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Foreword: Fragments on Lukačić

The motets from the Sacrae cantiones, all 27 of them in total, were intended primarily for the local Dalmatian public and to meet the expectations of Split clerical circles and their prelates, even though they were most likely written during Lukačić’s long years of study in Italy. The texts of the motets were biblical and taken largely from the breviary and missal, with some minor changes in some psalmic verses, altering their order and even augmenting them with some new thoughts. The melodic inventiveness was usually fit within the framework of more restrained cadences. There is an obvious influence of the early-Baroque expressivity of Venetian liturgical music, while the restraint in expression could be interpreted by similarities with northern Italian Franciscan composers. To a certain extent, Lukačić’s music, as well music by his contemporaries, who were active along the Croatian coast, were limited by local performing capabilities, so their compositions were written mostly for vocal soloists or ensembles with some basso continuo instrumentation. The synthesis of the prima and seconda prattica were sociologically conditioned. Bearing in mind that stylistic particularism in music is a vital trait in the early Baroque, it is obvious that Lukačić’s Sacrae cantiones represent a praiseworthy contribution to such contemporary tendencies.

Ivan Lukačić ; Croatian baroque music ; music historiography ; Venice ; Dalmati

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