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Musiker-Migration Und Musik-Transfer Zwischen Böhmen Und Sachsen Im 18. Jahrhundert

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Musiker-Migration Und Musik-Transfer Zwischen Böhmen Und Sachsen Im 18. Jahrhundert Musiker-Migration und Musik-Transfer zwischen Böhmen und Sachsen im 18. Jahrhundert Bericht über das Internationale Symposium vom 7. bis 9. November 2008 Herausgegeben von Hans-Günter Ottenberg und Reiner Zimmermann Redaktion: Klaus Burmeister 1 Inhalt Zum vorliegenden Band 3 Programmflyer 2008 6 Grußwort des Schirmherrn 9 Grußwort des Veranstalters 10 Verzeichnis der mit Abkürzungen zitierten Literatur 12 Verzeichnis der benutzen Bibliothekssigel 14 Armin Schmid, Regensburg Johann Christoph Kridel (Rumburg 1672–1733) und seine Kantaten-Sammlung Neu-eröffnetes Blumen-Gärtlein (Bautzen 1706) 15 Michaela Freemanová, Prag Johann Adolf Hasse’s oratorios in the Bohemian Lands 28 Klaus-Peter Koch, Bergisch Gladbach Böhmische Musiker waren im Sachsen des 18. Jahrhunderts nicht nur in Dresden. Anmerkungen zur böhmischen Musiker-Migration 39 Hrosvith Dahmen, Dresden Zur Prager-Dresdner Kirchenmusik unter besonderer Berücksichtigung der Messen von František Xaver Brixi 51 Marc Niubo, Prag The Italian Opera between Prague and Dresden in the Second Half of the Eighteenth Century 58 Daniela Philippi, Frankfurt/Main Zur Überlieferung der Werke Christoph Willibald Glucks in Böhmen, Mähren und Sachsen 74 Hans-Günter Ottenberg, Dresden Instrumentalwerke böhmischer Komponisten in der Dresdner Hofmusik des 18. Jahrhunderts – Repertoireschwerpunkte, Stilistik, Überlieferungswege, Aufführungspraxis 83 Jiří Mikuláš, Prag Der Prager Komponist Vinzenz Maschek (1755–1831) und Sachsen 103 Undine Wagner, Chemnitz Böhmen – Polen – Sachsen – Preußen. Franz Benda und seine Beziehungen zu Mitgliedern der Dresdner Hofkapelle 110 Roland Bienert, Berlin In der Ferne heimatverbunden? Die böhmischen Quellen zu Antonio Rosettis Kirchenmusik 126 2 Zum vorliegenden Band Zu den interessantesten Fragen der Musikgeschichtsschreibung zählen solche nach dem kulturellen Austausch über politische, konfessionelle, Zoll- und Währungsgrenzen hinweg. Insbesondere zwischen Böhmen und Sachsen bestanden im 18. Jahrhundert vielfältige musikkulturelle Verbindungen. Es nahm daher nicht wunder, dass unzählige Musiker im 18. Jahrhundert und auch später Böhmen verließen, um vor allem in europäischen Hofkapellen und anderen Institutionen ihr berufliches Fortkommen zu finden. Dafür stehen u. a. die Namen Stamitz in Mannheim, Wranitzky in Wien, Reicha in Paris, Benda in Berlin und Zelenka in Dresden. Und mit den Musikern gelangten auch ihre Kompositionen, ihre musikalischen Idiome und ihre Spieltechniken in die neuen Wirkungsorte. Bezogen auf den sächsischen Raum und den gewählten Zeitraum 18. Jahrhundert wurden solche musikkulturellen Beziehungen von der Forschung erst in Ansätzen untersucht. Um hier Abhilfe zu schaffen, veranstaltete das Institut zur Erschließung und Erforschung der Alten Musik in Dresden (Musikschätze aus Dresden) e.V., seit 2007 An-Institut der Technischen Universität Dresden, gemeinsam mit dem Lehrstuhl Musikwissenschaft dieser Universität ein Internationales Symposium. Dieses fand unter dem Titel „Musikkulturelle Beziehungen