The second half of the 18th century marked an extraordinary flowering of music, especially church music in the Czech lands. Monastic churches, in particular, were characterised by a high level of music production performed by choral scholars whose liturgical music was conducted by chosen monks. Some members of religious orders also composed. These were for example M. J. Haberhauer (1746-1799), a member of the Benedictine order situated in Rajhrad near Brno and P. J. Marek (1748-1806) who belonged to the Augustinian monastery in Brno. Both of them got a musical education as choral scholars and remained musically active also after entering orders. Eventually these two authors both performed as chorregents in the 70’s and early 80’s of the 18th century and they collected sacred and secular pieces of music of their more famous and popular contemporaries (C. Ditters, F. X. Brixi, Haydn, etc.). Apart from a few exceptions they were only composing liturgical works. Haberhauer bequeathed 90 compositions, most of whom composed of Mass for choir and solo accompanied with instrumental ensemble as well as vespers and motets. Marek, however, composed only 21 church compositions and most of them consist of Marian antiphons and litanies of Loreto. These were necessary at the Augustinians, given the honor rendered to the picture of Virgin Mary placed in their church. The two monasteries ran a mutual cooperation which can be proved by Haberhauer music collection preserved at Augustinians in Brno. Haberhauer work can be also found in the collections of other Moravian churches and also at Prague Benedictine order. While Marek’s compositions were exclusively connected to the Augustinian monastery in Brno. Their pieces of music are purely purposeful showing features of a musical classicism. Lives and works of both composers are now the subject of research of the author and of Pavel Žůrek from the Ins, Irena Veselá., and Obsahuje bibliografické odkazy
This article deals with the ex-Capuchin, chaplain and later parson at the Brno parish church of St James, P. Maurus Simonis (*1740-†1815) and his catalogue of the manuscript library which came into being in the Middle Ages, was permanently maintained at the church and only in 1931 did it become a part of the Brno City Archives. The manuscripts – 125 codices – serve as valuable evidence of book culture in medieval Brno. The definitive catalogue was compiled in 1805, while its first "critical" version, which does not include all manuscripts, dates from 1802. On the evidence of numerous specimens, our paper analyses the way of describing of external features – watermarks, writing, decoration and binding – as well as the content of individual codices, and it compares the work of P. Simonis with the previously unofficial conclusions of the modern catalogue which is currently at the printers.
V článku Maxe Dvořáka o Borrominiho přestavbě baziliky S. Giovanni in Laterano v Římě se prolínají zájmy dějin umění a památkové péče. Dvořák tu sleduje podněty knihy Aloise Riegla Spátrómische Kunstindustrie (1901) a definuje architekturu jako zformovaný prostor a zformovanou hmotu. Takové pojetí nepochybně souznělo s tendencemi rané modernistické architektury na počátku 20. století. Dvořák nicméně nachází jeho předchůdce v baroku, v architektonické tvorbě Michelangelově a Borrominiho. Oba tito tvůrci se odklonili od „objektivní" tektoniky renesance, Borromini hnětl hmotu i prostor stavby odvážněji než Michelangelo. Pro Borrominiho přestavbu lateránské baziliky byla podle Dvořákova názoru příznačná architektova schopnost integrovat staré části, zejména gotické a renesanční náhrobky, do nového celku a doplňovat je v úplně moderním stylu. V této prezentaci Borrominiho se ozývá Dvořákova polemika s architekty historismu, kteří uváděli staré památky do hypotetického původního stavu a řídili se přitom svými vlastními představami o starých stylech. Dvořák proti tomu naznačuje, že moderní architekti by měli staré památky obnovovat podobnou metodou jako Borromini: s pietou, avšak doplňky ať jsou zcela moderní. Svůj důraz na pietnost Borrominiho přestavby lateránské baziliky ovšem Dvořák přehání. Více piety než architekt totiž při rozhodování o této akci projevil jeho klient, papež Innocenc X. and The concerns of art history and the preservation of monuments intersect in Max Dvořák’s article about Borromini’s reconstruction of the Basilica di S. Giovanni in Laterano in Rome (Beiblatt fur Denkmalpflege, 1907). There, Dvořák follows the ideas in Alois Riegl’s book Spátrómische Kunstindustrie (1901) and defines architecture as shaped space and shaped mass. This conception undoubtedly resonated with the trends of early Modernist architecture at the beginning of the 20th century. Nonetheless, Dvořák sees its predecessor in the Baroque, in the architectural work of Michelangelo and Borromini. Both of these artists deviated from the ‘objective’ tectonics of the Renaissance. Borromini moulded the mass and space of a building in a more daring manner than Michelangelo. According to Dvořák, what distinguishes Borromini’s reconstruction of the Laterano basilica is the architect’s ability to integrate the old part, in particular the Gothic and Renaissance tombstones, into the new whole and complement them in a totally modern style. In this presentation of Borromini, one can hear Dvořák’s polemic with the architects of historicism, who returned old monuments to a hypothetical original state, guided by their own ideas about the old styles. Reacting against this, Dvořák suggests that modern architects should restore old monuments in a manner similar to that of Borromini: with piety, but also with additions that are totally modern. Of course, Dvořák’s emphasis on the piety of Borromini’s renovation of the Laterano basilica is exaggerated. The architect’s client, Pope Innocent X, showed more piety than the architect in deciding about the matter.