1. Corona Aurea, concerto
2. Königsberga, concerto
3. Sentinella, concerto
4. Spandesa, concerto
5. Nova Casa, concerto
6. Chromatica
7. Concerto Terzo
8. Concerto II
9. Concerto Primo
10. Berlinesa, concerto for 2 violins, viola da gamba & continuo
11. Bentrovata, concerto
12. Canzon Quinta
13. Canzon 3
14. Canzon Prima
15. Canzona Seconda

Ensemble Mensa Sonora:
Joël Cartier (Violin), Francoise Couvert (Violin), Yannick Varlet (Organ), 
Yannick Varlet (Harpsichord), Pascale Boquet (Chitarrone), Pascale Boquet (Theorbo)
Jean Maillet – director, violin

Polish composer Adam Jarzebski was one of the most prominent musicians in Warsaw in the first half of the 17th century. Born in the town of Warka, which is located about 40 miles south of Warsaw, Jarzebski made his debut at the Berlin-based court of John Sigismund, Elector of Brandenburg in 1612. In 1615, Jarzebski was permitted to leave for a year in order to study music in Italy, the center of the latest musical fashions and the birthplace of the then-emerging Baroque style. After a year or two spent in sunny Italy, however, Jarzebski decided to bypass Berlin and made straight for Warsaw, where he worked as a musician until he signed his last will and testament on December 26, 1648, presumably dying within a few days.

Adam Jarzebski's complete known works were collected and published in 1989, though a handful of his pieces appeared somewhat earlier, including a two-voice Canon that appeared in an Italian print in 1643. The main manuscript source of his work is headed by the rubric Canzoni é concerti; compiled in 1627, it contains 27 instrumental pieces and is considered a principal resource for the understanding of early, Central European Baroque chamber music. Certain pieces also exist in keyboard tablatures as well. They demonstrate the impact of the Italian music that Jarzebski studied and some pieces even utilize known compositions by Italian composers as a sort of jumping off point. Jarzebski also developed a fondness for the strange, highly chromatic harmony favored by Monteverdi, Caccini, and others, perhaps best noted in his three-part composition Chromatica. --- Uncle Dave Lewis

Kompozytor, skrzypek i wierszopis. Urodził się przed 1590 w Warce nad Pilicą w rodzinie mieszczańskiej Stanisława i Katarzyny. Cieszył się wielkim uznaniem Zygmunta III, od którego otrzymał w darze m.in. dzierżawy kilku młynów i dożywotnie wójtostwo podwarszawskiej wsi Piaseczno. 5 lutego 1648 nadano mu obywatelstwo miasta, jako szanowanemu i długoletniemu mieszkańcowi Warszawy. Zmarł pod koniec 1648 lub na początku 1649.

Dorobek kompozytorski Adama Jarzębskiego obejmuje: zbiór Canzoni e Concerti - 27 kameralnych utworów instrumentalnych (numer 7 jest częścią drugą numeru 6), którego rękopiśmienna kopia z 1627 przechowywana była do czasów II wojny światowej w Bibliotece Miejskiej we Wrocławiu (obecnie znajduje się w Staatsbibliothek der Stiftung Preußischer Kulturbesitz w Berlinie), a także Missa sub concerto, z której zachowany jest tylko głos basowy (w Staatsbibliothek der Stiftung Preußischer Kulturbesitz w Berlinie) oraz kanon 2-głosowy (opublikowany w Xenia Apollinea, dodatku nutowym do Cribrum musicum ad triticum Siferticum Marco Scacchiego, Wenecja 1643).

