Utwory maryjne w twórczości kompozytorów śląskich

Abstract

The article presents the problem of the musical reflection of the cult of the Virgin Mary in the region of Silesia in the works of the pre-war composers (A. Chlondowski, rev. R. Gajda), and in post-1956 works (A. Dziadek, H.M. Górecki, J.W. Havel, B. Szabelski, J. Świder - to liturgical Latin and Polish texts, and H.M. Górecki, A. Krzanowski, J. Świder - to non-liturgical texts). Three most representational works of the Karol Szymanowski type, to the memory of the mother of the composer of Ad Matrem Henryk Mikołaj Górecki and his III Symphony, and the Audycja VI by A. Krzanowski, which reminds of Bogurodzica, are presented in the article. The cult of the Virgin Mary, which was initiated by Ignacy Antiocheński in the 1st century - the creator of the dogma about Mary Theotokos Aeipathenos - was confirmed by the Church Fathers. This cult was a testimony to the influence of the Eastern Christianity in the Polish lands. There are many stereotypes about the piety of the cult of the Virgin Mary in Polish folk literature; the images of the Virgin Mary are also important in songs of passion; the figure of Mary is also present in the liturgical and non-liturgical ritual. The motives of prayers to the Virgin Mary appear both in the Polish literature (M.K. Sarbiewski, K. Iłłakowiczówna, J. Kasprowicz, M. Konopnicka, A. Mickiewicz, S. Wyspiański), as well as in Polish plastic and musical arts. The works such as Ave Regina by Henryk Botor, Salve Regina by Andrzej Krzanowski, Ave Stella Maris by Józef Świder, Stabat Mater by Grażyna Krzanowska, should be mentioned here. The works based on Polish texts include: Angelus and Bogurodzica by Wojciech Kilar, and Songs of the Pilgrims by Edward Bogusławski. Misterium NMP by Henryk Botor, Stabat Mater, and Magnificat by A. Dziadek, and Magnificat by Jan Wincenty Havel, are the vocal and instrumental works. A capella works include: Salve Regina by A. Dziadek, Ave Maria and Stabat Mater by J. Świder. At the end of the article, the author again raises the problem of a reflection of the ‘sacral’ spirit in instrumental music.