Articles and Book Chapters by Bartol (Hrvoje) Beban, osb
Slišković, S. - Biočić, A. (eds.), Dominikanci na hrvatskim prostorima 1221. - 2021., Zagreb: Dominikanska naklada Istina - Katolički bogoslovni fakultet Sveučilišta u Zagrebu, p. 221-261., 2024
All the late medieval Dominican liturgical chant codices preserved in Dalmatia are presented here... more All the late medieval Dominican liturgical chant codices preserved in Dalmatia are presented here together for the first time. Most of the sources are antiphoners and graduals, choir books of large format, the majority of which originate from Emilia-Romagna, produced as commissions for the Dominican convents in Zadar (Badija III–V, X–XII), Split (Bol I–II) and Dubrovnik (Dubrovnik 85–91) between the 1270s and early fourteenth century. Graduals, containing the texts and chants of Mass Propers, are the primary focus and introduced with a list of the key features found in the graduals of Dominican provenance provided here in their entirety. Among the new discoveries is Stari Grad 315, which now appears to be one of the few specimens copied in Paris shortly after the Dominican liturgical reform was completed in 1256, as well as Dubrovnik 89–91, for which it was possible to identify its late-thirteenth-century scribe and notator, who copied the antiphoner for the Bolognese Dominican female convent of Santa Maria Maddalena di Val di Pietra.
Prisutnost Reda propovjednika na području današnje Hrvatske možemo pratiti od 1221. godine kada se formira Ugarska dominikanska provincija koja je od svoga osnutka uključila i samostane podignute u Dalmaciji. Od današnjih sedam aktivnih dominikanskih samostana u toj južnoj hrvatskoj regiji, oni u Dubrovniku, Splitu, Bolu na Braču te Starome Gradu na Hvaru, čuvaju i srednjovjekovne liturgijsko-glazbene iluminirane kodekse. Pronalazimo ih, međutim, na još dvama, literaturi donedavna nepoznatim lokacijama: u Franjevačkome samostanu Male braće u Dubrovniku te u Arheološkome muzeju u Splitu.
U ovom su članku po prvi puta objedinjujuće predstavljeni svi poznati dominikanski koralni kodeksi sačuvani na području Dalmacije iz razdoblja kasnog srednjega vijeka, pa i kasnije, u slučaju dubrovačkih izvora. Sveukupno se radi o 29 izvora: 10 svezaka graduala, 14 svezaka antifonara, 1 liturgijskoj miscelanei s napjevima graduala, sekvencijara i antifonara, 1 misalu, 2 psaltira-himnala i 1 procesionalu. Analiza njihova liturgijskoga sadržaja rezultirala je revizijom često kasnih datacija kod većine izvora, pa je tako utvrđeno da su čak 24 izvora po svoj prilici nastala u razdoblju od pedesetak godina po završetku projekta standardizacije dominikanske liturgije iz 1256. godine pod vodstvom tadašnjega generala Reda Humberta iz Romansa. Za neke je izvore utvrđena ili potvrđena njihova provenijencija, pri čemu prednjači talijanska regija Emilija i Romanja iz koje je bilo izvezeno 15 koralnih svezaka naručenih po svemu sudeći za potrebe zadarskog (Badija III-V, X-XII), splitskog (Bol I-II) i dubrovačkog dominikanskog samostana (Dubrovnik 85-91). A hvarski samostan u Starome Gradu čuva primjerak graduala nastalog najvjerojatnije šezdesetih godina 13. stoljeća, i to u Parizu, u kojem su u približno isto vrijeme bila prepisana i tri kodeksa egzemplara dominikanske liturgije, što taj rukopis svrstava u raritete iz ranoga razdoblja standardizirane liturgije ovoga Reda.
Središnji dio rada posvećen je dominikanskim gradualima sačuvanima na području Dalmacije, a zbog preglednosti je pri njihovu izlaganju izabran format kataloškoga opisa srednjovjekovnog rukopisnog izvora, pri čemu je u obradi prednost dana liturgijskomu sadržaju te komentaru u kojem se donose pretpostavke i/ili zaključci o mjestu nastanka, odnosno uporabe dotičnog kodeksa. Pojedinačnim opisima prethodi sažeto izlaganje glavnih posebnosti dominikanskoga graduala (i sekvencijara), što se ovdje cjelovito donose po prvi puta s ciljem da olakšaju identifikaciju tog tipa liturgijske knjige dominikanskoga ususa.
U katalogu izložbe Dominikanci u Hrvatskoj iz 2011. godine dijagnosticirana je bila slaba istraženost glazbenih kodeksa dominikanskoga reda u Hrvatskoj (Hana Breko Kustura), te nedovoljno poznavanje početaka njegove glazbene aktivnosti (Ennio Stipčević), što se novim spoznajama u ovome radu iz temelja mijenja, i to upravo za razdoblje prvih stotinu godina dominikanske prisutnosti u Dalmaciji, čime se omogućuju ne samo nova, još detaljnija i sveobuhvatnija istraživanja liturgije i korala po dominikanskome ususu na hrvatskim prostorima, već i nove historiografsko-glazbene interpretacije, koje će ubuduće uključivati i doprinose Bijelih fratara te tako obogatiti postojeću sliku glazbene djelatnosti crkvenih redova u gradskim sredinama kasne srednjovjekovne Dalmacije.
Glazba i iskustvo povijesti. Svečani zbornik za Sanju Majer-Bobetko / Music and Historical Experience. Essays in Honour of Sanja-Majer Bobetko, 2022
In this article, two musicologists specializing in medieval music bring forward their experiences... more In this article, two musicologists specializing in medieval music bring forward their experiences in locating medieval music codices, kept in different church, monastery or state archives and libraries in Croatia. Focusing primarily on the geographic regions of Dalmatia and Zagreb, they provide a shortlist of existing catalogues concerning medieval music manuscripts, with a description and brief commentaries of the publications. The authors conclude with selected examples of good practice, both domestic and foreign, in the hope of raising awarness of the importance and necessity of a properly developed catalogue.