zwischen Böhmen und Sachsen im 18. Jahrhundert: Musikermigration und Musikalientransfer“ vom 7. bis 9. November 2008 in Dresden statt. Schirmherr dieser vielbeachteten Tagung war der Botschafter a. D. Dr. Jiří Gruša (†), Direktor der Diplomatischen Akademie Wien. Fünfzehn Referenten aus Deutschland, Polen und Tschechien äußerten sich in ihren wissenschaftlichen Beiträgen zu Aspekten des Kulturtransfers und zu stilistischen Assimilationsprozessen im 18. Jahrhundert, zum Anteil böhmischer Komponisten an der Repertoirebildung in musikalischen Zentren wie Prag, Dresden und Warschau, aber auch zu Fragen der Gattungs- und Überlieferungsgeschichte. Aus verschiedenen Gründen können in der vorliegenden Präsentation nicht alle damals gehal- tene Beiträge veröffentlicht werden. Die vorgelegten Texte vermitteln ein beeindruckendes Bild von der Vielgestaltigkeit der musikkulturellen Beziehungen zwischen Böhmen und Sachsen im Allgemei- nen sowie Prag und Dresden und darüber hinaus im Besonderen. Dass sich diese Verbindungen kei- neswegs nur auf die Musikzentren selbst bezogen, sondern auch Orte wie Rumburg und Bautzen be- trafen, verdeutlicht Armin Schmid (Regensburg) mit seinen biografischen und kompositionsgeschicht- lichen Aussagen zum Organisten und Komponisten Johann Christoph Kridel (1672–1733). Jiří Mikuláš (Prag) geht der Frage nach, welche Spuren der Prager Komponist und Klaviervirtuose Vin- zenz Maschek (1755–1831) in Sachsen hinterlassen hat. Klaus-Peter Koch (Bergisch Gladbach) weist nach, dass böhmische Musiker nicht nur in Dresden, sondern in weiten Teilen Sachsens tätig waren. Dass böhmische Musikerfamilien oftmals die musikalischen Hofhaltungen dominierten, demonstriert Undine Wagner (Chemnitz) am Beispiel der Bendas. Diese auf den Leineweber und Tanzmusiker Hans Georg Benda (1686–1757) zurückgehende Familie hat in vier Generationen fast ein Dutzend 3 Musikern hervorgebracht. Michaela Freemanová (Prag) folgt der Rezeption Hassescher Oratorien in böhmischen Ländern. Der europaweit gute Ruf der Dresdner Hofkapelle lockte vor allem im 18. Jahrhundert (aber auch später noch) böhmische Instrumentalisten in die Elbmetropole, wie Ortrun Landmann (Dresden) in einer materialreichen Studie nachweisen konnte. Ihr Beitrag findet Aufnahme in eine größere Arbeit „Böhmische Musiker in Dresden“, die von der inzwischen verstorbenen tschechischen Musikwissen- schaftlerin Dr. Zdeńka Pilková begonnen wurde. Auch zwischen den Theatern und Kirchen in Prag und Dresden bestanden hinsichtlich ihres Organisationsgefüges, Repertoires und künstlerischen Perso- nals vielfältige Parallelen und teilweise direkte Beziehungen, wie Marc Niubo (Prag) am Beispiel mu- sikdramatischer Gattungen und Hrosvith Dahmen (Zwickau) anhand der Messen von Franz Xaver Brixi nachweisen. Vor allem Überlieferungsaspekte werden in unserem Symposiumsbericht thematisiert. Daniela Philippi (Mainz/Prag) beschäftigt sich mit der einstigen Verbreitung der Werke Christoph Willibald Glucks in Böhmen und Sachsen. Gleiches unternimmt Roland Biener (Berlin) im Hinblick auf die böhmischen Quellen von Antonio Rosetti, dem als Anton Rösler in Leitmeritz geborenen Zeitgenossen Mozarts. Hans-Günter Ottenberg (Dresden) diskutiert in seinem Beitrag funktionale und überliefe- rungsgeschichtliche Aspekte von