56 research outputs found
Orgulje i orguljarstvo u hrvatskim zemljama od 14. do 16. stoljeÄa
Building of organs in the Croatian lands, and thus the art of organ-playing, began in the second half of the 14th century, when foreign organ builders built the first instruments there. In northern Croatia these were organ builders from the area of present-day Slovenia, Hungary, Austria, and the Czech Republic. In the area of coastal Croatia, organs were mostly built by organ builders from Italy, with an emphasis on Venice. At those times, organs were generally acquired for cathedrals (Zagreb, Rab, Zadar, Å ibenik, Split, Trogir, Hvar, KorÄula, Dubrovnik), and less frequently for parish churches (St Markās in Zagreb and St Nicholasās in Varaždin). In certain Dalmatian towns organs were represented in several churches: in the Cathedral, the Franciscan church, the Dominican church and the Dominican nunsā church in Zadar, and in Å ibenik and Hvar in the Cathedral and the Franciscan church. Finally, in Dubrovnik, organs existed in the Cathedral, the Church of St Blaise, the convent of the Poor Clares, the Dominican church and the Franciscan church, and were owned by the canons. Although these instruments are no longer in existence, archival data about them has been preserved.Gradnja orgulja na podruÄju hrvatskih zemalja zapoÄela je u drugoj polovini 14. stoljeÄa, kada strani majstori grade prve instrumente. U sjevernoj Hrvatskoj to su bili majstori s podruÄja danaÅ”nje Slovenije, MaÄarske, ÄeÅ”ke i Austrije. Na podruÄju primorske Hrvatske orgulje su ponajviÅ”e gradili majstori iz Italije, s naglaskom na Veneciju: Marco ādegli Organiā (Zadar), majstor Ivan i Andrea Vicentini (Å ibenik), fra Urbano (Trogir) te Marco Tinto (Hvar). Vincenzo da Casal iz Montferrata sagradio je orgulje na Rabu, a pretpostavlja se da je pod imenom Vincenzo Colombo sagradio u Veneciji i orgulje za KorÄulu i Dubrovnik. Francuski graditelj Martin Datis Piccardus sagradio je orgulje u Å ibeniku i Splitu. U ovom razdoblju orgulje su uglavnom nabavljane za katedrale (Zagreb, Krk, Rab, Zadar, Å ibenik, Split, Trogir, Hvar, KorÄula, Dubrovnik), a rjeÄe i za župne crkve (sv. Marko u Zagrebu te sv. Nikola u Varaždinu). U pojedinim dalmatinskim gradovima orgulje su bile zastupljene u Äak nekoliko crkava: u Zadru u katedrali, franjevaÄkoj crkvi, dominikanskoj crkvi i crkvi dominikanki, a u Å ibeniku i Hvaru u katedrali i franjevaÄkim crkvama. Napokon, na krajnjem jugu, u Dubrovniku, koji je tijekom 15. i 16. stoljeÄa proživljavao svoje zlatno doba te je ostvario najveÄi kulturni i umjetniÄki domet od svih hrvatskih gradova, orgulje su postojale u katedrali, crkvi sv. Vlaha, samostanu klarisa, dominikanskoj crkvi, franjevaÄkoj crkvi te u vlasniÅ”tvu kanonika. Prema do sada poznatim arhivskim podatcima i ugovorima o gradnji, može se zakljuÄiti da su bila prisutna dva tipa instrumenta: portativ (male prijenosne orgulje) i pozitiv (orgulje koje su postavljane na jedno mjesto). OpÄenito se može reÄi da su orgulje bile manjih dimenzija, te se za njih najÄeÅ”Äe nije gradio ili ureÄivao poseban prostor. Od prve polovine 16. stoljeÄa velike orgulje, za tadaÅ”nje pojmove, krasile su zagrebaÄku, rabsku i dubrovaÄku katedralu
Muzikalije iz ostavŔtine Julija NjikoŔa u Muzeju Slavonije u Osijeku
Extensive legacy of Julije NjikoÅ” (Osijek, 1924 ā Zagreb, 2010), doyen of Croatian tambura music, is preserved at the Museum of Slavonia. According to his wishes, it was gifted to the museum in 2012 by his wife Vera Svoboda and daughters Vesna NjikoÅ” PeÄkaj and Mirna NjikoÅ” PavloviÄ. The legacy consists of sheet music, sound recordings, and private belongings (photos, concert programmes, wards, newspaper articles). This paper is dedicated to sheet music from the legacy of NjikoÅ”, which was inventoried and scanned, and professionally processed during 2021. More than eight hundred of sheet music is divided into four categories: original compositions of NjikoÅ”; recordings and covers of folk songs and dances for tambura orchestras; compositions of other authors that were arranged by NjikoÅ” for tambura orchestras; compositions of unknown status in relation to NjikoÅ”. This paper brings out their overview on the basis of their processing and consultations with professional literature, sheet music collections in which they were published, and sound recordings on which they were recorded. On one side, these musical sources are a witness of creative productivity of NjikoÅ”, his efforts on preservation of national heritage and dedication to tambura playing in the widest sense, and on the other side, they provide us with the possibility for a wider contextualization of his life and work, as well as for further research of tambura music in Croatia
