Wyniki wyszukiwania - Biblioteka Nauki

Nowa wersja platformy, zawierająca wyłącznie zasoby pełnotekstowe, jest już dostępna.
Przejdź na https://bibliotekanauki.pl

Ograniczanie wyników

Znaleziono wyników: 2

Liczba wyników na stronie

Wyniki wyszukiwania

Wyszukiwano:
w słowach kluczowych: INSTRUMENT MAKERS

Sortuj według:

Ogranicz wyniki do:

GDANSK CLAVICHORDS AND HARPSICHORDS IN THE 17TH AND 18TH CENTURIES

100%

Vogel B.

nr 1(192)

79-101

Gdansk (Danzig) was famous as a centre of musical instrument manufacture during the 16th-18th centuries. Dozens of viol-makers and violin-makers, wind instrument makers, and finally keyboard instrument makers were recorded throughout that period. Viols, trumpets and harpsichords from Gdansk are listed in many court, church, convent and town inventories from Poland, Scandinavian and other countries. What is more, many apprentices and journeymen from various countries were trained there and, for example, the Swedish authorities attempted to bring in keyboard instrument makers from Gdansk to Sweden, to start local manufacture, in the first half of the 18th century. This article attempts to paint a picture of a small aspect of Gdansk instrument making, namely clavichord and harpsichord manufacture during the 17th-18th centuries. Little research material from that period has survived to the present day. All we have in terms of physical evidence is one spinet made by Paul Steinicht in 1661, two harpsichord lids with painted decoration attributed to Gdansk artists, and one design of such decoration by a Gdansk painter from the end of the 16th century. On the other hand, surviving archival sources and various newspapers' announcements were rich enough in information to make the reconstruction of the history of local clavichord- and harpsichord-making possible. The paper then discusses the types of clavichords and harpsichords made in Gdansk during that period, including hybrids of the claviorgan type. It was possible to define their construction and the decoration used in various stages of the instruments' development. Surviving posthumous inventories of Gdansk citizens have also made it possible to determine the social function of the clavichord and harpsichord. While there were many instrument-makers in Gdansk, biographies of only a dozen or so, who undoubtedly made clavichords and harpsichords, are given in the Annex, among them those of Marten Kawinsky, Heinrich Bernhard Kein, Jacob Machowsky, Georg Wilhelm Rasmus, Johann Daniel Weber and Johann Werner Woge. The social status of Gdansk craftsmen is also discussed.

KAPELA IMRICHA ESTERHÁZYHO V ROKOCH 1725 – 1745

75%

Kačic L.

nr 2

189 - 254

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.