W Canzoni e Concerti Jarzębski prawie nigdzie nie precyzuje rodzaju instrumentów, jakie mają być zastosowane w jego utworach. Używa terminologii wokalnej - głosy wysokie określane są nazwami: soprano lub canto, w utworach 4-głosowych - vox prima, secunda, terza, zaś głosy niższe nazywane są tenore lub basso. Z instrumentów wymienia tylko bastardę (instrument basowy o 6-ciu, później 7-u strunach, będący członem pośrednim między rodziną gamb i lir), puzon i fagot. Wszystkie głosy wysokie mogą być wykonane na skrzypcach. --- culture.pl

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1. Corona Aurea, concerto
2. Königsberga, concerto
3. Sentinella, concerto
4. Spandesa, concerto
5. Nova Casa, concerto
6. Chromatica
7. Concerto Terzo
8. Concerto II
9. Concerto Primo
10. Berlinesa, concerto for 2 violins, viola da gamba & continuo
11. Bentrovata, concerto
12. Canzon Quinta
13. Canzon 3
14. Canzon Prima
15. Canzona Seconda

Ensemble Mensa Sonora
Jean Maillet – conductor

Baroque instrumental music at the Court in Warsaw

Polish composer Adam Jarzebski was one of the most prominent musicians in Warsaw in the first half of the 17th century. Born in the town of Warka, which is located about 40 miles south of Warsaw, Jarzebski made his debut at the Berlin-based court of John Sigismund, Elector of Brandenburg in 1612. In 1615, Jarzebski was permitted to leave for a year in order to study music in Italy, the center of the latest musical fashions and the birthplace of the then-emerging Baroque style. After a year or two spent in sunny Italy, however, Jarzebski decided to bypass Berlin and made straight for Warsaw, where he worked as a musician until he signed his last will and testament on December 26, 1648, presumably dying within a few days.

Adam Jarzebski's complete known works were collected and published in 1989, though a handful of his pieces appeared somewhat earlier, including a two-voice Canon that appeared in an Italian print in 1643. The main manuscript source of his work is headed by the rubric Canzoni é concerti; compiled in 1627, it contains 27 instrumental pieces and is considered a principal resource for the understanding of early, Central European Baroque chamber music. Certain pieces also exist in keyboard tablatures as well. They demonstrate the impact of the Italian music that Jarzebski studied and some pieces even utilize known compositions by Italian composers as a sort of jumping off point. Jarzebski also developed a fondness for the strange, highly chromatic harmony favored by Monteverdi, Caccini, and others, perhaps best noted in his three-part composition Chromatica. --- Uncle Dave Lewis, Rovi

Aż chciało by się powiedzieć – „… to oni tam też słuchali muzyki? Oprócz naparzania się z szablami, mieczami, czy innym ustrojstwem?” Wygląda na to, że tak…

Z Adamem Jarzębskim spotkaliśmy się przy okazji recenzji albumu Baroque in Poland nagranego niedawno przez Alla Polacca Ensemble. Utwór, który się znalazł na płycie zawierającej muzykę barokową powstałą na ziemiach polskich to właśnie jedna z części Canzoni e Concerti Jarzębskiego. Napisałem wtenczas, że utwór kompozytora z Piaseczna (bo w tej miejscowości w właśnie sprawował on funkcję wójta) to jedna z moich ulubionych kompozycji. I zdania nie zmieniam, przeciwnie, utwierdza mnie w tym album wydany nakładem Arion-Vérany w 1999 roku.

Bo tym razem jednak za muzykę polskiego kompozytora zabrał się Jean Maillet, skrzypek koncertujący między innymi z Herreweghem czy Christiem: jego zespół Mensa Sonora Ensemble słynie z wykonywania tych właśnie „mniej” znanych utworów barokowych kompozytorów, a Jarzębski jest właśnie jedną z takich zapomnianych postaci.

