Antyfony maryjne Antona Aschnera

Zuzanna ZAHRADNÍKOVÁ

doi:10.16926/em.2014.09.02

Published: 2019-10-041

Vol. 9 (2014)

Anton Aschner’s Marian Antiphons

Zuzanna ZAHRADNÍKOVÁ

Edukacja Muzyczna

Section: Research articles

https://doi.org/10.16926/em.2014.09.02

Abstract

The article introduces the figure of Anton Aschner (born in 1732), a barely known Slovak composer, as well as the selected aspects of his artistic creation. The Author starts with the presen- tation of the state of research on this subject. Further she brings closer the history of Aschner’s lifeand creation from which only the sacred works have survived, including the arrangement of the Marian antiphons.

In the 18th century, Marian antiphons were among the most appreciated musical forms of the sacred music. It had to do with the Marian spirituality, which was widespread at this time, and also with the daily liturgical practice within the prayer office. In this sense, it is not surprising that nearly half of the sacred pieces by Anton Aschner – bandmaster, composer and music teacher at Kremnica – are devoted to Marian themes. They include the arrangements of four great Marian antiphons – Alma Redemptoris Mater, Ave Regina coelorum, Regina coeli oraz Salve Regina. These works are the main focus of the article. The musical arrangements of the Aschner’s prayers tothe Blessed Mother were intended to be part of the so called kirchentrio, that was extended in some cases by brass instruments and kettledrums. The vocal layer is built by solo and choral voices.

Keywords:

18th century Slovak sacred music, Marian antiphons

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ZAHRADNÍKOVÁ, Z. (2019). Anton Aschner’s Marian Antiphons. Edukacja Muzyczna, 9, 19–33. https://doi.org/10.16926/em.2014.09.02

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