Arti Musices, 2021
Na temelju sadržajne raščlambe litanija i sanktorala dvosveščana dominikanskoga graduala iz Badij... more Na temelju sadržajne raščlambe litanija i sanktorala dvosveščana dominikanskoga graduala iz Badijske zbirke franjevačkoga samostana Male braće u Dubrovniku (Badija IV, XII) te analize pisma, notacije i dekoracije korigira se njegova dosadašnja datacija (14/15. st.) na sedamdesete godine 13. stoljeća, dok se Zadar nameće kao sigurno mjesto njegove upotrebe u liturgiji. S obzirom na prisutnost sv. Platona u dodanome sloju zadarskih svetaca, taj se gradual i pripadni mu četverosveščani antifonar (Badija III, V, X, XI) svrstavaju u negdašnji inventar dominikanskoga zadarskog samostana, koji je, prvotno posvećen sv. Platonu, bio ukinut 1807. g. Od liturgijskih knjiga što ih je taj važan dalmatinski samostan posjedovao dosad je jedino bio poznat misal iz 14. st., koji se pod signaturom R-14 čuva u samostanu benediktinki sv. Marije u Zadru.
In this paper the Dominican convent of Zadar has been established as a place where the medieval Dominican choir books from the Badija Collection of the friary of the Friars Minor in Dubrovnik had been used in liturgy. They consist of the two-volume gradual (Badija IV and Badija XII), which is given the main focus here, and the four-volume antiphoner (Badija III, Badija V, Badija X and Badija XI).
As an analytical tool the so-called Basistext-Methode is applied (as used by Josef Leisibach and Felix Heinzer), which consists of comparing a liturgical manuscript to an already known manuscript of the presumed liturgical tradition, with the aim of determining deviations from the base text. Here, one of the copies of the codex exemplar of the medieval Dominican liturgy – Rome, Santa Sabina, XIV L1, copied between 1256 and 1259 – served as the base text. The examination included the litanies of all the saints and the sanctoral of both the gradual and the sequentiary.
Zadar as the indisputable place of use of these choir books has been confirmed through analysis of the litanies in the gradual, which, together with customary local saints related to the Zadar ecclesiastical territory, also include the name of St. Plato the Martyr, the saint who was crucial for narrowing the provenance of the choir books to the Dominican convent in Zadar, abolished in 1807. The Zadar Dominicans moved into a Benedictine nun’s convent with the adjoining church of St. Plato, whose titular continued to be venerated even after the expansion and rededication of the church in 1280, this time as Dominican, with St. Mark as its patron saint, and later St. Dominic. Of the liturgical chant manuscripts of the Dominican convent in Zadar, until now only a fourteenth-century missal in the Benedictine convent of St. Mary was known.
Based solely on the liturgical content, one can conclude that the Badija choir books were created between 1256 and 1276, while on the basis of their illumination, Andrea Improta determined that they were produced between 1260 and 1280, probably in the Italian region of Emilia-Romagna, due to the similarities with the choir books illuminated by the Master of Bagnacavallo (in particular the antiphoner Bagnacavallo, Biblioteca Comunale Taroni, MSS. 1–3). This has also been corroborated by the paleographical analysis of the square chant notation which revealed the Badija choir books to be highly concordant with the five-volume antiphoner copied for the Dominicans of Imola around 1275 (Imola, Museo Diocesano, Corali 5, 6, 7, 9, 10).
In an attempt to narrow the proposed time span, the dates connected to the early history of the Dominican church and convent of Zadar appear to be of crucial importance. Since the Dominican church in Zadar was solemnly dedicated in 1280, it seems justified to propose the thesis that the Badija choir books were the property of the new church that year at the latest and may have been specifically commissioned for its dedication. In that case, they could be dated to the 1270s, as much as two centuries earlier than heretofore believed, since Demović had dated them to the fifteenth or sixteenth centuries, while Badurina placed them at the end of the fourteenth century. These medieval choir books from the abolished convent in Zadar have thereby become the earliest known testimony to the Dominican chant tradition in Dalmatia.
Arti musices , 2019
Ovaj članak bavi se izvedbenim aspektom misa sačuvanih u kantualima fra Petra Kneževića iz 1767. ... more Ovaj članak bavi se izvedbenim aspektom misa sačuvanih u kantualima fra Petra Kneževića iz 1767. i 1768. godine. Nadovezujući se na raspravu o načinu izvedbe misnih ordinarija iz Kneževićevih kantuala u časopisu Sv. Cecilija iz 1923. i 1924. godine, u kojoj su sudjelovali Ivan Ocvirk, Ladislav Gagulić i Josip Manutani, ali i na tekstove autora koji su se kasnije doticali te teme – Miho Demović 1984. te Hana Breko Kustura u dvama navratima: 2008. i 2017. – ovaj će rad na temelju indicija prisutnih u navedenim kantualima, ali i drugim izvorima, ponuditi novo čitanje izvedbenog aspekta Kneževićevih misa, smještajući ih u kontekst tzv. orguljske mise koja je na hrvatskim prostorima kao žanr egzistirala barem još cijelo stoljeće i pol prije nastanka ovih kantuala.
This study addresses aspects of the performance practice of the cantus fractus Masses with missing verses collected in three chant books, kantuali, and copied by the Franciscan friar Petar Knežević in 1767 and 1768 for the friaries in Sinj and Visovac of the Franciscan Province of the Most Holy Redeemer. In 1923, Ivan Ocvirk, Ladislav Gagulić and Josip Mantuani discussed shortening the liturgical texts in Knežević’s Mass ordinaries in the church music journal Sv. Cecilija, and proposed various substitutions for the missing verses. The discussion was resumed in 1984 by Miho Demović and touched upon again in 2017 in a major study on Knežević’s chant books by Hana Breko Kustura.
After having assessed the aforementioned views on this topic, the present author proposes that these cantus fractus Masses were intended to be sung alternatim, with the missing verses supplied by organ versets. The use of organ in alternatim with choir since the beginning of the fifteenth century, especially in Italy, is well documented. This practice became widespread after 1600, when it was approved and regulated in the Caeremoniale episcoporum of Pope Clement VIII. Knežević’s first chant book, Kantual A, was studied thoroughly, with particular regard to the sett ings of the Mass ordinary texts and the distribution of the verses between the choir and organ. Analysis indicates that the settings largely correspond to those commonly found in Italian organ masses, with some variations, especially in the Credo. Speculation on what the versets for Knežević’s Masses looked like is also offered, together with mention of a neglected source of the organ versets for the Divine Office, the Visovačka kajdanka, a music manuscript copied in Brescia in 1757 and acquired by the Franciscan convent in Visovac, which may also have been a source of the versets in Knežević’s Masses. The present study aims to show that the cantus fractus Mass settings in Knežević’s chant books actually belong to the tradition of the alternatim organ mass. As such, Knežević’s kantuali represent overlooked mid-eighteenth century sources of the organ mass, as previously documented at the beginning of the seventeenth century in organ tabulature from the town of Hvar in Dalmatia.
