Adam Michna z Otradovic - skladatel:
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | Czech |
| Veröffentlicht: |
Olomouc
Univ. Palackého, Filozofická Fak.
2012
|
| Ausgabe: | 1. vyd. |
| Schriftenreihe: | Monografie
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Abstract |
| Beschreibung: | Zsfassung in engl. Sprache |
| Beschreibung: | 207 S. Ill., Notenbeisp. |
| ISBN: | 9788024434353 |
Internformat
MARC
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| 008 | 130916s2012 agl| |||| 00||| cze d | ||
| 020 | |a 9788024434353 |9 978-80-244-3435-3 | ||
| 035 | |a (OCoLC)862801836 | ||
| 035 | |a (DE-599)BVBBV041272627 | ||
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| 084 | |a 9,2 |2 ssgn | ||
| 100 | 1 | |a Sehnal, Jiří |d 1931- |e Verfasser |0 (DE-588)129021806 |4 aut | |
| 245 | 1 | 0 | |a Adam Michna z Otradovic - skladatel |c Jiří Sehnal |
| 250 | |a 1. vyd. | ||
| 264 | 1 | |a Olomouc |b Univ. Palackého, Filozofická Fak. |c 2012 | |
| 300 | |a 207 S. |b Ill., Notenbeisp. | ||
| 336 | |b txt |2 rdacontent | ||
| 337 | |b n |2 rdamedia | ||
| 338 | |b nc |2 rdacarrier | ||
| 490 | 0 | |a Monografie | |
| 500 | |a Zsfassung in engl. Sprache | ||
| 600 | 1 | 7 | |a Michna z Otradovic, Adam Václav |d 1600-1676 |0 (DE-588)102488282 |2 gnd |9 rswk-swf |
| 689 | 0 | 0 | |a Michna z Otradovic, Adam Václav |d 1600-1676 |0 (DE-588)102488282 |D p |
| 689 | 0 | |5 DE-604 | |
| 856 | 4 | 2 | |m Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment |q application/pdf |u http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=026246205&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |3 Inhaltsverzeichnis |
| 856 | 4 | 2 | |m Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment |q application/pdf |u http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=026246205&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |3 Abstract |
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Datensatz im Suchindex
| _version_ | 1804150739497385984 |
|---|---|
| adam_text | Obsah
Předmluva
.............................................................................. 5
Hudba v českých zemích v Michnově době
....................................................8
Co víme o Michnově životě
..........................................................................23
Obsequium Mariánům
.................................................................................53
Česká mariánská muzika
..............................................................................60
Officium Vespertinum
..................................................................................86
Loutna česká
..............................................................................................105
Sacra et Litaniae.........................................................................................112
Svatoroční muzika a další život Michnových písní
......................................141
Rukopisné skladby
.....................................................................................154
Nedochované skladby
.................................................................................164
Závěr
..........................................................................................................166
Seznam použitých zkratek v poznámkách a v literatuře
...............................169
Seznam použité literatury
...........................................................................
Obrazová příloha
........................................................................................*■
Jmenný rejstřík
...........................................................................................
Lyo
Summary
....................................................................................................
^
207
Summary
Adam Michna
z Otradovic
(Adam Michna of Otradovice,
1600-1676)
was the most important
figure of Bohemian music history of the mid-17th century. He lived in the time of the deep politi¬
cal and ecclesiastical changes, an aftermath, in the Bohemian Lands, of the
і
620
White Mountain
Battle. The events of the Thirty Years War have influenced the whole of the early
1
7th century;
nevertheless, music development did not stop. The forcible re-Catholicisation, instigated by the
Habsburgs aided in the arrival of new music trends from Italy to Bohemia.
The repertoire performed during that time in the Bohemian Lands is known from the lists
of music belonging mainly to church institutions; the music itself has not survived. Up to the
1630s, the old style of writing prevailed here, represented by the late 16th and early 17th century
composers, especially those who were close to the Emperor Rudolf
Iľs
court band. A special type
of repertoire is present here: the sacred music of the Bohemian Protestants, performed by school
choirs and the so-called literary brotherhoods. The first works in this new style were written by the
composers in the services of Cardinal
František
Dietrichstein (d. 1636)
and members of his family
in Moravia. The most important of them was the Minorite monk Giovanni
Battista Alouisi,
who
died in
1665
in Brno. In Bohemia, Italian culture was supported mainly by the Prague Archbishop
and Cardinal
Arnošt Vojtěch
Harrach (1598-1667).
