Sve objave od hmdmusic

MusMig, Skupovi i predstavljanja

Music Migrations: from Source Research to Cultural Studies

Mainz, Johannes Gutenberg University, 24-25 April 2014

Music Migrations: from Source Research to Cultural Studies

Workshop of the HERA-project Music Migrations in the Early Modern Age: the Meeting of the European East, West and South (MusMig)

musmigmainz2014In early modern times music migrations have considerably contributed to the dynamics and synergy of the European cultural scene at large, stimulating innovations, changes of styles and patterns of musical and social behaviour, and contributing to the cohesive forces in the common Euro-pean cultural identity. In order to offer insight into musico-cultural encounters in spatial (European East, West and South), and in temporal terms (17th-18th centuries, i.e. Baroque and Classicism) the first workshop of the HERA-MusMig project will discuss the different types of sources as well as the theoretical and technical framework within which it will be possible to form a network of migratory musicians and to reconstruct their routes and goals; secular and sacred centres with centripetal attractiveness; the cultural transfer of certain musical forms and styles; individual and social migratory motives. In addition to panels on methodological approaches and on music migration between Eastern and Western Europe special attention will be given to the potential of Digital Humanities as a tool to study biographies and networks of migratory musicians.

Program

MusMig, Skupovi i predstavljanja

Music Migrations: People, Markets, Patterns, Styles

Zagreb, Library of the Croatian Academy of Sciences and Arts, 13-14 October 2014

Music Migrations: People, Markets, Patterns, Styles

International Musicological Symposium of the HERA-Project: Music Migrations in the Early Modern Age: The Meeting of the European East, West and South (MusMig)

musmigzagreb2014-2Impulses for the migration of musicians (composers, performers, teachers, instrument builders/makers, etc.) during the 17th and 18th centuries were often economic in nature, either positive – searching for a new/better place to work – or negative – poor conditions in staying in one place – and supply and demand often regulated their (voluntary) circulation. The market was actually reduced to a few fields: the Church, the town, the nobility, or the theatre, and they were often interwoven (for example, the Church or court musician found extra money as a private teacher, and also as performer in a theatre orchestra). The migrants were the soloist virtuosi, as well as their benefactors/Maecenas.

How did they present themselves to the new environment/audience? What type of contracts did they sign? Were they invited, or did they impose themselves? Did they simply migrate for schooling, and then return? Where were they educated? Did they bring music material with them (scores, books, tutorials/manuals)? Did they adopt and implement/disseminate new musical forms, new patterns of music-making, and new styles? Did they follow the original models or modify them? How did their audiences react? Did their guest performances influence the creation of new frames/spaces of music-making? Did they leave notes on their sojourns in foreign countries and how did they assess them? How did they travel? How does the musicologist approach these questions? And researchers from sister disciplines? What methodologies and sourced do they use?

The answers to these and many other questions will be sought after within this meeting.

 

* * *

Zagreb, Knjižnica Hrvatske akademije znanosti i umjetnosti, 13-14. listopada 2014.

Glazbene migracije u rano moderno doba: ljudi, tržišta, modeli, stilovi

Međunarodni muzikološki skup u okviru HERA projekta

Poticaji za migracije glazbenika (skladatelja, interpreta, učitelja, graditelja glazbala i sl.) u 17. i 18. stoljeću često su bili ekonomske prirode, bilo pozitivne (traženje novog/boljeg radnog mjesta), bilo negativne (nemogućnost ostanka), a ponuda i potražnja regulirale su njihovu (dobrovoljnu) cirkulaciju. Tržište se uglavnom svodilo na nekoliko područja: crkveno, gradsko, plemićko ili kazališno, a često su se područja i poklapala (crkveni je ili dvorski glazbenik dodatno zarađivao privatnom podukom, a uz to svirao u kazališnom orkestru). Migrirali su i solisti-virtuozi, ali i mecene.

