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Repertory Migration in the Czech Crown Lands, 1570–1630 By Scott Edwards A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Kate van Orden, Chair Professor Davitt Moroney Professor Niklaus Largier Fall 2012 Repertory Migration in the Czech Crown Lands, 1570–1630 Copyright 2012 by Scott Edwards! Abstract Repertory Migration in the Czech Crown Lands, 1570–1630 by Scott Edwards Doctor of Philosophy in Music University of California, Berkeley Professor Kate van Orden, Chair This dissertation studies the production and transmission of musical repertories in the Czech Crown Lands between 1570 and 1630. The region had long been closely linked to bordering lands, but immigration from other countries to the region escalated in the final decades of the sixteenth century with the arrival of the imperial court in Prague, particularly from Spain, Italy, and the Low Lands. The period I have chosen for study thus encompasses this time of unusually intensive travel, migration, and cultural exchange, with the reign of Archduke Ferdinand of Tyrol as King of Bohemia at the beginning, and the start of the Thirty Years War at its end. My object has been to track cultural movement and the mobility of musicians, performance styles, and genres that accompanied and even precipitated it. I treat music at the court of the Habsburgs and the tastes we can presume reigned there among the international group of nobles that made up court society. But as a work of cultural history, this study also reaches out beyond the Rudolfine court to take stock of the broader cultural terrain of the Czech Crown Lands. Chapter 1, “The Music Book Market in Bohemia and Moravia,” gives a broad account of the transmission of musical texts in manuscript and print, including studies of local printers, the distribution of music books printed in Germany and Venice, booksellers in Prague and beyond, and what we can discern of the collecting of music by literary brotherhoods, Latin schools, churches, monasteries, and private individuals not directly associated with the court. Chapter 2, “Italians in Bohemia,” circles in closer to the court and its strikingly Italianate tastes in music (since many nobles studied abroad in Italy). I begin with a brief history of Prague’s substantial Italian community, which included stonemasons, architects, and merchants in addition to the Italian musicians at court, among whom Italian trumpeters held a particular monopoly. The core of the chapter studies the Italianate output of court composers, both Italians and northerners, with detailed studies of madrigals by Alessandro ! 1! Orologio and the canzoni napolitane of Giovannni Battista Pinello. Their local production for the court at Prague shows how they modified their approach to this Italian genre to better suit the tastes of their central European audiences, which included courtiers and consumers of print. Chapter 3, “The Reception of Italian Music in Bohemia and Moravia,” takes in six decades of Italian music reception in Bohemia and Moravia with specific concentration on court culture. Beginning with the wedding of Maximilian II’s daughter Anna to Philipp II, King of Spain, in 1570 and ending with the coronation of Ferdinand II’s wife Eleonora Gonzaga and his son Ferdinand as King and Queen of Bohemia in 1627, I show the essential role played by monarchs and the Austrian and Czech nobility in instilling a local taste among aristocrats for Italian music and theater, including the commedia dell’arte. Chapter 4, “The Quodlibet,” closes the dissertation with a study of the genre that represents the multiethnic nature of Prague and the Czech Crown Lands most vividly—the polylingual quodlibet, in which quotes from tunes popular with audiences are woven together in polyphonic settings by composers. Thus, they record not only the great variety of music that was enjoyed by consumers of polyphony—German lied, sacred songs in German and Czech, Italian villanelle and napolitane, and Latin drinking songs—but also bear witness to the convergence of these languages, musics, and the cultures they reference in what was truly one of the most densely international regions of early modern Europe. ! 