Venice, Schiavoni and the Dissemination of Early Modern Music: A Companion to Ivan Lukacic (Epitome Musical)

Abstract: Ivan Lukačić (born around 1585, died in 1648), composer, Conventual Franciscan, long-time "maestro di cappella" of the cathedral in Split, is a typical "hero" of local historiography. As early as 1935, the Croatian-American musicologist Dragan Plamenac (real name Karl Siebenschein) prepared a selection from the only known collection of Lukačić's compositions, the Sacrae cantiones (Venice, 1620). In the same year, Plamenac introduced Croatian Renaissance and Baroque music to the local audience for the first time at a concert held at the Croatian Music Institute. In the aftermath of Plamenac's emigration to the USA in 1939, it took several decades for new archival, stylistic, interdisciplinary, and international research in Croatian musicology to take place. Despite the availability of earlier material as well as contemporary musical publications of Lukačić's work (J. Andreis, Zagreb, 1970; E. Stipčević, Padua, 1986), it is not an exaggeration to say that Lukačić still remains unknown internationally. For many years, a number of studies of Lukačić and the music of his contemporaries from the "other, eastern coast of the Adriatic" published almost exclusively in Croatian and thus the international professional public had very limited access to them. This collection of studies dedicated to Lukačić and to the musical and cultural contacts between the two Adriatic coasts is the first volume to be published in both English and Italian. The echoes of the contacts between Italy and Croatia reached the Royal Palace in Portugal, shops selling printed music in Denmark and church archives in Slovenia and Poland. The aim of this book is to follow the traces of that cultural dissemination Abstract: Ivan Lukačić (born around 1585, died in 1648), composer, Conventual Franciscan, long-time "maestro di cappella" of the cathedral in Split, is a typical "hero" of local historiography. As early as 1935, the Croatian-American musicologist Dragan Plamenac (real name Karl Siebenschein) prepared a selection from the only known collection of Lukačić's compositions, the Sacrae cantiones (Venice, 1620). In the same year, Plamenac introduced Croatian Renaissance and Baroque music to the local audience for the first time at a concert held at the Croatian Music Institute. In the aftermath of Plamenac's emigration to the USA in 1939, it took several decades for new archival, stylistic, interdisciplinary, and international research in Croatian musicology to take place. Despite the availability of earlier material as well as contemporary musical publications of Lukačić's work (J. Andreis, Zagreb, 1970; E. Stipčević, Padua, 1986), it is not an exaggeration to say that Lukačić still remains unknown internationally. For many years, a number of studies of Lukačić and the music of his contemporaries from the "other, eastern coast of the Adriatic" published almost exclusively in Croatian and thus the international professional public had very limited access to them. This collection of studies dedicated to Lukačić and to the musical and cultural contacts between the two Adriatic coasts is the first volume to be published in both English and Italian. The echoes of the contacts between Italy and Croatia reached the Royal Palace in Portugal, shops selling printed music in Denmark and church archives in Slovenia and Poland. The aim of this book is to follow the traces of that cultural dissemination "Ivan Lukacic (born around 1585, died in 1648), composer, Conventual Franciscan, long-time "maestro di cappella" of the cathedral in Split, is a typical "hero" of local historiography. As early as 1935, the Croatian-American musicologist Dragan Plamenac (real name Karl Siebenschein) prepared a selection from the only known collection of Lukacic's compositions, the Sacrae cantiones (Venice, 1620). In the same year, Plamenac introduced Croatian Renaissance and Baroque music to the local audience for the first time at a concert held at the Croatian Music Institute. In the aftermath of Plamenac's emigration to the USA in 1939, it took several decades for new archival, stylistic, interdisciplinary, and international research in Croatian musicology to take place. Despite the availability of earlier material as well as contemporary musical publications of Lukacic's work (J. Andreis, Zagreb, 1970; E. Stipcevic, Padua, 1986), it is not an exaggeration to say that Lukacic still remains unknown internationally. For many years, a number of studies of Lukacic and the music of his contemporaries from the "other, eastern coast of the Adriatic" published almost exclusively in Croatian and thus the international professional public had very limited access to them. This collection of studies dedicated to Lukacic and to the musical and cultural contacts between the two Adriatic coasts is the first volume to be published in both English and Italian. The echoes of the contacts between Italy and Croatia reached the Royal Palace in Portugal, shops selling printed music in Denmark and church archives in Slovenia and Poland. The aim of this book is to follow the traces of that cultural dissemination."-- Page 4 of cover Front Matter Ennio Stipcevic. Foreword: Fragments on Lukacic Josip Vrandecic. Dalmatia in the time of Ivan Lukacic (1587–1648) Lovorka Coralic. Lukacic’s fellow countrymen in Venice in the past Ivana Prijatelj Pavicic. Schiavoni: artists, nation, ideology Ljudevit Maracic. Fra Ivan Marko (Giovanni Marco) Lukacic alla luce della più recente documentazione archivistica Paolo Alberto Rismondo. Il Collegio Illirico a Roma, ̃ Lukacic e la Dalmazia nei documenti veneziani Lucija Kon ̋c. Compositions by Ivan Lukacic in the context of contemporary music anthologies — A view from the perspective of digital musicology Jelena Knešaurek Caric. Juraj (Giorgio) Alberti: Dialogo per imparare con brevità à Cantar Canto ̃gurato (Venetia, 1619) Gabriele Taschetti. New insights into Tomaso Cecchini’s motet production prior to 1620 Chiara Comparin. The Motetti a una, doi, tre et quatro voci (Venezia, 1630) by Antonio Gualtieri: a collection of small-scale motets from the Paduan area Aurelio Bianco. Carlo Farina e il repertorio di danza tedesco d’inizio Seicento Jacomien Prins. The influence of Francesco Patrizi’s collection of Greek manuscripts on his music theory Anna Laura Bellina. Giovanni Sebenico o Ivan Šibencanin? Andata e ritorno dalla Serenissima all’Europa Dario Poljak. Lukacic’s Sacrae cantiones (1620) and historically informedperformances in Croatian festivals from 1980s to 2010s Tomislav Bužic. The reception of Ivan Lukacic’s motets by Croatian 20th and 21st century composers Back Matter