Kako su se svi oni predstavili novoj sredini? Kakve su ugovore sklapali? Jesu li bili pozvani, ili su se nametnuli? Jesu li odlazili na školovanje, pa se vraćali? Gdje su se obrazovali? Jesu li sa sobom donijeli i muzikalije? Jesu li usvojili i implementirali nove glazbene vrste, novi stil? U izvornom ili promijenjenom načinu? Kako je publika na to reagirala? Je li njihovo gostovanje utjecalo na stvaranje novih okvira/prostora muziciranja? Jesu li ostavili bilješke o svojim boravcima u drugim sredinama i kako su ih procjenjivali? Na koji su način putovali? Kako muzikolog pristupa tim pitanjima? A kako znanstvenici iz srodnih disciplina? Koju metodologiju i izvore rabe?

Sve je to samo dio pitanja na koja će se pokušati odgovoriti u okviru ovoga skupa.

Najava

Program

Sažeci

Galerija

Izložba – katalog – poster

MusMig, Skupovi i predstavljanja

Music Migrations in the Early Modern Age: Centres and Peripheries

Warsaw, University of Warsaw; Institute of Musicology, 6-7 May 2016

Music Migrations in the Early Modern Age: Centres and Peripheries – People, Works, Styles, Paths of Dissemination and Influence

International Musicological Conference within the HERA project Music Migrations in the Early Modern Age: The Meeting of the European East, West and South (MusMig)

musmigvarsava2016Migration of musicians and transmission of repertoire across Europe in the 17th and 18th centuries contributed to the emergence of a network of music and cultural connections, in which major European centres of music life were linked to less well 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 music life and their adaptation in various milieus, it is vital not only to establish how peripheries were linked to the centres, but also how particular peripheral centres were linked to each other.

It is our objective to investigate the directions of migration and repertoire transmission, the routes along which musicians travelled and music was disseminated between the East, the West and the South of Europe, as well as about how the routes and directions changed and the factors that favoured or inhibited the exchange of musicians and music. We intend to find out which centres and in what period functioned as hubs of music life and which were peripheral, although each of them possessed an originality of its own. Among the issues related to the spreading of repertoire and knowledge about music, we consider their transformation through transmission and adaptation to be an important development which led to the emergence of the universally acknowledged classical style in music.

In summary of the research conducted within the framework of the MusMig project, it is our intention to address the fundamental question concerning the significance of the encounters between the East, the West and the South of Europe for music culture, both broadly defined and local in the places where the encounters occurred.

 

Program

Concert At the Polish Royal Court in the 17th Century, May 6, 2016

Program koncerta

 

MusMig, Skupovi i predstavljanja

HERA launch meeting

HERA launch meeting

(Dubrovnik, 30. rujna-1. listopada 2013.)

HERA JRP Cultural Encounters Conference

Dubrovnik Palace Hotel, Croatia, 30 September–1 October 2013

HERA Info

The HERA (Humanities in the European Research Area) Joint Research Programme (JRP) Cultural Encounters Conference brings together consortiums of project Leaders, principal Investigators and associated (non-academic) partners to meet with members of the HERA network, evaluation panel members,previously funded HERA project leaders and humanities research policy makers. The event features networking opportunities and will include presentations from all eighteen projects awarded funding under the HERA JRP Cultural Encounters programme and knowledge exchange with previously funded HERA project leaders.

 

 

HERA konferencija i predstavljanje projekta MusMig

HERA Conference & Presentation of the MusMig project

Utorak, 1. listopada 2013. / Tuesday, 1 October 2013

Hotel Palace, Dubrovnik

hera6_450

Program

Galerija

Djelatnosti, Godišnja nagrada, Nagrada Dragan Plamenac

Godišnja “Nagrada Dragan Plamenac” za 2014. godinu

Godišnja “Nagrada Dragan Plamenac” za 2014. godinu dodijeljena je akademkinji Koraljki Kos

 

 

dp-kos2014Dodijeljena je nagrada Plamenac za 2014. god. Dobitnica je akademkinja Koraljka Kos za knjigu Hrvatska umjetnička popijevka. Povijesna i analitička motrišta, Hrvatsko muzikološko društvo, Zagreb 2014.

