Hofmusici a lokajové: k postavení hudebníka na šlechtickém dvoře v Čechách první poloviny 18. století

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dc.contributor.author Kapsa, Václav
dc.date.accessioned 2014-11-10T13:55:00Z
dc.date.available 2014-11-10T13:55:00Z
dc.date.issued 2011
dc.identifier.issn 1802-2502
dc.identifier.uri http://hdl.handle.net/10195/58458
dc.format p. 241-255 eng
dc.language.iso cze
dc.publisher Univerzita Pardubice
dc.relation.ispartof Theatrum historiae. 2011, issue 9. eng
dc.rights open access eng
dc.subject 18th century music eng
dc.subject musicians eng
dc.subject band eng
dc.subject courts eng
dc.subject servants eng
dc.title Hofmusici a lokajové: k postavení hudebníka na šlechtickém dvoře v Čechách první poloviny 18. století cze
dc.type Article
dc.description.abstract-translated The starting point of the study is the division of private Kapellen maintained by Bohemian aristocracy into those consisting of servants (‘servant orchestras’) as opposed to ensembles featuring professional musicians (‘independent orchestras’) introduced by Helfert in his book on music at the court of Count Questenberg in Jaroměřice. The status of a musician in a nobleman’s service is exemplified by three Kapellen from Bohemia in the 1720s; attention is paid especially to the origin of the musicians, their salaries and their positions in the hierarchy of court employees. While the private band of Count Franz Anton Sporck was a typical servant ensemble, counts Wenzel Morzin and Franz Joseph Czernin employed professional musicians more extensively. Some of these occupied rather high posts with salaries comparable to that of the Hofmeister. In the case of Morzin’s orchestra, we can identify both groups of professional ‘Hofmusici’ and musicians among his lackeys. In the example of Czernin’s music, it was possible to follow a transformation of an ‘independent’ into a ‘servant ensemble’ motivated by the count’s eff ort to cut the expenses. eng
dc.peerreviewed yes eng
dc.publicationstatus published eng


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