Stručni rad
Commotion of Music in Slovenia before the centuries of the Škofj a Loka Passion Play: the 16th and the 17th Century in the Carniola Duchy
Franc Križnar
Sažetak
In the 16th and the 17th century was in Slovenia and in Carniola duchy presented the church and secular, vowel and instrumental music. These we can see by the basis of the material. It has proved for the fi rst periods of ten years of the 17th century, i.e. for the immediate before the fi rst procession of the Ško a Loka Passion Play (1721). Among them they are Tomaž Hren and the Ljubljana Jesuits, too; although we have not known any composer by begin of the 17th century as he have been anchoring as a creator at home. But we can fi nd them among the emigration: Gabriel Plavec Carniolus (Plautz, Plautzius) in Mainz/Germany (1641), Daniel Lagkhner from Maribor/Slovenia (in Loosdorf/Austria; 1607) and Isaac Posch (in Carinthia/Austria; dead 1621 or 1622 ?), he was known fi rst of all by the variation suite: Plavec and Lagkhner by the transition from the late Renaissance to the earlier Baroque, Poš explicit by the monody, i.e. in the (earlier) Baroque. The music and the musicians were in those more than hundred years long period important although not always the same. The music was grown from the limited beginnings it was not went asunder by all of them which has been actually on the west of Slovenian ethnic borders.
The fact that the Slovenian peripheral territory, juxtaposed to the Habsburg nobility, was in a less favourable or even inferior position, was in a way refl ected also in a musical world. The rise in musical eff orts, which we can confi rm on the basis of materials, belongs to the fi rst decades of the 17th century, i.e. immediately before the fi rst procession of the Ško a Loka Passion Play. It is demonstrated in continuous growth in the number of musicians and a gradual improvement of their status; particularly due to special attention to the music progeny given by Tomaž Hren and the Ljubljana Jesuits. So on one hand this could be seen as satisfactory. However, the emigration of the native, Slovenian musical element still continues despite broader and more favourable possibilities for musical activity. With this, the musical production increased signifi cantly and also improved in quality. This leads to the conclusion that the conditions at the time were still not attractive enough to keep the musicians, who wanted to achieve more than they were enabled, in the homeland. This is where we might fi nd one of the reasons why even at the beginning of the 17th century, we do not know of any composer who would settle down and compose at home. Nevertheless we can confi rm that there were some among the emigration: Gabriel Plavec Carniolus (Plautz, Plautzius), who worked in German Mainz and died there (1641), Daniel Lagkhner from Maribor for whom we know that he decided to stay in Loosdorf in Lower Austria, but after 1607 we do not have any in formation about him either, and Isaac Posch (Pos, Poschius), who is known to have been a musician of the Carinthian state’s representative assemblies (Landstände) and had close connections with the Carniolan state’s representative assemblies and T. Hren; he died in 1621 or 1622? Posch, however, has not yet been fi nally nationally defi ned, was certainly one of the most important among all these. He was the leading personality in the fi eld of the variation suite in the European frame. The fi rst half of them (Plavec and Lagkhner) was at the transition from the late Renaissance to the early Baroque - Plavec more prominently than Lagkhner, Poš on the other hand focused on the monody. Music and musicians were in the aforementioned, over a hundred-year-long period, especially in the Duchy of Carniola, and therefore in Slovenia, important in general - even if not always and everywhere the same. They grew from modest beginnings but it is evident from the ever-rich material that despite the occasional stagnation, music grew and gradually strengthened the position of art and its performers. All of this, due to known causes and truths, was not identical with the role of musicians and music in many other cities in the West. As far as stylistic orientation is concerned, there were no major diff erences, although periodic delays did occur from time to time. In general, we can say that from this point of view the situation on this – Slovenian - territory did not diverge from anything that was happening west of Slovenia’s ethnic.
Ključne riječi
Hrčak ID:
243496
URI
Datum izdavanja:
10.7.2020.
Posjeta: 1.054 *