Linde, C. (ed.), Making and Breaking the Rules: Discussion, Implementation and Consequences of Dominican Legislation, Oxford University Press - German Historical Institute London, pp. 173-188, 2018
Klugseder, R. (ed.), Cantare amantis est. Festschrift zum 60. Geburtstag von Franz Karl Praßl, Purkersdorf: Verlag Brüder Hollinek, 2014, pp. 46-56.
Gancarczyk, P. - Leszczyńska, A. (eds.), The Musical Heritage of the Jagiellonian Era, Warsaw: Instytut Sztuki PAN et al., 2012.
Klugseder, R. et al. (eds.), Cantus planus. Papers read at the 16th meeting, Vienna, Austria, 2011, Vienna: Verlag Brüder Hollinek, 2012.
The similar, but more extensive study of this antiphoner was published in Croatian musicological ... more The similar, but more extensive study of this antiphoner was published in Croatian musicological review Arti Musices 41/2.
Books edited by Bartol (Hrvoje) Beban, osb
Urednici / Editors: Gorana Doliner †, Stanislav Tuksar, Hrvoje Beban, Tatjana Čunko, 2022
Ovaj je svečani zbornik nastao u povodu 70. rođendana istaknute hrvatske muzikologinje dr. Sanje ... more Ovaj je svečani zbornik nastao u povodu 70. rođendana istaknute hrvatske muzikologinje dr. Sanje Majer-Bobetko, koja je najveći dio svojega radnog vijeka provela kao istraživačica na području historijske muzikologije u Odsjeku za povijest hrvatske glazbe HAZU. S. Majer-Bobetko je tijekom svoje plodne znanstveničke karijere ostvarila niz domaćih i međunarodnih kontakata s brojnim kolegama, što ovaj svečani zbornik profilom svojih radova zorno pokazuje. Niz od 36 autora u ovom zborniku, iz Hrvatske, Bosne i Hercegovine, Bugarske, Francuske, Irske, SAD-a i Slovenije, rado se odazvalo pozivu za suradnju u znak priznanja i poštovanja slavljeničine znanstvene djelatnosti, napisavši 33 priloga koji se ovdje objavljuju na hrvatskom, engleskom, njemačkom i francuskom jeziku. Sadržajno vrlo širok spektar obrađenih tema artikuliran je u šest tematskih cjelina vezanih uz glazbene izvore, obradu arhivske građe, historiografske analize, sinteze stilova, prikaze djelovanja pojedinih autora (skladatelja, istraživača) i/ili njihovih ostvarenja, u rasponu od srednjega vijeka do 21. stoljeća. Zbornik završava životopisom i bibliografijom slavljenice, uz uobičajeni popis imena.
This collection of essays in honour of Dr Sanja Majer-Bobetko, the outstanding Croatian musicologist, is published on the occasion of her 70th birthday by the Croatian Musicological Society and the Department for History of Croatian Music of the Institute for History of Croatian literature, theatre and music of the Croatian Academy of Sciences and Arts. Majer-Bobetko has developed a series of domestic and international contacts with numerous colleagues, which is reflected in the contents of this collection. Thirty-six authors from Croatia, Bosnia & Herzegovina, Bulgaria, France, Ireland, Slovenia and the USA enthusiastically responded to the invitation to participate and to pay homage to Dr Majer-Bobetko’s scholarly activity, writing the thirty-three essays published here in Croatian, English, French and German. A very rich spectrum of topics is articulated in six thematic units which cover musical sources, the elaboration of archival materials, historiographical analyses, syntheses of styles, and the presentation of activities by individual composers and researchers, and/or their achievements covering a wide historical range from the Middle Ages to the twenty-first century. The collection ends with the biography and bibliography of the volume’s dedicatee, and the usual list of names.
Book Reviews by Bartol (Hrvoje) Beban, osb
Conference Presentations by Bartol (Hrvoje) Beban, osb
Prisutnost dominikanskoga reda na području današnje Hrvatske možemo pratiti već od samoga osnutka... more Prisutnost dominikanskoga reda na području današnje Hrvatske možemo pratiti već od samoga osnutka Reda propovjednika u prvoj polovini 13. stoljeća. Danas u Dalmaciji ima sedam dominikanskih samostana, a neki od njih čuvaju i vrijedne srednjovjekovne koralne izvore. Međutim, koralne kodekse dominikanske provenijencije pronalazimo i na nekim drugim, literaturi dosad nepoznatim lokacijama. Ovo izlaganje će tako pružiti sveobuhvatni pregled dominikanskih liturgijsko-glazbenih izvora sačuvanih na području Dalmacije, s posebnim osvrtom na antifonarij i njegove posebnosti u okviru dominikanske liturgije božanskoga časoslova.
Nadalje, podastrijet će se i novi uvidi proizašli iz komparativne analize dalmatinskih dominikanskih antifonarija s tzv. kodeksom prototipom dominikanske liturgije, sastavljenim sredinom 13. stoljeća s ciljem da kodificira i uspostavi jedinstvenu liturgiju i glazbu koje su trebale vrijediti za sve dominikanske samostane diljem tadašnje Europe. U kojoj mjeri dalmatinski kodeksi slijede propisani predložak, i u kojoj su mjeri odmaci od prototipa eventualno narušili uniformnost dominikanske srednjovjekovne liturgije, samo su neka od pitanja na koja će se nastojati dati odgovor u ovome izlaganju, čime će se pak pokušati ispitati stabilnost liturgijsko-glazbenog repertoara propisanog u dominikanskome kodeksu prototipu i do dva stoljeća nakon njegova nastanka.
The office for the Feast of Corpus Christi is found in two Dominican sources originating from Dal... more The office for the Feast of Corpus Christi is found in two Dominican sources originating from Dalmatia of the 14th and 15th centuries. Although the office contains standard chant texts, beginning with the vespers antiphon Sacerdos in aeternum, the music of the chants considerably differs from the Dominican exemplar (the so called Humbert’s Codex) or any other Dominican source hitherto examined. It may thus be presumed that this office belongs to the chant repertory specific to the Dominican order in medieval Dalmatia. This is all the more interesting, given the prohibition of any interventions to be made in the codified Dominican liturgy.
Taking into consideration the long and complicated history of the Corpus Christ office, which officially entered the Dominican liturgy in 1323, this paper will attempt to present a detailed analysis of the Dalmatian version of the Sacerdos in aeternum office as found in the antiphonaries from Split and Badija. The main focus will be given to the musical component of the office, with the aim of tracing the sources which might have served as models in providing the standardized office texts with new melodies.
