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The Artistic Work of the Süssner Family in Germany and Bohemia in the Second Half of 17th Century
Sehnal, Jiří ; Zlatohlávek, Martin (advisor) ; Oulíková, Petra (referee)
This thesis outlines the artistic work ofthe German extended Stissner fami1y, which originated from Nortwest Bohemia. In the work we find (as many as) eight members ofthe Stissner family, as many as five ofwhom were artistically active. The most significant figures within this family are Jeremias Stissner (1653-1690), the Brandenburg (Saxon) court sculptor from the West Bohemian town ofOstrov, who was active in Dresden and Berlin, and his brother Conrad Max Stissner (1665-after 1696). These artist workedpredominantly within a German environment and their artistic contribution to the Czech scene was a "mere" import (six sculptures for the knights' church of St. Francis /kostel sv. Františka! in Prague's Old Town in 1689 and 1691), assumed to be from the Dresden studio. The greater part ofthis thesis is devoted to both brothers, in which the more significant Jeremias Stissner is to a certain extent ofregional importace. Unfortunately, due to the fragmented nature ofthe records, information about these attists is incomplete. Their work reflects both the classicist Flemish school, as well as radical Roman baroque, which was close to the works of Giovanni Lorenzo Bemini or Alessandro AIgardi. The work of the Flemish school is connected to the master Johann Heinrich senior, ofwhom Jeremias Stissner was a...
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Count Wenzel Morzin's orchestra
Kapsa, Václav ; Černý, Jaromír (advisor) ; Perutková, Jana (referee) ; Sehnal, Jiří (referee)
The present work treats the phenomenon of court orchestras (Kapellen) in Czech lands during High Baroque, in the period delimitated by the reign of Charles VI. Its aim was not, however, to cover the theme in its totality, but to document and analyse the hitherto little-noticed Prague orchestra of Count Wenzel Morzin (1675-1737), providing material for future synthesis and offering a pendant to the existing works of this kind, which have focused mainly on Kapellen of Moravian provenience. In the history of music, Count Wenzel Morzin is known mostly owing to his contact with the Italian composer Antonio Vivaldi. It was Count Morzin to whom Vivaldi has dedicated his collection Il cimento dell'armonia e dell'inventione op. 8 containing the famous violin concertos, Le quattro stagioni. Besides, Vivaldi made a laudatory comment about Morzin's Kapelle in one of his letters. In various, mostly isolated contexts we find mentions of other musicians as well as the music of composers related to Count Morzin and his orchestra. The aim of this work was to interconnect these mutually unrelated sources and document the personal / instrumental constitution and development of the orchestra by means of archive research based primarily on sources of accounting and registration nature. The work looks at the Morzin Kapelle at...
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Period copies of Mozart's operas in the music collection of the Premonstratensian monastery in Prague in Strahov
Jonášová, Milada ; Volek, Tomislav (advisor) ; Ottlová, Marta (referee) ; Sehnal, Jiří (referee)
The present dissertation thesis is the result of a several years lasting research of Bohemical Mozart sources, which had been started after my discovery of a hitherto unknown set of scores of Mozart's works in the musical collection of the Premonstratensian monastery at Strahov in 2001. As this set of sources is of a surprising scope and processing them all in detail is going to require some more years of work, this dissertation thesis focuses on one of the key groups of sources, namely those to Mozart's operas. The examination of these sources had to be set into the current context of the international Mozart research. To do this, it was necessary to compare the Strahov copies page-by-page both with the autographs and other relevant period copies. The comparisons were made with autographs deposited in Berlin, Krakow and Paris as well as period copies in Berlin, Dresden, Munich, Karlsruhe, Vienna, Salzburg, Zurich, Brno and Prague. The outcome of this comparative work was then confronted with the latest critical edition, Neue Mozart Ausgabe as well as separately published critical commentaries to the relevant volumes. The first chapter summarizes the known facts about the Strahov Monastery of the Premonstratensian Order as a cultural centre and its musical tradition. A description of the musical collection...