 

Obrazloženje

Akademkinja, redovita profesorica u miru i professor emerita Zagrebačkog sveučilišta Koraljka Kos je diplomirala na Historijsko-teoretskom odjelu Muzičke akademije u Zagrebu (1957), a na Filozofskom fakultetu je studirala povijest umjetnosti i njemački jezik s književnošću, koji je diplomirala 1959. Doktorirala je 1967. u Ljubljani, a usavršavala se u Edinburghu (1957-58) te je kao stipendistica zaklade Alexander von Humboldt boravila u SR Njemačkoj (1973-74). God. 1959-1967 radila je na Radničkom sveučilištu Moša Pijade u Zagrebu, potom na Muzičkoj akademiji do umirovljenja 1994. Kao gostujući profesor je predavala na Sveučilištu u Grazu (1983-84), na Hochschule (danas Universität) für Musik und darstellende Kunst u Beču (1993), te na UCLA i Stanfordskom sveučilištu u SAD-u (1985). Voditeljica je Odsjeka za povijest hrvatske glazbe HAZU. Sudjelovala je u radu niza kongresa i znanstvenih skupova u Hrvatskoj i inozemstvu. Usto se kontinuirano bavi uredničkim radom. Član je uredništva te je bila glavna urednica časopisa Arti musices (1980-89), a uredila je i brojna druga izdanja. U više od stotinu radova, knjiga i studija bavi se temama iz područja hrvatske glazbe u međunarodnome kontekstu od srednjega vijeka do 20. stoljeća. Bila je i predsjednica HMD-a. Dobitnica je „Nagrade Josip Andreis“ Društva skladatelja Hrvatske (danas HDS) za monografiju o D. Pejačević (1982), državne „Nagrade Bartol Kašić“ (zajedno s O. Šojat i V. Zagorcem) za Pavlinski zbornik 1644 (1994), te „Nagrade Dragan Plamenac“ HMD-a (zajedno sa S. Majer-Bobetko i R. Palić-Jelavić) za zbornik radova Božidar Kunc. Život i djelo (2008), te „Nagrade Dragan Plamenac“ za životno djelo (2009).
Knjiga Hrvatska umjetnička popijevka. Povijesna i analitička motrišta Koraljke Kos prva je tiskom objavljena glazbenohistoriografska sinteza o hrvatskoj umjetničkoj popijevci. U njoj se prati njezin kronološki razvoj od početaka u prvim desetljećima 19. stoljeća do razdoblja između dvaju svjetskih ratova, a kao informacija i do druge polovine 20. stoljeća, kada počinje marginaliziranje klasičnog Lieda, koji sve češće ustupa „mjesto novim sintezama vokalnosti i instrumentalno/elektroničkog zvuka“. Prateći kronološki tijek hrvatski je Lied predstavljen kroz akribične muzikološke analize, poglavito opusa izabranih skladatelja u kojima se očituje, kako autorica ističe, „ono najbolje i najkarakterirističnije što je neko razdoblje ostvarilo na području Lieda“, što uključuje i estetička promišljanja, s jedne strane. S druge strane, autorica povijest hrvatskoga Lieda uvijek promatra i u kontekstu širih kulturnih i društvenih zbivanja, štoviše u okviru njezine društvene, primjerice, receptivne uvjetovanosti. Nižući pojedine epizode povijesnog tijeka kao zasebne cjeline, autorica svojim diskursom nije prekidala njegov kontinuitet. Naprotiv, on se jasno očituje i čitatelj ga prati kroz bogati spektar promjena, što ih je hrvatska umjetnička popijevka prošla od svojih skromnih oblikovnih početaka, preko različitih stilskih opredjeljenja svojih autora, do „rastakanja“ uobičajenih strukturnih parametara. Napokon, valja istaknuti da je, zahvaljujući svome spisateljskom umijeću, Koraljka Kos, premda je nedvojbeno riječ o znanstvenoj knjizi, ovom prvom povijesnom sintezom hrvatske solo-pjesme potpuno uspjela u svojoj namjeri da njezina znanstvena knjiga bude jednako dobrodošla muzikološkoj javnosti, ali i „širim krugovima ljubitelja glazbe“.

