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0Xc1aa5576 0X0031af07.Pdf KUNST MUSik MUSIkgESCHICHTE A. Nachrichten über Werke C. J. A. Hofmann (1801 – 1843) Die Tonkünstler Schlesiens. Ein Beitrag zur Kunstgeschichte vom ­Jahre 960 bis 1830 (1830) Allgemeiner Musikalischer Anzeiger 44 (30. 10. 1830) 176 ‚Bey G. P. Aderholz in Breslau ist erschienen und bey Tobias Has- linger in Wien zu haben: Die Tonkünstler Schlesiens. Ein Beitrag zur Kunstgeschichte vom Jahre 960 – 1830. (. .). Verfaßt und herausgegeben von CARL JUL . AD. HO ff ­ m ANN . Mit 2 Steindrücken. gr. 8. 503 Seiten 2 fl. 15 kr. C. M.‘ B. Beiträge und Hinweise Vaterländische Blätter 25 (31. 7. 1810) 243 – 245 ‚Vereinigung zur Beförderung der Tonkunst in Böhmen.‘ (243) „Das vorzügliche Talent der slavischen Völker zur Musik ist schon oft bemerkt worden, die ausgezeichnete Kunstfertigkeit der Böhmen auf den meisten Instrumenten ist allgemein bekannt; schon früh entwickelte sich die musikalische Anlage dieses energi- schen Volkes. (. .). Ich beschränke mich darauf, den Leser, welcher über den Zustand der Musik in der Vorzeit Böhmens nähere Nach- richt wünscht, auf die vortreffliche Abhandlung des P. Dlavacz, Mitglied des Prämonstratenserstifts Strahow zu Prag, zu verweisen, worin er vollkommene Befriedigung finden wird. Diese Abhandlung befindet sich unter den Schriften der böhmischen Gesellschaft der Wissenschaften. Uebrigens ist noch nicht lange her, daß alle Orche- ster nicht nur in der österreichischen Monarchie, sondern auch im 4 Musik Auslande, viele Böhmen zu Mitgliedern hatten. In den Orchestern zu Paris, London, St. Petersburg, Berlin, Hamburg, Kopenhagen, Stockholm u. s. w. auch in mehrern Städten Italiens waren viele Böhmen, vorzüglich wurden die Blas-Instrumente von Böhmen ge- spielt. (. .).“ Seit mehreren Jahren sei die Musik der Böhmen in Verfall geraten; um dem entgegenzuwirken sei am 31. März 1810 die Privatgesellschaft ‚Vereinigung zur Beförderung der Tonkunst in Böhmen‘ gegründet worden. Über personelle Zusammensetzung, Ziele und Aufgaben dieser Gesellschaft. Anmerkung: Von Bohumír Dlabač (1758 – 1820) sollte ab 1815 ein Allgemeines historisches Künstler-Lexikon für Böhmen und zum Theil auch Mähren und Schle- sien erscheinen (SKČR). Hinweis auf einen Nachruf auf B. D. in den Erneu- erten vaterländischen Blättern vom 16. 12. 1820 s. Teil II des Bohemica-Bandes (→ Kap. „Gelehrte“ / „Nachrichten über das Wirken von Gelehrten und von Männern des öffentlichen Lebens, deren Auszeichnungen und Ableben“: → Dlabač, B., S. 542). Sammler 97 (18. 6. 1814) 388 ‚Über die Musik der Slaven.‘ Verfasser: FR. SAL . KANDL e R (388) „Wenn ich aber über die Slaven überhaupt rücksichtlich der Musik sprach, so soll dieß nur den weniger gebildeten Theil dersel- ben und die bey uns weniger bekannten Instrumente mit ihrer Entstehungsart betreffen; denn was die cultivirten Slaven überall, besonders die böhmischen in der Harmonie (Blasinstrumenten) Herrliches leisten, ist ohnehin genug bekannt. (. .).“ Beschrieben werden das Horn (Schalmey), welches man bei den Polen, Russen und Serben finde, der Dudelsack bei den Serben (‚Kosto‘) sowie die ‚Husla‘. Oesterreichische Blätter 290 (4. 12. 1817) 1152 ‚Notizen.