Page 88 - Weiss, Jernej, ur. 2017. Glasbene migracije: stičišče evropske glasbene raznolikosti - Musical Migrations: Crossroads of European Musical Diversity. Koper/Ljubljana: Založba Univerze na Primorskem in Festival Ljubljana. Studia musicologica Labacensia, 1
P. 88
glasbene migracije: stičišče evropske glasbene raznolikosti
hann Friedrich Eck (1766–1810) from Munich and Ignaz’s young son Ferdi-
nand Fränzl (1770–1833) who came with his father. That coincidence, noti-
fied partly also by the singer Michael Kelly (1762–1826), can be traced in the
Viennese concert calendar according to the diary of Count Zinzendorf and
from some other documents as well.3 Zinzendorf mentioned Giornovichi’s
and F. Fränzel’s appearance in Spring of that year.4 Did they all meet in per-
son, did they listen to their respective music, did they have any influence
on each other? Only partial information can be traced and that research is
still a work in progress.
Research of migrations: the MusMig project
Following the timelines of musicians (i.e. not only of performers and com-
posers, but also of instrument makers, music teachers, writers on music as
well as patrons/maecenas of music, both professionals and amateurs, indi-
viduals as well as theatre/opera companies), especially dynamic in the 17th
and the 18th centuries, unavoidably leads to the creation of a network of itin-
eraries, resulting with some intersections and converging meeting-points.
It was one of the tasks to be achieved in the EU HERA project “Music mi-
grations in the early modern age: the meeting of the European East, West
and South” (2013–2016).5 To that musicians’ itineraries, the acquisitions of
music materials (sheet music, books on music) and musical instruments
from abroad was added as well, directing the research focus of some case
studies. Thus, 17 researchers in six institutions from four countries investi-
gated the timelines, intersections and impacts of such migrational process-
es throughout Europe, what resulted with a series of articles, books, collec-
tions of proceedings, exhibitions, music scores and even a DVD.6
In the case of Croatian lands in the “early modern age”, i.e. during the
17th and 18th centuries (until ca 1820s), some of the leading principles and
main ideas arose from the research that could without major modification
be applied to other geographical areas. As the political situation in this part
of Europe is quite well known, only some basic notions will be pointed out
here: Croatian lands were dismembered and made part of various political
formations:
3 Cf. Mary Sue Morrow, Concert Life in Haydn’s Vienna (New York: Pendragon Press,
1989), 237ff.
4 Ibid., 262–263.
5 Web page of the project: www.musmig.eu.
6 See the outputs on the blog: https://musmig.hypotheses.org/.
86
hann Friedrich Eck (1766–1810) from Munich and Ignaz’s young son Ferdi-
nand Fränzl (1770–1833) who came with his father. That coincidence, noti-
fied partly also by the singer Michael Kelly (1762–1826), can be traced in the
Viennese concert calendar according to the diary of Count Zinzendorf and
from some other documents as well.3 Zinzendorf mentioned Giornovichi’s
and F. Fränzel’s appearance in Spring of that year.4 Did they all meet in per-
son, did they listen to their respective music, did they have any influence
on each other? Only partial information can be traced and that research is
still a work in progress.
Research of migrations: the MusMig project
Following the timelines of musicians (i.e. not only of performers and com-
posers, but also of instrument makers, music teachers, writers on music as
well as patrons/maecenas of music, both professionals and amateurs, indi-
viduals as well as theatre/opera companies), especially dynamic in the 17th
and the 18th centuries, unavoidably leads to the creation of a network of itin-
eraries, resulting with some intersections and converging meeting-points.
It was one of the tasks to be achieved in the EU HERA project “Music mi-
grations in the early modern age: the meeting of the European East, West
and South” (2013–2016).5 To that musicians’ itineraries, the acquisitions of
music materials (sheet music, books on music) and musical instruments
from abroad was added as well, directing the research focus of some case
studies. Thus, 17 researchers in six institutions from four countries investi-
gated the timelines, intersections and impacts of such migrational process-
es throughout Europe, what resulted with a series of articles, books, collec-
tions of proceedings, exhibitions, music scores and even a DVD.6
In the case of Croatian lands in the “early modern age”, i.e. during the
17th and 18th centuries (until ca 1820s), some of the leading principles and
main ideas arose from the research that could without major modification
be applied to other geographical areas. As the political situation in this part
of Europe is quite well known, only some basic notions will be pointed out
here: Croatian lands were dismembered and made part of various political
formations:
3 Cf. Mary Sue Morrow, Concert Life in Haydn’s Vienna (New York: Pendragon Press,
1989), 237ff.
4 Ibid., 262–263.
5 Web page of the project: www.musmig.eu.
6 See the outputs on the blog: https://musmig.hypotheses.org/.
86
