Page 94 - 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. 94
glasbene migracije: stičišče evropske glasbene raznolikosti
Dubrovnik, musical contacts transcended that scheme: such is the case of
the family of French musicians Courtoys who settled down in Dubrovnik
already in the second half of the 16th century and stayed there for three gen-
erations.29 One of the rare exceptions was the already mentioned Spadi-
na, who went further to the North. Unfortunately, it has not been recon-
structed whether he first moved to Italy (the place within the same cultural
– Mediterranean – circle) and then proceeded to Poland (central Europe),
or took some other more direct route there. On the other hand, musicians
from continental Croatia and Slavonia were oriented towards central Eu-
rope and vice versa: Austrian and Czech musicians came to Zagreb, Varaž-
din and Osijek. The port of Rijeka is an exception, when concerning the is-
sue of cultural circles: although belonging politically to Ban’s Croatia, and
thus being submitted to German administration (later also the Hungarian
one), as an Adriatic town, it was also exposed to Italian culture and music.
This is why this important trade city had cultural contacts with both, the
Mediterranean as well as the central European circles.
Intersections, crossroads and meeting points
The case, which was presented in the introductory passage, portraying
Vienna as an international and attractive intersection and meeting point
of artists, shows only partly the real situation. Not only did these seven vi-
olinists meet each other in Vienna, but they also could have met with other
local musicians there; they could enjoy in their respective music ideas, even
adopt them, and later present them in a new environment. In that sense,
the meeting of Giornovichi with Haydn, Mozart, Dittersdorf, Hoffmeister
and some other Viennese musicians can serve as an example. Adalbert Gy-
rowetz wrote in his memoires: “Mozart used to play the piano, and Giarno-
vichi, at that time the most prominent violin virtuoso, usually played one of
his concerts, while the lady of the house sung…”.30 The thematic connection
between Giornovichi’s 10th violin concerto and Mozarts 25th piano concerto
was already elaborated and will not be repeated here.31 On the other hand,
29 Miho Demović, “Frankoflämische Musiker in der Republik Dubrovnik,” in Gallus
Carniolus in europska renesansa, 2, Dragotin Cvetko and Danilo Pokorn, eds. (Lju-
bljana: SAZU, 1992), 193–204.
30 Adalbert Gyrowetz, Biographie des Adalbert Gyrowetz (Wien: Mechitaristen-Bu-
chdruckerei, 1848).
31 It is very likely that Jarnović/Giornovichi played one of his recent concerti, probably
no. 10, published some two years prior to that gathering. In the final rondo, there
is a theme that points to the Papageno’s aria: the possible link occurs already in
92
Dubrovnik, musical contacts transcended that scheme: such is the case of
the family of French musicians Courtoys who settled down in Dubrovnik
already in the second half of the 16th century and stayed there for three gen-
erations.29 One of the rare exceptions was the already mentioned Spadi-
na, who went further to the North. Unfortunately, it has not been recon-
structed whether he first moved to Italy (the place within the same cultural
– Mediterranean – circle) and then proceeded to Poland (central Europe),
or took some other more direct route there. On the other hand, musicians
from continental Croatia and Slavonia were oriented towards central Eu-
rope and vice versa: Austrian and Czech musicians came to Zagreb, Varaž-
din and Osijek. The port of Rijeka is an exception, when concerning the is-
sue of cultural circles: although belonging politically to Ban’s Croatia, and
thus being submitted to German administration (later also the Hungarian
one), as an Adriatic town, it was also exposed to Italian culture and music.
This is why this important trade city had cultural contacts with both, the
Mediterranean as well as the central European circles.
Intersections, crossroads and meeting points
The case, which was presented in the introductory passage, portraying
Vienna as an international and attractive intersection and meeting point
of artists, shows only partly the real situation. Not only did these seven vi-
olinists meet each other in Vienna, but they also could have met with other
local musicians there; they could enjoy in their respective music ideas, even
adopt them, and later present them in a new environment. In that sense,
the meeting of Giornovichi with Haydn, Mozart, Dittersdorf, Hoffmeister
and some other Viennese musicians can serve as an example. Adalbert Gy-
rowetz wrote in his memoires: “Mozart used to play the piano, and Giarno-
vichi, at that time the most prominent violin virtuoso, usually played one of
his concerts, while the lady of the house sung…”.30 The thematic connection
between Giornovichi’s 10th violin concerto and Mozarts 25th piano concerto
was already elaborated and will not be repeated here.31 On the other hand,
29 Miho Demović, “Frankoflämische Musiker in der Republik Dubrovnik,” in Gallus
Carniolus in europska renesansa, 2, Dragotin Cvetko and Danilo Pokorn, eds. (Lju-
bljana: SAZU, 1992), 193–204.
30 Adalbert Gyrowetz, Biographie des Adalbert Gyrowetz (Wien: Mechitaristen-Bu-
chdruckerei, 1848).
31 It is very likely that Jarnović/Giornovichi played one of his recent concerti, probably
no. 10, published some two years prior to that gathering. In the final rondo, there
is a theme that points to the Papageno’s aria: the possible link occurs already in
92