‘ Quelle: (Ost und West 129.) (1152) „In der zweiten Hälfte des vorigen Jahrhunderts, dem gol- denen Zeitalter der echten Tonkunst, hatte das Stift Ossegg (in Böhmen) unter seinen Brüdern allein 13 Konzertisten und 13 Or- chesterspieler, die alle geborne Böhmen waren.“ Wiener Zeitschrift 75 (24. 6. 1819) 614 – 615 ‚Über Tonsinn und Tonkunst in Böhmen.‘ Verfasser: GL e . [Ge RL e ] (614) „Wenn wir keinen andern Beweis für den Tonsinn der slavi- schen Volksstämme, ihren Hang und Anlagen zur Musik hätten, als die wohlgeordneten Fugen, welche die russischen Truppen auf dem Musikgeschichte 5 Marsch zu singen pflegen, so wäre wohl dieser schon hinreichend; doch eben so bekannt als das angeborne Talent des Slaven für die Musik, ist der Umstand, daß unter den slavischen Stämmen sich bey keinem diese Kunst so reich und mannigfaltig ausgebildet, als bey den Böhmen, und wenn sich Italien das Vaterland des Gesanges nennt, so ist Böhmen eben so als die Wiege der Instrumental-Musik anzusehen, und selbst auf der sangreichen Landzunge dafür aner- kannt worden. (. .).“ Es folgt eine Beschreibung der charakteristischen Instrumente; vortrefflich sei die Feldmusik der böhmischen Regimenter. Allgemeine Theaterzeitung 38 (28. 3. 1822) 149 – 150; 39 (30. 3. 1822) 153 – 154; 40 (2. 4. 1822) 157 – 158; 41 (4. 4. 1822) 161 – 162; 42 (6. 4. 1822) 165 ‚Ueber Tonsinn und Tonkunst der Böhmen.‘ Verfasser: D. Skizze. (149) „In die zweite Hälfte des achtzehnten Jahrhunderts kann man das eigentliche goldene Zeitalter der böhmischen Tonkunst setzen, wo in der Hauptstadt und auf dem stillen Lande Alles Mu- sik athmete, in jeder heitern Sommernacht auf allen Straßen Sere- naden und Notturnen erschallten, wo alle Großen des Reiches und die bedeutenden Klöster und Stifte Kapellen hielten. (. .).“ Archiv für Geschichte 38 und 39 (29. 3. und 31. 3. 1824) 213 – 214; 44 und 45 (12. 4. und 14. 4. 1824) 249 – 251; 47 und 48 (19. 4. und 21. 4. 1824) 263 – 266; 49 (23. 4. 1824) 273 – 276; 4 (10. 1. 1825) 18 – 20; 10 (24. 1. 1825) 51 – 52; 32 und 33 (16. 3. und 18. 3. 1825) 168 – 170 ‚Die Tonkunst in Böhmen, von den ältesten bis auf die gegenwär- tigen Zeiten, von J. RITT e R VON RITT e RS be RG .‘ Überblick über das Musikschaffen, beginnend mit dem 16. Jahrhundert. Über Leben und Schaffen der Mitglieder des Prager Konservatoriums. S. 18 ff.: Friedrich Dionys Weber; Friedrich Pixis; Johann Theobald Held; S. 51 f.: Jo- hann Kucharz; Anton Thomas Kunz; S. 168 ff.: Johann Wenzel Tomaschek; Johann Nepomuk Wittaßek. Fünftes Probeblatt für 1829 zur Wiener Allgemeine Theaterzeitung ‚Neuigkeiten. Buntes aus der musikalischen Welt.‘ „Die böhmischen Musiker sitzen in allen Orchestern der ganzen Welt. Rossini hat ihnen das Zeugniß gegeben, daß sie die talent­ 6 Musik reichsten aus allen Nationen sind. Spontini hat sie die Helden der Blas-Instrumente genannt. Selbst in Philadelphia, im Orchester der großen Oper, sind es Böhmen, welche bey der Clarinette, Oboe und dem Fagott angestellt sind. Die Orchester in London besitzen 86, die Orchester in Paris 240 Mitglieder, welche Böhmen sind. In Ita- lien ist kein Orchester, das nicht Böhmen bey den Blas-Instrumen- ten hätte. (. .).