Page 96 - 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. 96
glasbene migracije: stičišče evropske glasbene raznolikosti
The same converging forces marked large musical cities like Venice,
Rome or Naples, who gave impetus to changes in musical style, settings and
performance practices. On the other hand, a certain hierarchy of musically
important towns in Croatian lands can also be established. Although they
were not “opinion makers” in the questions of musical taste at large, they
were definitely attracting domestic and foreign musicians to try to realize
their careers there. The low level of the political (in)security and the very
modest economic situation caused a shift of musically “attracting power”
from weakened courts almost entirely towards towns only late in the 18th
century.36 A rare exception was the court of Ladislaus Erdödy in Varaždin,37
where he brought together foreign musicians for his entertainment and as
teachers to his family.38
Timelines (length of sojourn)
As already pointed out, the issue of migration usually implies longer stay
in the new environment. However, it varies mostly between only a couple
of years and very long or even life-long periods. Usually, the length of stay
depends upon the reason of migration: if a musician left his hometown for
his education, he would usually return after a few years (an exception is
Giuseppe Michele Stratico, who left Zadar for good at his early age, stayed
in Padua, and later moved to Sanguinetto).39 If a musician wanted to estab-
lish himself professionally (both as a civilian, a priest/monk), he usually
never returned home (like Ivanovich). The destiny of military musicians in
those early times should need additional investigation in order to offer rel-
evant conclusions.
Migrational infrastructure and networking
Whenever data have been preserved, it can be proved that targeted migra-
tion was mostly prepared in advance and that some strongholds supporting
36 In that sense, the periodization of the development of the cultural society has to be
treated with caution and in regards and relation to the local situation.
37 For example, Jan Křtitel Vaňhal occasionally joined the small ensemble during 1770s
and used to teach in the Ursuline nunnery there as well.
38 Herbert Seifert, “Musik und Musiker der Grafen Erdödy in Kroatien im 18.
Jahrhundert,” Studien zur Musikwissenschaft, 44 (1995): 191–208; Ladislav Šaban,
“Notna rukopisna knjiga Julijane Erdödy-Drašković iz 1779. godine,” Arti musices,
13/2 (1982): 101–147.
39 Lucija Konfic, “Josip Mihovil Stratico u Sanguinettu — nova otkrića o skladateljevom
životu i smrti,” Arti musices, 43/1 (2012): 89–99.
94
The same converging forces marked large musical cities like Venice,
Rome or Naples, who gave impetus to changes in musical style, settings and
performance practices. On the other hand, a certain hierarchy of musically
important towns in Croatian lands can also be established. Although they
were not “opinion makers” in the questions of musical taste at large, they
were definitely attracting domestic and foreign musicians to try to realize
their careers there. The low level of the political (in)security and the very
modest economic situation caused a shift of musically “attracting power”
from weakened courts almost entirely towards towns only late in the 18th
century.36 A rare exception was the court of Ladislaus Erdödy in Varaždin,37
where he brought together foreign musicians for his entertainment and as
teachers to his family.38
Timelines (length of sojourn)
As already pointed out, the issue of migration usually implies longer stay
in the new environment. However, it varies mostly between only a couple
of years and very long or even life-long periods. Usually, the length of stay
depends upon the reason of migration: if a musician left his hometown for
his education, he would usually return after a few years (an exception is
Giuseppe Michele Stratico, who left Zadar for good at his early age, stayed
in Padua, and later moved to Sanguinetto).39 If a musician wanted to estab-
lish himself professionally (both as a civilian, a priest/monk), he usually
never returned home (like Ivanovich). The destiny of military musicians in
those early times should need additional investigation in order to offer rel-
evant conclusions.
Migrational infrastructure and networking
Whenever data have been preserved, it can be proved that targeted migra-
tion was mostly prepared in advance and that some strongholds supporting
36 In that sense, the periodization of the development of the cultural society has to be
treated with caution and in regards and relation to the local situation.
37 For example, Jan Křtitel Vaňhal occasionally joined the small ensemble during 1770s
and used to teach in the Ursuline nunnery there as well.
38 Herbert Seifert, “Musik und Musiker der Grafen Erdödy in Kroatien im 18.
Jahrhundert,” Studien zur Musikwissenschaft, 44 (1995): 191–208; Ladislav Šaban,
“Notna rukopisna knjiga Julijane Erdödy-Drašković iz 1779. godine,” Arti musices,
13/2 (1982): 101–147.
39 Lucija Konfic, “Josip Mihovil Stratico u Sanguinettu — nova otkrića o skladateljevom
životu i smrti,” Arti musices, 43/1 (2012): 89–99.
94
