Articles by Václav Kapsa
Hudební věda, 2020
This study concerns music composed for the Novena to Saint Teresa of Ávila, a nine-day public dev... more This study concerns music composed for the Novena to Saint Teresa of Ávila, a nine-day public devotion, first performed by the Discalced Carmelite nuns in Graz in 1718 and thereafter introduced to other Discalced Carmelite monasteries. The Prague composer Joseph Brentner (1689–1742) composed nine litanies and antiphons to St Teresa for this festivity, and music for the Novena was also composed by Antonín Reichenauer (ca 1696–1730) and Johann Adam Scheibl (1710–1773). Brentner’s and Reichenauer’s antiphons, which were written over the course of several years, have opened up the possibility of considering the existence of a certain local creative dialogue, ongoing stylistic changes or differences in the abilities of the two composers. Compared with Brentner, Reichenauer had a greater command of the instrumental ritornello and a more innovative approach to rhythmic structure. Both composers sought a wider application of their works, which were disseminated additionally as offertories or with more universal texts. Although Brentner comes off the worse when comparing compositional abilities, his compositions have become much more widespread.
Musicologica Olomucensia 30, 2019
Originally a Silesian musician, Johann Georg Orsler (or Orschler) was active in many places that ... more Originally a Silesian musician, Johann Georg Orsler (or Orschler) was active in many places that are important for the music history of the Czech Lands: he was sent by the Count of Zerotin to study music at Rosetter and Fux in Vienna; in 1720s his activities are documented in Prague, followed by Moravia and Vienna in the service of Johann Matthias of Th urn and Valsassina, Count Franz Anton von Rottal, Count Joseph Johann Adam of Liechtenstein, or Count Thomas Vinciguerra of Collalto. The study summarizes the currently known biographic facts, and searches for the answer to the question of which of the prevalently instrumental compositions preserved under this particular surname were composed by the father, and which have to be attributed to his son Josef, a cellist of the Viennese court music ensemble.
Clavibus unitis 8, No. 1, pp. 91–100, 2019
The music inventory of the Knights of the Cross with the Red Star from 1737 belongs to the paradi... more The music inventory of the Knights of the Cross with the Red Star from 1737 belongs to the paradigmatic sources both within research of “the musical culture of eighteenth-century Bohemia” (to cite the title of Barbara Ann Renton’s dissertation) and the exploring of rich terrain of music inventories from Czech lands started with the Jiří Fukač’s founding work about this immense source discovered by him. Paradoxically, Fukač’s edition of the Knights of the Cross inventory remains unpublished, while all subsequent studies drew from his typescript rather from the original source. What picture does the inventory provide of music culture in Prague of the time? And what place does Jan Dismas Zelenka and his compositions occupy in this context? The article aims to search for possible answers to these questions by analysing data from the column “Productio”, which has received minimum attention since Fukač’s effort.
Das Instrumentalrepertoire der Dresdner Hofkapelle in den ersten beiden Dritteln des 18. Jahrhunderts. Überlieferung und Notisten. Bericht über das internationale Kolloquium vom 23. bis 25. Juni 2010, 2019
The rare collection of instrumental music from the so-called Schrank II in Dresden contains among... more The rare collection of instrumental music from the so-called Schrank II in Dresden contains among others also the unique instrumental compositions by Bohemian composers. The article aims to present these composers and to analyse preserved sources.