The standard version of the office for St. Dominic as found in Humbert's Codex (Rome, Santa Sabin... more The standard version of the office for St. Dominic as found in Humbert's Codex (Rome, Santa Sabina XIV L1) and in the Master General's manuscript in the British Library (Add. 23935) is taken as a point of departure for this paper. These codices, also known as Dominican prototypes, were copied in the middle of the 13th century and contain all texts and melodies of medieval Dominican liturgy. The main purpose for their production was to codify the previously diverse liturgy as well as to achieve a uniformed liturgy in all the convents throughout Europe. At the same time the regulations for the copying of notated Dominican liturgical books were drawn up, forbidding any changes of the texts and melodies.
The presence of the Dominican order on the territory of the present day Croatia and Poland may be traced back to the constitution of the Ordo praedicatorum. However, the medieval Dominican sources originating from these lands have been hardly mentioned in the chant literature. In order to draw attention to these sources, and furthermore, to examine the stability of the Dominican liturgy on a small scale, the main focus will be given to Croatian, i.e. Dalmatian and Polish versions of the office for St. Dominic, found in the late medieval antiphonaries. The minute analysis of texts and melodies, with the main goal to trace the deviations from the Prototype, will take into consideration the following aspects of chant and its notation: neume groupings, cleffings, accidentals, i.e. b-rotundum, and liquescent neumes.
In order to achieve, but also to retain the uniformity of the liturgy in all the convents through... more In order to achieve, but also to retain the uniformity of the liturgy in all the convents throughout Europe, the regulations for the copying of notated Dominican liturgical books were drawn up in the middle of the 13th century. Nowadays, these are to be found in the limited number of Dominican antiphonaries, including also the so called Prototype Codex (London, British Library, Add. 23935). It is however widely unknown that those same, but slightly varied regulations were preserved in the Dominican antiphonary from the 14th century, kept in the Dominican convent of St Catherine in Split (Croatia). Therefore, the regulations from Split will be commented together with the regulations preserved in the Prototype.
By means of the detailed comparative study of the Antiphonary from Split and the Prototype, the paper will also examine the stability and uniformity of the repertoire proposed by the regulations, considering the following questions: How does the Antiphonary from Split relate in form and content to the Prototype of the Dominican liturgy? What are the main changes in the chant repertoire of the Divine Office found in the Codex from Split? How strict the regulations were followed one century after compiling the Prototype? To what extent at all did the deviations from the Prototype disrupt the aspired uniformity of the Dominican Liturgy?
Srednjovjekovni liturgijsko-glazbeni kodeksi izloženi su u mnogim, bilo samostanskim ili dijeceza... more Srednjovjekovni liturgijsko-glazbeni kodeksi izloženi su u mnogim, bilo samostanskim ili dijecezanskim muzejima na području Dalmacije, te čine samo dio vrlo vrijednog, no nažalost nedovoljno poznatog inventara, čiji se veći dio čuva u crkvenim i samostanskim knjižnicama i arhivima. U okviru ovoga izlaganja ukratko će biti predstavljene vrste liturgijsko-glazbenih knjiga, način njihove obrade po suvremenim kodikološkim i muzikološkim, odnosno medievističkim standardima, zatim kratak pregled cjelokupne građe te detaljan prikaz nekoliko odabranih izvora. Osim upoznavanja javnosti i struke sa postojećim materijalom i stanjem „na terenu“ u Dalmaciji, cilj je izlaganja upoziriti i na problematiku (o)čuvanja ove vrijedne baštine, te predložiti moguća rješenja po uzoru na suvremene metode izlaganja i čuvanja rukopisa u inozemstvu.
Uploads
Articles and Book Chapters by Bartol (Hrvoje) Beban, osb
Prisutnost Reda propovjednika na području današnje Hrvatske možemo pratiti od 1221. godine kada se formira Ugarska dominikanska provincija koja je od svoga osnutka uključila i samostane podignute u Dalmaciji. Od današnjih sedam aktivnih dominikanskih samostana u toj južnoj hrvatskoj regiji, oni u Dubrovniku, Splitu, Bolu na Braču te Starome Gradu na Hvaru, čuvaju i srednjovjekovne liturgijsko-glazbene iluminirane kodekse. Pronalazimo ih, međutim, na još dvama, literaturi donedavna nepoznatim lokacijama: u Franjevačkome samostanu Male braće u Dubrovniku te u Arheološkome muzeju u Splitu.
U ovom su članku po prvi puta objedinjujuće predstavljeni svi poznati dominikanski koralni kodeksi sačuvani na području Dalmacije iz razdoblja kasnog srednjega vijeka, pa i kasnije, u slučaju dubrovačkih izvora. Sveukupno se radi o 29 izvora: 10 svezaka graduala, 14 svezaka antifonara, 1 liturgijskoj miscelanei s napjevima graduala, sekvencijara i antifonara, 1 misalu, 2 psaltira-himnala i 1 procesionalu. Analiza njihova liturgijskoga sadržaja rezultirala je revizijom često kasnih datacija kod većine izvora, pa je tako utvrđeno da su čak 24 izvora po svoj prilici nastala u razdoblju od pedesetak godina po završetku projekta standardizacije dominikanske liturgije iz 1256. godine pod vodstvom tadašnjega generala Reda Humberta iz Romansa. Za neke je izvore utvrđena ili potvrđena njihova provenijencija, pri čemu prednjači talijanska regija Emilija i Romanja iz koje je bilo izvezeno 15 koralnih svezaka naručenih po svemu sudeći za potrebe zadarskog (Badija III-V, X-XII), splitskog (Bol I-II) i dubrovačkog dominikanskog samostana (Dubrovnik 85-91). A hvarski samostan u Starome Gradu čuva primjerak graduala nastalog najvjerojatnije šezdesetih godina 13. stoljeća, i to u Parizu, u kojem su u približno isto vrijeme bila prepisana i tri kodeksa egzemplara dominikanske liturgije, što taj rukopis svrstava u raritete iz ranoga razdoblja standardizirane liturgije ovoga Reda.
Središnji dio rada posvećen je dominikanskim gradualima sačuvanima na području Dalmacije, a zbog preglednosti je pri njihovu izlaganju izabran format kataloškoga opisa srednjovjekovnog rukopisnog izvora, pri čemu je u obradi prednost dana liturgijskomu sadržaju te komentaru u kojem se donose pretpostavke i/ili zaključci o mjestu nastanka, odnosno uporabe dotičnog kodeksa. Pojedinačnim opisima prethodi sažeto izlaganje glavnih posebnosti dominikanskoga graduala (i sekvencijara), što se ovdje cjelovito donose po prvi puta s ciljem da olakšaju identifikaciju tog tipa liturgijske knjige dominikanskoga ususa.
