Page 95 - 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. 95
music mobility in the 17th and 18th centuries: croatian lands ...
during his stay in Vienna, Giornovichi did not disregard the musical life of
the city what left traces in his 11th violin concerto: as a rondo theme, he in-
troduced an aria from a well-known opera La grotto di Trofonio by Antonio
Salieri, which he could have heard in the Viennese court opera.32
Vienna was generally influential in music matters: Luca Sorgo visited
there in 1781 some composers (Haydn, Gluck) and many institutions deal-
ing with music education. Upon his return to Dubrovnik, he probably tried
to implement some of the principles in its educational and organizational
structures, especially when he was named as “Officiale sopra il Conservato-
rio” (superintendent of the girls’ school) in 1785 and “Officiale sopra il Pub-
lico Teatro” (superintendent of the public theatre) in 1787.33 He could also
influence compositional education of his son Antun and daughter Marina,
by bringing them some music material from the Austrian capital. Beside
Vienna, Graz was also an important music center: Vincenz Jelić and his
brother Petrus moved in 1606 from Rijeka (a port of the Ban’s Croatia) to
Graz and sung in local Ferdinandaeum as choirboys. There they could have
met musicians active in the same choir or court orchestra, especially when
Vincenz became maestro di cappella in Graz.34 He applied the composition-
al skills achieved there in his three collections of motets published later in
1620s in Strasbourg, also adding some stylistic innovations.35
Mozart’s 25th piano concerto in D, as the second theme (given in oboes) of the
Allegro movement and then again in the well-known Papageno’s aria. On this topic
cf. Vjera Katalinić, “An 18th-century Itinerant Violin Virtuoso and His ‘Travelling
Themes’,” in preparation.
32 In Giornovichi’s 11th concerto, the final movement is entitled “Air en rondeau”
obviously based upon the aria “La, ra, la, che Filosofo buffon” from Salieri’s opera
La grotta di Trofonio that was performed at that time in the opera house. Sieber
published this concerto in Paris by the end of 1780s. The Wiener Zeitung announced
that the publisher Johan Traeg was selling „Variazioni in B…vom Giornovichi aus
der Oper: La Grotta di Trofonio (la, ra, la, ra)“. Obviously, that was an air varié for
violin and orchestra/basso, and the rondo with the same theme was incorporated
into the concerto. Cf. Vjera Katalinić, Violinski koncerti Ivana Jarnovića. Glazbeni
aspect i društveni kontekst njihova uspjeha u 18. stoljeću (Zagreb: HMD, 2006), 122.
33 However, his general enthusiasm with Austrian politics, governmental system
and Enlightenment ideas were not gladly received by the highest authorities of the
Dubrovnik Republic. Cf. Vjera Katalinić, The Sorkočevićes, 38–40.
34 In 1617, he moved to Saverne and became court musician in the ensemble of archduke
Leopold.
35 On that topic cf. Albe Vidaković, “Vinko Jelić i njegova zbirka duhovnih koncertata
i ricercara Parnassia militia (1622),” in Vinko Jelić: Parnassia militia (1622), Stjepan
Šulek, ed. (Zagreb: JAZU, 1957), vii–xciii.
93
during his stay in Vienna, Giornovichi did not disregard the musical life of
the city what left traces in his 11th violin concerto: as a rondo theme, he in-
troduced an aria from a well-known opera La grotto di Trofonio by Antonio
Salieri, which he could have heard in the Viennese court opera.32
Vienna was generally influential in music matters: Luca Sorgo visited
there in 1781 some composers (Haydn, Gluck) and many institutions deal-
ing with music education. Upon his return to Dubrovnik, he probably tried
to implement some of the principles in its educational and organizational
structures, especially when he was named as “Officiale sopra il Conservato-
rio” (superintendent of the girls’ school) in 1785 and “Officiale sopra il Pub-
lico Teatro” (superintendent of the public theatre) in 1787.33 He could also
influence compositional education of his son Antun and daughter Marina,
by bringing them some music material from the Austrian capital. Beside
Vienna, Graz was also an important music center: Vincenz Jelić and his
brother Petrus moved in 1606 from Rijeka (a port of the Ban’s Croatia) to
Graz and sung in local Ferdinandaeum as choirboys. There they could have
met musicians active in the same choir or court orchestra, especially when
Vincenz became maestro di cappella in Graz.34 He applied the composition-
al skills achieved there in his three collections of motets published later in
1620s in Strasbourg, also adding some stylistic innovations.35
Mozart’s 25th piano concerto in D, as the second theme (given in oboes) of the
Allegro movement and then again in the well-known Papageno’s aria. On this topic
cf. Vjera Katalinić, “An 18th-century Itinerant Violin Virtuoso and His ‘Travelling
Themes’,” in preparation.
32 In Giornovichi’s 11th concerto, the final movement is entitled “Air en rondeau”
obviously based upon the aria “La, ra, la, che Filosofo buffon” from Salieri’s opera
La grotta di Trofonio that was performed at that time in the opera house. Sieber
published this concerto in Paris by the end of 1780s. The Wiener Zeitung announced
that the publisher Johan Traeg was selling „Variazioni in B…vom Giornovichi aus
der Oper: La Grotta di Trofonio (la, ra, la, ra)“. Obviously, that was an air varié for
violin and orchestra/basso, and the rondo with the same theme was incorporated
into the concerto. Cf. Vjera Katalinić, Violinski koncerti Ivana Jarnovića. Glazbeni
aspect i društveni kontekst njihova uspjeha u 18. stoljeću (Zagreb: HMD, 2006), 122.
33 However, his general enthusiasm with Austrian politics, governmental system
and Enlightenment ideas were not gladly received by the highest authorities of the
Dubrovnik Republic. Cf. Vjera Katalinić, The Sorkočevićes, 38–40.
34 In 1617, he moved to Saverne and became court musician in the ensemble of archduke
Leopold.
35 On that topic cf. Albe Vidaković, “Vinko Jelić i njegova zbirka duhovnih koncertata
i ricercara Parnassia militia (1622),” in Vinko Jelić: Parnassia militia (1622), Stjepan
Šulek, ed. (Zagreb: JAZU, 1957), vii–xciii.
93