Niestety, takie płyty, jak recenzowana splendoru Jarzębskiemu nie przyniosą. Nie dlatego, że muzyka jest słaba, tudzież kiepsko wykonana. Przeciwnie – ani muzykom, ani ich ostatecznemu dziełu w postaci krążka CD niczego zarzucić nie można. Ta muzyka ma w sobie faktycznie pewien spokój warszawskiego dworu królewskiego (gdzie Jarzębski był muzykiem kapeli królewskiej i zarazem nauczycielem muzyki znanych osobistości ówczesnej Warszawy). Słychać też w kompozycjach mistrza znad Pilicy swego rodzaju zadumę. Coś wybitnie wisi w powietrzu między nutami. Może to jakieś przeczucie, że mimo tego, iż I Rzeczypospolita targana była przez różne zawieruchy, to Warszawa jeszcze przez jeszcze niespełna trzydzieści lat miała pozostać wolna od wojen? Kto wie…

W każdym razie poszczególne części Canzoni e Concerti wywołują niezwykłe emocje w słuchaczu. Drzemią w nich pałacowe intrygi, słychać szczęk szabel na rubieżach Królestwa, niesie się z nich krzyk szlacheckich gardeł, wołających o kolejne przywileje i … wybrzmiewa też spokojne i ciche popołudnie w małym dworku na Mazowszu, gdzie dzieci biegają dookoła i generalnie „…miło dumać wśród dźwięku pszczół nad bytowaniem, czy się zboża wykłoszą, a czy kuśka stanie…” jak śpiewał Jacek Kaczmarski.

Piękna muzyka. Świetnie zagrana. Ale ani krztyny w niej pikanterii, żadnych eventów czy skandali. Mała wytwórnia, muzycy znani tylko pasjonatom – w taki sposób właśnie ląduje się na takim blogu, jak Klasyczna Niedziela. Polecam. --- classicsunday.wordpress.com

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CD1
1 	Concerto primo a 2 			2:47 	
2 	Concerto secondo a 2 			1:53 	
3 	Concerto terza a 2 			3:12 	
4 	Concerto quarto a 2 			4:30 	
5 	Diligam Te Domine, concerto a 2 		5:08 	
6 	Cantate Domino, concerto a 2 			4:02 	
7 	Cantate Domino, Secunda Pars a 2 			4:27 	
8 	In Deo Speravit, concerto a 2 			4:18 	
9 	In Te Domine Speravit, concerto a 2 			5:26 	
10 	Susanna videns, concerto a 2 			5:32 	
11 	Venite exultemus, concerto a 2 			5:58 	
12 	Cantate Joh. Gabrielis, concerto a 2 			3:40 	
13 	Corona aurea, concerto a 2 			5:37 	11

CD2
1 	Nova casa, concerto a 3 			2:32 	
2 	Küstrinella, concerto a 3 			2:13 	
3 	Sentinella, concerto a 3 			3:44 	
4 	Berlinesa, concerto a 3 			3:57 
5 	Chromatica, concerto a 3 			3:57 	
6 	Spandesa, concerto a 3 			2:40 	
7 	Königsberga, concerto a 3 			3:37 	
8 	Tamburetta, concerto a 3 			2:38 	
9 	Bentrovata, concerto a 3 			3:07 	
10 	Norimberga, concerto a 3 			6:20 	
11 	Canzon prima a 4 			2:31 	
12 	Canzon seconda a 4 			2:04 	
13 	Canzon terza a 4 			3:19 	
14 	Canzon quarta a 4 			2:24 	
15 	Canzon quinta a 4 			2:23

Bruce Dickey – cornetto
Michael Fentross - teorba, Alberto Grazzi – bassoon
Charles Toet – trombone
Janneke Guittart - violin 
Marinette Troost – violin
Viola de Hoog – cello
Richte van der Meer - viola da gamba
Reiner Zipperling - viola da gamba
Titia de Zwart - viola da gamba
Jacques Ogg – organ
Anthony Woodrow – keyboard
Lucy van Dael – violin and direction