U katalogu izložbe Dominikanci u Hrvatskoj iz 2011. godine dijagnosticirana je bila slaba istraženost glazbenih kodeksa dominikanskoga reda u Hrvatskoj (Hana Breko Kustura), te nedovoljno poznavanje početaka njegove glazbene aktivnosti (Ennio Stipčević), što se novim spoznajama u ovome radu iz temelja mijenja, i to upravo za razdoblje prvih stotinu godina dominikanske prisutnosti u Dalmaciji, čime se omogućuju ne samo nova, još detaljnija i sveobuhvatnija istraživanja liturgije i korala po dominikanskome ususu na hrvatskim prostorima, već i nove historiografsko-glazbene interpretacije, koje će ubuduće uključivati i doprinose Bijelih fratara te tako obogatiti postojeću sliku glazbene djelatnosti crkvenih redova u gradskim sredinama kasne srednjovjekovne Dalmacije.
In this paper the Dominican convent of Zadar has been established as a place where the medieval Dominican choir books from the Badija Collection of the friary of the Friars Minor in Dubrovnik had been used in liturgy. They consist of the two-volume gradual (Badija IV and Badija XII), which is given the main focus here, and the four-volume antiphoner (Badija III, Badija V, Badija X and Badija XI).
As an analytical tool the so-called Basistext-Methode is applied (as used by Josef Leisibach and Felix Heinzer), which consists of comparing a liturgical manuscript to an already known manuscript of the presumed liturgical tradition, with the aim of determining deviations from the base text. Here, one of the copies of the codex exemplar of the medieval Dominican liturgy – Rome, Santa Sabina, XIV L1, copied between 1256 and 1259 – served as the base text. The examination included the litanies of all the saints and the sanctoral of both the gradual and the sequentiary.
Zadar as the indisputable place of use of these choir books has been confirmed through analysis of the litanies in the gradual, which, together with customary local saints related to the Zadar ecclesiastical territory, also include the name of St. Plato the Martyr, the saint who was crucial for narrowing the provenance of the choir books to the Dominican convent in Zadar, abolished in 1807. The Zadar Dominicans moved into a Benedictine nun’s convent with the adjoining church of St. Plato, whose titular continued to be venerated even after the expansion and rededication of the church in 1280, this time as Dominican, with St. Mark as its patron saint, and later St. Dominic. Of the liturgical chant manuscripts of the Dominican convent in Zadar, until now only a fourteenth-century missal in the Benedictine convent of St. Mary was known.
Based solely on the liturgical content, one can conclude that the Badija choir books were created between 1256 and 1276, while on the basis of their illumination, Andrea Improta determined that they were produced between 1260 and 1280, probably in the Italian region of Emilia-Romagna, due to the similarities with the choir books illuminated by the Master of Bagnacavallo (in particular the antiphoner Bagnacavallo, Biblioteca Comunale Taroni, MSS. 1–3). This has also been corroborated by the paleographical analysis of the square chant notation which revealed the Badija choir books to be highly concordant with the five-volume antiphoner copied for the Dominicans of Imola around 1275 (Imola, Museo Diocesano, Corali 5, 6, 7, 9, 10).
In an attempt to narrow the proposed time span, the dates connected to the early history of the Dominican church and convent of Zadar appear to be of crucial importance. Since the Dominican church in Zadar was solemnly dedicated in 1280, it seems justified to propose the thesis that the Badija choir books were the property of the new church that year at the latest and may have been specifically commissioned for its dedication. In that case, they could be dated to the 1270s, as much as two centuries earlier than heretofore believed, since Demović had dated them to the fifteenth or sixteenth centuries, while Badurina placed them at the end of the fourteenth century. These medieval choir books from the abolished convent in Zadar have thereby become the earliest known testimony to the Dominican chant tradition in Dalmatia.
This study addresses aspects of the performance practice of the cantus fractus Masses with missing verses collected in three chant books, kantuali, and copied by the Franciscan friar Petar Knežević in 1767 and 1768 for the friaries in Sinj and Visovac of the Franciscan Province of the Most Holy Redeemer. In 1923, Ivan Ocvirk, Ladislav Gagulić and Josip Mantuani discussed shortening the liturgical texts in Knežević’s Mass ordinaries in the church music journal Sv. Cecilija, and proposed various substitutions for the missing verses. The discussion was resumed in 1984 by Miho Demović and touched upon again in 2017 in a major study on Knežević’s chant books by Hana Breko Kustura.
After having assessed the aforementioned views on this topic, the present author proposes that these cantus fractus Masses were intended to be sung alternatim, with the missing verses supplied by organ versets. The use of organ in alternatim with choir since the beginning of the fifteenth century, especially in Italy, is well documented. This practice became widespread after 1600, when it was approved and regulated in the Caeremoniale episcoporum of Pope Clement VIII. Knežević’s first chant book, Kantual A, was studied thoroughly, with particular regard to the sett ings of the Mass ordinary texts and the distribution of the verses between the choir and organ. Analysis indicates that the settings largely correspond to those commonly found in Italian organ masses, with some variations, especially in the Credo. Speculation on what the versets for Knežević’s Masses looked like is also offered, together with mention of a neglected source of the organ versets for the Divine Office, the Visovačka kajdanka, a music manuscript copied in Brescia in 1757 and acquired by the Franciscan convent in Visovac, which may also have been a source of the versets in Knežević’s Masses. The present study aims to show that the cantus fractus Mass settings in Knežević’s chant books actually belong to the tradition of the alternatim organ mass. As such, Knežević’s kantuali represent overlooked mid-eighteenth century sources of the organ mass, as previously documented at the beginning of the seventeenth century in organ tabulature from the town of Hvar in Dalmatia.
Books edited by Bartol (Hrvoje) Beban, osb
This collection of essays in honour of Dr Sanja Majer-Bobetko, the outstanding Croatian musicologist, is published on the occasion of her 70th birthday by the Croatian Musicological Society and the Department for History of Croatian Music of the Institute for History of Croatian literature, theatre and music of the Croatian Academy of Sciences and Arts. Majer-Bobetko has developed a series of domestic and international contacts with numerous colleagues, which is reflected in the contents of this collection. Thirty-six authors from Croatia, Bosnia & Herzegovina, Bulgaria, France, Ireland, Slovenia and the USA enthusiastically responded to the invitation to participate and to pay homage to Dr Majer-Bobetko’s scholarly activity, writing the thirty-three essays published here in Croatian, English, French and German. A very rich spectrum of topics is articulated in six thematic units which cover musical sources, the elaboration of archival materials, historiographical analyses, syntheses of styles, and the presentation of activities by individual composers and researchers, and/or their achievements covering a wide historical range from the Middle Ages to the twenty-first century. The collection ends with the biography and bibliography of the volume’s dedicatee, and the usual list of names.