Musicologica Brunensia, 2018
The impulse for this article was the emergence of the 1736 inventory of the archdeanery church of... more The impulse for this article was the emergence of the 1736 inventory of the archdeanery church of St James the Greater in Sokolov (Falkenau) with the previously unnoticed specification of "Musicalien und Instrumenten" in three places: in the collection of church inventories of the Prague Archbishopric, in the parish chronicle, and finally in the parish archives with significant additions and within the whole series of church inventories (1707, 1731, 1736, 1769, 1781, 1798, 1815, 1827). The article follows both the scope of the local music collection, which is lost today, and the evolution of music items in the inventories judging their changing information value. It comprises the edition preserving the dynamic character of the sources. Their contents indicate that in the first decades of the 18th century, printed music still formed the core of the music collection. It was also possible to outline the position of the church choir within the presumed streams of music circulation and trace the links with the music centres of Prague (especially with the music collection of the Knights of the Cross with the Red Star) and Dresden (Cozzi, Ristori, Vivaldi, Zelenka). The inventorying method often consisted in the copying of the previous inventory and the later lists obviously strive more to keep the continuity with the preceding lists rather than reflect the real situation.
How far did the word-tone relations in solo motets of 17th century differ from the word-tone rela... more How far did the word-tone relations in solo motets of 17th century differ from the word-tone relations in arias from the first decades of the 18th century? The problem is exemplified on the compositions by Joseph Brentner (1689-1742), Josef Antonín Plánický, Balthasar Villicus and other Central-European composers from the 1st third of the 18th century.
Studi Vivaldiani 14 - 2014, pp. 15-43 , 2014
For a long time, Anton Giraneck (Antonín Jiránek in the modern Czech spelling) has long figured i... more For a long time, Anton Giraneck (Antonín Jiránek in the modern Czech spelling) has long figured in Vivaldi literature in connection with the violin concerti in B-flat major, RV 371, and D major, RV Anh. 8, both advertised by the German music publisher Breitkopf as works by ‘Giraneck’ in 1762. While the former, of which the autograph survives, can be incontrovertibly attributed to Vivaldi, the authorship of the latter remains uncertain, and the only musical source, in Stockholm, has never been analyzed. Some recent discoveries regarding Jiránek's life are presented, his connections to Vivaldi are outlined, and arguments regarding the authorship of RV Anh. 8 are examined.
Since no parish records or musical sources offer any evidence of the existence of a composer with the name Antonín Jiránek, the composer of the instrumental music preserved under the name Giraneck can be identified with the violinist František Jiránek. He was born on one of the estates of Count Wenzel Morzin who gave him the opportunity to complete his musical studies in Venice from 1724 to 1726 and served in the Count Morzin's music ensemble probably until 1737. Later Jiránek played in the orchestra of Count Brühl in Dresden, where he lived until his death in 1778.
The concerto RV Anh. 8 is first mentioned in the Inventario per la musica (ca 1752) of Brtnice (Pirnitz), as a composition by Vivaldi. Although this list decisively supports the attribution to Vivaldi, the only musical source for the concerto—originally from Saxony and now in Stockholm—as well as the Breitkopf catalogue give the composer as Jiránek. From the standpoint of style and form, there is no element which would contradict the attribution to Vivaldi. This conclusion is confirmed by the existence of several thematic resemblances to the concerto RV 582 and to the sinfonia of Il Bajazet, RV 703. The rhythmic and motivic variability of the solo parts and rather uniform overall structure of the fast movements also suggest the style of the mature Vivaldi. Nevertheless, a careful analysis of Jiránek's concerti reveals certain similarities to RV Anh. 8, particularly the reluctance (or inability) of the young composer to condense and/or modify the musical material in a radical fashion in the reprise of the ritornello, as Vivaldi liked to do. All in all, stylistic considerations are not sufficient to fully confirm or deny the attribution to Vivaldi. Many other questions about Jiránek's life and music remain to be clarified: for example, the details of his stay in Venice, the nature of his contacts with Vivaldi, and above all, the obvious interrelations between the two composers' oeuvres.
The present study intends to suggest various directions which the research might take in relation... more The present study intends to suggest various directions which the research might take in relation to the music at the Jesuit church of St. Nicholas in the Lesser Town of Prague in the first half of the 18th century. Based on the music-related sources, several specific issues are elaborated: the oratorios played there during the 1710s, the compositions written for the Confraternity of Death by Jan Josef Ignác Brentner, the music ensemble of the church and the sources of music by Jan Dismas Zelenka originating in the former St. Nicholas music collection. At the same time the article draws a parallel between the monumental and radical Baroque architecture of the new church, which changed the face of the city, and the no less important position, which the music of the Lesser Town Jesuits occupied in the Prague musical landscape of the time.
