Umjetnička Glazba Na Otoku Hvaru Od 17. Do Početka 20. Stoljeća
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Umjetnička glazba na otoku Hvaru od 17. do početka 20. stoljeća Milošević Carić, Maja Doctoral thesis / Disertacija 2020 Degree Grantor / Ustanova koja je dodijelila akademski / stručni stupanj: University of Zagreb, University of Zagreb, Faculty of Humanities and Social Sciences / Sveučilište u Zagrebu, Filozofski fakultet Permanent link / Trajna poveznica: https://urn.nsk.hr/urn:nbn:hr:131:606697 Rights / Prava: In copyright Download date / Datum preuzimanja: 2021-10-07 Repository / Repozitorij: ODRAZ - open repository of the University of Zagreb Faculty of Humanities and Social Sciences FILOZOFSKI FAKULTET Maja Milošević Carić UMJETNIČKA GLAZBA NA OTOKU HVARU OD 17. DO POČETKA 20. STOLJEĆA DOKTORSKI RAD Mentorica: dr. sc. Vjera Katalinić, nasl. red. prof. Zagreb, 2020. FACULTY OF HUMANITIES AND SOCIAL SCIENCES Maja Milošević Carić THE ART MUSIC ON THE ISLAND OF HVAR FROM THE 17th UNTIL THE BEGINNING OF THE 20th CENTURY DOCTORAL THESIS Supervisor: PhD Vjera Katalinić, honorary full professor Zagreb, 2020 Mentorica: dr. sc. Vjera Katalinić, muzikologinja, znanstvena je savjetnica u trajnome zvanju i upraviteljica u Odsjeku za povijest hrvatske glazbe HAZU te naslovna redovita profesorica na Muzičkoj akademiji Sveučilišta u Zagrebu. Predsjednica je Hrvatskog muzikološkog društva, urednica časopisa Arti musices i voditeljica projekta „Umrežavanje glazbom: promjene paradigmi u ‘dugom 19. stoljeću’ – od Luke Sorkočevića do Franje Ks. Kuhača“ (HRZZ, 2017- 2021). Područja njezina istraživanja su glazbena kultura u 18. i 19. stoljeću, umrežavanje i mobilnost glazbenika te glazbeni arhivi u Hrvatskoj. Član suradnik HAZU. Sažetak U ovoj disertaciji iznose se rezultati višegodišnjih (terenskih) istraživanja glazbenih arhivskih zbirki, pohranjenih u crkvenim, privatnim i javnim institucijama dvaju urbanih središta otoka Hvara: gradu Hvaru (Kaptolski arhiv, kor crkve Franjevačkog samostana, Muzej hvarske baštine, privatni arhiv obitelji Machiedo) i Starome Gradu (Arhiv Dominikanskog samostana, privatni arhiv obitelji Politeo). Budući da većina tamošnjih glazbenih izvora do sada nije bila istražena niti evidentirana, preduvjet za daljnje ekspertize bilo je fizičko sređivanje građe i izrada tematskih kataloga obrađenih rukopisnih i tiskanih muzikalija, koji su u sažetoj (tabličnoj) formi priloženi ovom radu. Tablični prikazi u kontekstu ove disertacije imaju dvojaku funkciju. Oni su s jedne strane rezultat iscrpnog rada na sređivanju i katalogizaciji glazbenih zbirki Hvara i Staroga Grada per se, kojim je konačno taksativno objelodanjena kvantiteta i kvaliteta duhovne i svjetovne umjetničke glazbe kakva se njegovala u prošlosti dvaju otočnih urbanih središta u vremenskom rasponu od 17. do početka 20. stoljeća. S druge strane, služili su i kao temeljno polazište i ključna referenca za prvi dio radnje, odnosno poglavlja u kojima se iznosi analitički osvrt na strukturu i sadržaj hvarskih i starogradskih glazbenih zbirki, kao korak dalje u rasvjetljavanju nekadašnjeg glazbenog repertoara i uopće glazbenog života na otoku. Podaci crpljeni iz prethodno sistematiziranih glazbenih izvora pokušali su se interpretirati u okviru društvenog, kulturnog i političkog konteksta razdoblja na koje se odnose, kako bi se rasvijetlila umjetnička glazbena prošlost otoka te pružile nove spoznaje o različitim slojevima egzistiranja glazbe (u sklopu crkvenih obreda te u svjetovnim okvirima), aktivnim glazbenicima (skladateljima, kapelnicima, izvođačima), praksi privatnog i javnog muziciranja te dostupnome repertoaru i uvriježenim glazbenim oblicima. Ključne riječi: umjetnička glazba, povijest glazbe, glazbeni izvori, glazbeno-arhivske zbirke, rukopisne muzikalije, tiskane muzikalije, Hvar, Stari Grad, Dalmacija, razdoblje od 17. do 20. stoljeća Summary The rich artistic heritage of the Island of Hvar is widely known and represented in various types of publications, mostly as a reflection of vivid literary, drama and visual arts production, that had been going on there since the Middle Ages in continuity. However, the outlines of its cultural history, and consequently cultural memory of its inhabitants, commonly disregards the aspect of art music – with authorship, fixed in musical notation, that generally implies the principles of Western-European music theory, aesthetics and performing practice – that used to be cultivated, primarily in urban island communities, Hvar and Stari Grad. One of the reasons can be definitely found in lack of fundamental research on musical sources kept in church, private and public archives of Hvar and Stari Grad, which was indicative as a stimulus to further discoveries of archival musical materials that could reflect their former musical life. Therefore, in