Book Reviews by Bartol (Hrvoje) Beban, osb
Conference Presentations by Bartol (Hrvoje) Beban, osb
Nadalje, podastrijet će se i novi uvidi proizašli iz komparativne analize dalmatinskih dominikanskih antifonarija s tzv. kodeksom prototipom dominikanske liturgije, sastavljenim sredinom 13. stoljeća s ciljem da kodificira i uspostavi jedinstvenu liturgiju i glazbu koje su trebale vrijediti za sve dominikanske samostane diljem tadašnje Europe. U kojoj mjeri dalmatinski kodeksi slijede propisani predložak, i u kojoj su mjeri odmaci od prototipa eventualno narušili uniformnost dominikanske srednjovjekovne liturgije, samo su neka od pitanja na koja će se nastojati dati odgovor u ovome izlaganju, čime će se pak pokušati ispitati stabilnost liturgijsko-glazbenog repertoara propisanog u dominikanskome kodeksu prototipu i do dva stoljeća nakon njegova nastanka.
Taking into consideration the long and complicated history of the Corpus Christ office, which officially entered the Dominican liturgy in 1323, this paper will attempt to present a detailed analysis of the Dalmatian version of the Sacerdos in aeternum office as found in the antiphonaries from Split and Badija. The main focus will be given to the musical component of the office, with the aim of tracing the sources which might have served as models in providing the standardized office texts with new melodies.
The presence of the Dominican order on the territory of the present day Croatia and Poland may be traced back to the constitution of the Ordo praedicatorum. However, the medieval Dominican sources originating from these lands have been hardly mentioned in the chant literature. In order to draw attention to these sources, and furthermore, to examine the stability of the Dominican liturgy on a small scale, the main focus will be given to Croatian, i.e. Dalmatian and Polish versions of the office for St. Dominic, found in the late medieval antiphonaries. The minute analysis of texts and melodies, with the main goal to trace the deviations from the Prototype, will take into consideration the following aspects of chant and its notation: neume groupings, cleffings, accidentals, i.e. b-rotundum, and liquescent neumes.
By means of the detailed comparative study of the Antiphonary from Split and the Prototype, the paper will also examine the stability and uniformity of the repertoire proposed by the regulations, considering the following questions: How does the Antiphonary from Split relate in form and content to the Prototype of the Dominican liturgy? What are the main changes in the chant repertoire of the Divine Office found in the Codex from Split? How strict the regulations were followed one century after compiling the Prototype? To what extent at all did the deviations from the Prototype disrupt the aspired uniformity of the Dominican Liturgy?
Prisutnost Reda propovjednika na području današnje Hrvatske možemo pratiti od 1221. godine kada se formira Ugarska dominikanska provincija koja je od svoga osnutka uključila i samostane podignute u Dalmaciji. Od današnjih sedam aktivnih dominikanskih samostana u toj južnoj hrvatskoj regiji, oni u Dubrovniku, Splitu, Bolu na Braču te Starome Gradu na Hvaru, čuvaju i srednjovjekovne liturgijsko-glazbene iluminirane kodekse. Pronalazimo ih, međutim, na još dvama, literaturi donedavna nepoznatim lokacijama: u Franjevačkome samostanu Male braće u Dubrovniku te u Arheološkome muzeju u Splitu.
U ovom su članku po prvi puta objedinjujuće predstavljeni svi poznati dominikanski koralni kodeksi sačuvani na području Dalmacije iz razdoblja kasnog srednjega vijeka, pa i kasnije, u slučaju dubrovačkih izvora. Sveukupno se radi o 29 izvora: 10 svezaka graduala, 14 svezaka antifonara, 1 liturgijskoj miscelanei s napjevima graduala, sekvencijara i antifonara, 1 misalu, 2 psaltira-himnala i 1 procesionalu. Analiza njihova liturgijskoga sadržaja rezultirala je revizijom često kasnih datacija kod većine izvora, pa je tako utvrđeno da su čak 24 izvora po svoj prilici nastala u razdoblju od pedesetak godina po završetku projekta standardizacije dominikanske liturgije iz 1256. godine pod vodstvom tadašnjega generala Reda Humberta iz Romansa. Za neke je izvore utvrđena ili potvrđena njihova provenijencija, pri čemu prednjači talijanska regija Emilija i Romanja iz koje je bilo izvezeno 15 koralnih svezaka naručenih po svemu sudeći za potrebe zadarskog (Badija III-V, X-XII), splitskog (Bol I-II) i dubrovačkog dominikanskog samostana (Dubrovnik 85-91). A hvarski samostan u Starome Gradu čuva primjerak graduala nastalog najvjerojatnije šezdesetih godina 13. stoljeća, i to u Parizu, u kojem su u približno isto vrijeme bila prepisana i tri kodeksa egzemplara dominikanske liturgije, što taj rukopis svrstava u raritete iz ranoga razdoblja standardizirane liturgije ovoga Reda.
Središnji dio rada posvećen je dominikanskim gradualima sačuvanima na području Dalmacije, a zbog preglednosti je pri njihovu izlaganju izabran format kataloškoga opisa srednjovjekovnog rukopisnog izvora, pri čemu je u obradi prednost dana liturgijskomu sadržaju te komentaru u kojem se donose pretpostavke i/ili zaključci o mjestu nastanka, odnosno uporabe dotičnog kodeksa. Pojedinačnim opisima prethodi sažeto izlaganje glavnih posebnosti dominikanskoga graduala (i sekvencijara), što se ovdje cjelovito donose po prvi puta s ciljem da olakšaju identifikaciju tog tipa liturgijske knjige dominikanskoga ususa.
