Music Migration in the Early Modern Age
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Music Migration in the Early Modern Age Centres and Peripheries – People, Works, Styles, Paths of Dissemination and Influence Advisory Board Barbara Przybyszewska-Jarmińska, Alina Żórawska-Witkowska Published within the Project HERA (Humanities in the European Research Area) – JRP (Joint Research Programme) Music Migrations in the Early Modern Age: The Meeting of the European East, West, and South (MusMig) Music Migration in the Early Modern Age Centres and Peripheries – People, Works, Styles, Paths of Dissemination and Influence Jolanta Guzy-Pasiak, Aneta Markuszewska, Eds. Warsaw 2016 Liber Pro Arte English Language Editor Shane McMahon Cover and Layout Design Wojciech Markiewicz Typesetting Katarzyna Płońska Studio Perfectsoft ISBN 978-83-65631-06-0 Copyright by Liber Pro Arte Editor Liber Pro Arte ul. Długa 26/28 00-950 Warsaw CONTENTS Jolanta Guzy-Pasiak, Aneta Markuszewska Preface 7 Reinhard Strohm The Wanderings of Music through Space and Time 17 Alina Żórawska-Witkowska Eighteenth-Century Warsaw: Periphery, Keystone, (and) Centre of European Musical Culture 33 Harry White ‘Attending His Majesty’s State in Ireland’: English, German and Italian Musicians in Dublin, 1700–1762 53 Berthold Over Düsseldorf – Zweibrücken – Munich. Musicians’ Migrations in the Wittelsbach Dynasty 65 Gesa zur Nieden Music and the Establishment of French Huguenots in Northern Germany during the Eighteenth Century 87 Szymon Paczkowski Christoph August von Wackerbarth (1662–1734) and His ‘Cammer-Musique’ 109 Vjera Katalinić Giovanni Giornovichi / Ivan Jarnović in Stockholm: A Centre or a Periphery? 127 Katarina Trček Marušič Seventeenth- and Eighteenth-Century Migration Flows in the Territory of Today’s Slovenia 139 Maja Milošević From the Periphery to the Centre and Back: The Case of Giuseppe Raffaelli (1767–1843) from Hvar 151 Barbara Przybyszewska-Jarmińska Music Repertory in the Seventeenth-Century Commonwealth of Poland and Lithuania. Import, Production, Export 161 Tomasz Jeż The Italian Music Collection of Daniel Sartorius from Breslau 171 Klemen Grabnar The ‘Litaniarum liber’ (SI-Lnr, Ms 344): Transmission of Musical Litanies from Graz to the Duchy of Carniola 183 Anna Ryszka-Komarnicka Operas, Dialogues and Oratorios Based on the Book of Judith in Seventeenth- and Eighteenth-Century Europe. Migrations of Subject, Librettos and Musicians 199 Aneta Markuszewska Eumene: A Case Study of an Opera Hero Migration in the Early Modern Age 215 Metoda Kokole Did Andrea Bernasconi Compose ‘Adriano in Siria’ Twice? 237 Nataša Cigoj Krstulović Schikaneder in Ljubljana: Repertoire Transmission Routes 263 Stanislav Tuksar ‘Quid agat musica in tarantis & in aliis morbis’ – Ideas on Music Therapy in Dissertatio VI (1695) by Giorgio Baglivi 281 Lucija Konfic Stratico and Tartini – Student and Master. Giuseppe Michele Stratico’s Music System in Comparison with Tartini’s Music Theory 299 Ivano Cavallini Music Migrations from the Bohemian Lands to Trieste and the National Awakening of the Southern Slavs 323 Index of Persons 337 Index of Places 353 Preface Preface The project ‘Music Migrations in the Early Modern Age: The Meeting of the European East, West and South’ was developed under the financial patronage of the European scientific framework ‘Humanities in the European Research Area’ (HERA) in the period from 1 September 2013 to 31 August 2016. The Project Leader was Professor Vjera Katalinić from the Croatian Academy of Sciences and Arts in Zagreb. The participants were scholars and researchers from Croatia, Germany, Poland and Slovenia. The purpose of the investigations of music migrations was to analyze musical-cultural encounters in spatial terms (European East, West and South), and in temporal terms (seventeenth and eighteenth centuries, i. e. Baroque and Classicism). The term ‘musicians’ should be understood broadly and here denoted not only composers, performers, and writers on musical issues, but also other professions related to music. Three conferences devoted to the topics were organized in Mainz (Music Migrations: From Source Research to Cultural Studies, Johannes Gutenberg University in Mainz, 24–25 April 2014), Zagreb (Music Migrations in the Early Modern Age: People, Markets, Patterns and Styles, Croatian Academy of Sciences and Arts, 13–14 October 2014) and Warsaw (Music Migration in the Early Modern Age: Centres and Peripheries – People, Works, Styles, Paths of Dissemination and Influence, University of Warsaw – Institute of Art, Polish Academy of Sciences, 6–7 May 2016). Three volumes of proceedings, resulting from the conferences within the project, present cultural, social and political aspects of musicians’ mobility as well as problems of the reception of music in Early Modern