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Music collections of the Brothers Hospitallers in the Bohemia Lands
Freemanová, Michaela ; Gabrielová, Jarmila (advisor) ; Sehnal, Jiří (referee) ; Perutková, Jana (referee)
The 'provincia germanica' of the Order of the Brothers Hospitallers was probably founded in 1616. In the early 1770s it covered almost the whole of Central Europe. Today's Bohemian province consists of eight monasteries (Prague, Nové Město nad Metují, Kuks, Brno, Prostějov, Valtice, Letovice and Vizovice). This book deals with their history, their music life and their surviving music collections from Prague, Nové Město nad Metují, Kuks (the Kuks collection catalogue was published independently in 1998), Prostějov, Brno and Valtice (the Letovice and Vizovice collections are not extant). They are quite a rarity: it seems that, apart from the small collections in Graz and Vienna, and the until now inaccessible Wroclaw (Breslau) collection, no other such collections survived anywhere else in the former Austro-Hungarian Empire. Apart from Kuks, most of the Czech and Moravian Order music collections are fragmentary. Fragmentary also are the Order documents. Even so it is possible to follow the rise and fall of the music activities of the Brothers Hospitallers, whose original and principal mission was to care for the helpless, aged and the sick. Music became integral part of the Order members' general education inside the "provincia germanica" since 1718; the musicians named in the catalogues of the Order...
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Period copies of Mozart's operas in the music collection of the Premonstratensian monastery in Prague in Strahov
Jonášová, Milada ; Volek, Tomislav (advisor) ; Ottlová, Marta (referee) ; Sehnal, Jiří (referee)
The present dissertation thesis is the result of a several years lasting research of Bohemical Mozart sources, which had been started after my discovery of a hitherto unknown set of scores of Mozart's works in the musical collection of the Premonstratensian monastery at Strahov in 2001. As this set of sources is of a surprising scope and processing them all in detail is going to require some more years of work, this dissertation thesis focuses on one of the key groups of sources, namely those to Mozart's operas. The examination of these sources had to be set into the current context of the international Mozart research. To do this, it was necessary to compare the Strahov copies page-by-page both with the autographs and other relevant period copies. The comparisons were made with autographs deposited in Berlin, Krakow and Paris as well as period copies in Berlin, Dresden, Munich, Karlsruhe, Vienna, Salzburg, Zurich, Brno and Prague. The outcome of this comparative work was then confronted with the latest critical edition, Neue Mozart Ausgabe as well as separately published critical commentaries to the relevant volumes.
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The Artistic Work of the Süssner Family in Germany and Bohemia in the Second Half of 17th Century
Sehnal, Jiří ; Zlatohlávek, Martin (advisor) ; Oulíková, Petra (referee)
This thesis outlines the artistic work ofthe German extended Stissner fami1y, which originated from Nortwest Bohemia. In the work we find (as many as) eight members ofthe Stissner family, as many as five ofwhom were artistically active. The most significant figures within this family are Jeremias Stissner (1653-1690), the Brandenburg (Saxon) court sculptor from the West Bohemian town ofOstrov, who was active in Dresden and Berlin, and his brother Conrad Max Stissner (1665-after 1696). These artist workedpredominantly within a German environment and their artistic contribution to the Czech scene was a "mere" import (six sculptures for the knights' church of St. Francis /kostel sv. Františka! in Prague's Old Town in 1689 and 1691), assumed to be from the Dresden studio. The greater part ofthis thesis is devoted to both brothers, in which the more significant Jeremias Stissner is to a certain extent ofregional importace. Unfortunately, due to the fragmented nature ofthe records, information about these attists is incomplete. Their work reflects both the classicist Flemish school, as well as radical Roman baroque, which was close to the works of Giovanni Lorenzo Bemini or Alessandro AIgardi. The work of the Flemish school is connected to the master Johann Heinrich senior, ofwhom Jeremias Stissner was a...
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Period copies of Mozart's operas in the music collection of the Premonstratensian monastery in Prague in Strahov
Jonášová, Milada ; Volek, Tomislav (advisor) ; Ottlová, Marta (referee) ; Sehnal, Jiří (referee)
The present dissertation thesis is the result of a several years lasting research of Bohemical Mozart sources, which had been started after my discovery of a hitherto unknown set of scores of Mozart's works in the musical collection of the Premonstratensian monastery at Strahov in 2001. As this set of sources is of a surprising scope and processing them all in detail is going to require some more years of work, this dissertation thesis focuses on one of the key groups of sources, namely those to Mozart's operas. The examination of these sources had to be set into the current context of the international Mozart research. To do this, it was necessary to compare the Strahov copies page-by-page both with the autographs and other relevant period copies. The comparisons were made with autographs deposited in Berlin, Krakow and Paris as well as period copies in Berlin, Dresden, Munich, Karlsruhe, Vienna, Salzburg, Zurich, Brno and Prague. The outcome of this comparative work was then confronted with the latest critical edition, Neue Mozart Ausgabe as well as separately published critical commentaries to the relevant volumes. The first chapter summarizes the known facts about the Strahov Monastery of the Premonstratensian Order as a cultural centre and its musical tradition. A description of the musical collection...