U katalogu izložbe Dominikanci u Hrvatskoj iz 2011. godine dijagnosticirana je bila slaba istraženost glazbenih kodeksa dominikanskoga reda u Hrvatskoj (Hana Breko Kustura), te nedovoljno poznavanje početaka njegove glazbene aktivnosti (Ennio Stipčević), što se novim spoznajama u ovome radu iz temelja mijenja, i to upravo za razdoblje prvih stotinu godina dominikanske prisutnosti u Dalmaciji, čime se omogućuju ne samo nova, još detaljnija i sveobuhvatnija istraživanja liturgije i korala po dominikanskome ususu na hrvatskim prostorima, već i nove historiografsko-glazbene interpretacije, koje će ubuduće uključivati i doprinose Bijelih fratara te tako obogatiti postojeću sliku glazbene djelatnosti crkvenih redova u gradskim sredinama kasne srednjovjekovne Dalmacije.
In this paper the Dominican convent of Zadar has been established as a place where the medieval Dominican choir books from the Badija Collection of the friary of the Friars Minor in Dubrovnik had been used in liturgy. They consist of the two-volume gradual (Badija IV and Badija XII), which is given the main focus here, and the four-volume antiphoner (Badija III, Badija V, Badija X and Badija XI).
As an analytical tool the so-called Basistext-Methode is applied (as used by Josef Leisibach and Felix Heinzer), which consists of comparing a liturgical manuscript to an already known manuscript of the presumed liturgical tradition, with the aim of determining deviations from the base text. Here, one of the copies of the codex exemplar of the medieval Dominican liturgy – Rome, Santa Sabina, XIV L1, copied between 1256 and 1259 – served as the base text. The examination included the litanies of all the saints and the sanctoral of both the gradual and the sequentiary.
Zadar as the indisputable place of use of these choir books has been confirmed through analysis of the litanies in the gradual, which, together with customary local saints related to the Zadar ecclesiastical territory, also include the name of St. Plato the Martyr, the saint who was crucial for narrowing the provenance of the choir books to the Dominican convent in Zadar, abolished in 1807. The Zadar Dominicans moved into a Benedictine nun’s convent with the adjoining church of St. Plato, whose titular continued to be venerated even after the expansion and rededication of the church in 1280, this time as Dominican, with St. Mark as its patron saint, and later St. Dominic. Of the liturgical chant manuscripts of the Dominican convent in Zadar, until now only a fourteenth-century missal in the Benedictine convent of St. Mary was known.
Based solely on the liturgical content, one can conclude that the Badija choir books were created between 1256 and 1276, while on the basis of their illumination, Andrea Improta determined that they were produced between 1260 and 1280, probably in the Italian region of Emilia-Romagna, due to the similarities with the choir books illuminated by the Master of Bagnacavallo (in particular the antiphoner Bagnacavallo, Biblioteca Comunale Taroni, MSS. 1–3). This has also been corroborated by the paleographical analysis of the square chant notation which revealed the Badija choir books to be highly concordant with the five-volume antiphoner copied for the Dominicans of Imola around 1275 (Imola, Museo Diocesano, Corali 5, 6, 7, 9, 10).
In an attempt to narrow the proposed time span, the dates connected to the early history of the Dominican church and convent of Zadar appear to be of crucial importance. Since the Dominican church in Zadar was solemnly dedicated in 1280, it seems justified to propose the thesis that the Badija choir books were the property of the new church that year at the latest and may have been specifically commissioned for its dedication. In that case, they could be dated to the 1270s, as much as two centuries earlier than heretofore believed, since Demović had dated them to the fifteenth or sixteenth centuries, while Badurina placed them at the end of the fourteenth century. These medieval choir books from the abolished convent in Zadar have thereby become the earliest known testimony to the Dominican chant tradition in Dalmatia.
This study addresses aspects of the performance practice of the cantus fractus Masses with missing verses collected in three chant books, kantuali, and copied by the Franciscan friar Petar Knežević in 1767 and 1768 for the friaries in Sinj and Visovac of the Franciscan Province of the Most Holy Redeemer. In 1923, Ivan Ocvirk, Ladislav Gagulić and Josip Mantuani discussed shortening the liturgical texts in Knežević’s Mass ordinaries in the church music journal Sv. Cecilija, and proposed various substitutions for the missing verses. The discussion was resumed in 1984 by Miho Demović and touched upon again in 2017 in a major study on Knežević’s chant books by Hana Breko Kustura.
After having assessed the aforementioned views on this topic, the present author proposes that these cantus fractus Masses were intended to be sung alternatim, with the missing verses supplied by organ versets. The use of organ in alternatim with choir since the beginning of the fifteenth century, especially in Italy, is well documented. This practice became widespread after 1600, when it was approved and regulated in the Caeremoniale episcoporum of Pope Clement VIII. Knežević’s first chant book, Kantual A, was studied thoroughly, with particular regard to the sett ings of the Mass ordinary texts and the distribution of the verses between the choir and organ. Analysis indicates that the settings largely correspond to those commonly found in Italian organ masses, with some variations, especially in the Credo. Speculation on what the versets for Knežević’s Masses looked like is also offered, together with mention of a neglected source of the organ versets for the Divine Office, the Visovačka kajdanka, a music manuscript copied in Brescia in 1757 and acquired by the Franciscan convent in Visovac, which may also have been a source of the versets in Knežević’s Masses. The present study aims to show that the cantus fractus Mass settings in Knežević’s chant books actually belong to the tradition of the alternatim organ mass. As such, Knežević’s kantuali represent overlooked mid-eighteenth century sources of the organ mass, as previously documented at the beginning of the seventeenth century in organ tabulature from the town of Hvar in Dalmatia.
This collection of essays in honour of Dr Sanja Majer-Bobetko, the outstanding Croatian musicologist, is published on the occasion of her 70th birthday by the Croatian Musicological Society and the Department for History of Croatian Music of the Institute for History of Croatian literature, theatre and music of the Croatian Academy of Sciences and Arts. Majer-Bobetko has developed a series of domestic and international contacts with numerous colleagues, which is reflected in the contents of this collection. Thirty-six authors from Croatia, Bosnia & Herzegovina, Bulgaria, France, Ireland, Slovenia and the USA enthusiastically responded to the invitation to participate and to pay homage to Dr Majer-Bobetko’s scholarly activity, writing the thirty-three essays published here in Croatian, English, French and German. A very rich spectrum of topics is articulated in six thematic units which cover musical sources, the elaboration of archival materials, historiographical analyses, syntheses of styles, and the presentation of activities by individual composers and researchers, and/or their achievements covering a wide historical range from the Middle Ages to the twenty-first century. The collection ends with the biography and bibliography of the volume’s dedicatee, and the usual list of names.
