Naslov
Umjetnost Ivana Lukačića Šibenčanina
(The art of Ivan Lukačić of Šibenik)

Autori
Županović, Lovro

Izvornik
Radovi Instituta Jugoslavenske akademije znanosti i umjetnosti u Zadru (0449-3672) (1968), 13-14; 377-400

Vrsta, podvrsta i kategorija rada
Radovi u časopisima, članak, znanstveni

Ključne riječi
Ivan Lukačić, Sacrae cantiones, vokalno višeglasje, renesansna glazba
(Ivan Lukačić, Sacrae cantiones, vocal poliphony, renaissance music)

Sažetak
Šesnaesto i sedamnaesto stoljeće hrvatske političke i kulturne povijesti. Stjecajem neumoljivih, a često i suprotnih okolnosti, heterogeni je mozaik vrlo čudna i neskladna oblika. Njegov politički oris očituje razjedinjenost zemlje u bezbroj interesnih sfera stranih zavojevača, među kojima glavnu riječ vode Austrija, Turska i Venecija. Okolnosti su u tom procijepu ipak više naklonjene južnoj nego sjevernoj Hrvatskoj. Zastava Dubrovačke Republike leprša — makar i uz kompromise — slobodno južnim obalama Jadrana, djelujući poput signala ostalim jadranskim gradovima u borbi za njihovu nezavisnost. Kulturna panorama neminovan je odraz takvih političkih i društvenih prilika. Vrlo intenzivna i na zavidnoj umjetničkoj razini u Dubrovniku, ona se prilično markantno odražava i u ostalim središtima Dalmacije. Split i Hvar - a povremeno Šibenik, Zadar i Rijeka - doživljavaju, iako u diskontinuitetu, svoje blistave uspone u prilaganju vlastitog obola zgradi hrvatske kulture. I tako, dok sjeverna Hrvatska svojim nastojanjima na planu kulturne izgradnje daje rijetki i, na žalost, anonimni prilog, dotle renesansa i osobito barok nalaze dostojan odjek u djelima južnohrvatskih književnih, likovnih i glazbenih stvaralaca. Među ovim posljednjima vrlo se visoko ističe ličnost Šibenčanina fra Ivana Marka Lukačića, umjetnika koji je - rođen u Krešimirovu gradu, a provevši najveći dio života u Splitu, dakle, prividno na periferiji kulturnih europskih zbivanja - stvorio na glazbenom području skladbe koje se po svojim vrednotama s pravom organski uklapaju u najvrednije što je u to vrijeme stvoreno u Europi. // This contribution đeals with the creativeness of Ivan Lukačić (around 1584-1648) from the aspeet of the coinposer’s relation to the musical tradition of the 16th century (i. e. the period of vocal polyphony, which had heen the hasis of the composer’s education), as well as from the aspeet of the new composing trenđs at the beginning of the 17th century (early monody), which had come into being hy the advent of the first opera (Florence, 1594) - achievements that had been stndied by this master in Italy dnring his studies of the musical art (Venice, Rome, 1615). The object of the present study is Lukačić’s collection (the only one known today) titled SACRAE CANTIONES , in which the composer had puhlished 27 motets (6 for one voice, 14 for two voices, 3 for three voices, 2 for four voices, 1 for four or five voices, and 1 for five voices) with continna accompaniment at Venice in 1620. Dr. D. Plamenac was the first to diseover it, from which he actualized 11 compositions for modern application (1935). As the collection in question got lost after World War II, these 11 compositions (besides four of them pu- blished in the collection of J. Donfrid entitled, Promptuarium musicum , Strassburg, 1622-1627) are the onlv thing that today can serve for the stuđy of the characteristics of the creativeness of this prominent Cro- atian master. Plamenac’s edition bas served as the point of đeparture to the author of the present article, who. further on in his review of the subject, dwells on the following compositions: Ex ore infantium (for in it is refleeted Lukačić’s connection with the tradition), Panis angelicus (among other things also hecause of the application of the technique of »separated choirs« - ćori spezzati), Cantabo Domino (because of the clear use of early-monodic tendencies: solo-voice with instrument accom¬ paniment), Domine, puer meus iacet (a composition conceived as a drama »in miniature« and indicating Lukačić’s potentialities to develop into a first-rate dramatist-composer, and that, in view of his profession of clergyman — author of oratorios). Quam pulehra es , amica mea and Canite et psalite (for in these works the new tendencies are expressed in their entirety: in the first from the reflexive side, in the second in its magnificence and widely sung spiritual concerto). Numerous note exam- ples corrohorate the presented theses, among other things also those telling of Lukačić’s art being closely connected with everyday life, to the effect that it actually had arisen from it, endeavouring at ali times to express it in the warmest and most humane tonal forms. From this angie the composer’s creativeness is organicaily embedded in everyday life. which once had surrounded the coniposer’s human personality in the town of Split, in which »most probably« he would bave been active from »around the middle of 16L8« to bis death. Having remained in bis homeland which in that time had been passing through difficult moments since its existence (Turks, Venetians, Austria), Lukačić had made by his works, which are artistically rich and rounded off into extraordinary wholes, a eonsiderable contribution not only to the mu- sical culture of the Croatian people but likewise of the whole European community. In this lies the power and greatness of his compositions, rich in a peculiar rythmics, warm melodics. functional harmony and an extraordinary depth of mnsical thoughts. Having been at an early date an adherent of the progressive aspirations of the early 17th century, Lukačić was one among the first to bave reflected them not only in this country but also throughout Europe in most of his works through the medium of a faithfulness that today places this composer side by side with the greatest musical creators of his time. At the end of this article there is, as a peculiarity of its own (for the very first time), also a fascimle of Ivan Lukačić’s own signature as well as the letter (report) from which its has been taken. There is also a photograph of his tomh tahlet, raised in 1938 in the church of the Monastery of St. Francis on the waterfront of Split, where the master had lived and worked, not only as a composer but also as a prominent spiritual personalitv. This contribution was written on the occasion of the celebration of the 900th anniversary of the town of Šibenika mention. in which also Ivan Lukačić had seen the light of day.

Izvorni jezik
Hrvatski

Znanstvena područja
Povijest umjetnosti, Glazbena umjetnost

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