Wissenschaftliches Jahrbuch der Tiroler Landesmuseen, 2014
Same as for many other Bohemian composers of the time, the stay in Prague played a significant ro... more Same as for many other Bohemian composers of the time, the stay in Prague played a significant role in the life and work of Jan Zach. Yet the influence on their work is hard to follow, partly due to the lack of sources, partly because it is often impossible to identify works composed in Prague. This article strives to provide insight into the Prague musical milieu through the work of Josef Brentner, a composer one generation older than Zach. As of the mid-1710s he can be traced in Prague and some of his compositions were printed there in several collections. Among his instrumental works, there is a prevalence of concerti da camera à 4, which show Vivaldian influence, though not in their formal patterns. Quite typically, sacred music prevails in Brentner’s work, featuring mainly arias, very popular at the time. Yet in the long run, they did not last as long as compositions with larger setting, especially offertories and vesper psalms. Some pieces of Brentner’s op. 2 were performed until 19th century, when Brentner himself had been long forgotten. The composer’s work indicates that although Prague in the second decade of the 18th century provided both stimuli and opportunities for style experiments, the unfavourable political development that followed significantly narrowed down career perspectives for musicians and composers.
The Musical Culture of Silesia before 1742. New Context – New Perspectives, 2013
The article follows the paths of the baroque sacred music repertoire between Bohemia and Silesia ... more The article follows the paths of the baroque sacred music repertoire between Bohemia and Silesia on the examples of music by Prague composers surviving mostly uniquely in the collections of Silesian origin. Music composed around 1700 by musicians working in the Prague cathedral Nicolaus Franz Xaver Wentzely, Tobias Ernestus Liehre and Johann Christoph Karl Gayer is the subject of the first case study. The hypothesis about the direct link between Prague and Wroclaw cathedral music ensembles is supported by new information about musicians derived from accounts of the Wroclaw cathedral from 1699. Thereinafter, Silesian sources of music by Wenzel Gunther Jacob and vesper psalms by Johann Joseph Ignaz Brentner are discussed.
The private Kapellen within aristocratic households represent an important facet of musical life ... more The private Kapellen within aristocratic households represent an important facet of musical life in 18th-century Bohemia. Such ensembles flourished especially around 1720, when a time of relative peace and prosperity coincided with a peak in opulent local aristocratic lifestyles. As a case study of the phenomenon, this article examines the celebrated orchestra of Count Wenzel Morzin, who is well known through his contacts with Antonio Vivaldi. With the help of numerous, although rather fragmentary, pieces of documentary evidence from the period—encyclopaedias, parish registers, chronicles, newspapers and archival sources such as financial accounts—it is possible to trace the beginnings of the ensemble, to provide new information about Vivaldi’s engagement as Morzin’s ‘Maestro di musica in Italia’ and to gain insight into the membership of the Kapelle, as well as recover details of the salaries of the musicians in the mid-1720s. Finally, the article outlines Morzin’s contacts with composers and characterizes the repertory of the orchestra by defining parallels between its personnel and the instrumental music written by Morzin’s ‘house composers’ and musicians Antonín Reichenauer, Christian Gottlieb Postel and František Jiránek, which is now scattered around several, mainly German, music collections.
The article is concerned with two manuscripts containing anonymous solo motets and sacred arias p... more The article is concerned with two manuscripts containing anonymous solo motets and sacred arias preserved in the musical collection of the Piarist monastery in Podolínec under the shelfmarks H-669 and H-1001. In both instances only some partbooks are extant and the composers were identified only exceptionally. On the basis of his preceding research and new comparison, the present author makes the attribution of works more precise: the first collection is compiled mainly from works by J. J. I. Brentner and includes, among other things, a transcription of the printed collection Hymnodia divina op. 3 (Prag 1718/19). Three style layers included in the second collection and represented by solo motets of Italian origin (G. B. Bassani, F. A. Bonporti, Anonym), a transcription of a collection of arias by B. Villicus, and an aria (with new Latin text) by N. Piccini, provide material for reflection on the possible directions of further research into style evolution in the solo motet in central Europe in the first third of the 18th century.
