Gold Boxes As Diplomatic Gifts: Archival Resources in Dresden
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Zelenka I Penitenti Al Sepolchro Del Redentore, Zwv 63
ZELENKA I PENITENTI AL SEPOLCHRO DEL REDENTORE, ZWV 63 COLLEGIUM 1704 COLLEGIUM VOCALE 1704 VÁCLAV LUKS MENU TRACKLIST TEXTE EN FRANÇAIS ENGLISH TEXT DEUTSCH KOMMENTAR ALPHA COLLECTION 84 I PENITENTI AL SEPOLCHRO DEL REDENTORE, ZWV 63 JAN DISMAS ZELENKA (1679-1745) 1 SINFONIA. ADAGIO – ANDANTE – ADAGIO 7’32 2 ARIA [DAVIDDE]. SQUARCIA LE CHIOME 10’08 3 RECITATIVO SECCO [DAVIDDE]. TRAMONTATA È LA STELLA 1’09 4 RECITATIVO ACCOMPAGNATO [MADDALENA]. OIMÈ, QUASI NEL CAMPO 1’21 5 ARIA [MADDALENA]. DEL MIO AMOR, DIVINI SGUARDI 10’58 6 RECITATIVO SECCO [PIETRO]. QUAL LA DISPERSA GREGGIA 1’38 7 ARIA [PIETRO]. LINGUA PERFIDA 6’15 8 RECITATIVO SECCO [MADDALENA]. PER LA TRACCIA DEL SANGUE 0’54 4 MENU 9 ARIA [MADDALENA]. DA VIVO TRONCO APERTO 11’58 10 RECITATIVO ACCOMPAGNATO [DAVIDDE]. QUESTA CHE FU POSSENTE 1’25 11 ARIA [DAVIDDE]. LE TUE CORDE, ARPE SONORA 8’31 12 RECITATIVO SECCO [PIETRO]. TRIBUTO ACCETTO PIÙ, PIÙ GRATO DONO RECITATIVO SECCO [MADDALENA]. AL DIVIN NOSTRO AMANTE RECITATIVO SECC O [DAVIDDE]. QUAL IO SOLEVA UN TEMPO 2’34 13 CORO E ARIA [DAVIDDE]. MISERERE MIO DIO 7’07 TOTAL TIME: 71’30 5 MARIANA REWERSKI CONTRALTO MADDALENA ERIC STOKLOSSA TENOR DAVIDDE TOBIAS BERNDT BASS PIETRO COLLEGIUM 1704 HELENA ZEMANOVÁ FIRST VIOLIN SUPER SOLO MARKÉTA KNITTLOVÁ, JAN HÁDEK, EDUARDO GARCÍA, ELEONORA MACHOVÁ, ADÉLA MIŠONOVÁ VIOLIN I JANA CHYTILOVÁ, SIMONA TYDLITÁTOVÁ, PETRA ŠCEVKOVÁ, KATERINA ŠEDÁ, MAGDALENA MALÁ VIOLIN II ANDREAS TORGERSEN, MICHAL DUŠEK, LYDIE CILLEROVÁ, DAGMAR MAŠKOVÁ VIOLA LIBOR MAŠEK, HANA FLEKOVÁ CELLO ONDREJ BALCAR, ONDREJ ŠTAJNOCHR -
Music Migration in the Early Modern Age
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. -
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OTHERS: A MYTHOLOGY AND A DEMURRER (BY WAY OF PREFACE) THE SECULAR fine art of music came late to Russia. To all intents and pur- poses, its history there begins in 1735, when the Empress Anne (Anna loan- no vna, reigned 1730-40) decided to import a resident troupe of Italian opera singers to adorn her court with exotic and irrational entertainments. The first such performance took place at the Winter Palace in St. Petersburg on the empress's birthday, 29 January (Old Style) 1736. It was Laforza dell'amove e dell'odio, an opera seria by Francesco Araja, the leader of the troupe. That was the beginning of secular music in Russia as a continuous, professional, and literate artistic tradition.1 That tradition, although it thrived at court under a series of distinguished maestri di cappella (Manfredini, Galuppi, Traetta, Paisiello, Sarti, Cimarosa), was of no particular importance to Russia at large, and Russia, beyond pro- viding a few favored foreigners with brief plum appointments, was of no importance to it. The practice of European art music had little or no role to play in the formation of Russian national consciousness, which did not even begin to be a factor in Russian culture until the reign of Catherine the Great was well under way.2 It was only the spread of Europeanized mores and attitudes beyond the precincts of the court, and the increased Russian presence in Europe following the Napoleonic Wars, that really rooted European high culture in Russian urban centers and led beyond receptivity to actual Russian productivity in the European arts. -
On the Dresden Sources of Zelenka's Instrumental Music
Janice B. Stockigt On the Dresden sources of Zelenka’s instrumental music Te hand of the Bohemian-born and Dresden-based church composer Jan Dismas Zelenka (1679– 1745) is one of the more distinctive to be seen among the music autographs held in Dresden today. Tis is particularly the case with his numerous sacred compositions written in the 1720s, most of which survive as concept scores. Te present discussion, however, is confned to the Dresden sources of Zelenka’s small number of instrumental works with a Cx number that came to be housed in the renowned “Schrank II” of the Dresden Hofirche at some time afer 1765. Excluded, therefore, are the orchestral overtures to Zelenka’s melodrama,1 to his oratorios of 1730, 1731–35 and 1736,2 and to the serenata of 1737 (titled Il Diamante);3 the six sonatas;4 and a set of six fanfares scored for four trumpets and timpani that remain classifed as “uncertain” in the Zelenka-Dokumentation.5 As the appended table with basic information on Zelenka’s „Schrank II“ instrumental works demonstrates (pp. 205–207), they fall into three clearly defned groups: 1. four capriccios composed in Vienna between c. 1717 and c. 1718/19;6 2. four works written in Prague during 1723; 3. a Sinfonia composed in Dresden (“18 Maji 1729”), categorized in the Zelenka-Dokumentation 1 Melodrama de S. Wenceslao: Sub olea pacis et palma virtutis (score; ZWV 175; D-Dl: Mus.2358-D-2). 2 Il Serpente di bronzo (score; ZWV 61; D-Dl: Mus.2358-D-74); Gesù al Calvario (score and parts; ZWV 62; D-Dl: Mus.2358-D-1a, …D-1b); I penitenti al sepulchro del redentore (score; ZWV 63; D-Dl: Mus.2358-D-73). -