Svime što je rečeno Povjerenstvo smatra da ova knjiga predstavlja vrijedan znanstveni prilog hrvatskoj muzikologiji i stoga donosi odluku da Hrvatsko muzikološko društvo akademinji Koraljki Kos dodijeli godišnju „Nagradu Dragan Plamenac“ za 2014. godinu.

 

MusMig, Skupovi i predstavljanja

Dani otvorenih vrata HAZU

Dani otvorenih vrata HAZU (Zagreb, 19.-20. studenog 2013.)

Odsjek za povijest hrvatske glazbe Zavoda za povijest hrvatske književnosti, kazališta i glazbe HAZU

dov2013-pozivOpatička 18, Zagreb

19.-20. studenog 2013.

„Hrvatska muzikologija u europskom znanstvenom prostoru“

Na Danima otvorenih vrata Hrvatske akademije znanosti i umjetnosti 2013. projekt MusMig uključen je u okviru predstavljanja Odsjeka za povijest hrvatske glazbe HAZU pod nazivom „Hrvatska muzikologija u europskom znanstvenom prostoru“.

 

 

Vidi više na: Odsjek_za_povijest_hrvatske_glazbe

Događanja i najave, MusMig

Julije Bajamonti: Aria di Arbace nell’ Artaserse for Soprano and Orchestra (1776)

New edition of the HERA MusMig Croatian project group

Julije Bajamonti: Aria di Arbace nell’ Artaserse for Soprano and Orchestra (1776)

Publisher: Croatian Musicological Society
Series: Gazophylacium Musicae Croaticae, No. 9
ISMN: 979-0-9005206-7-8
Editor-in-Chief & Revised by: Vjera Katalinić

Zagreb, 2016

bajamonti_h200Julije Bajamonti’s Aria di Arbace nell’ Artaserse (1776) (Per quel paterno amplesso) was composed for soprano accompanied by a standard Classicist orchestra consisting of strings, flutes and horns a due. Although Bajamonti (1744-1800) composed it in Venice, he probably intended it for performance in his native town of Split. Its text reveals the Metastasian spirit, well-known on the Venetian musical scene. It might have been inspired by the aria of the same title from the opera Artaserse, composed by Ferdinando Bertoni based on Metastasio’s text, which had been performed in Venice during the spring of 1776. The autograph score is kept in the music collection of Don Nikola Udina/Algarotti (1791-1838), a priest from the island of Krk, who was schooled in Split and Vienna, and later lived in Salzburg and Vienna.

The dramatic Aria di Arbace nell’ Artaserse was performed by the soprano Monika Cerovčec and the Croatian Baroque Ensemble at the final concert of the HERA MusMig concert Migrant and travelling composers of the late 18th century held in Zagreb in May 2016. Just like Bajamonti’s Frena, mio bene, aria for soprano and orchestra composed in 1775 and published by the HERA MusMig Croatian group in 2013, it will be available to the all musicians interested in the 18th-century music.

Događanja i najave, MusMig

New edition of the HERA MusMig

New edition of the HERA MusMig Croatian project group

Giovanni Giornovichi / Ivan Jarnović: Thirteenth Concerto for Violin and Orchestra in A major

Publisher: Croatian Musicological Society
Series: Gazophylacium Musicae Croaticae, No. 8
ISMN: 979-0-9005206-6-1
Editor-in-Chief & Revised by: Vjera Katalinić

Zagreb, 2015

giornovichi_h200Giornovichi’s Thirteenth Concerto was first issued by the Parisian publisher Jean-Georges Sieber, as were the majority of his other concerti. It may even have been his last piece to receive publication while he was still in the French capital on the eve of his departure for England in 1789. Already in the next year, it was published by the London editor Longman & Broderip as well as by Jean André in Offenbach. It seems that the London edition of this, as well as that of the Eleventh Concerto, overlaps with Giornovichi’s first concerts in that city, even though his compositions were undoubtedly performed there at least since 1788. In any case, it is one of the first publications (or even the first) of one of Giornovichi’s pieces at Longman & Broderip’s; evidence can be found in the catalogue of the publisher, attached to the concert, which shows no trace of his compositions on the list. In the announcement of Giornovichi’s (probably) second performance on 19 March, 1790, at the Hanover Square Rooms, the reporter of the London Gazetteer and New Daily Advertiser presents this virtuoso as “celebrated all over Europe for his exquisite performance on the violin, and for the beauty of his compositions”. It is possible that it was precisely the Thirteenth Concerto which he presented to the London audience, although there are no reports on this fact. Three extant printed versions, as well as two manuscript copies (one in London and one in Germany), testify that this piece had been widely performed.