His travel notes offer a rather realistic view of
the music life of Bohemia and Moravia between
1640
and
1660.
Adam Michna was probably born in
1600
in
Jindřichův Hradec
(Neuhaus,
South Bohemia) as
a son of the
burgrave
of the local stately home. Between
1611-1613,
and
1615-1617
he studied
at the local Jesuit college. During the years of the anti-Habsburg revolt of the Bohemian Estates,
between
1618
and
1620,
he lived in his town of birth; his later whereabouts remain unknown. It is
possible that after
1620
he continued his studies, receiving his music education somewhere else than
in
Jindřichův Hradec,
with the financial support of his lord, Count
Vilém
Slavata.
From
1628
up to
his death he was the organist of the
Jindřichův Hradec
parish church. In
1634
he married
Zuzana
Cimrmon, from a wine-trading family; himself, he also started trading in wine, consequently becom¬
ing very rich. It was obviously his wealth which enabled him to self-publish his own compositions.
In the
1 660,
he was even able to lend his lord large sums or money; the interest was higher than his
organist s salary. He was a member of two church brotherhoods and also of a literary brotherhood
which organised, in
Jindřichův Hradec,
performances of sacred music written not only to Latin,
but also Czech texts. Michna s wife
Zuzana
died in
1671.
In that same year, the composer married
Terezie Kateřina
Epenauer, also from a wine-trading family. In
1670
he gave
1000
guldens towards
the clothing of three musicians from the St Wenceslas Jesuit Seminary whose duty was to help music
making in the parish church, and he also left
1000
guldens to the same church in his last will. In
the autumn of
1675
he suddenly became seriously ill and one year later he died. Michna was the
only 17th century Bohemian composer to have most of his works published. In addition to vocal
compositions to Latin texts with instrumental accompaniment, he also wrote sacred hymns to his
own Czech texts, which belong to the sum of the best Czech Baroque poetry.
Michna s first opus, the Obsequium
Mariánům
(Vienna
1642)
was his first and only work
dedicated to Count
Vilém
Slavata.
The preface suggests indirectly that the composer saw
Slavata
as his benefactor. The work consists of sixteen compositions to the texts dedicated to Our Lady,
including one Mass and one
Litania
Lauretana,
for five to thirteen vocal and instrumental parts, in
concertante
style. The instruments (trombones and strings) were used here also in the individual
203
sonatas.
ТЪе
Dixit Dominus
psalm is set here as a variation upon a ten bar
ostinato
motive. Out
of a total of nine parts, only three have been found up to now; therefore, it is neither possible to
reconstruct the score of the work nor to judge the whole in an objective way. However, it seems that
the composer wished to present here various compositional techniques he had learned.
Česká mariánská muzika
(Czech Music to honour Our Lady, Prague
1647)
consists of sixty-
four sacred songs to the Czech texts, most of them concerning Virgin Mary, in a homophonic four
to five part setting. The work is dedicated to Cardinal Harrach. The dedication is undersigned by
Prague s St Wenceslas Seminary, attached to the Clementinum Jesuit College. Originally, Michna
intended this work to be used by the literary brotherhood choirs as weli as by the small town school
choirs. With regard to style, this work differs strongly from the Obsequium
Mariánům.
Its main
attraction is the beautiful, lyrical, largely still modal melodies and harmonies. Michna s hymns differ
from the earlier Czech sacred hymns by their strict alternating of accented and unaccented beats
in a regular time, and by the frequent usage of hemiolas in the cadences. Of interest are here the
songs in which the odd and even meters alternate three to four times. Here anacrusis is discussed,
in detail as something unusual for Czech music, but which very often appears in Michna s hymns.
Michna s harmony and his ways of part writing, which still follow the old style of compositional
rules, are also described.