Italian Sacred Music Listed in the Catalogue of Dresden's Catholic
Musicologica Brunensia 53 / 2018 / 2 https://doi.org/10.5817/MB2018-2-11 Italian Sacred Music Listed in the Catalogue of Dresden’s Catholic Court Church, 1765 Janice B. Stockigt / [email protected] Faculty of Fine Arts and Music, The University of Melbourne, Victoria, AU Abstract Analysis of more than 800 items of sacred music listed in the thematic catalogue (“Catalogo della Musica di Chiesa composta Da diversi Autori – secondo l’Alfabetto 1765”) of Dresden’s Catholic court church (the Hofkirche) demonstrates the dependence of this church upon com- positions by Italian composers. Apart from existing repertoire, important transmissions of Ital- ian music into Saxony came through the personal collections of the church composers Jan Dis- mas Zelenka (1679–1745) and Giovanni Alberto Ristori (1699–1754), composers whose musical estates came to be acquired by the Dresden court. Valuable additions came from members of the electoral and royal family, while an important corpus of Italian sacred works came into the collection of the Hofkirche to be entered into the Catalogo by Schürer. This late repertoire came from the Venetian copying house of Iseppo Baldan and it contained more than seventy sacred items attributed to Baldassare Galuppi (1706–1785). An overview of the main contributors to the Dresden collection as it was catalogued in 1765 is presented. The principal Italian composers of Dresden’s sacred Catholic repertoire of music are named and the collectors are identified. A possible purpose is proposed for the acquisition of the many items from Iseppo Baldan. Finally, the transmission of the Italian repertoire from Dresden demonstrates the ongoing movement of Italian sacred music to German centres such as Leipzig and Berlin. -
Catholic Liturgical Music in Lutheran Saxony During Bach's
RESEARCH REPORT The Other Side of the Coin: Catholic Liturgical Music in Lutheran Saxony During Bach’s Era Jan Stockigt This project, ‘The Other Side of the Coin: Catholic Liturgical Music in Lutheran Saxony during Bach’s Era,’ examines Catholic liturgical music written and collected between 1719 and 1751 by composers of the Dresden royal chapel—Johann David Heinichen (1683–1729), Jan Dismas Zelenka (1679–1745), Giovanni Alberto Ristori (1692–1753), Johann Adolf Hasse (1699–1783), and Johann Michael Breunich (d. after 1756). In addition to their compositional activities, these composers—Zelenka in particular—assembled a significant repertoire of liturgical music to serve Catholic worship within the first post-Reformation Catholic court church. This royal chapel was established in Dresden in 1708 for the devotions of the Polish Kings and Saxon Electors—Friedrich August I and II, both of whom converted to Catholicism (1696 and 1713 respectively), and it was open to the public. Until recent times the music collection of the church was bypassed by musicology, which focussed upon the Lutheran traditions of Saxony within which Bach worked. It is expected that examination of conditions influencing the liturgy and music of the Dresden royal chapel, and analysis of surviving works from its collection, will redress this imbalance, providing a broader view of religious music heard in Saxony during the first half of the eighteenth century. In 1733, following the death of Friedrich August I, Bach applied to the successor, Friedrich August II, for an honorary court title, which was eventually granted in November 1736. From 1738 the annual calendars of the Dresden court, the Königl. -
The Saxon Crown Prince Friedrich Christian and Music: the Dresden Diaries and Account Books 7 /3 Music at Central European Courts in the Eighteenth Century, I
