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The Presence of Italian Music in the Croatian Lands in the 1600-1800 Period – A General Survey

Croatian historical lands encompass the continental Central-European provinces of Slavonia and Croatia proper, and the coastal Mediterranean provinces of Dalmatia and Istria, and the territory of the ancient Republic of Dubrovnik. Their individual historical courses offer at least three various models of exposure to the influence and modes of reception of Italian music during the periods of Baroque and Classicism (1600-1800): prevalently Italian (Venetian) influence (Istria, Dalmatia), mixed Italian and Central-European influence (Dubrovnik), and minor Italian influence (Slavonia, Croatia proper). Dalmatia and Istria – being submitted to the Venetian administrative rule since the beginning of the 15th and mid-14th century, respectively, until the fall of the Serenissima in 1797 – manifest the most direct influx of musical artefacts (scores, instruments, books on music, etc.), personalities dealing with music (composers, performers, impresarios, etc.) and ideas on music (e.g., stylistic determinants of early Baroque monody, Pre-Classicism, etc.). Music collections and archives in the coastal towns of Krk, Zadar, Korčula, Cres, Omiš and Split keep manuscripts and prints of music by, for example, G. Croce, E. Radesca di Foggia, O. Tarditi, B. Marcello, A. Lotti, G. B., Martini, F. Vallotti, A. Cortona, C. A. Nagli, C. F. Pollarolo, and many others. Some Italian composers came to live temporarily or permanently in Dalmatia and Istria (e.g. T. Cecchini, G. Puliti, C. A. Nagli, B. Pellizzari, etc.). A special case was the organ-building activity of Petar Nakić/Pietro Nacchini, the organ builder from Dalmatia, who established the north-Italian organ-building school, with at least 350 instruments built in Dalmatia and (much more frequently) throughout northern Italy. The independent Republic of Dubrovnik throughout the whole period under consideration carefully balanced in choosing musicians for its Duke's band between domestic, and Central- and West European musicians, and those recruited from various Italian musical circles (Venetian, Roman, Neapolitan). Concerning the Italian component, it clearly preferred Central- and South Italian circles to the North-Italian ones. In this, the sphere of music clearly followed the general political tendencies, although the Dubrovnik musical circles manifested certain autonomy during the second half of the 18th century, showing greater inclination towards the then dominating Central-European Classicist stylistic idiom in both local compositional output and performing practice. The preserved Dubrovnik musical archives and collections (Franciscan monastery, Jesuit College, Scientific Library, some private collections) keep hundreds of contemporary music manuscripts, prints and librettos by mostly Italian authors from the second half of the 18th century and early 19th century (e.g. P. Anfossi, F. Bianchi, G. Capuzzi, D. Cimarosa, M. Clementi, G. Farinelli, F. Giardini, P. A. Guglielmi, M. Giuliani, G. B. Martini, P. Morandi, G. Paisiello, N. Piccini, N. Porpora, G. Sarti, N. Zingarelli, etc.). However, statistically seen, Italian music in Dubrovnik is less present than in the rest of Dalmatia, although some internationally interesting aspects could have been identified (for example, almost the whole compositional output of Jacopo Guglielmi). Some Italian „ Kleinmeister“ composers also came to live permanently in Dubrovnik (e.g. G. M. Frezza, T. Resti, G. Zabolio). The continental provinces of Slavonia and Croatia proper – forming part of the Habsburg Empire throughout the whole period of the 17th and 18th centuries, since 1527 – showed in a far lesser extent the exposure to Italian musical culture. In fact, the only area under certain Italian influence is the sphere of sacral music, where artefacts of Roman Catholic provenience could be found in different monastic and parish church archives (manuscript and printed church books), for example in the towns of Samobor, Požega, Ilok, Našice, Slavonski Brod, Vukovar, and Zagreb. Printed tutors for performing and composing church and secular music by Italian authors (e.g. Andrea di Modonna, G. d'Avella, F. Gasparini, G. Frezza dalle Grotte, F. Tettamanzi, J. B. de Martinis) have been found in Ilok, Našice, Osijek and Požega.

Croatia, Dalmatia, Istria, Slavonia, Republic of Dubrovnik, Italy, Venice, musical artefacts, composers, performers, ideas on music, musical archives, musical collections, art music, church music

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