order to throw light on particular segments of local music history and discover music that was cultivated among church circles, noblemen and citizens, I had to start practically from the beginning: discover, systematize and list preserved musical materials — manuscripts and prints, as well as other relevant documents about music and musicians in the local community. That was done for the purpose of this thesis by extensive field work during more than seven years long multiple research stays in Hvar and Stari Grad (from July 2011 to October 2018) and within framework of two musicological scientific projects: international Music Migrations in the Early Modern Age: the Meeting of the European East, West and South (financed by HERA – Humanities in the European Research Area, from February 2015 to August 2016), and national Musical Sources of Dalmatia in the Context of Central European and Mediterranean Musical Culture from the 18th to 20th Centuries (financed by Croatian Science Foundation since March 2017). It was the first time that musical manuscripts and prints from three archives in the town of Hvar — the Cathedral Chapter Archive, the Hvar Heritage Museum and the Machiedo family private archive – were put in order, systematized, catalogized and digitalized, after which the musical material from Dominican Monastery Archive in Stari Grad was processed on similar way. Also, the same treatment was applied to musical items kept in the Politeo family private archive in Stari Grad, by which the former list, prepared and published by Janka Šanjek in 1979, was revised and completed. Although the intention was recording of (unknown to this day) musical items from the Franciscan Monastery in Hvar, it was not possible to obtain permission for research on that location. Hence, for the needs of this thesis — in order to, at least partly, discover the repertoire once cultivated by the Hvar Franciscans — the data from the list of musical items kept at the Franciscan Monastery Church Quire, also prepared by Janka Šanjek (1975), were used. Comprehensively, this undertaking collected unexpectedly expansive quantity of preserved handwritten and printed musical items, systematized in 1016 archived units, which are presented in this thesis, most of them from the 19th and early 20th centuries, and only some minor items from the 17th and 18th centuries (about ten units). Lack of musical materials from the earlier periods is somewhat compensated for by the discovery of source with titles of nowadays lost printed music (73 units), available at the Hvar Cathedral Chapter Library quite probably during the first half of the 17th century, and likely a few decades later. The titles were recorded in 1646/1647 in the inventory of cathedral chapter musical items, as an exemplary source for the reconstruction of the Hvar musical repertoire of the 17th century, which content was transcribed and analytically processed for the needs of this paper. Each of the musical funds that were systematized during fieldwork, were also catalogized by following the principles of two international music archiving standards: the RISM standard Richtlinien: Serie A/II Musikhandschriften, RISM, Frankfurt am Main, 1996- 1997 for manuscripts, and International Standard Bibliographic Description for Printed Music for printed items (the second edition, Munich, 1991). The content of new catalogues of processed Hvar and Stari Grad musical collections is presented in the second part of this paper (Addenda), in tabular form, classified (for each particular fund) per handwritten and printed musical items, listed in the alphabetical order of the authors’ surnames. (The only exception is the Cathedral Chapter musical fund, which, apart from preserved to this day musical manuscripts and prints, once contained a printed music collections – today lost, but recorded in the music inventory in 1646/1647 – from the first half of the 17th century, presented here in tables, too). Each of processed units is accompanied by signature, composer’s name(s) and diplomatic title, as well as other relevant data — about key (for manuscripts), performing group, dating and publisher (for printed items), with additional remarks on signatures of former owners, authors of transcripts, stamps, etc. The materials preserved at the Hvar Franciscan Monastery Church Quire are presented in the same way, with relying on data from the list prepared by J. Šanjek, complemented by online consulting of archive and library database records. Tabulation in the context of this thesis has double function. On one side, it is a result of exhaustive (field) work on organization and cataloguing of the musical collections of Hvar and Stari Grad per se, which showed the quantity and quality of sacred and secular art music, that was cultivated in the past in two island urban centres.