Kobierkowicz, Józef Franciszek (EN)

Kobierkowicz, Kobierkiewicz, Józef Franciszek, his other given names are known only by the initials A.I., 18th century, Polish organist, and composer. His name appears irregularly on the payrolls of the Jesuit dormitory in Krakow in 1713, 1715, and 1716, and the accounts there indicate that in April 1721 he was paid a fee for several compositions. From 1731 to 1736, he was a lay organist with the Pauline Fathers at Jasna Góra in Częstochowa; during this period, he married twice. He is also mentioned in monastery documents in December 1751.

Most of Kobierkowicz’s surviving compositions are small pastorellas for Christmas. In five of them, his predilection for da capo forms (both in solo compositions and those intended for larger ensembles) is noteworthy. All are preceded by an instrumental introduction presenting the melodic material, which is then taken up by the vocal parts. In these works, Kobierkowicz introduces stylistic devices referring to folk music, including pedal notes in the bass imitating shepherd’s instruments, a drone in the fifth in the accompanying violins, a melody built on a triad, an odd meter of 6/4, 3/2, melodic phrases reminiscent of mazurkas and obereks, and unison passages played by the entire ensemble. More elaborate polyphonic textures are used less frequently (e.g. Musae piae).

Ego Mater and Iustus ut palma represent a small ensemble church cantata in its three-part structure. Each of the three sections functions as an independent unit, differing in tempo, meter, and – in Ego Mater – key. In the middle sections, the composer introduces a solo melody (or duet) of a distinctly lyrical, expressive character. Particularly significant is the second part of Ego Mater, where the solo voice alternates with the solo violin: the melodic line of the instrument does not repeat or anticipate the melody of the vocal part (as is still the case in pastorellas, and was established practice in the 17th century), but co-creates the melodic line with it. In the outer sections, Kobierkowicz uses a specific technique in the accompanying instrument parts: figurations, arpeggiated triad passages, Albert-bass-type patterns; this points to the process of emancipation of the instrumental factor in the field of sacred vocal-instrumental music.

Both surviving arrangements of the psalm Laudate pueri are extensive works with a cantata structure and a high degree of autonomy of individual parts. In the case of the composition in B flat major, whose attribution is uncertain (two different authors’ names appear on the cover), a rondo form was used – an imitative tutti passage returns three times, each time with a different text.

Literature: H.W. Kaufmann The Life and Works of Niola Vicentino (1511–c. 1576), Rome «Musicological Studies and Documents» XI, 1966; D. Harran Vicentino and his Rules of Text Underlay, “The Musical Quarterly” LIX, 1973; M.R. Maniates Vicentino’s „Incerta et occulta scientia” Reexamined, “Journal of the American Musicological Society” XXVIII, 1975; V. Rippe Nicola Vicentino – sein Tonsystem und seine Instrumente, “Die Musikforschung” XXXIV, 1981; F. Sumner The „Stylized canzone”, in: Essays on the Music of J.S. Bach and Others Divers Subjects, commemorative book of G. Herz, ed. R. Weaver, Louisville (Kentucky) 1981; M.R. Maniates What’s in a Word? Lnterpreting Vicentino’s Text, in: Music and Civilization, commemorative book of P.H. Lang, ed. E. Strainchamps and others, New York 1984; M.R. Maniates Bottrigari versus Sigonio. On Vicentino and His