Adam Jarzębski, an eminent Polish composer, is a typical figure of the Late Renaissance. He was a violonist in the cappella of Johann Sigimund, Elector in Brandenburg, in Berlin, then in the Chapel Royal in Warsaw, and a composer of instrumental pieces. He was also engaged in the erection of the Royal Palace at Ujazdow and was the author of the rhymed description of seventeeenth century Warsaw, A Gift from a Journey or a Description of Warsaw. The earliest reference to Jarzębski as a composer is found in Mattheson, in 1740. There his name is cited among the names of composers of 50 works written by the members of Wladyslaw IV's Chapel Royal. In 1890 Emil Bohn discovered a manuscript with compositions by Jarzębski and described it. Then, after Bohn, it was Robert Eitner who mentioned the works of the composer. Curt Sachs's research contributed some important biographical details on Jarzębski, especially on his stay in Berlin and Italy.

In Poland Jarzębski is mentioned in the first half of the nineteenth century, but only as the author of Gosciniec albo opisanie Warszawy [A way, or the description of Warsaw], from 1642. It was only in 1909-11 that publications by Henryk Opienski and Zdzislaw Jachimecki appeared on Jarzębski, as a musician and composer. An extensive and detailed monograph was published by Jan Jozef Dunicz in 1938.

Adam Jarzębski was born before 1590 at Warka on the Pilica. We have no information on the composer's youth, nor have any details of his studies been preserved. The first known date connected with Jarzębski as a musicians is the year 1612 when he became a violonist in the capella of the Elector of Brandenburg in Berlin. Jarzębski probably remained there until 1619, i.e. until the Elector's death, after which the capella was considerably reduced. The composer's stay in this musical environment had undoubtedly a decisive influence on his own creative work. There he had the opportunity of becoming acquainted with the Western music of that time, vocal and - in particular - instrumental, especially since the Berlin capella was then enjoying its most successful period. Nicolaus Zangius, an eminent choral composer, was at the head of cappella, its members were excellent Italian singers, such as Bernando Pasquini Grassi, Alberto Maglio.

In 1615 Jarzębski received leave of absence from his duties in the cappella and went to Italy, where he had the opportunity to acquaint himself with Italian music. We have no exact information as to when the composer became a member of the Chapel Royal of Sigismund III. The records of 1621 show that he had been engaged in this capella ab aliquot iam annis, and so he had probably joined it in 1619, directly after leaving the Elector's cappella. Jarzębski remained in the cappella of Sigismund III, and afterwards Wladyslaw IV, until the end of his life, and whole of his musical output comes presumably from the period when he was working there. Thanks to his connections and his position at the Royal Court, Jarzębski's importance increased among the rich Warsaw bourgeoisie. He became a member of the municipal patriciate of the capital and on 5th February 1648 the name of Jarzębski was included in the Regestrum civium juratorum Antiquae Varsaviae. In the same year, in December, the composer dictated his last will, bequeathing of 1649, after thirty years' service at the Royal Court.

During the composer's lifetime only one composition was printed, the canon entitled More veterum, in the publication of Marco Scacch, Cribrum musicum, 1643. The other instrumental compositions were preserved until the last war in manuscript no. 111 of the former Municipal Library in Wroclaw. The inscription on the title-page of the manuscript was Canzoni e Conzerti \ A Due, Tre e Quattro Voci, \ Cum Basso Continuo \ Di \ Adamo Harzebsky \ Polono \ Anno \ MDCXXVII. On account of its exclusively instrumental character Jarzębski's output holds an important position in the history of Polish music. The significance of his work is still more enhanced by the fact that only a small part of Polish instrumental music from the first half of the seventeenth century has been preserved. We have no monuments of this kind apart from the seven canzoni by Marcin Mielczewski and a canzona by Andrzej Rohaczewski. The Canzoni e Concertii by Jarzębski are evidence of the continuity and development of instrumental music in Poland. In comparison with the fantasias by Mikolaj Zielenski, or with the compositions for lute by Diomedes, the Canzoni e Concerti show great progress in the development of form and instrumental technique. --- usc.edu/dept/polish_music/composer/jarzebski.html

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