Officium Vespertinum (Prague
1648)
consists of fourteen Psalms, two Magnificat, four Virgin
Mary antiphons and
a Litania
Lauretana.
Michna composed this work after the Battle at
Jankov,
Central Bohemia
(1645),
where the Austrian Emperor s army was crushingly defeated by the Swed¬
ish army; he dedicated it to the town council of
České Budějovice
(Budweis), South Bohemia. All
compositions are written for a solo voice, frequently soprano, and a four-part choir with basso
continuo
accompaniment. The solo part has
a concertante
character, using rhetoric figures copi¬
ously. The choir is more passive, and most of ail homophonic. It seems that this compositional
method was quite characteristic for Michna. A similar treatment of the Psalms occurs only by
Pietro
Verdina
(с.
1600-1643).
All the compositions, included into the Officium, are very careful in their
attempt to express the text, and are a model example of usage of musical rhetoric figures. In several
compositions, the Psalm form is united by the repeating of the motive or
a chora!
refrain. The mis¬
cellany concludes by a set of interesting
falsi bordoni
in eight church modes, for a solo voice and
four-part chorus, accompanied by basso
continuo
and trombones ad libitum. These pieces show
that in Michna s time, this way of performing the psalms was popular.
Loutna česká
(Bohemian Lute, Prague
1643)
is a collection of sacred hymns to Czech texts for
one to two sopranos accompanied by basso
continuo
and two to three string instruments which play
the ritornellos between the individual stanzas. Michna dedicated his
Loutna česká
to the town coun¬
cil of Prague s Old Town.
Loutna česká
was intended for performances in the homes of the bour¬
geoisie. It deals with a sacred bond as a mystic
parallel
to marriage. Recently it has been discovered
that the texts of the first two songs are Czech poetic translations of texts taken from Epithalamium
Mariánům
Oder
Tafel
Music
(München 1638),
written by the German Jesuit
Johann Khuen.
The
other song texts are all by Michna himself. All the music, however, is Michna s own; its melodic,
harmonic, rhythmic and harmonic style corresponds with the
Česká mariánská muzika
hymns.
Sacra
et Litaniae
(Prague
1654)
is the most extensive collection of Michna s sacred vocal music
written to Latin texts, and accompanied by instruments. It consists of five Masses, one Requiem, one
Litania
de Sancissimo
Nomine
Jesu,
one
Litania
Lauretana,
and one
Te Deum.
Michna dedicated
it as a half-centenary birthday present to a friend of his youth,
Nikolaus Reiter
of
Homberg,
from
1644
the High Administrator of the
Olomouc
episcopal estates. The collection is intended for four
to six vocal parts, two violins, three violas, three trombones and basso
continuo.
The instruments
204
are also used in the opening and inserted
sinfonias.
The Benedictus of
ali
Masses is short; it can be
guessed that it was sung together with Sanctus, not only after transubstantiation. The Agnus is also
very short. It is in two parts, because the second Agnus is not repeated. The style of the individual
compositions differs considerably. Polyphony is used predominantly in the first Mass and in the
Requiem. The second Mass is composed as a parody; it is based on the 15th century Christmas
hymn
Již Slunce z hvězdy vyšlo
(The Sun already has emerged from the Star), the melody of which
is used at the beginning as well as inside the individual mass movements. The mass structure is
based on alternating the solo and choral, mainly homophonic, passages in the same way as in the
Officium vespertinum psalms. The structures of Masses
nos.
3, 4
and
5
are composed in the same
way. The whole of the Mass no.
3
is based on an eight-bar harmonically rich
ostinato
bass motive,
which is repeated fifty times throughout the Mass. In the Credo movements of all Masses, Michna
uses rhetoric figures. In Crucifixus he sometimes employs expressive chromatic harmonies, sup¬
ported by third-based chords without a common tone. In Mass no.