Orgulje i orguljarstvo u hrvatskim zemljama od 14. do 16. stoljeÄa
Building of organs in the Croatian lands, and thus the art of organ-playing, began in the second half of the 14th century, when foreign organ builders built the first instruments there. In northern Croatia these were organ builders from the area of present-day Slovenia, Hungary, Austria, and the Czech Republic. In the area of coastal Croatia, organs were mostly built by organ builders from Italy, with an emphasis on Venice. At those times, organs were generally acquired for cathedrals (Zagreb, Rab, Zadar, Å ibenik, Split, Trogir, Hvar, KorÄula, Dubrovnik), and less frequently for parish churches (St Markās in Zagreb and St Nicholasās in Varaždin). In certain Dalmatian towns organs were represented in several churches: in the Cathedral, the Franciscan church, the Dominican church and the Dominican nunsā church in Zadar, and in Å ibenik and Hvar in the Cathedral and the Franciscan church. Finally, in Dubrovnik, organs existed in the Cathedral, the Church of St Blaise, the convent of the Poor Clares, the Dominican church and the Franciscan church, and were owned by the canons. Although these instruments are no longer in existence, archival data about them has been preserved.Gradnja orgulja na podruÄju hrvatskih zemalja zapoÄela je u drugoj polovini 14. stoljeÄa, kada strani majstori grade prve instrumente. U sjevernoj Hrvatskoj to su bili majstori s podruÄja danaÅ”nje Slovenije, MaÄarske, ÄeÅ”ke i Austrije. Na podruÄju primorske Hrvatske orgulje su ponajviÅ”e gradili majstori iz Italije, s naglaskom na Veneciju: Marco ādegli Organiā (Zadar), majstor Ivan i Andrea Vicentini (Å ibenik), fra Urbano (Trogir) te Marco Tinto (Hvar). Vincenzo da Casal iz Montferrata sagradio je orgulje na Rabu, a pretpostavlja se da je pod imenom Vincenzo Colombo sagradio u Veneciji i orgulje za KorÄulu i Dubrovnik. Francuski graditelj Martin Datis Piccardus sagradio je orgulje u Å ibeniku i Splitu. U ovom razdoblju orgulje su uglavnom nabavljane za katedrale (Zagreb, Krk, Rab, Zadar, Å ibenik, Split, Trogir, Hvar, KorÄula, Dubrovnik), a rjeÄe i za župne crkve (sv. Marko u Zagrebu te sv. Nikola u Varaždinu). U pojedinim dalmatinskim gradovima orgulje su bile zastupljene u Äak nekoliko crkava: u Zadru u katedrali, franjevaÄkoj crkvi, dominikanskoj crkvi i crkvi dominikanki, a u Å ibeniku i Hvaru u katedrali i franjevaÄkim crkvama. Napokon, na krajnjem jugu, u Dubrovniku, koji je tijekom 15. i 16. stoljeÄa proživljavao svoje zlatno doba te je ostvario najveÄi kulturni i umjetniÄki domet od svih hrvatskih gradova, orgulje su postojale u katedrali, crkvi sv. Vlaha, samostanu klarisa, dominikanskoj crkvi, franjevaÄkoj crkvi te u vlasniÅ”tvu kanonika. Prema do sada poznatim arhivskim podatcima i ugovorima o gradnji, može se zakljuÄiti da su bila prisutna dva tipa instrumenta: portativ (male prijenosne orgulje) i pozitiv (orgulje koje su postavljane na jedno mjesto). OpÄenito se može reÄi da su orgulje bile manjih dimenzija, te se za njih najÄeÅ”Äe nije gradio ili ureÄivao poseban prostor. Od prve polovine 16. stoljeÄa velike orgulje, za tadaÅ”nje pojmove, krasile su zagrebaÄku, rabsku i dubrovaÄku katedralu
Musical instruments in the Split City Museum
U Muzeju grada Splita Äuva se deset glazbenih instrumenata: stolni klavir, klavir u obliku krila, pijanino, fonola, dvije violine, gusle, citra, spomen-truba i bandoneon. Nastali su u razdoblju izmeÄu 1809./1810. i 1928./1938. MeÄu mjesta njihova podrijetla ubrajaju se London (Velika Britanija), BeÄ i Innsbruck (Austrija), Leipzig i Saska (NjemaÄka), Split i Dalmatinska zagora (Hrvatska), Trst (Italija) i Luby (do 1946. Schƶnbach, ÄeÅ”ka). Premda su broj instrumenata, a djelomiÄno i njihova kvaliteta, razmjerno skromni, oni su važan primarni izvor u prouÄavanju glazbene kulture grada Splita. U ovome Äe se radu po prvi puta analizirati u muzikoloÅ”kom i kulturoloÅ”kom kontekstu
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