Gesa zur Nieden, Berthold Over (eds.) Musicians’ Mobilities and Music Migrations in Early Modern Europe Mainz Historical Cultural Sciences | Volume 33 Editorial The Mainzer Historische Kulturwissenschaften [Mainz Historical Cultural Sciences] series publishes the results of research that develops methods and theories of cultural sciences in connection with empirical research. The central approach is a historical perspective on cultural sciences, whereby both epochs and regions can differ widely and be treated in an all-embracing manner from time to time. Amongst other, the series brings together research approaches in archaeology, art history, visual studies, literary studies, philosophy, and history, and is open for contributions on the history of knowledge, political culture, the history of perceptions, experiences and life-worlds, as well as other fields of research with a historical cultural scientific orientation. The objective of the Mainzer Historische Kulturwissenschaften series is to be- come a platform for pioneering works and current discussions in the field of historical cultural sciences. The series is edited by the Co-ordinating Committee of the Research Unit His- torical Cultural Sciences (HKW) at the Johannes Gutenberg University Mainz. Gesa zur Nieden, Berthold Over (eds.) Musicians’ Mobilities and Music Migrations in Early Modern Europe Biographical Patterns and Cultural Exchanges The print was financed by the Research Unit Historical Cultural Sciences (HKW). Publication of the HERA-JRP »MusMig« financed by: An electronic version of this book is freely available, thanks to the support of libraries working with Knowledge Unlatched. KU is a collaborative in- itiative designed to make high quality books Open Access for the public good. The Open Access ISBN for this book is 978-3-8394-3504-5. More information about the initiative and links to the Open Access version can be found at www.knowledgeunlatched.org. This work is licensed under the Creative Commons Attribution-NonCommercial-No- Derivs 4.0 (BY-NC-ND) which means that the text may be used for non-commercial purposes, provided credit is given to the author. For details go to http://creativecommons.org/licenses/by-nc-nd/4.0/. To create an adaptation, translation, or derivative of the original work and for commer- cial use, further permission is required and can be obtained by contacting rights@ transcript-verlag.de © 2016 transcript Verlag, Bielefeld Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbiblio- grafie; detailed bibliographic data are available in the Internet at http://dnb.d-nb.de Cover layout: Kordula Röckenhaus, Bielefeld Type setting: Stephan Münch Printed by Majuskel Medienproduktion GmbH, Wetzlar Print-ISBN 978-3-8376-3504-1 PDF-ISBN 978-3-8394-3504-5 C Preface .................................................................. 9 G N, B O Roads “which are commonly wonderful for the musicians” – Early Modern Times Musicians’ Mobility and Migration ............................................ 11 G N B C Bay a Bay: Ca-Ha Aa Ma’ Ma Eay M A Migration and Biography. The Case of Agostino Steffani ................................ 35 C T “try it elsewhere […]” – Konrad Hagius and Musicians’ Mobility in Early Modern Times in Light of Local and Regional Profile ......................... 51 J K Competition at the Catholic Court of Munich. Italian Musicians and Family Networks ................... 73 B Kä ’ From Munich to Foreign’ Lands and Back Again. Relocation of the Munich Court and Migration of Musicians (c. 1690-1715) ................................... 91 B O Migratory and Traveling Musicians at the Polish Royal Courts in the 17th Century. The Case of Kaspar Förster the Younger ............................... 135 B P-Jń Foreign Musicians at the Polish Court in the Eighteenth Century. The Case of Pietro Mira .......... 151 A Żó-W Luka Sorgo – a Nobleman and Composer from Dubrovnik ...................................................... 171 V Kć MUSICI and MusMig. Continuities and Discontinuities ....................................................... 185 B O, T R S Ma’ Ma B C a Cy Musical Travels. Sources of Musicians’ Tours and Migrations in the Seventeenth and Eighteenth Century ................................................................. 207 N D “… und bißhero mein Glück in der Welt zu suchen…” – Notes on the Biography of Jonas Friederich Boenicke ............................................... 227 R-S. P The Russian Experience. The Example of Filippo Balatri ........................................................ 241 J K, M S Soloists of the Opera Productions in Brno, Holešov, Kroměříž and Vyškov. Italian Opera Singers in Moravian Sources c. 1720-1740 (Part I) ................. 