3,
Crucifixus is marked
Tremulo,
most possibly meaning vibrato. Of all the compositions included in this collection, the best is the
Requiem. It alternates solo and choral passages, simple polyphony and homophony. The expres¬
sive, balanced mournful quality of this composition gives the impression of the composer having
a personal relation to the dead person. Hypothetically it could be believed that the Requiem might
have been written for the
1652
Vilém
Slavata s funeral. Both Litanies are composed in the usual
way— they alternate solo and choral passages, and use short imitations. The invocations are sung by
the soloists, the answers by the choir.
Te Deum
is polychoral, with one choir consisting of soloists
and the other one of
ripieno
singers. Sacra
et Litaniae
document Michna s broad knowledge of the
sacred music
composi
tionaj techniques.
Svatoroční muzika
(The Saints Days Music, Prague
1661)
is a collection of one hundred and
eighteen sacred hymns, to the texts concerning saints, to be used during the whole of the ecclesi¬
astical year. It is written for a four part choir, in the same way as the
Česká mariánská muzika.
It
was again dedicated by Michna to the town council of Prague s Old Town. Regarding its music,
the
Svatoroční muzika
is rather close to
Česká mariánská muzika.
There are, however, some new
features too, such as the three-four time, used here by Michna for the first time. Even if some of
its motives are already well known,
Svatoroční muzika
also contains a number of musical jewels.
I he songs from all three of Michna s hymn collections were gradually transferred into the Czech
sacred hymnals for the common people. The author of the most popular Catholic songbook,
Václav
Matěj Šteyer
(first edition Prague
1683)
used one hundred and forty-two of Michna s songs. They
were treated in the same way by the other hymn book publishers. Some of the hymns were arranged
according to the period
s
taste. There were small rhythmical and larger melodic changes because the
later time had no interest in old meters and modality. Modal melodies were transferred into major
or minor tonalities. In the 19th centuty, Michna s hymns enjoyed their revival in the St Wenceslas
hymn book (Prague
1863-1864),
influenced by the ecclesiastical reforms of the period. Even more
recently, ten of Michna s hymns were included in the
Kancionál českých a moravských diecézí
(The Bohemian and Moravian Dioceses Hymn Book, Prague
1994).
Of interest is the fact that the
German inhabitants of the Bohemian Lands did not adopt any of Michna s hymns, while the most
popular hymn of the
Česká mariánská muzika, Chtíc, aby spal
(She wished him to sleep), became
popular in Slovakia and even in Hungary.
From rhe Mss. compositions, only three have survived. The first of them,
M usa sancii Wenceslai,
was written around
1670.
In
1670
or later it was copied in
Olomouc
by the head of the Bishop s
Kroměříž (Kremsier)
band Pavel
Vejvanovský (d.
1693),
perhaps from to the composer s original
score. There could have been two motives for copying. The first is the fact that the
Olomouc
diocese
205
Cathedral was consecrated to St. Wenceslas. The second might have been the fact that the Pope
proclaimed St Wenceslas Day an obligatory feast, to be celebrated by the whole Church from
1670.
It is also possible that the Mass might have been ordered for the
Olomouc
Chapter by Michna s
aforementioned friend,
Nikolaus Reiter
of
Homberg.
The
St
Wenceslas Mass is more modern in
its style than the Sacra
et
Litaniae Masses
-
a testament to the fact that Michna followed music
development and adapted to it. The most conspicuous additions here are two
concertante
trumpets,
which Michna had never before used in his work. He obviously knew that the
Olomouc
Bishop
had excellent trumpeters. The
Kyrie
of the Mass is monumental, based on imitations of a short
motive, also used in the Agnus. All the elements, typical for the third fourth of the 17th century
sacred vocal music with instrumental accompaniment can be found here. The second Mss. com¬
position is the sixteen vocal and instrumental part Magnificat. It is an arrangement, made around
the 1680s by an unknown Wroclaw
(Breslau)
musician. Michna s original version was twelve part.
The surviving arrangement was extended into sixteen parts, and, in contrast with the original, the
even verses were omitted; it seems that in Wroclaw, Magnificat was to be performed
alternatimi
odd verses with instruments, even verses by voices only. The whole concept is polychoral, com¬
posed in the same way as the above-mentioned
Te Deum.
One piece of a curious character is the
Missa
Michniana, included in the Franciscan codex from
Dačice.
