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 (Musical Education)

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

Download files

pdf (Język Polski)

Citation rules

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

Cited by / Share

Licence

This work is licensed under a Creative Commons Attribution 4.0 International License.

References

Aschner Anton, Duchovná tvorba I. Ária a duetá (výber), red. Peter Hochel, Verbum, Ružomberok 2013.
Google Scholar

Aschner Anton, Duchovná tvorba II. Zborové diela (výber), red. Peter Hochel, Verbum, Ružomberok 2013.
Google Scholar

Aschner Anton, Duchovná tvorba III. Nemecké adventné árie, red. Zuzanna Zahradníková, Verbum, Ružomberok 2013.
Google Scholar

Bajan Juraj, Duchovné piesne pre dva hlasy a basso continuo, red. Peter Hochel, Verbum, Ružomberok 2011.
Google Scholar

Mattheson Johann, Das Neu=Eröffnete Orchestre, Hamburg 1713, http://imslp.org/wiki/Special:ImagefromIndex/81577 [stan z 26.10.2014]
Google Scholar

Slovenská duchovná hudba 18. storočia I. Výber zo sakrálnych diel autorov žijúcich na území Slovenska, red. Ratislav Adamko, Verbum, Ružomberok 2011.
Google Scholar

Slovenská duchovná hudba 18. storočia II. Výber zo sakrálnych diel s mariánskou tematikou autorov žijúcich na území Slovenska, red. Zuzanna Zahradníková, Verbum, Ružomberok 2011.
Google Scholar

Adamko Rastislav, Cyklické duchovné diela Antona Aschnera, „Studia Scientifica Facultatis Paedagogicae Universitas Catholica Ružomberok” 2013, nr 4.
Google Scholar

Antalová Lenka, Mariánska tvorba 18. a 19. storočia v hudobných pamiatkach uršulínskeho kláštora v Bratislave, [w:] O, Maria, laude digna, red. Ratislav Podpera, Verbum, Ružomberok 2011.
Google Scholar

Hochel Peter, Anton Aschner – hudba stratená v čase, „Studia Scientifica Facultatis Paedagogicae Universitas Catholica Ružomberok” 2013, nr 4.
Google Scholar

Hochel Peter, Anton Aschner – súpis tvorby, „Studia Scientifica Facultatis Paedagogicae Universitas Catholica Ružomberok” 2013, nr 4.
Google Scholar

Hochstein Wolfgang, Solomotette und Marianische Antiphonen, [w:] Geschichte der Kirchenmusik, Band 2: Das 17. und 18. Jahrhundert. Kirchenmusik im Spannungsfeld der Konfessionen, red. Wolfgang Hochstein, Christoph Krummacher, Laaber Verlag, Laaber 2012.
Google Scholar

Huglo Michel, Halmo Joan, Antiphon: Marian antiphons, [w:] The New Grove – Dictionary of Music and Musicians, red. Stanley Sadie, Volume 1, Second Edition, Oxford University Press, Oxford 2001.
Google Scholar

Kačic Ladislav, Mariánske spevy františkánov na Slovensku v 18. storočí, [w:] O, Maria, laude digna, red. Ratislav Podpera, Verbum, Ružomberok 2011.
Google Scholar

Lemaîtrová Nicole, Quinsonová Marie-Thérèse, Sotová Véronique, Slovník křes- ťanské kultury, Garamond, Praha 2002.
Google Scholar

Múdra Darina, Dejiny hudobnej kultúry na Slovensku II Klasicizmus, Vydavateľstvo Slovenského hudobného fondu, Bratislava 1993.
Google Scholar

Nowacki Edward, Antiphon (XI. Marianische Antiphonen), [w:] Musik in Geschichte und Gegewart, Band 1, Sachteil A-Bog, Bärenreiter, Kassel 1994.
Google Scholar

Veľbacký Ján, Historický a hudobný výklad antifóny Regina coeli, „Adoramus Te: časopis o duchovnej hudbe” 2008, nr 2.
Google Scholar

Veľbacký Ján, Mariánska antifóna Salve Regina, „Adoramus Te: časopis o duchovnej hudbe” 2008, nr 3.
Google Scholar

Veľbacký Ján, Obsahový zmysel mariánskych antifón Alma Redemptoris Mater a Ave regina caelorum, „Adoramus Te: časopis o duchovnej hudbe” 2008, nr 4.
Google Scholar

Zahradníková Zuzanna, Nemecké adventné árie Antona Aschnera, „Studia Scientifica Facultatis Paedagogicae Universitas Catholica Ružomberok” 2013, nr 4.
Google Scholar

Zavarský Ernest, Príspevok k dejinám hudby v Kremnici v rokoch 1651–1800, [w:] Hudobný archív 3, Matica slovenská, Martin 1981.
Google Scholar