Europe. The books taken into consideration are: Musicians’ Mobilities 7 Jolanta Guzy-Pasiak Aneta Markuszewska and Music Migrations in Early Modern Europe: Biographical Patterns and Cultural Exchanges, eds. Gesa zur Nieden, Berthold Over, Bielefeld: transcript, 2016, Glazbene migracije u rano moderno doba: ljudi, tržišta, obrasci i stilovi / Music Migrations in the Early Modern Age: People, Markets, Patterns and Styles, ed. Vjera Katalinić, Zagreb: Hrvatsko muzikološko društvo, 2016 (Muzikološki zbornici 18) and the present one – Music Migration in the Early Modern Age: Centres and Peripheries – People, Works, Styles, Paths of Dissemination and Influence, eds. Jolanta Guzy-Pasiak, Aneta Markuszewska, Warsaw: Liber Pro Arte, 2016. The last conference and the last book provided a fitting coda for the whole thirty-six month long project and were dedicated especially to the problem of centres and peripheries. The migration of musicians and the transmission of repertoire across Europe in the seventeenth and eighteenth centuries contributed to the emergence of a network of musical and cultural connections, in which major European centres of musical life were linked to under-researched and mostly smaller centres situated at some distance. In order to investigate the transmission of music in the context of the evolving styles, performance practices, instruments, forms of transmission, music education, music-related institutions and forms of musical life and their adaptation in various milieux, it was vital not only to establish how peripheries were linked to the centres, but also how particular peripheral centres were linked to each other. This was the reason for the inspection of the directions of migration and repertoire transmission, the routes along which both musicians travelled and music was disseminated between the East, the West and the South of Europe, as well as of how both the routes and directions and the factors that favoured or inhibited the exchange of musicians and music changed. The present volume consists of nineteenth articles by project participants including the texts by invited guests: Prof. Ivano Cavallini (University of Palermo), Prof. Reinhard Strohm (University of Oxford) and Prof. Harry White (University College Dublin). Fundamentally, the order of the articles in the book reflects the order in the title of the conference: the first texts relate to people, and subsequently to works, starting from general issues to more detailed ones. In brief, the content of the volume is as follows. 8 Preface In the opening article entitled The Wanderings of Music through Space and Time, Reinhard Strohm provided definitions of the key terms of the project, including migration, travel, identity, the unification of musical styles, influence, reception and diaspora. He exemplified the latter term using the example of the eighteenth-century diaspora of Italian musicians, whose presence and influence in many European countries (both central and peripheral) virtually dominated the musical culture of the period, in an attempt to understand better what happens when people living in different spaces or at different times have music in common. Alina Żórawska-Witkowska (Eighteenth-Century Warsaw: Periphery, Keystone, (and) Centre of European Musical Culture) presented an overview of musical life in Warsaw in the eighteenth century, during the reigns of three kings: Augustus II the Strong, Augustus III (both of the Saxon house of Wettin), and Stanislaw Augustus Poniatowski. Żórawska-Witkowska’s findings show that in the space of these three reigns Warsaw underwent a metamorphosis: from a provincial backwater, whose musical life centred around visits of itinerant opera troupes, and around adapted French and Italian works, it transformed into a prominent centre of influence for Central-Eastern Europe, where important works of major Italian, French, German and Austrian composers (e.g. Mozart’s Die Entführung aus dem Serail, Don Giovanni, Le nozze di Figaro) were produced soon after their respective premieres. What is more, by the end of the eighteenth century Warsaw became home to the Polish National Opera, which often produced works by immigrant (and assimilated) foreign musicians. Harry White (‘Attending His Majesty’s State in Ireland’: English, German and Italian Musicians in Dublin, 1700–1762) showed how during the period of relative calm and stability that followed the Williamite War (1690–1691), Ireland became an attractive destination for musicians from continental Europe and from London. The group of immigrant musicians in that period included among others Johann Sigismond Cousser, Matthew Dubourg and the best-known among them, Francesco Geminiani. The author proved how their activities contributed to fostering the tradition of English and Italian musical genres