The study discusses Libor Jan’s hypothesis that the Rajhrad Monastery was not only founded as an independent institution, but was also a collegiate chapter and not a Benedictine cloister. Jan later declared Rajhrad a significant centre for the 10th century South Moravian church and even the seat of a bishop’s filial office. Although these hypotheses were insufficiently supported, they began to be accepted in the literature. However, most of the arguments in favour of these ideas can be disproven. The author examines the so-called Pseudo-Břetislav Fakes that include the Břevnov Monestary’s claim to Rajhrad and proves the authenticity of the testimony within. The conflict between the Olomouc bishops and Břevnov is also discussed, presenting the older claims by the Prague institution. The author also analyses immunity and indulgence documents, which do not show the independence of the Rajhrad Monastery. The author also doubts the church tradition lasting from the post-Great Moravia period, which is the basis for Jan’s hypotheses. and Dana Zapletalová.
To mark the 40th death anniversary of František Dvorník, one of the eminent twentieth-century experts in Slavic and Byzantine history and in relations between the churches of Rome and Constantinople, the Institute of Slavonic Studies of the CAS organized the international symposium entitled Francis Dvorník: Scholar and His Work at villa Lanna in Prague. The conference was also included in the events celebrating the 125th anniversary of the foundation of the Czech Academy of Sciences and Arts. On September 10, 2015, the Institute of Slavonic studies of the CAS and the editorial board of Byzantinoslavica organized (also on the occasion of the 40th death anniversary of Francis Dvorník) an international workshop Lives, Roles and Actions of the Byzantine Empresses (4th-15th c.). and Martina Čechová.
There are many uncertainties about the production and dissemination of vocal polyphony manuscripts from Prague illuminators’ and scribes’ ateliers compared with the dissemination of monophonic vocal manuscripts. The only known “workshop” producing manuscripts with primarily polyphonic music is the one led by Master Jan Kantor Starý († 1582) in Prague’s New Town. However, the number of surviving manuscripts suggests that more “workshops” might have existed in Prague at the turn of the 16th and 17th centuries. The goal of this study is to ascertain if there were any other ateliers in Prague producing vocal polyphony manuscripts during the analysed period. The findings are based on recent palaeographic and codicological analyses of the selected group of polyphonic sources written by identical scribal hands: Kutná Hora Codex from 1593 (Czech Museum of Music, Prague), Trubka’s Gradual from 1604 (Prague City Archives, Prague), the Partbook of the St. Barbara Literary Brotherhood in Přeštice from 1619 (National Library of the Czech Republic, Prague) and a bifolio from an unknown partbook in the Gradual of the St. Castulus Church from 1580 (Library of the Archbishop’s Chateau, Kroměříž). The comparison of the analysed scribal hands indicates the existence of an atelier that was probably from the milieu of the royal court. Systematic inquiries into the professional production of polyphonic manuscripts should thus continue because that is the only way to better and fully understand the musical culture of the Czech lands during the Renaissance., Natálie Krátká., Obsahuje bibliografické odkazy, and Jan Pulkrábek [překladatel]