Page 90 - Weiss, Jernej, ur. 2017. Glasbene migracije: stičišče evropske glasbene raznolikosti - Musical Migrations: Crossroads of European Musical Diversity. Koper/Ljubljana: Založba Univerze na Primorskem in Festival Ljubljana. Studia musicologica Labacensia, 1
P. 90
glasbene migracije: stičišče evropske glasbene raznolikosti
achieving their general and musical training in Rome, followed by the usu-
al grand tour.8 However, an exception can be found in the personality of a
mysterious violinist “Stephano N. detto Spadina, gentiluomo Dalmatino”
from Split, who was active in the mid-18th century at the court of the Pol-
ish bishop Wojtiech Łeski in Chelmno (Kułm).9 Very scarce data available
on him testify that his chamber music was published in London and Am-
sterdam,10 with manuscript copies preserved in Sweden, Great Britain and
France,11 and one selected piece by Spadina was also published in the col-
lection L’art du violon in Paris.12 Although a nobleman, he was profession-
ally active musician and therefore probably did not want to reveal his full
name in public. According to the information by publishing houses and the
data preserved in Split or elsewhere in Dalmatia, he never returned home.13
Military musicians were migrating quite a lot, following their regi-
ments. Only exceptionally, they left their service and settled down as civil-
ians, usually well-trained in music, as was the case in the early 19th century
with Johann Zayitz in Rijeka.14 For earlier periods (18th century), such in-
dividual cases did not occur in the research, although military musicians
were often known by name, background and instruments they were play-
ing.15 However, sources point to the situations that military musicians took
8 On life, activity and the context of both Sorgos, see: Vjera Katalinić, The Sorkočevićes:
Aristocratic Musicians from Dubrovnik (Zagreb: MIC, 2014).
9 As indicated at the title page of his Sei sonate.
10 Sei sonate a violino e basso et in fine un capricio ... op. IIIa (Paris, Bayard; Le Clerc;
Mlle Castagnere); RISM A/I S 4028, SS 4028; Sei sonate [B, E, D, G, F, A] a due violini
... opera sesta (Amsterdam, Johann Julius Hummel), RISM A/I S 4029, SS 4029;
Twelve Italian minuets for two violins and a bass (London, Thorowgood & Horne),
RISM A/I: S 4030.
11 There is a chamber sinfonia for strings in the Archives Départementales de Lot-et-
-Garonne in Agen (RISM ID no.: 840003108).
12 Decombe; RISM B/II, p.101.
13 Research on this violinist and composer in Poland resulted with negative outcomes:
his name does not occur in the list of the bishopric orchestra; therefore, and
according to the type of (chamber) music he composed, it seems that he might had
been member of the bishop’s private chamber ensemble. To find further information
on Spadina remained as one of the tasks in future investigations.
14 The issue of military musicians has some specificities, dealing mostly with the end of
the 18th and much more with the 19th century.
15 Some recent outcomes of the investigation of military musicians in Venetian military
corpses in the Adriatic can be found in: Lovorka Čoralić, Vjera Katalinić and Maja
Katušić, “Bubnjari, timpanisti, trubači i pifaristi: glazbena pratnja u mletačkim
prekojadranskim kopnenim postrojbama u 18. stoljeću,” Arti musices, 47/1–2 (2016):
27–78.
88
achieving their general and musical training in Rome, followed by the usu-
al grand tour.8 However, an exception can be found in the personality of a
mysterious violinist “Stephano N. detto Spadina, gentiluomo Dalmatino”
from Split, who was active in the mid-18th century at the court of the Pol-
ish bishop Wojtiech Łeski in Chelmno (Kułm).9 Very scarce data available
on him testify that his chamber music was published in London and Am-
sterdam,10 with manuscript copies preserved in Sweden, Great Britain and
France,11 and one selected piece by Spadina was also published in the col-
lection L’art du violon in Paris.12 Although a nobleman, he was profession-
ally active musician and therefore probably did not want to reveal his full
name in public. According to the information by publishing houses and the
data preserved in Split or elsewhere in Dalmatia, he never returned home.13
Military musicians were migrating quite a lot, following their regi-
ments. Only exceptionally, they left their service and settled down as civil-
ians, usually well-trained in music, as was the case in the early 19th century
with Johann Zayitz in Rijeka.14 For earlier periods (18th century), such in-
dividual cases did not occur in the research, although military musicians
were often known by name, background and instruments they were play-
ing.15 However, sources point to the situations that military musicians took
8 On life, activity and the context of both Sorgos, see: Vjera Katalinić, The Sorkočevićes:
Aristocratic Musicians from Dubrovnik (Zagreb: MIC, 2014).
9 As indicated at the title page of his Sei sonate.
10 Sei sonate a violino e basso et in fine un capricio ... op. IIIa (Paris, Bayard; Le Clerc;
Mlle Castagnere); RISM A/I S 4028, SS 4028; Sei sonate [B, E, D, G, F, A] a due violini
... opera sesta (Amsterdam, Johann Julius Hummel), RISM A/I S 4029, SS 4029;
Twelve Italian minuets for two violins and a bass (London, Thorowgood & Horne),
RISM A/I: S 4030.
11 There is a chamber sinfonia for strings in the Archives Départementales de Lot-et-
-Garonne in Agen (RISM ID no.: 840003108).
12 Decombe; RISM B/II, p.101.
13 Research on this violinist and composer in Poland resulted with negative outcomes:
his name does not occur in the list of the bishopric orchestra; therefore, and
according to the type of (chamber) music he composed, it seems that he might had
been member of the bishop’s private chamber ensemble. To find further information
on Spadina remained as one of the tasks in future investigations.
14 The issue of military musicians has some specificities, dealing mostly with the end of
the 18th and much more with the 19th century.
15 Some recent outcomes of the investigation of military musicians in Venetian military
corpses in the Adriatic can be found in: Lovorka Čoralić, Vjera Katalinić and Maja
Katušić, “Bubnjari, timpanisti, trubači i pifaristi: glazbena pratnja u mletačkim
prekojadranskim kopnenim postrojbama u 18. stoljeću,” Arti musices, 47/1–2 (2016):
27–78.
88
