Brandenburg in his Evangelical-Reformed cathedral of the Holy Trinity in Berlin and cantor at the Elector’s Joachimsthalisches Gymnasium. In accordance with the information on the title page,1 Havemann selected for the collection mostly works of renowned Italian composers (from the north of Italy to be exact), including – among others – vocal- instrumental concerti by Claudio Monteverdi and his Venetian contemporaries, such as Alessandro Grandi, Antonio Rigatti and Giovanni Rovetta, represented by the highest number of four works Giovanni Pietro Finatti, one of the renowned and influential minorite composers of his time who is, however, relatively little known today, and almost completely forgotten Giovanni Cocci. The only few works by “other authors” (“den andern Autoribus”) were by Johannes Stadlmayer, born in Bavaria and working mainly at the Archduke’s court in Innsbruck during the reign of Leopold Habsburg, by Marcin Mielczewski and Alberik Mazák. Both latter and in the title of this article mentioned names are well-known to musicologists and belong to the most acclaimed 17th-century composers in Poland and Bohemia, respectively. Although the bibliography of publications on Mielczewski and his oeuvre2 is much more extensive than...
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