It is a typical Franciscan Mass,
based on a single, repeated melody. In contrast with the other Franciscan Masses, Michna s Mass
melody is written in unmeasured choral notation. Michna s probably-published Cantiones Sacrae,
mentioned by the 18th century music encyclopedias and listed by the old music inventories, have
not as yet been found.
With the exception of Pavel
Vejvanovský, Adam
Michna was the most important Bohemian
17rh century composer. With regard to their compositional style, his works still belong to the early
17th century, while
Vejvanovský s
compositions are written in the spirit of the late 17th century.
While
Vejvanovský
was a self-taught composer, Michna received in his youth a thorough music
education, including, perhaps, also knowledge of composition. While
Vejvanovský s
works were in¬
tended for the episcopal court and church, Michna s compositions were aimed at the town churches
and corresponded with their needs. These differences show most of all in the instrumentation.
From
Vejvanovský s
compositional output, his instrumental works are the most important, while
the importance of Michna s artistic legacy lies in his sacred music. Michna was a genius of writing
melodies, something which shows above all in his Czech sacred hymns. Ibis is why his hymns writ¬
ten to Czech texts should be seen as artistically more important than his compositions to Latin texts.
Translated by
Michaela Freemanová
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|
| any_adam_object | 1 |
| author | Sehnal, Jiří 1931- |
| author_GND | (DE-588)129021806 |
| author_facet | Sehnal, Jiří 1931- |
| author_role | aut |
| author_sort | Sehnal, Jiří 1931- |
| author_variant | j s js |
| building | Verbundindex |
| bvnumber | BV041272627 |
| ctrlnum | (OCoLC)862801836 (DE-599)BVBBV041272627 |
| edition | 1. vyd. |
| format | Book |
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| id | DE-604.BV041272627 |
| illustrated | Illustrated |
| indexdate | 2024-07-10T00:43:43Z |
| institution | BVB |
| isbn | 9788024434353 |
| language | Czech |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-026246205 |
| oclc_num | 862801836 |
| open_access_boolean | |
| owner | DE-12 |
| owner_facet | DE-12 |
| physical | 207 S. Ill., Notenbeisp. |
| psigel | DHB_JDG_ISBN_1 |
| publishDate | 2012 |
| publishDateSearch | 2012 |
| publishDateSort | 2012 |
| publisher | Univ. Palackého, Filozofická Fak. |
| record_format | marc |
| series2 | Monografie |
| spelling | Sehnal, Jiří 1931- Verfasser (DE-588)129021806 aut Adam Michna z Otradovic - skladatel Jiří Sehnal 1. vyd. Olomouc Univ. Palackého, Filozofická Fak. 2012 207 S. Ill., Notenbeisp. txt rdacontent n rdamedia nc rdacarrier Monografie Zsfassung in engl. Sprache Michna z Otradovic, Adam Václav 1600-1676 (DE-588)102488282 gnd rswk-swf Michna z Otradovic, Adam Václav 1600-1676 (DE-588)102488282 p DE-604 Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=026246205&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=026246205&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Sehnal, Jiří 1931- Adam Michna z Otradovic - skladatel Michna z Otradovic, Adam Václav 1600-1676 (DE-588)102488282 gnd |
| subject_GND | (DE-588)102488282 |
| title | Adam Michna z Otradovic - skladatel |
| title_auth | Adam Michna z Otradovic - skladatel |
| title_exact_search | Adam Michna z Otradovic - skladatel |
| title_full | Adam Michna z Otradovic - skladatel Jiří Sehnal |
| title_fullStr | Adam Michna z Otradovic - skladatel Jiří Sehnal |
| title_full_unstemmed | Adam Michna z Otradovic - skladatel Jiří Sehnal |
| title_short | Adam Michna z Otradovic - skladatel |
| title_sort | adam michna z otradovic skladatel |
| topic | Michna z Otradovic, Adam Václav 1600-1676 (DE-588)102488282 gnd |
| topic_facet | Michna z Otradovic, Adam Václav 1600-1676 |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=026246205&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=026246205&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
| work_keys_str_mv | AT sehnaljiri adammichnazotradovicskladatel |