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2016, Concerto in G per oboe, due violini, viola e basso
Concerto in G Major for oboe, strings and basso continuo by Antonín Reichenauer (c. 1694-1730), which is edited for the first time, is a significant and rare sights instrumental works by Czech composers of the late Baroque. The work was composed probably in the third decade of the 18th century for Count Wenceslas Morzin band for whom Reichenauer worked at that time. This ensemble was one of the best bands in the Czech Republic and as "Maestro di Musica in Italia" for him composed music also Antonio Vivaldi, who dedicated this Morzin a collection of the Concertos op. 8 with the famous "Le quattro stagioni". Also, the Reichenauer's handwriting on the Concerto in G major is obvious direct influence of Vivaldi's music. This critical edition prepared a music historian and musician Lukáš M. Vytlačil to satisfy the scholarly community and also meet the needs of musicians. The score is therefore complemented by Czech and English commentary, complete facsimile copy of the Dresden manuscript and instrumental parts. The concerto is possible without transposition also play on the flute.
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
Böhmische Komponisten und ihre Instrumentalwerke im Schrank II2019 •
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.
2014 •
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
Wenn Zach noch im 17. Jahrhundert geboren worden wäre… Komponisten und Kompositionstätigkeit in Prag am Beispiel Johann Joseph Ignaz Brentners (1689–1742)2014 •
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.
Clavibus unitis 8, No. 1, pp. 91–100
The place of Jan Dismas Zelenka within Prague’s sacred music scene as viewed through the inventory of the Knights of the Cross with the Red Star2019 •
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.
Musicologica Brunensia
The Information Value of a Music Inventory: "Musicalien und Instrumenten" listed in Sokolov (Falkenau) in the First Half of the 18th Century2018 •
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.
Laurus Nasarethana - Emblematic concept of ceremonial decoration of the Prague Loreto Front Facade. Several notes on the development of the on hundredth anniversary of the foundation in 1726.
Sculptors of Loreto Facade - the essay is focused on the artists who created a sculptures on the main facade of Loreto Sanctuary in Prague. Text is based on formal analysis and newly discovered archival sources.
2018 •
The conference was devoted to the phenomenon of patron saints and holy patronage in its transformations. The Christian-defined concepts of holy patronage were in focus, primarily within the Early Modern Habsburg Empire, but we also welcomed comparative contributions looking at earlier or later historical periods, as well as other political-geographic or cultural-geographic areas or even other religions. The aim of the conference was to analyze the phenomenon of patron saints from an interdisciplinary perspective, thus to present and confront the approaches of historiography, theology, religious studies, cultural anthropology, ethnology, philology, history of art, history of music etc.
Lukáš M Vytlačil