International scientific conference proceedings

Ivan Lukačić in the light of older and newer knowledge

2022-06-14T12:23:44+00:00

We find the first bio-bibliographical data on Ivan Lukačić (c. 1585-1648) in the musical lexicons of Johannes Walther (1732), François Joseph Fétis (1860-1865), Robert Eitner (1877) and some other older bibliographic reference works. There is no mention of Lukačić during the 18th and 19th centuries. Even well-known bibliographers, such as Šime Ljubić and Ivan Kukuljević Sakcinski, do not mention him in their publications nor Franjo Ksaver Kuhač knew anything of Lukačić. In 1925, Josip Mantuani referred to Giacomo Finetti and alongside him Ivan Lukačić, too, including his Sacrae cantiones collection, in his study on the history of Franciscan music. A year earlier (1924), local church historian Niko Kalogjera also mentioned Lukačić as the organist of the Split Cathedral, but not knowing anything about his collection, cited in old music lexicons. The young musicologist Dragan Plamenac read Mantuani and Kalogjera’s notes. After a few years of research, Plamenac published the article “Unknown Croatian musician of the early Baroque Ivan Lukačić (1574-1648) and his motets” in the Zagreb daily Obzor at the end of 1934. This small newspaper article was a first-class cultural event and a great musical discovery in Croatia. At the end of 1935, he organized a concert From the Croatian musical past in the Croatian Music Institute with musical pieces of Vinko Jelić, Andrija Patricij (Andrea Patricio), Julije Skjavetić (Giulio Schiavetto [Schiavetti]), Tomaso Cecchini and Ivan Lukačić, so the Croatian public could suddenly enjoy the unimaginable richness of Croatian Renaissance and Baroque music. Plamenac was particularly impressed by the Sacrae cantiones collection. Plamenac found Lukačić’s collection of motets in the old Prussian State Library in Berlin. Due to newspaper articles, a well-organized concert at the Music Institute, and the edition of selected motets from the Sacrae cantiones collection - the music of Ivan Lukačić came to life again in the mid-1930s. E. Stipčević rediscovered the Sacrae cantiones collection in the Jagiellonian Library in Kraków in 1982. In the early 1980s, Lukačić’s opus integrated into new methodological tendencies and Croatian Baroque music was recognized in Europe. Ivan Lukačić, the composer, Conventual Franciscan, longtime maestro di cappella of the Cathedral of Split, is a typical “hero” of local historiography. In the collection of Sacrae cantiones, we recognize a valuable contribution to early Baroque contemporary aspirations.

Fr Ivan Marko Lukačić. Unpublished archival findings

2022-06-15T07:10:31+00:00

The Croatian musician Fr. Ivan Lukačić was a choirmaster of the Split Cathedral during the 17th century. He was born in Šibenik, educated in Venice and Rome and performed his priestly ministries in Split. There is a growing interest in the life of this Conventual Franciscan, especially on the 400th anniversary of the publication of his collection of motets “Sacrae Cantiones” (Venice, 1620). He spent the most prolific life as the guardian of the monastery of St. Francis and a choirmaster of St. Domnius Cathedral in Split. The author’s work on arranging the archives of the Croatian Conventual Franciscan Province of St. Jerome in Zagreb provided insight into archival fonds stored in twenty manuscript collections. In this paper, the author presents unpublished archival findings on Lukačić’s work as a friar and religious leader and his spiritual life imbued with numerous tensions, misunderstandings, and challenges. These new findings shed light on the life and work of this Conventual Franciscan in the towns of Šibenik and Split, where he acquired musical education and developed his musical talent.

