Great Musical Forms Dedicated to St Teresa of Avila
Piotr Towarek
Uniwersytet Warmińsko-Mazurski w OlsztynieAbstract
The article discusses a selection of the great musical forms dedicated to St Teresa of Avila (d. 1582). The intensification of the musical creation of mass and oratorio-cantata in honour of the Saint took place after her beatification (1614) and canonisation (1622). This process was linked to the distribution of the mystic's writings, especially among the European aristocracy of the 17th-18th centuries, which resulted in piety and the need to commission musical works from composers' workshops. This is exemplified by Baroque motets (Charpentier), as well as oratorios (Badia, Gaffi), hymns, litanies and antiphons from this period (Tůma, Brentner, Reichenauer, Scheibl). These compositions testify to the development of the cult of St Teresa in the countries of Europe, but especially in the Habsburg monarchy, which is also confirmed by the classicist Theresienmesse of 1801 (M. Haydn). We find similar traces of the memory of the Saint in the mass works of 20th century composers. (Dieboldt, Wiltberger, Surzyński, Walkiewcz, Heuler, Civil y Castellví, Willan, Coelho, Cols, Rubbra. From the same time, and also from the 21st century, come oratorio and cantata compositions born in the space of Spanish musical culture (Halffter, Nieto, Martínez Garvín, Villar Pérez, Balada, de Olavide, García Morante, Díez, Otero, Arzamendi), as well as those shaped on Italian (Menotti), British (Oldham), Puerto Rican (Sierra) or Polish (Małkowicz) grounds. These works, based on texts by St Teresa of Jesus, constitute a very important source of knowledge of her writings, theological thought and spirituality. The collection of selected Theresian compositions gathered in this article enriches the image of the mystic of Avila, entering the current of research in the field of aspectual hagiology.
Keywords:
St Teresa of Avila, music, motet, mass, oratorio, aspect hagiologyReferences
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