The article analyzes the role of aristocracy in the dissemination and reception of Italian music ... more The article analyzes the role of aristocracy in the dissemination and reception of Italian music and in the contacts with Italian musicians in Bohemia and Moravia from the second to the fourth decades of the 18th century. Four aristocrats already well known in the music history are observed in the form of three case studies. Knight/Baron/Count Johann Hubert Hartig and Count Johann Adam Questenberg represent noble collectors, experienced musical experts and connoisseurs, whose role consists mainly in the transfer of repertoire of sacred music and oratorios in the first and the Italian opera in the second case. With the Count Wenzel Morzin, famous as the dedicatee of op. 8 by Antonio Vivaldi, we get into the realm of instrumental music and private music ensembles of the Bohemian nobility. Finally, the example of Olomouc Bishop Wolfgang Hannibal Cardinal Schrattenbach allows to follow the complex import of Italian music and culture, which included not only the repertoire, but also a large number of musicians.
The starting point of the study is the division of private Kapellen maintained by Bohemian aristo... more The starting point of the study is the division of private Kapellen maintained by Bohemian aristocracy into those consisting of servants (‘servant orchestras’) as opposed to ensembles featuring professional musicians (‘independent orchestras’) introduced by Helfert in his book on music at the court of Count Questenberg in Jaroměřice. The status of a musician in a nobleman’s service is exemplified by three Kapellen from Bohemia in the 1720s; attention is paid especially to the origin of the musicians, their salaries and their
positions in the hierarchy of court employees. While the private band of Count Franz Anton Sporck was a typical servant ensemble, counts Wenzel Morzin and Franz Joseph Czernin employed professional musicians more extensively. Some of these occupied rather high posts with salaries comparable to that of the Hofmeister. In the case of Morzin’s orchestra, we can identify both groups of professional ‘Hofmusici’ and
musicians among his lackeys. In the example of Czernin’s music, it was possible to follow a transformation of an ‘independent’ into a ‘servant ensemble’ motivated by the count’s effort to cut the expenses.
Describes and analyzes the printed collection of six instrumental sonatas for oboe, violin, viola... more Describes and analyzes the printed collection of six instrumental sonatas for oboe, violin, viola and cello, Horae pomeridianae (Prague, 1720), by the Czech composer Johann Joseph Ignaz Brentner (1689-1742). The only known copy is in the Biblioteka Uniwersytecka in Warsaw.
In the early 1940s, Emilian Trolda compiled an alphabetical list of musicians active in the Czech... more In the early 1940s, Emilian Trolda compiled an alphabetical list of musicians active in the Czech lands in the 17th and 18th c., excerpted from the registers of births and deaths in the Mala Strana parishes of Prague--particularly the Sv. Vaclav and Sv. Mikulas churches. The list, including the year of each musician's appearances in the registers and biographical information, is published for the first time.