Instrumentalwerken böhmischer Komponisten, die sich heute im Bestand der Sächsischen Landesbibliothek – Staats- und Universitätsbibliothek Dresden befinden und großenteils noch ihrer Entdeckung harren. Immer wieder werden in den Beiträgen die hohe Musikalität böhmischer Musiker sowie ihre kompositorische Produktivität hervorgehoben. Auf diese Weise bestätigt sich ein weiteres Mal die damals weit verbreitete Auffassung von Böhmen als der „Pflanzschule der europäischen Musik“. So argumentierte der englische Musikgelehrte Charles Burney, „dass die Böhmen unter allen Nationen in Deutschland, ja vielleicht in ganz Europa am meisten musikalisch wären.[...]“ Wir erhoffen uns von der Präsentation der Referate unserer Tagung eine Belebung der Diskus- sion um „das Böhmische“ und das „Sächsische“ in der Musik des 18. Jahrhunderts, wissend, dass hier keine kompositionstechnischen und stilistischen Kategorien gemeint sind, sondern zuvorderst regiona- le und musikkulturelle Parameter. Deren Erhellung kann dazu beitragen, das Woher und Wohin – etwa der Musikstädte Prag und Dresden – schärfer zu konturieren. Es dürfte auch im Interesse der zahlrei- chen Dresdner und Prager Musikfreunde und ihrer Gäste aus nah und fern sein, sich über die musikali- schen Wurzeln ihrer Städte zu informieren. Anregen soll unsere Präsentation jedoch auch den Ausbau kooperativer Beziehungen zwischen der Dresdner Musikwissenschaft und der universitären Musikwissenschaft in Prag, nicht zuletzt, weil die Universitäts-Bibliotheken in Prag und Dresden über ein enormes Potenzial an Quellen und zeitge- schichtlichen Dokumenten bereit verfügen. Auch der Aufbau eines Forschungs-, Dokumentations- und Informationszentrums für Alte Musik in Dresden gewinnt durch die Erkenntnisse der Tagung neue Impulse. Nicht zuletzt geben die überlieferungsgeschichtlichen Beiträge Anstoß für neue Noteneditio- 4 nen, etwa innerhalb der Reihen „Musica Bohemica“ und „Denkmäler der Tonkunst in Dresden“. Alles in allem wünschen wir uns eine verstärkte Aufführung der Werke böhmischer und sächsischer Kom- ponisten in Oper und Konzert, nimmt doch der vorliegende virtuelle Tagungsband auf zahlreiche Ein- zelwerke Bezug, Werke, die eine unausgeschöpfte kompositorische Tradition darstellen. Hans-Günter Ottenberg Danksagung Der Dank der Organisatoren des Symposiums geht an die Förderer der Veranstaltung: den Deutsch-Tschechischen Zukunftsfonds, Prag, das Sächsische Staatsministerium für Wissenschaft und Kunst und die Gesellschaft der Freunde und Förderer der Technischen Universität Dresden, an den Projektkoordinator Herrn Christian Zimmermann sowie an Herrn Klaus Burmeister, der dankenswerterweise die Redaktion der vorliegenden Veröffent- lichung vorgenommen hat. Allen Autoren, die zum Zustandekommen des vorliegenden Tagungsberichts beigetragen haben, dan- ken wir für ihre Kooperationsbereitschaft und Geduld. Reiner Zimmermann für das Institut zur Erforschung und Erschließung der Alten Musik in Dresden Mai 2012 5 Technische Universität Dresden Philosophische Fakultät Lehrstuhl Musikwissenschaft Internationales Symposium Musiker-Migration und Musik-Transfer zwischen Böhmen und Sachsen im 18. Jahrhundert Schirmherr Botschafter a. D. Dr. Jiří Gruša Direktor der Diplomatischen Akademie
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