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Life and Work of High Baroque sculptors and Heermann's and Süssner's from the 17th to 18th century German and Czech environment
Sehnal, Jiří ; Zlatohlávek, Martin (advisor) ; Oulíková, Petra (referee)
This thesis outlines the artistic work of the German extended Süssner family, which originated from Northwest Bohemia, and the artistic work of the German Heermann family, which originated from Saxony. The most significant figures within these families are Jeremias Süssner (1653-1690), the Brandenburg and Saxon court sculptor (originally from the West Bohemian city Ostrov, active in Dresden and Berlin), his brother Conrad Max Süssner (1655/60-after 1696), Johann Georg Heermann (1645/46-after 1701), the Saxon court sculptor, who was active in Dresden, Praha and Görlitz, and his nephew Paul Heermann (1672/73-1732), the Saxon court sculptor too. Their work reflects both the classicist Flemish school, as well as radical Roman baroque, which was close to the works of Giovanni Lorenzo Bernini or Alessandro Algardi. The work of the Flemish school is connected to the master Johann Heinrich Böhm senior, whose pupils were Johann Georg Heermann, Jeremias Süssner and Conrad Max Süssner. Life and Work of High Baroque sculptors and Heermann's Süssner's in the 17th to 18 century German and Czech environment
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Pasquale Anfossi and Italian opera in Prague
Niubo, Marc ; Gabrielová, Jarmila (advisor) ; Jakubcová, Alena (referee) ; Sehnal, Jiří (referee)
lt was in the first half of 1780s that the theatre at Count Thun's palace hosted the Italian Opera, one of the leading musical institutions of 18th century Prague. And it was this period that saw operas by the ltalian composer Pasquale Anfossi (1727-1797) strongly represented in its repertory. While Anfossi enjoyed success and popularity during ms lifetime, the current awareness of his works is superficial and selective as the interest in ms music has so far been limited mostly to comparison with Mozart due his setting of La finta giardiniera (Rome 1774). The present thesis seeks to shed light on some problematic issues in Anfossi's biography and analyzes his opera lsabella e Rodrigo (Venice 1776, libretto by Giovanni Bertati) produced in Prague in 1783. lsabella e Rodrigo represents a rare variant of the opera buffa featuring an adventure plot with an active female protagonist. In order to avoid forced marriage, Isabella flees her father's house, and at a later point - in Turkish captivity - tries the faithfulness of her fiancé. Compared with other works by Anfossi and his contemporaries, lsabella e Rodrigo seems unexceptional. Although Anfossi displays his skill in characterization of characters as well as his dramatic experience, some of the highly inspired passages appear side by side with routine,...
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Count Wenzel Morzin's orchestra
Kapsa, Václav ; Černý, Jaromír (advisor) ; Perutková, Jana (referee) ; Sehnal, Jiří (referee)
The present work treats the phenomenon of court orchestras (Kapellen) in Czech lands during High Baroque, in the period delimitated by the reign of Charles VI. Its aim was not, however, to cover the theme in its totality, but to document and analyse the hitherto little-noticed Prague orchestra of Count Wenzel Morzin (1675-1737), providing material for future synthesis and offering a pendant to the existing works of this kind, which have focused mainly on Kapellen of Moravian provenience. In the history of music, Count Wenzel Morzin is known mostly owing to his contact with the Italian composer Antonio Vivaldi. It was Count Morzin to whom Vivaldi has dedicated his collection Il cimento dell'armonia e dell'inventione op. 8 containing the famous violin concertos, Le quattro stagioni. Besides, Vivaldi made a laudatory comment about Morzin's Kapelle in one of his letters. In various, mostly isolated contexts we find mentions of other musicians as well as the music of composers related to Count Morzin and his orchestra. The aim of this work was to interconnect these mutually unrelated sources and document the personal / instrumental constitution and development of the orchestra by means of archive research based primarily on sources of accounting and registration nature. The work looks at the Morzin Kapelle at...
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