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Doprinos Čeških Kompoziota Srpskoj Muzici

Doprinos Čeških Kompoziota Srpskoj Muzici

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Published by: sarcel on Jun 28, 2014
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Ključne besede:
 glasbena migracija, češka glas-ba, srbska glasba, romantika
Glavni cilj sestavka, ki se posveča prispevku češ-kih glasbenikov srbski glasbi 19. stoletja, je v osvetlitvi tistih dejstev, ki morejo prispevati kboljšemu razumevanju migracij kot pomembnegakulturnega fenomena. Posebna pozornost seposveča vrsti glasbenikov, ki so biografsko in posvojih delih pomembni.
In the history of music of European nations, the phenomenon of music migrationis deeply connected with the history of Czech music and its protagonists. Moreover,the Czech music history represents one of the best examples for the theoretical re-search into migrations. Various and fertile premises and conclusions about the politi-cal, ideological and sociological causes of the musical migrations, as well as abouttheir formal and aesthetical consequences, can be reached by observing the move-ments of Czech musicians across the map of Europe (and even of the world!), particu-larly in the 18
 and in the 19
 centuries. John Clapham, the author of the entry about the Bohemian and Moravian Art Mu-sic in the
Grove’s Dictionary of Music and Musicians
even gives a periodization wherethe 18
 century is defined as the “Period of migrations”.
 It is well known that the hugeUDK 78(=162.3):78(497.11)”18”
Katarina Tomašević
Institute of Musicology, Serbian Academy of Sciences and ArtsInštitut za muzikologijo, Srbska akademija znanosti in umetnosti
Contribution of Czech Musicians tothe Serbian Music in the 19
Prispevek čeških glasbenikov srbski glasbi19. stoletja
Key words:
 music migration, Czech music, Ser-bian music, Romanticism
The main goal of this paper, devoted to the con-tribution of Czech Musicians to the Serbian Mu-sic in the 19
 Century is to point out the facts which will contribute to the better understand-ing of the migration as an important cultural phe-nomenon. Particular attention will be paid to sev-eral musicians whose biographies and achieve-ments are notable.
*This article is an amended version of the report submitted at the
17th Congress of the International Musicological Society
,held in Leuven, Belgium, 2002 (topic V:
 Musical Migrations
, session “Musical migrations in Eastern Europe”, chair prof. dr. Aikaterini (Katy) Romanou, University of Athens). See the book of
 Programme Abstracts
, Belgium, Leuven, 228-229.
The New Grove Dictionary of Music and Musicians
[edited by Stanley Sadie], Vol. 5, London, Washington DC, Hong Kong,1980, 120.
 wave of migrations of Czech musicians in the 18
 century started when the Austrianimperial court had been moved from Prague to Vienna; being one of the greatestmusical capitals in the whole Europe only a century earlier, the 18
 century Praguedeclined to the level of a provincial city. On the other hand, the production of musi-cians, composers and performers did not fall – quite contrary! The local music marketbecame too small and saturated by the overproduction of excellent, well-trained musi-cians who could not find an appropriate and well-paid job in their homeland. Thus,being highly respected for their natural musical gifts, professional skills and artisticachievements, Czechs started one of the best known and most famous music migra-tions in the history of modern Europe. In the second half of the 18
 century, Bohemiagot the deserved nickname “The Conservatory of Europe” and its former studentstook the leading positions in the contemporary music life of late Baroque and of Preclassicism. Today most of them (let us mention only several of the most prominentCzech “music emigrants”!) – members of the families Stamitz
 and Benda
, František(Franz) Xaver Richter (1709–1789), Jan Ladislav Dussek (Václav Jan Dusík/Dussek/Dushek, 1760–1812), Leopold Anotonín Koželuh (1747–1818) and Franz Krommer(František Kramář/Kromer/, 1759–1831) [who both followed W. A. Mozart at the posi-tion of the court composer in Vienna], as well as Josef Mysliveček (1737–1781, knownin Italy as “Il divino Boemo” and as “Venatorini”) and Antonín Reicha (1770-1836) –one of the Paris Conservatoire’s most respected professors
 – take the distinguishedplaces in the historical surveys of the European music.Unlike their famous compatriots, the majority of the Czech musicians who movedfrom Bohemia, Slovakia and Moravia to the “Serbian” towns in the second half of the19
 century and whose contribution to the development of Serbian music cannot beunderestimated will remain always unknown in broader international frames. Ourgoal in this paper is not to present all of these numerous, diligent musicians by theirnames and by the facts about their activities. Our goal is to point out the facts, which will contribute to the better understanding of the problems of migration as an impor-tant cultural phenomenon in the processes of the transformation of cultural and mu-sical context. However, attention will be paid to several musicians whose biographiesand achievements are notable.It should be emphasized that the migrations, as a phenomena which deeply markedthe Serbian national history, determined profoundly the physiognomy of a newer,modern Serbian culture, together with art and music as its parts. During the medievalperiod, the culture of the Serbian Kingdom belonged entirely to the unique Byzan-tine world. When Serbs, after the Kosovo battle (1389) lost their state at the beginningof the 15
 century, a certain portion of Serbian population immediately abandonedthe homeland occupied by Turks and moved to the western and northern neighbour-ing countries. Among several waves of migrations, the most important for the later