Books by Václav Kapsa
Katedrála viditelná a neviditelná, 2019
j a n a m a ř í k o v á-k u b k o v á a k o l e k t i v
Průvodce tisíciletou historií katedrály... more j a n a m a ř í k o v á-k u b k o v á a k o l e k t i v
Průvodce tisíciletou historií katedrály sv. Víta, Václava, Vojtěcha a Panny Marie na Pražském hradě
Vstupte do fascinujícího příběhu tisícileté kontinuity jedinečného mís-ta, do neustále se měnícího prostoru výjimečné stavby, mezi nejvý-znamnější umělecká díla na našem území, mezi mimořádné osobnosti, které tento symbol naší země utvářely. Ve dvou dílech, celkově na 928 stranách, publikace unikátně zpracovává historii katedrály sv. Víta, Václava, Vojtěcha a Panny Marie na Pražském hradě. Zásluhou spolupráce odborníků z řad archeologů, geologů, histo-riků architektury, umění, liturgie a hudby nově představuje v šesti hlav-ních kapitolách všechny stavební fáze katedrály mezi 10. a 21. stoletím a každodenní provoz, který výstavbu jedinečného díla provázel. Původní texty, vycházející z aktuálního stavu výzkumu a jsou opatřeny bohatou obrazovou dokumentací, která sestává ze souboru 1500 foto-grafií a archivních dokumentů, plánů či snímků, speciálně pořízených pro tuto publikaci-značná část jich dosud nebyla nikdy zveřejněna. Zcela nové a ojedinělé jsou také kresby a modely všech zaniklých či neuskutečněných stavebních fází chrámu. O výslednou podobu Katedrály viditelné a neviditelné se zasloužilo 17 autorů textů, dva fotografové a 11 dalších spolupracovníků.
The book deals with the theme of court orchestras in the Bohemia during the Baroque era. The case... more The book deals with the theme of court orchestras in the Bohemia during the Baroque era. The case study documents the orchestra of Count Wenzel Morzin, known for his contact with A. Vivaldi. Several surviving sources concerning ordinary musicians as well as music by the Morzin’s composers enable us to view the Kapelle from different angles. Attention is paid to the personnel constitution of the orchestra, its organisation and position within the aristocratic court. The biographies of A. Möser, F. Jiránek, A. Reichenauer and Ch. G. Postel represent different “model careers” of musicians in aristocratic service. The analysis of selected compositions focuses on mutual relationships between the recipient of the works and the composer, between the instrumental constitution of the Kapelle and the nature of the music, and follows the treatment of Vivaldian compositional patterns by Morzin’s house composers. The book contains catalogues of instrumental works by Reichenauer, Postel and Jiránek.
Critical editions by Václav Kapsa
Academus Edition 7, 2021
Joseph Brentner (1689–1742) entered the musical history of the Bohemian lands through four collec... more Joseph Brentner (1689–1742) entered the musical history of the Bohemian lands through four collections printed in Prague between 1716 and 1720. This unique publishing activity also inspired a four-volume editorial project completed with the Sacred Arias II. The volume presents a critical edition of the collection Hymnodia Divina published as opus 3 in 1719, forming a remarkable pandanus to Brentner’s first collection of arias. Additionally, it includes one aria and three solo motets composed later and known from manuscript sources. The compositions provide valuable material for studying musical creativity in Baroque Bohemia, allowing us to trace the composer’s creative development and reflect the stylistic changes manifested around 1720. At the same time, these compositions of quality and invention attracting attention in their time can appeal to musicians and listeners even today. The volume contains a foreword, score, critical report, editorial apparatus, and translations of the Latin vocal texts to Czech and English. Performing materials are available to download.
Fontes Musicae in Polonia C/XXVI, 2021
Carolus Rabovius (1619–1686) as a Jesuit was active in Chomutov, Jindřichův Hradec, Kłodzko, Kutn... more Carolus Rabovius (1619–1686) as a Jesuit was active in Chomutov, Jindřichův Hradec, Kłodzko, Kutná Hora, Znojmo and Prague, where he was a praefectus musicae, regens of the boarding schools and even rector of the college. He won special recognition as a composer and immensely contributed to the flourishing of the musical arts at St Wenceslaus Seminarium. The three of his compositions from the music collection of the Canonesses Regular of St Augustine in Wrocław, which survived to our times, are subject of the edition: the church concerto O Domine Jesu for soprano, violin obligato, and viola da gamba with basso continuo sets the text of the Prayer to the Five Wounds of Christ of St Francis Xavier, the motet Salutemus Matrem, based on the poetic epithets for the Blessed Virgin Mary, and Surgamus, eamus, properemus, based on a paraphrase of selected lines from the Biblical Song of Songs and borrowed the musical material of a piece by Giacomo Carissimi.