2! This dissertation is dedicated to Hannah Miller. ! i! Acknowledgments Without the generosity of friends and colleagues in both America and abroad, this dissertation would never have been written. Marc Desmet and Robert Lindell were instrumental in sparking my interest in sixteenth-century Prague and Olomouc, and without Rashid Doole’s generosity and good humor, I would never have felt so at home in Vienna. Jiří Kopecký and Greg Hurworth at Univerzita Palackého in Olomouc were valued colleagues who eased my transition to the Czech Republic and life in a much smaller city than I had ever experienced previously. My three years in the Czech Republic took me to innumerable local libraries, archives, and collections managed by good-hearted conservators who unvaryingly went the extra kilometer to facilitate my research. I would like to especially thank Jitka Kocůrková at the Castle Archive in Kroměříž and Dr. Jaroslava Pospíšilová at the Museum of Eastern Bohemia in Hradec Králové who generously presented any volumes I wished to see. Lenka Mráčková helped me find my way around Prague, and Jan Baťa kindly shared anything with me I requested. I will never forget the day I came to visit Drs. Marta Hulková and Jana Bartová at the Univerzita Komenského in Bratislava, who inspired me to expand the geographic horizons of my research further east and south. Milena Klimkowska was a wonderful host in Wrocław, as was Jan Koláček in Prague. Two people did more for me than I can ever possibly thank here. It was especially wonderful to meet Jiří Kroupa and to spend holidays with his family, and I would like to thank him for all the help he provided me in Prague, including the most extraordinary apartment in Kobylisy to which I became fondly attached. Much of this research would not have happened without him. The second person is Vladimir Maňas. Little did I know what to expect when I met Vladimir and joined Ensemble Versus as a very unseasoned tenor, but traveling around Moravia (and Bohemia on occasion) singing sixteenth- and twentieth-century polyphony in parish churches of small Moravian towns was a profound and life-changing experience and did more than anything else to make me feel at home in Moravia. Ann Miller, my family, and especially my mother provided valuable support when I most needed it, and Nicolas Romarie tolerated my increasing neglect of house-cleaning while I worked my way toward the finishing line. Thank you to my patient readers, Kate van Orden, Davitt Moroney, and Niklaus Largier at Berkeley, and to Mike Beckerman at New York University. I am pleased to now be able to offer this history in thanks to everyone who believed in this project, and to those whose passion for these too-little known lands infected me so positively. ! ii! Contents Acknowledgements ii Introduction 1 1 The Music Book Market in Bohemia and Moravia 6 2 Italians in Bohemia 81 3 The Reception of Italian Music in Bohemia and Moravia 142 4 The Quodlibet 192 Works cited 219 ! iii! Introduction This dissertation on music and migration in the Czech Crown Lands emerged in response to the surprising nature of numerous materials I gathered from archives in the Czech Republic and the desire to integrate what we know about Bohemia and Moravia more completely into the history of music in early modern Europe. English-language scholarship has traditionally addressed polyphonic music at the court of Emperor Rudolf II as an island disconnected from the surrounding region yet maintaining ties to the international musical world. I remember hearing from one scholar at the beginning of my research that I would not find polyphony of the sort sustained at court being performed elsewhere in Bohemia and Moravia. Evidence, however, has pointed firmly to the contrary. Nineteenth- and twentieth- century musicological research on this region has been conducted by scholars in Germany and the Czech Republic, who have taken an interest in the musical heritage of the region along nationalist lines. German scholars have focused their attention on music at the court of Rudolf II and in those parts of Bohemia and Moravia where German inhabitants formed the majority, while Czech scholars have focused on Czech-language sources, dismissing music of the court and German towns as foreign. The resulting picture of musical culture in the region is often distorted by these limited perspectives, and one of my fundamental goals has been to consider German- and Czech-language musical practices side by side. Moreover, immigration from across Europe to the region escalated significantly in the final decades of the sixteenth century with the arrival of the imperial court in Prague. Italy dominates many of the discussions in the following chapters, and what emerges is a stunning record of musical migration and cultural integration involving networks of musicians, patrons, book collectors, and music lovers in a sphere encompassing Prague to the north, Vienna to the east, Nuremburg to the west, and Venice and Mantua to the south. In order to set the stage for what I hope will be expanded interest in the musical currents coursing through this part of Europe, I have deliberately avoided three common approaches to the study of music

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