Page 93 - 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. 93
music mobility in the 17th and 18th centuries: croatian lands ...
Moreover, both, times of peace and times of war triggered music mi-
grations. The peacetime enabled more relaxed music practice and secured
the possibilities for migrant musicians to explore new performing oppor-
tunities. That was particularly the case with itinerant opera/theatre compa-
nies that toured along the eastern Adriatic coast throughout the 18th centu-
ry, while in the northern Croatia it happened mostly after 1780s.26 On the
other hand, the wartime forced some of the musicians to escape from their
hometowns (that was the case, for example of Christophor Ivanovich27)
and, besides, the movements of the regiments obliged their musicians to
follow them.
Directions and scopes of migrations
At first, it should be pointed out that the term of migration in its broadest
sense means moving of people with the intention to stay in the new place
for a longer period or even for good. Although it usually implies leaving for
another country, the internal migration within a country/region is also im-
portant (or, we might call it: micro-migration?). In our database, we have
registered both cases. The internal migration in the stricter sense would
be the one, for example, of the early 18th-century peasant Francesco Glegh
(Gleđ), an oboist in the Dubrovnik Rector’s orchestra, who came from the
hinterland village to the town in order to get music education.28 The simi-
lar case occurred when the Split composer Giulio Bajamonti moved to the
neighbouring island of Hvar where he served for six years as a physician, lo-
cal cathedral organist and composer. However, it seems that more fruitful
and interesting were distant migrations, connecting the domicile area with
the new location, mostly in another country, but usually within the same
cultural circle. Thus, the majority of musicians migrated between Italian
towns and the east Adriatic coast (either between the Venetian Republic
and the Venetian Dalmatia, or between Papal State or Neapolitan King-
dom and the Republic of Dubrovnik). Still, owing to the specific status of
26 Cf. Vjera Katalinić, “Paralelni svjetovi ili dvostruki identitet? Strane operne družine
i nacionalna glazbena nastojanja u Zagrebu u prvoj polovici 19. st.,” in Musicologie
sans frontières. Essays in Honour of Stanislav Tuksar, eds. Ivano Cavallini and Harry
White (Zagreb: HMD, 2010), 323–340.
27 That was one of the reasons that Christofor Ivanovich named for leaving Budva
and moving to Italy; cf. Stanislav Tuksar, “Cristoforo Ivanovich – A Seventeenth-
Century Dalmatian Migrant in Serenissima, Revisited,” in Music Migrations in the
Early Modern Age: People, Markets, Patterns and Styles, Vjera Katalinić, ed. (Zagreb:
HMD, 2016), 49–63.
28 Demović, Glazba i glazbenici u Dubrovačkoj Republici, 87.
91
Moreover, both, times of peace and times of war triggered music mi-
grations. The peacetime enabled more relaxed music practice and secured
the possibilities for migrant musicians to explore new performing oppor-
tunities. That was particularly the case with itinerant opera/theatre compa-
nies that toured along the eastern Adriatic coast throughout the 18th centu-
ry, while in the northern Croatia it happened mostly after 1780s.26 On the
other hand, the wartime forced some of the musicians to escape from their
hometowns (that was the case, for example of Christophor Ivanovich27)
and, besides, the movements of the regiments obliged their musicians to
follow them.
Directions and scopes of migrations
At first, it should be pointed out that the term of migration in its broadest
sense means moving of people with the intention to stay in the new place
for a longer period or even for good. Although it usually implies leaving for
another country, the internal migration within a country/region is also im-
portant (or, we might call it: micro-migration?). In our database, we have
registered both cases. The internal migration in the stricter sense would
be the one, for example, of the early 18th-century peasant Francesco Glegh
(Gleđ), an oboist in the Dubrovnik Rector’s orchestra, who came from the
hinterland village to the town in order to get music education.28 The simi-
lar case occurred when the Split composer Giulio Bajamonti moved to the
neighbouring island of Hvar where he served for six years as a physician, lo-
cal cathedral organist and composer. However, it seems that more fruitful
and interesting were distant migrations, connecting the domicile area with
the new location, mostly in another country, but usually within the same
cultural circle. Thus, the majority of musicians migrated between Italian
towns and the east Adriatic coast (either between the Venetian Republic
and the Venetian Dalmatia, or between Papal State or Neapolitan King-
dom and the Republic of Dubrovnik). Still, owing to the specific status of
26 Cf. Vjera Katalinić, “Paralelni svjetovi ili dvostruki identitet? Strane operne družine
i nacionalna glazbena nastojanja u Zagrebu u prvoj polovici 19. st.,” in Musicologie
sans frontières. Essays in Honour of Stanislav Tuksar, eds. Ivano Cavallini and Harry
White (Zagreb: HMD, 2010), 323–340.
27 That was one of the reasons that Christofor Ivanovich named for leaving Budva
and moving to Italy; cf. Stanislav Tuksar, “Cristoforo Ivanovich – A Seventeenth-
Century Dalmatian Migrant in Serenissima, Revisited,” in Music Migrations in the
Early Modern Age: People, Markets, Patterns and Styles, Vjera Katalinić, ed. (Zagreb:
HMD, 2016), 49–63.
28 Demović, Glazba i glazbenici u Dubrovačkoj Republici, 87.
91
