Zabielų (Valinčių) kapelos repertuaro palikimas Vilniaus universiteto bibliotekos fonduose

LTDalis Vilniaus universiteto bibliotekos fonduose esančių XVIII a. pabaigos - XIX a. pirmosios pusės muzikos kūrinių partijų rinkinių anksčiau priklausė Zabielų (Valinčių) dominikonų bažnyčios ir vienuolyno kapelos bibliotekai. Aptariamu laikotarpiu Valinčių miestelis, greta kurio ir buvo Zabielų dvaras, gyveno labai aktyvų kultūrinį gyvenimą: čia veikė teatras, buvo dominikonų vienuolynas ir šalia jo mokykla, muzikavo profesionali bažnytinė kapela, grojusi ir pasaulietinę muziką. Tikėtina, kad minėtos kapelos repertuaro rankraščių palikimas į Vilniaus universiteto biblioteką pateko po 1864 m. sukilimo, kai buvo konfiskuoti sukilėliams priklausę dvarai ir uždaromi vienuolynai. Zabielų (Valinčių) kapelos muzikiniams rankraščiams dar nebuvo skirtas atskiras dėmesys. Straipsnyje naudojami istoriografinis, aprašomasis ir šaltiniotyros metodai. Raktažodžiai: XVIII a. pabaiga - XIX a. pirmoji pusė, bažnyčia, Zabielai (Valinčiai), vokalinė instrumentinė kapela, repertuaras, Vilniaus universitetas, rankraščiai. [Iš leidinio]

ENMost of the information on church bands that existed in the 18th and 19th centuries and their repertoire comes from surviving musical manuscripts. They are very important and noteworthy sources. One such example is a collection of musical manuscripts in the Manuscripts Section of the Vilnius University (VU) Library (VUB RS, F-45). The study that has been carried out suggests that some of the musical manuscripts collected by the VU, in which the place of composition or transcription is recorded as Zabielai (Zabiały) once belonged to the band of the Dominican church and monastery that was active in the town of Valinciai (Валынцы, now part of Belarus) in Vitebsk Oblast. In discussing these manuscripts, it would be justified to use both place names, especially since Polish historiography uses Zabiały (Wolyńce) and Belarusian historiography uses Забелы (Валынцы), Zabielai being the main name in both instances. It is also noteworthy that Dominican documents and musical manuscripts identify precisely the name Zabiały, and the other one (Valinciai) would only geographically be more accurate. The musical heritage of Zabielai (Valinciai) testifies to the distinctive diversity of the repertoire of this 19th century church band. It is surprising how widely known and widely performed the works of Western European composers were: pieces by Czech composers Frantisek Xaver Brixi (1732-1771) and Antonio Laube (1718-1784), Italians Giovanni Battista Pergolesi (1710-1736), Luigi Cherubini (1760-1842) and Antono Diabelli (1781-1858), as well as the Viennese classics Franz Joseph Haydn (1732-1809), Wolfgang Amadeus Mozart (1756-1791), Ludwig van Beethoven (1770-1827), Ignaz Joseph Pleyel (1757-1831) alongside other liturgical and secular works. All of them are to be associated with the emerging ideas of Enlightenment and an increasingly democratic approach to art.It can be assumed that in the second half of the 18th century, after the construction of the new church of St George in Zabielai, a large vocal and instrumental band was formed that was able to perform all these works. At the beginning of the 19th century, the musical direction of said band became clear, focusing on instrumental and Classical period music. In addition to compositions by renowned European composers, the church in Zabielai (Valinciai) also featured works by local composers. Among the musical manuscripts belonging to the band, one can find collections of liturgical scores by composers such as Józef Elsner (1769-1854), Florjan Bobrowski (ca. 1779-1846), Józef Kozlowski (1757-1831) and others. Notes left in the sheet music indicate that the choir of the band in question comprised boys and men (mostly performing three-voice choir parts), while in 1834, in addition to the older wind instruments (the clarino and old-style French horns), the band was also already equipped with more modern clarinets, trumpets and French horns; sheet music transcribed in 1840 mentions an alto, new flutes, oboes and a bassoon. In the first half of the 19th century, only church bands that received large financial donations could boast such instruments. There is no doubt that at the turn of the century, the activities and repertoire of the Zabielai (Valinciai) church band were significantly influenced by the band leaders who worked there. Information about them is very fragmented and can only be found in sheet music they had transcribed by hand but not always signed. At the beginning of the 19th century, the position of the band leader was held by M. Smogonowski (only the initial of his first name is known), and later by Kasakowski (first name unknown).Around 1830, Michal Kowalewski (dates of birth and death unknown) arrived in Zabielai (Valinciai) to work as the band leader. He was different from the earlier kapellmeisters in that he always signed his name or at least his initials on every transcript of the original score next to the name of the composer. Most of the works by Polish and Western European composers that were adapted and arranged for the band to perform were instrumental compositions: sonatas, serenades, symphonies and overtures. So far, there is only a limited number of manuscripts whose origin can be firmly identified as Zabielai (Valinciai), as confirmed by additional notes in the sheet music or recorded dates of the transcript or performances, but even this limited collection of manuscripts features a variety of genres, forms and composers. One may conclude that the musical manuscripts kept at the VU Library reflect the general trends in how the repertoire of church vocal instrumental bands was being shaped in the 19th century. More detailed research is required to confirm that other musical manuscripts from the late 18th - early 19th century in the VU Library also belonged to the Zabielai (Valinciai) church band. Keywords: late 18th-early 19th century, church, Zabielai (Valinciai), vocal instrumental band, repertoire, Vilnius University, manuscripts. [From the publication]

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