Despite the state borders, and the different socioeconomical and cultural contexts, productions of Italian opera in Prague and Dresden become considerably interconnected due the activity of the impresario Giuseppe Bustelli. During his directorship (1764-1777 in Prague, 1765-1777 in Dresden) and even in the next decade, more than 50% of the repertoire was shared. Furthermore, some of the artists performed in both cities, and the same or similar adaptations of operas were used. The main difference in repertoire consisted in opera seria productions in Prague until 1777, whereas in Dresden only opera buffa was staged since 1765. Analyses of selected works reveal some of both similar and different performing strategies and their aesthetical, practical as well as political connections., Marc Niubo., and Obsahuje bibliografické odkazy
The article presents two likely and so far unknown compilers of the third edition of Koniáš’s Key from 1770. Their names have been revealed by a handwritten note in a copy that was originally a part of the library of the private collector Josef Bartsch (1731-1803). Concerning the first figure, the Jesuit Josef Kögler, the treatise describes his career in the Jesuit Order and the posts that he held. In the case of his co-worker Jan Kohout, the text outlines the possible connections that might help identify him precisely. and David Mach.
Although much has been written about Czech coronations, one of them has gone almost unnoticed. This article focuses on the coronation of Francis II as King of Bohemia, which took place in 1792, a year after the lavish coronation of his father Leopold II. This article examines it in the context of the other coronations of Francis in the same year and documents the entire process of its preparation, from the ceremonial entry into Prague to practical aspects such as security arrangements, accommodation and lighting. Since the entire course of the coronation ceremony itself is already well documented and remained unchanged in Francis’s case, attention is given to a particular part of the coronation mass, namely the accolation of the Knights of St Wenceslas. The paper also deals with the concept of “the people” and the Bubeneč folk celebration, as the latter was an important part of the coronation festivities.
This article presents Christian Kyrill Schneider OFM, a significant yet not widely known Franciscan missionary who lived in the second half of the 18th century and worked in Egypt and surrounding Middle East Area. His autography that is only available as a manuscript and has never been presented before is fully described here. An excerpt of one chapter offers an insight into a catching egodocument from the beginning of the 19th century. This study is set in the context of Franciscan missions with an important focus on the activity of brothers from the Czech lands in the Middle East. The introductory chapter summarizes basic bibliography of history of Franciscan missionaries and their writings., Kateřina Holanová., and Obsahuje bibliografické odkazy
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 paper deals with the personality and the work of the noble, writer and intellectual Maximilian count Lamberg (1729–1792) which was already examined by several Czech historians (Polišenský, Kroupa, Cerman). Firstly, the paper evaluates the current state of research to show that despite of the attention of researchers focused on this personality, there are still lot of contexts and details which remain unknown. Secondly, the paper analyses the question of the relevance and the historical value of Lamberg’s conserved works which are situated between memories, essays and autobiographical fiction. In the main part of the paper, the thesis of Jiří Kroupa, which assumes the appurtenance of Maxmilian Lamberg both to the Moravian milieu and to the European Republic of letters, is examined. Lamberg’s accessible works, not only the most famous Mémorial d’un mondain but also the other books, are used as a base of the research.
During the first half of the 18th century, the Jesuit drama was changing in the German lands. This process can be characterized as an origin of the Jesuit secular drama – new themes appeared, while the old ones were disappearing. This paper deals with a question, if we can observe the same tendencies in the Jesuit drama written in the Bohemian province in the same period, too.
Under Maria Theresa, the provincial courts in Moravia continued to operate along the lines set out in the judicial reforms of 1620-1650. Although the reform efforts of the Theresian system had little direct effect on them, the character of these courts did gradually change. By the early 1740s they were inundated with a backlog of unresolved cases that rendered them slow and unwieldy. Following the cancellation of inactive disputes, however, the number of open cases started to drop rapidly, and by the 1760s the provincial court was accepting an absolute minimum of new lawsuits. This was due less to any restrictions imposed by the state than to a lack of interest among the nobility in pursuing claims in the court. The provincial court continued to sit twice a year, but the reduction in the number of cases meant that the number of sessions in each judicial period also fell considerably. The nearly fifty cases heard by the provincial court in the reign of Maria Theresa were, however, similar in scope to those we are familiar with from the preceding period - property-related lawsuits among the nobility, disputes between monasteries and towns, criminal cases and claims by subject communities against their own landlords. Significant changes can also be discerned in the makeup of the courts, with judges being appointed on the basis of their legal training rather than their social standing or other "merits" and, generally, a far closer correspondence to other types of Theresian court, particularly the royal tribunal. There thus ceased to be a meaningful distinction between the royal and provincial judicial systems in the Theresian period., Jiří David., and Obsahuje bibliografické odkazy