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1

KAPELA IMRICHA ESTERHÁZYHO V ROKOCH 1725 – 1745

100%
Kačic L.
Musicologica Slovaca
|
2014
|
vol. 5 (31)
|
issue 2
189 - 254
EN
Hitherto Archbishop-primate Emericus Esterházy (1663–1745) has been known only as a patron of fine art and architecture (G. R. Donner, A. Galli Bibiena and others). However, Esterházy had also an outstanding court music ensemble during the period 1725–1745, in which a number of musicians of European significance were active. These included composers (Joseph Umstatt, Johann Matthias Schenauer, Leopold Carl, Johann Peter Behr, Francesco Durante, Johann Otto Rossetter) and many outstanding performers (Giacomo Calandro, Domenico Tasselli, Filippo Antonelli, Angelo Cavallari). Apart from the ensemble’s composition, this study also addresses the social status of the musicians and the ensemble’s collaboration with other musicians not only from Bratislava (St. Martin’s Cathedral), but particularly with the Imperial Court Ensemble and other Viennese musicians and instrument-makers (A. Posch, M. M. Fichtl, M. Leichamschneider etc.), as well as with local Bratislava organ-builders (T. Pantoček, V. Janeček). Primate Esterházy’s ensemble belongs to the most celebrated period in the musical history not only of Bratislava but of Central Europe as a whole.
2

HUDBA V ŠKOLSKEJ HRE PIARISTOV NA SLOVENSKU V 17. A 18. STOROČÍ

100%
Kačic L.
Musicologica Slovaca
|
2012
|
vol. 3 (29)
|
issue 2
165 - 194
EN
The article addresses the question, hitherto very little studied in Slovakia, of the Piarist theatre and the part played in it by music. The Piarist school drama, while it has a number of features in common with that of the Jesuits, also differs from the latter in several respects. There is not only a wider thematic scope and a greater stress on secular themes but also a different structure of the school drama in detail. We take as our starting point the relevant passages concerning drama in Vita poetica (1693), an authoritative textbook on poetics by Fr. Lucas Mösch a S. Edmundo SchP. In our text we provide a concise analysis, based on primary and secondary sources, of the level of the Piarist theatre, seen in terms of the musical component, in the individual colleges (the most important of which were in Podolínec, Prievidza and Nitra). A number of performances must have attained an excellent musically standard. In the beginning the Piarists (like the Jesuits) had prominent musicians collaborating in their dramas. However, from the 1770s the musical component of the Piarist theatre fell into gradual decay.
3

K ŠPECIFIKÁM HUDBY FRANTIŠKÁNOV NA MORAVE V 17. A 18. STOROČÍ: POZNÁMKY K DEJINÁM HUDBY V PROVINCII BOHEMIAE SANCTI WENCESLAI

100%
Kačic L.
Musicologica Slovaca
|
2011
|
vol. 2 (28)
|
issue 2
207 - 229
EN
The study consists of the notes on the topic of Franciscan music in the 17th and 18th century in St. Wenceslaus Province (Provincia Bohemiae Sancti Wenceslai), based on sources in the monasteries at Dačice and Moravská Třebová. During the 17th century the specific features of music in this province included – besides an emphasis on cultivation of the traditional Gregorian chant (treatises by P. Modestus Märstein) and new composition in the so called measured chant – much greater space afforded to non-Franciscan composers in the repertoire of the Mass. Some of these compositions became part of the basic repertoire also in the neighbouring Austrian province of St. Bernardin of Sienna. The Czech province probably had closer contacts not only with Franciscans in Slovakia but also in the Tyrol. Evidence of this is the simplified type of Franciscan poly-choral music (two single-voice choirs) in the 18th century, when in reality this music could be presented in double choir only in St. Wenceslaus Province. In the terms of practical performance it is the use of other instruments alongside the organ, though in a lesser degree than in the neighbouring provinces.
4

CANTUS CATHOLICI (1655): THE FIRST SLOVAK-LATIN CATHOLIC HYMNBOOK

51%
Kačic L., Žeňuch P., Zavarský S.
Slavica Slovaca
|
2013
|
vol. 48
|
issue 1
76 – 78
EN
The Slovak-Latin Cantus Catholici hymnbook was an important means of Catholic renewal in Slovakia. This 17th-century printed book, of which only two copies are now extant, is a source of valuable information for the different fields of study. Up to now, research has concentrated mainly on the hymnological and liturgical aspects of the hymnbook. Our aim is to present a broader interdisciplinary view of Cantus Catholici by joining the different approaches of musicology, slavistics and Neo-Latin philology. Being a bilingual publication, the hymnbook provides a rich source for the study of Latin-vernacular relations. Another particularly interesting aspect of the hymnbook is the way in which it affected the para-liturgical chant tradition of the Byzantine-Slavonic church in Eastern Slovakia. The following text was presented at the poster session of the 15th Congress of the International Association for Neo-Latin Studies in Münster, Germany, 5–10 August 2012.
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