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Examines Czech musical culture c. 1600-1750 and the society that
created and shaped it Traditional polemical histories of Bohemia
and Moravia identify the period from the early seventeenth to the
mid-eighteenth century as a "period of darkness" - particularly in
terms of Czech-language culture. This book challengesthat
interpretation from the perspective of musical culture and
demonstrates that this was actually a vibrant, productive and
innovative period, both for music in the Czech language and
instrumental music. By focussing on the distinctive nature of
Czech-language education and devotional traditions (rehabilitated
along Catholic lines after the Thirty Years War), the book reveals
a new understanding of Czech musical practices and repertoires as a
beguiling blend of the older, non-conformist, vernacular traditions
with the new, theatrical, Italian styles and genres. Drawing on a
broad range of genres including sonatas, concertos, oratorios,
Passion music, masses, motets, litanies andoperas, Bohemian Baroque
reveals a fascinating culture and repertoire that have long been
overlooked. In the Czech lands, seventeenth-century courtly life
emerged in a much different way from many other European countries.
Bohemian Baroque underscores the prominent role of rural life in
shaping musical culture more broadly in Bohemia and Moravia and
consequently draws attention to the works and environments of
composers whose careers were primarily in the Czech lands (in
contrast to the traditional focus on more famous emigre composers).
The book also considers the influence of Germanic traditions on
Czech musical culture; several areas of overlap reveal newly
identified examples of shared repertoires-in some cases, German and
Czech even appear within a single work. Taken as a whole, Bohemian
Baroque posits a new paradigm in which received notions of
"Czechness" in the musical culture of the seventeenth and
eighteenth centuries might be reconsidered. Bohemian Baroque will
be required reading for anyone interested in the music of the
Habsburg Empire and Central Europe, cultural history, or baroque
music more generally. Students and scholars of musical style and
music and identity will equally find much of interest here. Robert
G. Rawson is Reader in Musicology and Performance at Canterbury
Christ Church University.
This book explores the exchange of music, musicians and musical
practice between Britain and the Continent in the period
c.1500-1800. This book explores the exchange of music, musicians
and musical practice between Britain and the Continent in the
period c.1500-1800. Inspired by Peter Holman's research and
performing activities, the essays in the volume developthe theme of
exchange and dialogue through the lenses of people, practices and
repertory and consider the myriad ways in which musical culture
participated in the dynamic relationship between Europe and
Britain. Key areas addressed are music and travel; music
publishing; emigre musicians; performing practice; dissemination of
music and musical practice; and instruments. Holman's work has
revealed the mechanisms by which continental practices were adapted
to local circumstances and has helped to show that Britain enjoyed
a vigorous musical culture in the long eighteenth century, in which
native proponents produced original works of quality and interest
and did not simply copy continental models. Following avenues
opened up by Holman' scholarship, contributors to this volume
explore a variety of ways in which the cross-fertilization of music
and musicians has enriched European, and especially British,
cultureof the early modern period.
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