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MaciejJochymczyk
grozęSąduOstatecznegoiprzedstawiającychwizjęwiecznegozbawienia.
Temuwłaśniesłużąstosowaneprzezkompozytorazabiegiretoryczne.
MaciejJochymczyk
MissaRequiembyDamianStachowicz
inthecontextofverbal-musicalrelations
Summary
MissaRequiembyfatherDamianStachowicz(1658—1699)isoneofthefirstinterpreta-
tionsofthetextsofafuneralserviceinsecondapracticainthePolishmusic(probablythe
oldestone).Thecompositionwascreatedbefore1693whereastheinformationaboutits
performancecanbefoundinadescriptionoffuneralcelebrationsofWojciech
Siewierkiewicz,thefirstpriorofthePiaristcollegeinŁowiczwhodiedon14thSeptember
1693.
InhisRequiem,Stachowiczinterpretedbothordinariummissae—Kyrie,Sanctus,AgnusDei
partsaswellassomeofproprium—introitus,sequentia(apartfromstanzano5,6,12,13and
16)andoffertorium.Heavoidedgraduale,tractusandcommunio.HealsoleftoutChristieand
thesecondKyrie.Themusicalformremainstightlyconnectedwiththeconstructionofaver-
baltext.Initsshape,Requiemismarkedwithsimilaritieswiththeassumptionsofdispositio—
arhetoricalarrangementofthemusicalmaterial,themodelforwhichconstitutedtheora-
tor’sspeech.
TheworkbyStachowiczcontainsmanyrhetorical-musicalfigures.Theyconcernboth
melody,contrapunctallayerandtheappropriateusageofpauses.Thecomposeralsomakes
useoftheillustrativeeffectsderivingfromtheapplicationofdistantkeyswhich,unequally
tempered,soundedoutoftune.SomeofthepartsofRequiemcontainmorerhetoricalde-
vicesthantheother.Obviously,thefrequencyoftheirusagedependsonthequalityofthe
verbaltext.Thefragmentswhichinfluencedthecomposerinthestrongestwayconstitute
thestanzasofDiesiraebeginningwithQuantustremor,Quidsummiser,Rextremendae,
RecordareandLacrimosa,aswellaspartsofDomineJesuandAgnusDeiII.
Stachowiczemploysthemajorityoffiguresofthecommonmusiclanguage,leavingno
“meaningful”wordswithoutthepropermusicalillustration.Itprovesthatthecomposerori-
entateshimselfwellinthecurrentconventionsespeciallyasthePolishrepertoiredoesnot
includetheinterpretationsofafuneralservicewhichhecouldfollowasanexample.
