Ludwika Maadera

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The data we have about the life and activity of Ludwik Maader, conductor of the Jasna Góra ensemble from 1784 to 1798, is excep- tionally scarce. He came to the Pauline con- vent as a lay musician from an ensemble in Dub, near Olomuniec in Moravia, where he worked from 1777 to 1783. His departure from Jasna Góra could have been dictated by a difficult political situation, deteriorating economic conditions at the convent, and reduction in the conductor’s pay. As Kapel- lmeister, Maader took great care to enlarge and update the ensemble's repertoire, copy- ing works of foreign as well as Polish artists (among the latter: Engel, Or3owski and ̄ebrowski). His works, in turn, ended up in the repertoire of ensembles in Gidle and Gostyñ. Maader’s oeuvre, maintained in Classical style, shows him to be an artist of very good compositional technique, decisively distinguishing himself in the Jasna Góra ensemble of the end of the 18th century. Some of the works require great technical ability on the part of performers; other – simpler – ones are rather of utilitarian char- acter. In the Jasna Góra archives, 19 of Maader’s works remain to this day, which are arrangements of liturgical texts (among others, the mass and the litany) as well as non- liturgical, some, in the Polish language (e.g. the mazurka Tusz1c pasterze [While Shepherds Waited]). The worship composition Laudate Dominum, maintained in the key of F major, is a mass work intended for the offertory. Maader, as Gotschalk later

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