Stamic, Staimiz, Staniz, Steinmetz 
: Jan Václav Antonín (1717–1757); Karel Filip/Carl Philipp (baptizied in 1745–1801); AntoninTadeás Jan Nepomucký/Anton Thadäus Nepomuk (1750–1796).
František/Franz (1709–1786); Jiři Antonin/Georg/ (1722–1795); Friedrich Ludwig (1752–1792).
 Amongst his students were Franz Liszt, Hector Berlioz, Charles Gounod, Louise Farrenc – the first woman to be appointedprofessor of piano at the Paris Conservatoire – and César-Auguste Franck.
modifications of Serbian cultural physiognomy were “The Great Migration” in 1690,and the second, in 1740, both led by patriarchs.
 Those Serbs who left Turkish lands atthe turn of the 17
 to the 18
 century became the residents of Austria and (from the viewpoint of cultural rights!) found themselves in an almost equal political positionlike other Slavic national minorities of the Empire.The 18
 century witnessed a slow, long-term process of incorporation of Serbianculture into the cultural context of Central and Western Europe.
 However, the major-ity of Serbs remained under the Turkish occupation in their former lands south of theDanube. During the 19
 century, as the Turkish empire declined, Serbian people man-aged to build their own state (1830 – autonomy, 1878 – an independent state). Theresult of this historical migration is obvious: Serbs lived and developed their art bothin Oriental and Western cultural systems, i.e. in two different, even opposite civiliza-tions. It was only after World War One, when the new state – Kingdom of Serbs, Croatsand Slovenes (later Yugoslavia) – was founded, that the Serbian people gathered again within a single country.The process of westernization and of “modernization” of the Serbian newer artand music that began in the 18
 century became much faster and stronger during theepochs of Classicism and Romanticism, particularly in the multinational andmulticultural south-eastern parts of the Austrian empire, inhabited mainly by Serbs.Consequently, those Czech musicians who moved to “Serbian” towns did not need a
See the proceedings from the scientific conference “The Great Migration of Serbs in 1690”, held in Belgrade (Serbian Academy of Sciences and Arts), in Novi Sad (Matica srpska) and in Sremski Karlovci in 1990, in:
Sentandrejski zbornik
, 3,SANU, Sentandrejski odbor, [editor Dejan Medaković], Beograd, 1997. The special attention should be payed to the thetexts written by Jovanka Kalić (“Les frontie`res Europe`nnes de l’histoire Serbe“), Gordana Tomović (“Serbs in the Diasporaon the Geographic Maps of XVI to XVIII Centuries“), Vladimir Stojančević (“Die Grosse Auswanderung 1690 im HistorischenGedächtnis in der Tradition der Bevölkerung Altserbiens“), Nada Milošević–Đorđević (“Migrations and the Serbian Cul-tural-historical legends“), Dinko Davidov (“Zographs – Traveling Companions of Migrations“), Božidar Kovaček (“
   III  ‘  
“), Danica Petrović (“Les manuscrits cyrilliques a` l’usagepour chanter les chants religiex a` l’époque des migrations environ 1690–1737“) and Katarina Tomašević (“The Importanceof the Great Migrations for the Development of Music in Serbial Theatrical Forms in XVIII Century“).
Further research into the process of giving Serbian culture a European character in the 18th century was greatly contrib-uted to and motivated by historians of visual arts Dejan Medaković (see e.g.
 Putevi srpskog baroka
, 1971) and DinkoDavidov (e.g.
Srpska grafika XVIII veka
1978) and Milorad Pavić, famous Serbian writer and historian of literature (
 Istorija srpske književnosti baroknog doba /XVII I XVIII vek/ 
, 1970). See also the survey articles by these authors in:
 Istorija srpskog naroda
, IV, 2, Beograd, 1986. Stana Djurić-Klajn was among the first Serbian musicologists who explored theSerbian music-history of the 18th century (Tragom muzike u XVIII veku in:
Srpska muzika kroz vekove
, SANU, GalerijaSANU, br. 22, Beograd 1973, 251–275; „Tragom srpske muzike u XVIII veku“ in collection of her texts
 Akordi prošlosti
,Beograd, 1981, 7–22). The main contributions to the history of church music of the 18th century are given by DanicaPetrović (Srpsko narodno pojanje i njegovi zapisivači in:
Srpska muzika kroz vekove
, op. cit., 251–275; Počeci višeglasja usrpskoj muzici,
 Muzikološki zbornik
, XVII/2, Ljubljana 1981, 111–122; Srpska muzika i rusko-srpske kulturne veze u XVIII veku in:
 Jugoslovenske zemlje i Rusija u XVIII veku
(proceedings from the conference), SANU, knj. 32, Odeljenje istorijskihnauka, knj. 8, Beograd, 1986, 303–319; Baroque and Serbian Chant in the 18th Centuries in:
 Zapadnoevropski barok ivizantijski svet 
, (proceedings from the conference), SANU, Naučni skupovi, LIX, Odeljenje istorijskih nauka, knj. 18, SANU,Beograd, 1991, 95–102. The contribution to the history of music in Serbian theatrical forms of the 18th century gave KatarinaTomašević (Pevana poezija u srpskom pozorištu Dositejevog doba,
 Zbornik Matice srpske za scenske umetnosti i muziku
,Novi Sad, 8/9, Novi Sad, 1991, 17–23; Muzička delatnost jezuita u Beogradu i Petrovaradinu tokom XVII i XVIII veka,
 Zbornik Matice srpske za scenske umetnosti i muziku
, 18/19, Novi Sad, 1996, 60–78; Značaj Velike seobe za razvoj muzike u srpskimpozorišnim oblicima XVIII veka in:
Sentandrejski zbornik
, op. cit., 191–199; Muzička scena baroknog doba,
, 2,Negotin, septembar 2000, 2–14;
 Muzika i pozorišni život Srba u XVIII veku
, M.A. thesis, manuscript, 1991. N.B. Two chap-ters of the book
Srpska muzika od naseljavanja slovenskih plemena na Balkansko poluostrvo do kraja XVIII veka
 by “Roksanda Pejović and colaborators“ (Beograd, Univerzitet umetnosti, 1998), are based on several chapters of K. Tomašević’sM.A. thesis.

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