Music archive of the Split cathedral and other sources in the archdiocesan’s archive for researching of the musical past of Split

2022-06-15T07:42:12+00:00

The Archdiocesan Archives in Split keeps over fifty different fonds and collections. The Music Archives of the Split Cathedral preserves valuable and unique archival material. The Music Academy arranged the entire collection in the seventies of the last century. The Split Cathedral choirmasters shaped its musical life and that of the town of Split. Ivan Lukačić was one of them. Although this archives does not keep his collection, we can find information about his work from other sources. Since the Archbishops of Split and the Cathedral Chapter cared about choirmasters and singing in the cathedral, the archival material of the Archdiocesan Archives, Capitular Archives and the Archives of the Split Cathedral contain valuable information about the musical past of the Split Cathedral and the city of Split.

Choirmasters of the Split Cathedral: Julije Bajamonti, Benedetto Pellizzari and Ante Alberti - undiscovered pearls of Croatian cultural heritage

2022-06-15T07:57:04+00:00

The author explores and presents three Split Cathedral choirmasters after Ivan Marko Lukačić (choirmaster from 1620 to 1648), namely: Benedetto Pellizzari (choirmaster from 1753 to 1789), Julije Bajamonti (choirmaster from 1790 to 1800) and Ante Alberti (choirmaster from 1800 to 1804). Based on relevant literature and archival material, this study provides data and reconstructs musicians’ biographies by telling their life stories and providing data on their musical and cultural work. In the second part of the paper, the author deals with their compositional opuses, i.e. archival material that included various forms of worship such as compositions: Te Deum, Vespers, Masses, motets (Christmas time, Lent, Holy Week, Easter time, Marian songs, Pentecost, etc.), and compositions for the Feast of St. Domnius, (motets, Bajamonti’s oratorio La translazione di s. Doimo - Transfer of St. Domnius, etc.), preserved in various places such as the Archives of the Split-Makarska Archdiocese (i.e. the Music Archives of the Split Cathedral), the Museum of the City of Split, the Parish Sacristy offices in Starigrad on the island of Hvar, etc. The author discusses unresearched musical opus as a pearl of Croatian cultural heritage and proposes theoretical study through courses at Music Academies, scientific symposia and scientific publications. The author also suggests musical performances (worship, concerts, audio, and video releases of musical opus) and dissemination of the entire musical opus through various social media (books, monographs, music collections, TV, radio, internet, etc.) to preserve these compositions - pearls of Croatian cultural heritage from oblivion.

Liturgical settings of Sacrae cantiones motets of Ivan Marko Lukačić

2022-06-15T08:14:08+00:00

Sacrae cantiones^[1] are chants, original settings of liturgical texts. These compositions, used in liturgical celebrations, demand high skill and virtuosity from the choir. The two intertwined concepts related to Lukačić’s work and motets are music and liturgy or liturgical music. This setting is valid for all times as long as we glorify God and celebrate the liturgy. However, the chronological and geographical settings are no less important. Chronologically, these are the last years of the Renaissance and the transition to the Baroque (general history). It is the time after the Council of Trent when the Council’s guidelines have increasingly rooted in pastoral work (fifty years after the Council). The geographical context is not so crucial, but we consider that the proximity of Rome and Lukačić’s education there probably have much influence.

Lukačić was a choirmaster of the Split cathedral after the Council of Trent. Therefore, we approach his opus through the prism of the liturgical renewal of the Council of Trent instructions.

[1] The research has partly been funded by the Croatian Science Foundation project IP 6619 Cromuscodex70.

Three-part motets of the Sacrae cantiones collection of Ivan Lukačić

2022-06-15T08:25:51+00:00

The Sacrae cantiones collection of Ivan Lukačić consists of three three-part motets Domine, puer meus, Nos autem and Responde Virgo. They are based on a text of biblical, liturgical, or unknown origin and testify to the free treatment of the text, which was common practice at the time. This paper focuses on these motets purposely. We chose them because of their formal structure, the manner and procedures of shaping individual components of the musical style that very convincingly testify to the middle way, mentioned in almost all works on Lukačić, which the composer chooses in intertwining Renaissance and Baroque performance practices. Thus, for example, the melody in the monodic motet is restrained but also interwoven with virtuoso phrases. Solo parts most often fill the frame of a sentence or period, anticipating the regularity of homophonic texture, but still very far from classical models. The treatment of the tonal basis in the monodic parts is close to the baroque major-minor tonality with frequent brief modulations into close tonalities and oscillations between parallel ones. The modality of the polyphonic motet is enriched with standard alterations and moving of the finalis to different degrees; the procedure and treatment of polyphonic texture where the canonic sections in imitation episodes are by a rule accompanying in relation to the performance of the first theme, thus losing the independence inherent to the Renaissance style. These procedures of a kind of diminution of the essential features of two seemingly opposing practices that permeate Lukačić’s opus are certainly in the function of creating the unity of musical language and expression, which is a feature of every artistically valuable work.

