Andrzej Edward Godek

The villages of Dobrzechów, Wysoka Strzyżowska and Oparówka were the property of the Cistercian monastery in Koprzywnica since the Middle Ages. After the First Partition, these areas were taken over by the Austrian authorities as chamber estates. In 1789, as a result of the exchange, the villages became the property of Ignacy Skrzyński, and then of his son Franciszek Ksawery Skrzyński. In 1842, the daughter of the latter - Teofila Koźmianowa née Skrzyński - was installed as the owner of the village. As a result of her premature death in 1852, an economic inventory was prepared in favor of court inheritance proceedings, covering all farms and manor buildings, with a detailed description of the buildings located within them. The source is the only such detailed description of the villages in question preserved, and a significant part of the objects listed in it were destroyed in the 19th or early 20th century.

The Archive of St Joseph’s Convent in Kraków contains a collection of musical manuscripts, which have not been studied before. Among books of liturgical use, such as graduals and antiphonaries, there are also small cantionales, full of canto fratto repertoire. The majority of these sources originate from the Convent of Bernardine Nuns in Kraków; however, there are also at least two manuscripts from the Convent in Wilno. The aim of this paper is to present canto fratto repertoire of Benedicamus Domino found in the 18th and 19th century liturgical manuscripts from the Convent of Bernardine Nuns in Kraków. The author indicates sources of studied melodies based on the wide range of liturgical manuscripts from the 18th and 19th centuries—especially from convents of Bernardine Nuns in Poland, as well as from the Convent of Benedictine Friars in Staniątki—and compares it to the dispersal of canto fratto settings of ordinarium missae. Finally, the paper presents complete index of Benedicamus Domino melodies in the annex.

The Archive of St Joseph’s Convent in Kraków contains a collection of musical manuscripts, which have not been studied before. Among books of liturgical use, such as graduals and antiphonaries, there are also small cantionals, full of canto fratto repertoire. The majority of these sources originate from the Convent of Bernardine Nuns in Kraków; however, there are also at least two manuscripts from the Convent in Wilno. The aim of this paper is to present canto fratto repertoire of Benedicamus Domino found in the 18th and 19th century liturgical manuscripts from the Convent of Bernardine Nuns in Kraków. The author indicates sources of studied melodies based on the wide range of liturgical manuscripts from the 18th and 19th centuries – especially from convents of Bernardine Nuns in Poland, as well as from the Convent of Benedictine Friars in Staniątki – and compares it to the dispersal of canto fratto settings of ordinarium missae. Finally, the paper presents complete index of Benedicamus Domino melodies in the annex.

The article focuses on the background of Hieronim Feicht’s Requiem, which was written during World War II. The main aspect of it is to present main thoughts on mass settings composed by Feicht and to give basic information about their performances given by the choir of theological seminary students of the Congregation of the Mission in Kraków-Stradom. Many of extant documents provide us with precise knowledge about the repertoire and solemnities during which it was sung. Except for performances, the article presents the praxis of performing requiem masses in the first half of the 20th century. Taking this context into consideration, the author presents a brief analysis of the Feicht’s requiem mass setting.

The article focuses on the background of Hieronim Feicht’s Requiem, which was written during World War II. The main aspect of it is to present main thoughts on mass settings composed by Feicht and to give basic information about their performances given by the choir of theological seminary students of the Congregation of the Mission in Kraków-Stradom. Many of extant documents provide us with precise knowledge about the repertoire and solemnities during which it was sung. Except for performances, the article presents the praxis of performing requiem masses in the first half of the 20th century. Taking this context into consideration, the author presents a brief analysis of the Feicht’s requiem mass setting.