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The Musical Culture of Silesia before 1742

New Contexts – New Perspectives

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Pawel Gancarczyk and Lenka Hlávková-Mrácková

The volume includes detailed studies concerning various aspects of the musical culture of Silesia from the fifteenth to mid-eighteenth centuries. The authors, who represent academic centres in Poland, Czech Republic, Germany, Slovakia, Holland, France and Great Britain, present new sources, as well as reinterpreting previously known facts and phenomena. What makes the approach here so original is that it takes into account the wider context of musical culture in Silesia, not limited to examining it exclusively in relation to the Polish, Czech or German cultures. Here we can see Silesia as one of the regions of Central Europe, and not merely as a western province of Poland, northern province of the Czech Kingdom, or eastern province of Prussia.

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Marc Niubo: Bernard Artophaeus and Bohuslav Matej Cernohorský. Casual Examples of Czech Music in Baroque Silesia or the Last Traces of Music by Minorites in Wrocław?

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Bernard Artophaeus and Bohuslav Matj ernohorský. Casual Examples of Czech Music in Baroque Silesia or the Last Traces of Music by Minorites in Wrocław?* Marc Niubo Univerzita Karlova, Praha The surviving musical sources from the late 17th and 18th century Wrocław support the idea (although possibly a rather distorted one) of abounding musical relations between Bohemia and Silesia developed mostly around monasteries of various ecclesiastical orders.1 The rich network of the houses of the Benedictines, Cistercians, Jesuits, the Knights of the Cross with Red Star and other orders constituted a long-term and natural connection between the two countries and facilitated the transfer of a large amount of music, mostly in the direction from Bohemia to Silesia.2 In this way, hundreds of compositions substantially contributed to the church repertoire in Wrocław and other centres and influenced the musical culture of Silesia. Despite several valuable earlier studies, the general impact and importance of Czech-Silesian musical relations (which have their * I wish to express my gratitude to Lenka Hlávková-Mráková and Paweł Gancarczyk, the organisers of the Czech-Polish project The Musical Culture of Silesia Before 1742 from the Polish and Czech Perspectives, which made the idea of this study possible in the first place. I owe a warm thank you also to my colleagues who have been helpful in providing valuable suggestions and material, not least to Ewa Hauptman-Fischer, Tomasz Je, Václav Kapsa and Remigiusz Po piech. 1 Our knowledge of Wrocław church-repertoire is based mostly...

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