Novosti

MusMig in the Croatian Musicological Review Arti musices

MusMig in the Croatian Musicological Review Arti musices

Zagreb, September 2015

am_h200An article (in Croatian, with English summary) “Useful Liaisons: Luka Sorgo – Ruggiero Boscovich – Pietro Metastasio” has been published in the Croatian Musicological Review Arti musices, Vol. 46, No. 1. Online version can be found here: http://hrcak.srce.hr/index.php?show=clanak&id_clanak_jezik=211902. The text by Vjera Katalinić, leader of the HERA MusMig project, describes the letter of the Viennese court poet and librettist Pietro Metastasio to the scientist from Dubrovnik Ruggiero Boscovich (Ruđer Bošković), at that time in Paris. The letter gives some new insights into the Viennese sojourn of Luka Sorgo (Sorkočević), a nobleman and composer from Dubrovnik, who was sent on a diplomatic mission to the court of Joseph II. Luka Sorgo obviously arrived in Vienna in August 1781, hired his first headquarters rather far away from the centre, possibly near the Prater, so that the old poet was not able to meet him regularly. On the other hand, Metastasio gave information on the fine and noble character and personality of the Dubrovnik nobleman that attracted the majority of the local nobility at the Court.

An article (in Croatian, with English summary) “The Early-Baroque Composer Vinko Komnen (Vincenzo Comneno; 1590-1667) and the Network of his Predecessors and Contemporaries” has also been published in the Croatian Musicological Review Arti musices, Vol. 46, No. 1. Online version can be found here: http://hrcak.srce.hr/index.php?show=clanak&id_clanak_jezik=211888. The text by Stanislav Tuksar, member of the Croatian group, explores the biographical sources, identity, bibliography and music output of the early-Baroque composer, erudite and Dominican monk Vincenzo Comneno (Vinko Komnen; 1590-1667), who lived and worked in Dubrovnik, Rome, Naples, and Spain. The research is based on the new insights and interpretations of the complex publication (a kind of Miscellanea Proceedings) entitled “Le glorie cadute dell’Antichissima, ed Augustissima Famiglia Comnena”, edited by Lorenzo Miniati and published in Venice in 1663, as its second edition.

 

MusMig again in the Croatian Musicological Review Arti musices

Zagreb, January 2016

am2_w450An article (in Croatian, with English summary) “The Inventory of Music Materials of the Cathedral Chapter in Hvar, 1646/1647” has been published in the Croatian Musicological Review Arti musices, Vol. 46, No. 2. Online version can be found here:

http://hrcak.srce.hr/index.php?show=clanak&id_clanak_jezik=223750.

The text by Maja Milošević, member of the Croatian group, researches a manuscript kept in the Cathedral Chapter Archives in Hvar, which contains a list of books and music material owned by the Cathedral Chapter back in 1646/47. Although lost nowdays, recorded music titles are witness to the quantity and quality of music in the town of Hvar (and generally in Dalmatia) during the 1st half of the 17th century. This (music) inventory testifies not only the presence of the contemporary Italian (mostly Venetian early-Baroque) music literature on the island. It also reveals four titles of Tomaso Cecchini’s to date unknown compositions, joined here to the revisited list of Cecchini’s works. Considering the importance of the source in the context of Croatian music historiography and (early) Baroque culture, a focal point of this article is an overview of the inventory’s musical content. It is presented here by way of a table containing transcripted titles and extra details on authors and printed editions, which were formerly a part of the Cathedral Chapter’s music collection.

MusMig

HERA launch meeting – Galerija

Galerija

HERA launch meeting

Galerija