hrvatski

Skladateljska ostavština Amanda Ivančića

When researching the musical material in the convent of St. Peter's in Salzburg, the oldest convent in German speaking area, one can find musical supplies from the late 18th century called Missa a 4 Voci concertanti, 2 Violini, 2 Clarini, Timpani, con Organo et Violone del Sig:re Ivanschitz. Ad Chorum Monsterii S. Petri 1778. This will present one more site with preserved works of composers whose name will be written (common for the period) in number of varieties: Ivanschitz, Ivanschütz, Ivantschitsch, etc. Ivančić is today included in every history of Croatian music (but also in the latest edition of the History of Austrian Music from 1995) and his Croatian/Slovenian origins were noticed much earlier. Compositions of Amando Ivančić can be found in numerous church and more seldom secular collections of music. The majority of them is to be found in Central Europe where he lived and worked. One symphony, in G-major, is kept as part of a collection of Nikola Algarotti (Udina), a priest who was teaching Italian language and literature in Salzburg, and died in Vienna, who spent all his life collecting music. Besides these two symphonies, Ivančić composed at least 20 more. some consist of three and some of four movements composed for the strings, sometimes accompanied by trumpets, only once by the organs. Ivančić gives different names to his symphonies - sometimes they are symphonies, sometimes divertimenti composed in so-called bright tonalities (C-, G- and D-major). Ivančić is primarily a composer of church music, and his symphonies should be regarded as such, which with their secular purpose get the role of Intrade (name of one of the symphonies) or sonata da chiesa. Masses, along with the symphonies, present the majority of Ivančić's work. There are 21 of them, composed for different occasions, which is shown in their titles. With Missa Pastoritia (preserved in Ljubljana), there are Missa s. Caecilia Virginis et Martyris, Missa festiva S. Antoni de Padua, Missa solemnissima S. Ottiliae Virginis, Abbatissae etc. In other sacral compositions (litanies, oratorios, motets, antiphonies, etc.) as well as in his masses, Ivančić shows the obvious trend of his works and his time. On one hand he belongs to the late baroque tradition (with skillful use of poliphony) but on the other hand he does not hide the influence of secular musical scene, especially the Neapolitan opera. According to Županović, in some of his parts he is "devotedly courrageous" and "enthusiastically triumphant" in others, with random outsteps in Mannerism. Experts generally agree that Ivančić was fairly familiar with the music of his contemporaries and that he combined current heritage and well-grounded knowledge of composing techniques with vivid imagination and original individual ideas.

Amando Ivančić; simfonija; divertimento; crkvena glazba; Srednja Europa

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