The Intonation-based and Rhythm-based Approaches to Singing of Motets Cantabo Domino and Cantate Domino from the Sacrae cantiones Collection of Ivan Lukačić

2022-06-15T08:41:27+00:00

Considering the most significant musical characteristics of Ivan Lukačić’s motets and the perceptual nature of today’s musicians, shaped by compositions with typical tonal features, the paper seeks to predict common errors in reading early music notations. These errors arose from the firm tonal orientations and expectations of academic musicians. This paper provides a method for improving the skill of reading rhythm and intonation that could significantly affect the overall experience and sensitization for the music of the early Baroque period. Motets Cantabo Domino and Cantate Domino are from Lukačić’s Sacrae cantiones collection.

“Belle fantasie e leggiadre invenzioni” in Lukačić’s motet Sicut cedrus

2022-06-15T08:51:55+00:00

It is still little known about the musical education of Ivan Lukačić and his collection Sacrae Cantiones (Venice, 1620). Therefore, this article deals with the historical, liturgical, and musical aspects of the solo motet Sicut cedrus with basso continuo accompaniment. It retains the liturgical musical form of the great responsory and merges with the motet style, but in one developmental continuity from the initial motive. The analysis and comparison with the related works of his contemporaries reveal the richness of Lukačić’s musical language. It adopted compositional techniques of both styles (prima and seconda prattica) and the elements of three musical genres, motet, madrigal, and concerto, which influenced church music in the first decades of the 17th century. We also recognize the influence of the motet tradition of Roman church music (Viadana, Cifra) and the compositional techniques adopted from his Franciscan confreres (Finetti, Viadana and Mortaro).

Lukačić in the 21st Century: On some performing aspects of the Musica Adriatica Ensemble

2022-06-15T09:01:39+00:00

The choirmaster of the Split Cathedral, Ivan Marko Lukačić (Šibenik, d. 1585 - Split, September 20, 1648), is an early Baroque composer who occupies a special place in the Croatian musical life of the 17th century, as well as in the history of Croatian music. The collection Sacrae Cantiones, Singulis Binis Ternis Quaternis Quinisque vocibus Concinenda was printed in five separate volumes (Cantus, Altus, Tenor, Bassus, Organum) in Venice in 1620. is the only preserved and known collection of Lukačić. On the eve of the 400th anniversary of the Sacrae Ccantione edition, the international Musica Adriatica ensemble gave the integral performance of the collection in December 2019 in St. Domnius Cathedral in Split. The motets for one to five voices were performed by the ensemble consisted of first soprano, second soprano, countertenor, tenor, and bass with a section of basso continuo players (theorbo, viola da gamba and organ). The article provides some aspects of the performance of Lukačić’s early Baroque motets in the contemporary context. This interdisciplinary approach combines musical-analytical thinking with the experience of live performance.

The Figure of Ivan Marko Lukačić – the “Father of Croatian music”

2022-06-15T09:16:02+00:00

Introduction

Sacrae cantiones/Harmonices mundi workshop with Mario Penzar

2022-06-15T09:45:04+00:00

Symposium Workshop

Workshop on the performing practice of early music singers with Christina Pluhar

2022-06-15T09:50:48+00:00

Symposium workshop

Egon Mihajlović’s lecture on the music of Ivan Lukačić and historical performing practice

2022-06-15T09:54:56+00:00

Symposium workshop