Nadalje, podastrijet će se i novi uvidi proizašli iz komparativne analize dalmatinskih dominikanskih antifonarija s tzv. kodeksom prototipom dominikanske liturgije, sastavljenim sredinom 13. stoljeća s ciljem da kodificira i uspostavi jedinstvenu liturgiju i glazbu koje su trebale vrijediti za sve dominikanske samostane diljem tadašnje Europe. U kojoj mjeri dalmatinski kodeksi slijede propisani predložak, i u kojoj su mjeri odmaci od prototipa eventualno narušili uniformnost dominikanske srednjovjekovne liturgije, samo su neka od pitanja na koja će se nastojati dati odgovor u ovome izlaganju, čime će se pak pokušati ispitati stabilnost liturgijsko-glazbenog repertoara propisanog u dominikanskome kodeksu prototipu i do dva stoljeća nakon njegova nastanka.
Taking into consideration the long and complicated history of the Corpus Christ office, which officially entered the Dominican liturgy in 1323, this paper will attempt to present a detailed analysis of the Dalmatian version of the Sacerdos in aeternum office as found in the antiphonaries from Split and Badija. The main focus will be given to the musical component of the office, with the aim of tracing the sources which might have served as models in providing the standardized office texts with new melodies.
The presence of the Dominican order on the territory of the present day Croatia and Poland may be traced back to the constitution of the Ordo praedicatorum. However, the medieval Dominican sources originating from these lands have been hardly mentioned in the chant literature. In order to draw attention to these sources, and furthermore, to examine the stability of the Dominican liturgy on a small scale, the main focus will be given to Croatian, i.e. Dalmatian and Polish versions of the office for St. Dominic, found in the late medieval antiphonaries. The minute analysis of texts and melodies, with the main goal to trace the deviations from the Prototype, will take into consideration the following aspects of chant and its notation: neume groupings, cleffings, accidentals, i.e. b-rotundum, and liquescent neumes.
By means of the detailed comparative study of the Antiphonary from Split and the Prototype, the paper will also examine the stability and uniformity of the repertoire proposed by the regulations, considering the following questions: How does the Antiphonary from Split relate in form and content to the Prototype of the Dominican liturgy? What are the main changes in the chant repertoire of the Divine Office found in the Codex from Split? How strict the regulations were followed one century after compiling the Prototype? To what extent at all did the deviations from the Prototype disrupt the aspired uniformity of the Dominican Liturgy?
Što se sačuvanih glazbenih izvora tiče, osim fragmenta himna Presvetome Trojstvu iz 3. st. (tzv. Himan iz Oksirinha) ne poznajemo ni jedan primjerak glazbe iz prvih stoljeća kršćanstva. No zato patristički izvori pružaju neprocjenjivo vrijedan uvid u kontekst prakticiranja glazbe u ranome kršćanstvu te omogućuju iščitavanja različitih stavova što ih je, bilo poganska bilo kršćanska, glazba provocirala, odnosno oblikovala. Upravo na temelju tih izvora, ovo će izlaganje sučeliti te pokušati objasniti različite forme što ih je glazba poprimala, često pritom balansirajući između poganskog i posvećenog: u okviru septem artes liberales, u biblijskoj egzegezi, u tijelima glazbenih instrumenata te konačno, u duhovnoj sferi, gdje ju nalazimo zaodjenutu u tzv. cor et vox topos.
"
Even upon the first insight into the contents of these chant books one can identify the Dominican provenance of the antiphoner in question, what is supported by the specific feasts honoring the Dominican saints together with some other characteristics typical for the Dominican liturgy of the Hours. There are no directly indicated elements of datation. However, the paleographic analysis has shown that it is possible to date its origins at the end of the 14th and beginning of the 15th century.
The most delicate and, at the same time, the most problematic questions are often connected with the provenance of the manuscript, i.e. the locality where it was in use. As it contains Dominican liturgy, the antiphoner in question must have originated from a monastery other than the Franciscan one on the island of Badija. Taking into account the turbulent history of Dominicans and Franciscans and their monasteries in medieval Dalmatia (due to the Ottoman-Turkish invasions) and by analyzing some later additions found in the antiphoner, the author puts forward arguments for the view that the antiphoner was being used as early as during the 15th century in one of the Dominican monasteries within the sphere of the influence of the free Republic of Dubrovnik.
The CANTUS index of the entire Dominican antiphoner has been made and will soon be available online.
"
Franciscans and Dominicans came to Dubrovnik in the late twenties of the 13th century. After Zadar, the friar monasteries of Dubrovnik have the richest collections of liturgical chant books. In the Franciscan monastery of Little Brethren one can find about twenty manuscripts written in the Italian gothic rotunda script with the square chant notation. It is most likely that they were brought to the monastery after the earthquake, initially from the abolished monastery at the nearby Daksa Island, while the second group of codices, which is today kept in the monastery collection, was transported from the Franciscan monastery at the Badija Island near Korčula after World War II.
By examining the Little Brethren monastery collection of chant books, which is partly of Dominican provenance, the paper will try to place this type of medieval music source in a wider context, referring to the other Dalmatian mendicant monasteries with similar sources, bearing in mind the proximity of Italy as the centre of the mendicant movement."
Considering this complex political situation on the territory of today’s Croatia, and taking the rule of the Jagiellonian dynasty as the point of reference, the paper displays the different layers of Renaissance musical culture, including musical forms of vocal polyphony and popular urban song as well as the activity of Croatian music printers and music theorists. Moreover, the consideration is also given to migrations of musicians and unequal conditions for music production in different Croatian towns, which led to diverse forms of musical life."
Projekt je iniciralo Oratorijsko društvo crkve sv. Marka, a financijski su ga potpomogli Ministarstvo kulture Republike Hrvatske i Grad Zagreb. Sređivanje i katalogizacija realizirani su većim dijelom u okviru kolegija Glazbena arhivistika na Odsjeku za muzikologiju Muzičke akademije Sveučilišta u Zagrebu.
Sačuvane muzikalije svjedoče o izvrsnoj djelatnosti zbora na području crkvene glazbe u razdoblju od početka 20. stoljeća do Drugoga svjetskog rata, u punome zamahu cecilijanskoga pokreta, što je u Zagrebu bio naišao na osobito angažirane poklonike. Uz povijest djelovanja Oratorijskoga zbora sv. Marka te pokušaj rekonstrukcije glazbovanja u crkvi sv. Marka prije osnutka Zbora, glavni će dio predavanja biti posvećen predstavljanju načina katalogizacije glazbene građe Arhiva te analizi sređenog fonda, iz koje će proizaći dosad nepoznati podaci o količini građe i njezinoj provenijenciji te o zastupljenim skladateljima i glazbenim vrstama što su se izvodile.