“ Anmerkung: Die unpaginierte Beilage ist in der Handbibliothek des Theater- sammlung des Wiener Theatermuseums zwischen den Nummern 95 und 96 des Jahrganges 1829 eingebunden. Allgemeiner Musikalischer Anzeiger 44 (30. 10. 1830) 175 ‚Notizen.‘ (175) „Die musikalische Gesellschaft für classische Composition in Paris hat die Absicht, noch in diesem Jahre ein biographisches Lexicon der berühmtesten Virtuosen von Händel bis auf Rossini herauszugeben. Darunter sind 709 Böhmen; 701 Italiener; 517 Deutsche; 308 Russen; 134 Ungarn; 134 Franzosen; 128 Engländer; 78 Griechen; 18 Spanier; 18 Dänen; 16 Schweden; 9 Portugiesen und 3 Türken.“ Allgemeiner Musikalischer Anzeiger 13 (31. 3. 1836) 52 ‚Notizen.‘ (52) „Die Gesellschaft der Musikfreunde des österr. Kaiserstaates hat die HH. Conradin Kreutzer, Capellmeister, Friedr. Dionys We- ber, Director des Conservatoriums der Musik in Prag, und Johann Wenzel Tomaschek, Capellmeister, zu Ehrenmitgliedern ernannt, und ihnen die Aufnahmediplome zugefertigt.“ Humorist 163 (6. 11. 1837) 652 ‚Theatralisches. (Prag.)‘ (652) „Am 4. November 1787 wurde des unsterblichen Mozart’s unsterblicher « Don Juan » zum ersten Male hier aufgeführt. Die Böhmen, stolz auf den Ausspruch Mozart’s: ‚Die Böhmen verstehen mich, darum will ich für sie diese Oper schreiben‘ feierten diesen merkwürdigen Tag, indem sie nach 50 Jahren diese noch unerreich- te Tonschöpfung auf derselben Bühne, wo sie zuerst entzückte, wieder dem ungeschwächten Enthusiasmus des kunstsinnigen Pu- blikums vorführten.“ Musikgeschichte 7 Telegraph 60 (19. 5. 1837) 248 ‚Conversations-Stoff.‘ (248) „Eine Gesellschaft Prager Musikanten, an deren Spitze ein Hr. Lobeck steht, durchreis’t jetzt alle Hauptstädte der amerikani- schen Union und führt Strauß’sche Walzer und Galope auf, wo- durch sie viel Geld verdienen. Der New-York-American vergleicht Strauß und Fulton, der die Dampfboote erfunden hat, indem er die Galopade einen Dampftanz nennt. Ein anderes amerikanisches Blatt meint, es sei doch zu bewundern, daß gerade die Deutschen, sonst ein so ruhiges, contemplatives Volk, solche Melodien und den Walzer überhaupt erfunden haben.“ Allgemeine Theaterzeitung 63 (13. 3. 1840) 262 – 263 ‚Feuilleton. Geschwind, was gibt’s Neues? (Böhmische Musiker.)‘ (262) „Es ist schon einmal in diesen Blättern besprochen worden, daß die böhmischen Tonkünstler sich aller Orchester in und außer Europa bemächtigt haben; daß sogar in Philadelphia Böhmen in der Oper die Solo-Instrumente spielen; nun melden die Journale aus New York und Boston, daß in ersterer Stadt vom Capellmeister bis zum Trommelschläger, durchaus Böhmen im Orchester wirkten, und daß selbst in Boston nur drei Eingeborne, die übrigen aber alle Czechen wären. Der Capellmeister in Boston heißt Hnogolczil, und ist noch vor zwei Jahren in Prag gewesen.“ Allgemeine Wiener Musikzeitung 38 (29. 3. 1842) 153 – 154; 47 (19. 4. 1842) 193 – 194 ‚Die Musik in Böhmen.‘ Quelle: „(. .). Ein Artikel in der böhmischen Zeitschrift Kwety (die Blühten). S. 193 f.: „1. Artikel.“ S. 193 f.: „2. Artikel.“ Der erste Artikel gibt eine kurze historische Übersicht der für die Musik der Böhmen denkwürdigen Ereignisse; der zweite Artikel geht ein auf „die An- stalten, welche es sich zur Aufgabe gesetzt haben, das musikalische Wissen im Lande
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