5 /1 Introduction mong the rich holdings of the Sächsisches Staats archiv – Hauptstaatsarchiv Dresden,1 there exists a series of diaries and account books once belong Aing to the Saxon Crown Prince and Elector, Friedrich Christian (1722–1763),2 the eldest son of Saxon Elector and Polish King August III and his consort, Electress and Jóhannes ÁGÚstsson Queen Maria Josepha. These sources contain a wealth of Reykjavik previously unknown information relating to the musical life at the SaxonPolish court in Dresden, especially prior to Friedrich Christian’s marriage in 1747 to the Bavarian Princess Maria Antonia, and provide an unprecedented The Saxon Crown Prince insight into the musical opinions and patronage of this musicloving family. They also cast a fresh light on the Friedrich Christian and music: Music at Central European Courts in the Eighteenth Century, I rich collections that are today the pride of the Music Department of the Sächsische Landesbibliothek – Staats The Dresden diaries und Universitätsbibliothek Dresden (SLUB). and account books* The sources The Dresden diaries of Friedrich Christian, the musical entries of which are transcribed in Appendix 1, are held in four bound volumes. The first dates from 1732 to May 1738. Up to mid1736 this diary is partly preserved For Maureen in the form of drafts of letters this Prince wrote to his parents while they were away from Dresden. Unfortu 1 DDla. 2 Friedrich Christian succeeded his father as Saxon Elec tor in October 1763, but passed away only weeks later, on Content: 17 -
Jan Dismas Zelenka (1679–1745)
1 Jan Dismas Zelenka (1679–1745) Jan Dismas Zelenka (1679–1745) was a contemporary of Vivaldi and Bach, but his music has a different sound. This can be traced back to Zelenka’s origins and career. He was baptised in Louňovice pod Blaníkem, about 80 km south-east of Prague on 16 October 1679. Zelenka grew up in Prague, where he attended the Jesuit grammar school in the Collegium Clementinum. The thorough knowledge of the Latin language that he acquired there later stood him in good stead when he set sacred texts to music. During his time with the Jesuits and also in the house of the Habsburg Governor in Prague, Baron von Hartig, Zelenka had the opportunity to become familiar with music of a high quality, such as masses by the Venetian composer Antonio Lotti (around 1666–1740). Since he played the violone (double bass), he would certainly also have taken part in performances. But the few documents available are not sufficient to allow a reconstruction of Zelenka’s musical activities over these years. In 1710, Zelenka was engaged as a violone player at the Court in Dresden, where he remained until his death on 23 December 1745. He continued his studies, primarily with the Dresden Royal Kapellmeister Johann Christoph Schmidt (1664–1728) and also in the course of several visits to Vienna between 1716 and 1719 with the Imperial Kapellmeister Johann Joseph Fux (1660–1741), in order to become a composer. Among Zelenka’s early works – the works of a composer who was already around 40 years of age – special mention should be made in particular of the “Capricci” for orchestra and the six large trio or quartet sonatas, mostly for 2 oboes, obbligato bassoon, and basso continuo. -
Chronology the Late Baroque Era
Chronology The Late Baroque Era MUSIC AND MUSICIANS POLITICS, WAR, RULERS 1671 Scipione a.ffricano (1664) by Francesco 1671 Emperor Leopold I promises Cavalli (1602-76) inaugurates the Teatro neutrality if France attacks Holland as Tordinona, Rome. Tragidie-ballet, Psychi, long as Louis XIV does not invade by Jean-Baptiste Lully (1632-87) and Spain or the Empire. Moliere (1622-73) (with Philippe Quinault and Pierre Corneille), given in Paris. Pomone, by Robert Cambert (c1627-1677), given in Paris. 1672 Heinrich Schutz (87) dies, Dresden. 1672 William of Orange (later William Jacques Champion de Chambonnieres III of England) elected Stadholder of (c70) dies, Paris. Lully acquires Holland. Third Anglo-Dutch War, ownership of the Academie Royale de (-1674): English defeated at Texel in Musique. John Banister (c1625-1679) 1673 and withdraw with gains in 1674. presents first known concerts where admission is charged, in London. Los celos hacen estrellas (earliest surviving zarzuela with music), by Juan Hidalgo (c1614-1685), given in Madrid. 1673 Marc-Antoine Charpentier (1643- 1673 Emperor Leopold I declares war on 1704) and Moliere collaborate on Le France after allying with the Dutch. malade imaginaire, Lully and Quinault on the first tragidie en musique, Cadmus et Hermione, both given in Paris. 1674 Giacomo Carissimi (68) dies, Rome. 1674 John Sobieski elected King of Poland Pelham Humfrey (c27) dies, Windsor. after defeating the Turks at Korzim in Lully's Alceste performed in Paris. A new 1673. Triple Alliance of Austria, Holland Theatre Royal, Drury Lane, opens in and Spain, later joined by the papacy London. and Brandenburg, against the French.