Page 92 - 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
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glasbene migracije: stičišče evropske glasbene raznolikosti
ample, along with both Sorgos, the Split composer Giulio Bajamonti spent
a few years in Padua during his studies in medicine (till 1773). At the same
time, he undoubtedly took music lessons,19 attended many musical events,
especially operas in Venice, and composed a few secular pieces there.20
The common reason to get higher music education outside Croatian
lands was the fact that there were no higher institutions or prolific compos-
ers able to offer advanced training. On the other hand, because of the same
reason, Croatian towns suffered from a lack of educated musicians. The ex-
isting ensembles usually gladly accepted foreign professionals (for example
in the Rector’s orchestra in Dubrovnik,21 or in the theatre orchestra in Za-
dar22) and they often stayed there for a longer period, or even for good. In
some occasions, they were even brought on purpose for specific music tar-
gets. Such was the case of the Zagreb bishop Maximilian Vrhovac, who in
1788 abolished the traditional Zagreb church rite23 and introduced the so-
called Singmessen – German church songs that were later translated into
Croatian. Therefore, he had to bring six choralists from Klagenfurt to per-
form this new repertoire.24
The reason for a migration was often an economic issue: search for
adequate job and prosperous career brought Tomaso Resti from Lecce to
Dubrovnik; later, after the abolition of the Dubrovnik Republic, he moved
to Split and Zadar. On the other hand, changes in the legal system of inher-
iting the estate in Czech lands at the end of the 18th century brought some
Czech musicians to continental Croatia.25
19 It might be possible that he attended the lessons in Venice in the private school of
Fernando Bertoni, together with Giovanni Battista Grazioli, with whom he later
exchanged letters.
20 He himself made notes on his music sheets. For example, he composed in Venice the
aria Frena mio bene in 1774, as well as some other works.
21 Cf. Demović, Glazba i glazbenici u Dubrovačkoj Republici, 84–105.
22 Cf. Katica Burić, Glazbeni život Zadra u 18. i prvoj polovici 19. stoljeća (Zadar:
Svučilište u Zadru, 2010).
23 He did it following the orders of Joseph II, who wanted to unify the provinces of the
Monarchy on the level of church tradition as well.
24 Janko Barlè, “Nešto o koru prvostolne crkve zagrebačke,” Sv. Cecilija, 5/10–11 (1911):
73–74.
25 Vjera Katalinić, “Glazbene migracije i kulturni transfer: Vaňhal i neki suvremenici,”
Radovi Zavoda za znanstveni rad Varaždin, 25 (2014): 219–228; Vjera Katalinić,
“Migration and Cultural Transfer in Transformation: Czech Musicians in the
19th-century Croatian Lands,” in Sociocultural Crossings and Borders: Musical
Microhistories, eds. Rūta Stanevičiūtė and Rima Povilionienė (Vilnius: Lithuanian
Academy of Music and Theatre, 2015), 36-39.
90
ample, along with both Sorgos, the Split composer Giulio Bajamonti spent
a few years in Padua during his studies in medicine (till 1773). At the same
time, he undoubtedly took music lessons,19 attended many musical events,
especially operas in Venice, and composed a few secular pieces there.20
The common reason to get higher music education outside Croatian
lands was the fact that there were no higher institutions or prolific compos-
ers able to offer advanced training. On the other hand, because of the same
reason, Croatian towns suffered from a lack of educated musicians. The ex-
isting ensembles usually gladly accepted foreign professionals (for example
in the Rector’s orchestra in Dubrovnik,21 or in the theatre orchestra in Za-
dar22) and they often stayed there for a longer period, or even for good. In
some occasions, they were even brought on purpose for specific music tar-
gets. Such was the case of the Zagreb bishop Maximilian Vrhovac, who in
1788 abolished the traditional Zagreb church rite23 and introduced the so-
called Singmessen – German church songs that were later translated into
Croatian. Therefore, he had to bring six choralists from Klagenfurt to per-
form this new repertoire.24
The reason for a migration was often an economic issue: search for
adequate job and prosperous career brought Tomaso Resti from Lecce to
Dubrovnik; later, after the abolition of the Dubrovnik Republic, he moved
to Split and Zadar. On the other hand, changes in the legal system of inher-
iting the estate in Czech lands at the end of the 18th century brought some
Czech musicians to continental Croatia.25
19 It might be possible that he attended the lessons in Venice in the private school of
Fernando Bertoni, together with Giovanni Battista Grazioli, with whom he later
exchanged letters.
20 He himself made notes on his music sheets. For example, he composed in Venice the
aria Frena mio bene in 1774, as well as some other works.
21 Cf. Demović, Glazba i glazbenici u Dubrovačkoj Republici, 84–105.
22 Cf. Katica Burić, Glazbeni život Zadra u 18. i prvoj polovici 19. stoljeća (Zadar:
Svučilište u Zadru, 2010).
23 He did it following the orders of Joseph II, who wanted to unify the provinces of the
Monarchy on the level of church tradition as well.
24 Janko Barlè, “Nešto o koru prvostolne crkve zagrebačke,” Sv. Cecilija, 5/10–11 (1911):
73–74.
25 Vjera Katalinić, “Glazbene migracije i kulturni transfer: Vaňhal i neki suvremenici,”
Radovi Zavoda za znanstveni rad Varaždin, 25 (2014): 219–228; Vjera Katalinić,
“Migration and Cultural Transfer in Transformation: Czech Musicians in the
19th-century Croatian Lands,” in Sociocultural Crossings and Borders: Musical
Microhistories, eds. Rūta Stanevičiūtė and Rima Povilionienė (Vilnius: Lithuanian
Academy of Music and Theatre, 2015), 36-39.
90