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Articles by Václav Kapsa
Since no parish records or musical sources offer any evidence of the existence of a composer with the name Antonín Jiránek, the composer of the instrumental music preserved under the name Giraneck can be identified with the violinist František Jiránek. He was born on one of the estates of Count Wenzel Morzin who gave him the opportunity to complete his musical studies in Venice from 1724 to 1726 and served in the Count Morzin's music ensemble probably until 1737. Later Jiránek played in the orchestra of Count Brühl in Dresden, where he lived until his death in 1778.
The concerto RV Anh. 8 is first mentioned in the Inventario per la musica (ca 1752) of Brtnice (Pirnitz), as a composition by Vivaldi. Although this list decisively supports the attribution to Vivaldi, the only musical source for the concerto—originally from Saxony and now in Stockholm—as well as the Breitkopf catalogue give the composer as Jiránek. From the standpoint of style and form, there is no element which would contradict the attribution to Vivaldi. This conclusion is confirmed by the existence of several thematic resemblances to the concerto RV 582 and to the sinfonia of Il Bajazet, RV 703. The rhythmic and motivic variability of the solo parts and rather uniform overall structure of the fast movements also suggest the style of the mature Vivaldi. Nevertheless, a careful analysis of Jiránek's concerti reveals certain similarities to RV Anh. 8, particularly the reluctance (or inability) of the young composer to condense and/or modify the musical material in a radical fashion in the reprise of the ritornello, as Vivaldi liked to do. All in all, stylistic considerations are not sufficient to fully confirm or deny the attribution to Vivaldi. Many other questions about Jiránek's life and music remain to be clarified: for example, the details of his stay in Venice, the nature of his contacts with Vivaldi, and above all, the obvious interrelations between the two composers' oeuvres.
positions in the hierarchy of court employees. While the private band of Count Franz Anton Sporck was a typical servant ensemble, counts Wenzel Morzin and Franz Joseph Czernin employed professional musicians more extensively. Some of these occupied rather high posts with salaries comparable to that of the Hofmeister. In the case of Morzin’s orchestra, we can identify both groups of professional ‘Hofmusici’ and
musicians among his lackeys. In the example of Czernin’s music, it was possible to follow a transformation of an ‘independent’ into a ‘servant ensemble’ motivated by the count’s effort to cut the expenses.
Books by Václav Kapsa
Průvodce tisíciletou historií katedrály sv. Víta, Václava, Vojtěcha a Panny Marie na Pražském hradě
Vstupte do fascinujícího příběhu tisícileté kontinuity jedinečného mís-ta, do neustále se měnícího prostoru výjimečné stavby, mezi nejvý-znamnější umělecká díla na našem území, mezi mimořádné osobnosti, které tento symbol naší země utvářely. Ve dvou dílech, celkově na 928 stranách, publikace unikátně zpracovává historii katedrály sv. Víta, Václava, Vojtěcha a Panny Marie na Pražském hradě. Zásluhou spolupráce odborníků z řad archeologů, geologů, histo-riků architektury, umění, liturgie a hudby nově představuje v šesti hlav-ních kapitolách všechny stavební fáze katedrály mezi 10. a 21. stoletím a každodenní provoz, který výstavbu jedinečného díla provázel. Původní texty, vycházející z aktuálního stavu výzkumu a jsou opatřeny bohatou obrazovou dokumentací, která sestává ze souboru 1500 foto-grafií a archivních dokumentů, plánů či snímků, speciálně pořízených pro tuto publikaci-značná část jich dosud nebyla nikdy zveřejněna. Zcela nové a ojedinělé jsou také kresby a modely všech zaniklých či neuskutečněných stavebních fází chrámu. O výslednou podobu Katedrály viditelné a neviditelné se zasloužilo 17 autorů textů, dva fotografové a 11 dalších spolupracovníků.
