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'A YOUNG POLE' OF 'ASTONISHING ABILITY'. FELIKS JANIEWICZ IN NAPLES AND VENICE ('Mlody Polak' o 'zaskakujacej zdolnosci'. Feliks Janiewicz w Neapolu (1786) I Wenecji (1790))

100%
Tufano L.
Muzyka
|
2008
|
vol. 53
|
issue 2(209)
91-102
EN
In Janiewicz's biography, the years before his departure for England (1792) are quite obscure, especially the periods he spent in Italy. Newly found archival sources demonstrate that in 1786 he was in Naples, where he performed twice (January 17 and March 6) at a musical academy, the 'Conversazione degli Amici'; in particular, in the second concert he not only played the violin but also the clarinet, a skill he was not known to possess until now; the remuneration he received, compared with that of the other musicians involved, indicates that he was highly valued. At the beginning of 1790 Janiewicz was in Venice (another unexplored detail of his life), as is documented by two reports published in a local journal, the 'Gazzetta Urbana Veneta': on March 23 he performed two concerts composed by himself (probably nn. I and II in his catalogue) in a private room, and he played again on May 22 in the academy of 'Seguaci d'Orfeo'; the words used to describe his performances show that he was well known and held in great esteem by Venetian audiences.
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Music in the Past of Český Krumlov and Some Characteristic Traits of the Cultivation of Music in Bohemia from 1500 to 1800

100%
Horyna M.
Hudební věda (Musicology)
|
2009
|
vol. 46
|
issue 3
229-240
EN
The town of Cesky Krumlov served in the past as a traditional seat for important noble families. Several institutions, each having its own tasks but also capable of collaborating with the others on special occasions, shared in providing music in the castle, the church, and other locations. Comparison with the situation in other towns indicates that around 1500, in conditions of a consolidated post-Hussite society in which lay persons took over a portion of responsibilities in churches from the institutionalized church, whose property they had secularized, there arose in Bohemia a model of musical life whereby professional, semi-professional, and amateur performers, whose indispensable base was in the schools, joined forces in churches and noble residences. This model made possible the blossoming of Bohemian musicality in the eighteenth century, and continued to function into the second half of the nineteenth century or, in some respects, even longer. It finally waned as a consequence of social changes that were projected into the school system, whereby training in church singing and in the playing of instruments was replaced by practical instruction.
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