255 J Sáčá Vienna Kärntnertortheater Singers in the Letters from Georg Adam Hoffmann to Count Johann Adam von Questenberg. Italian Opera Singers in Moravian Sources c. 1720-1740 (Part II) ................ 275 J Pá Da a Ta M a M Ty B C, Aaa a R Estienne Roger’s Foreign Composers .................... 295 R R From “Sonate a quattro” to “Concertos in Seven Parts”. The Acclimatization of Two Compositions by Francesco Scarlatti ..................... 311 M T Spread of Italian Libretti. Maria Clementina Sobieska Stuart – a Patron of Roman Operas ........ 323 A M Migration of Musical Repertoire. The Attems Music Collection from Around 1744 ........................ 341 M K The Case of Juraj Križanić (1619-1683?) – His Texts on Music. From Artefacts to Cultural Study (Croatian Writers on Music and Transfer of Ideas in Their New Environments) ....................................... 379 S T People and Places in a (Music) Source. A Case Study of Giuseppe Michele Stratico and His Theoretical Treatises (Croatian Writers on Music and Transfer of Ideas in Their New Environments) ... 389 L K List of Contributors ................................................ 403 Index of Persons ................................................... 409 Index of Places ..................................................... 425 Preface In Early Modern Times, musical migrations have contributed consid- erably to the dynamics and synergy of the European cultural scene at large. By stimulating innovation, changes of style and patterns of mu- sical and social behavior, musical migrations have contributed toward cohesion within a common European cultural identity. These migrations and movements are the focus of the international HERA project “Music Migrations in the Early Modern Age: the Meeting of the European East, West and South (MusMig)” that unites researchers from Croatia, Germa- ny, Poland and Slovenia and is directed by Vjera Katalinić (Zagreb). This project, running from September 2013 until August 2016, is inanced by the European Union and co-funded by the respective government depart- ments of the countries involved. In the project, the term “musician” is understood in a wide sense, including not only singers, instrumentalists and composers but also, for instance, dancers, librettists and music theorists. Moreover, the circula- tion of musical scores and ideas and the activities of instrument makers lie within the project’s ambit. This results in a multi-stranded approach to the topic and a multi-faceted investigation that takes into full account the diversity of motivational factors underlying mobility and migration. The project’s results are published in three anthologies and also in a database where the data collected on migratory musicians can be explored by the public. The present volume is the outcome of a workshop, “Music Migra- tions: from Source Research to Cultural Studies”, held at the Johannes Gutenberg-Universität in Mainz from 24 to 25 April 2014. In order to broaden the perspective, scholars from other parts of Europe were in- vited in addition to members of the project group. The reason was to ensure the contextualization of the project within current discussions on, 9 Preface and studies of, migratory musicians in Europe. In this spirit, the vol- ume assembles present-day research on methods, sources and individual cases within the project’s spatial (European East, West and South) and temporal (17th-18th centuries) frames, as well as initial results from the individual sub-projects. Some remarks on the formal aspect of the volume: In older docu- ments cited in the articles, the often interchangeable letters “u” and “v” are standardized according to modern usage. Libraries and archives are identiied by the library sigla created by RISM (Répertoire International des Sources Musicales/International Directory of Musical Sources), a catalog of which is easily accessible on the RISM website: http://www. rism.info/en/sigla.html. Our acknowledgements begin with persons “inside” the book: name- ly, the contributors, who have done their utmost towards successful pub- lication of the volume. With regard to persons “outside” the book, we wish irst of all to thank Jörg Rogge, oicial spokesman (Sprecher) of the core research area Mainzer Historische Kulturwissenschaften (Mainz Historical Cultural Sciences), who kindly accepted our volume into the homonymous series, as well as Davina Brückner and Kristina Müller- Bongard in the oice of the core area. We ofer many thanks to Klaus Pietschmann, head of the IKM, Institut für Kunstgeschichte und Musik- wissenschaft, Abteilung Musikwissenschaft (Institute for Art History and Musicology, Department of Musicology), for his unwavering support