Critical editions by Václav Kapsa
Since no parish records or musical sources offer any evidence of the existence of a composer with the name Antonín Jiránek, the composer of the instrumental music preserved under the name Giraneck can be identified with the violinist František Jiránek. He was born on one of the estates of Count Wenzel Morzin who gave him the opportunity to complete his musical studies in Venice from 1724 to 1726 and served in the Count Morzin's music ensemble probably until 1737. Later Jiránek played in the orchestra of Count Brühl in Dresden, where he lived until his death in 1778.
The concerto RV Anh. 8 is first mentioned in the Inventario per la musica (ca 1752) of Brtnice (Pirnitz), as a composition by Vivaldi. Although this list decisively supports the attribution to Vivaldi, the only musical source for the concerto—originally from Saxony and now in Stockholm—as well as the Breitkopf catalogue give the composer as Jiránek. From the standpoint of style and form, there is no element which would contradict the attribution to Vivaldi. This conclusion is confirmed by the existence of several thematic resemblances to the concerto RV 582 and to the sinfonia of Il Bajazet, RV 703. The rhythmic and motivic variability of the solo parts and rather uniform overall structure of the fast movements also suggest the style of the mature Vivaldi. Nevertheless, a careful analysis of Jiránek's concerti reveals certain similarities to RV Anh. 8, particularly the reluctance (or inability) of the young composer to condense and/or modify the musical material in a radical fashion in the reprise of the ritornello, as Vivaldi liked to do. All in all, stylistic considerations are not sufficient to fully confirm or deny the attribution to Vivaldi. Many other questions about Jiránek's life and music remain to be clarified: for example, the details of his stay in Venice, the nature of his contacts with Vivaldi, and above all, the obvious interrelations between the two composers' oeuvres.
positions in the hierarchy of court employees. While the private band of Count Franz Anton Sporck was a typical servant ensemble, counts Wenzel Morzin and Franz Joseph Czernin employed professional musicians more extensively. Some of these occupied rather high posts with salaries comparable to that of the Hofmeister. In the case of Morzin’s orchestra, we can identify both groups of professional ‘Hofmusici’ and
musicians among his lackeys. In the example of Czernin’s music, it was possible to follow a transformation of an ‘independent’ into a ‘servant ensemble’ motivated by the count’s effort to cut the expenses.
Průvodce tisíciletou historií katedrály sv. Víta, Václava, Vojtěcha a Panny Marie na Pražském hradě
Vstupte do fascinujícího příběhu tisícileté kontinuity jedinečného mís-ta, do neustále se měnícího prostoru výjimečné stavby, mezi nejvý-znamnější umělecká díla na našem území, mezi mimořádné osobnosti, které tento symbol naší země utvářely. Ve dvou dílech, celkově na 928 stranách, publikace unikátně zpracovává historii katedrály sv. Víta, Václava, Vojtěcha a Panny Marie na Pražském hradě. Zásluhou spolupráce odborníků z řad archeologů, geologů, histo-riků architektury, umění, liturgie a hudby nově představuje v šesti hlav-ních kapitolách všechny stavební fáze katedrály mezi 10. a 21. stoletím a každodenní provoz, který výstavbu jedinečného díla provázel. Původní texty, vycházející z aktuálního stavu výzkumu a jsou opatřeny bohatou obrazovou dokumentací, která sestává ze souboru 1500 foto-grafií a archivních dokumentů, plánů či snímků, speciálně pořízených pro tuto publikaci-značná část jich dosud nebyla nikdy zveřejněna. Zcela nové a ojedinělé jsou také kresby a modely všech zaniklých či neuskutečněných stavebních fází chrámu. O výslednou podobu Katedrály viditelné a neviditelné se zasloužilo 17 autorů textů, dva fotografové a 11 dalších spolupracovníků.
Online edition in English and Czech is continuously updated and available in open access: https://brentner.katalog-skladeb.cz/