Antonio Bioni : "operista" mezi Prahou, Kuksem, Vratislaví, Jaroměřicemi a Vídní
| Title in English | Antonio Bioni : Opera composer between Prague, Kuks, Wroclaw, Jaroměřice and Vienna |
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| Authors | |
| Year of publication | 2014 |
| Type | Article in Periodical |
| Magazine / Source | Clavibus unitis |
| MU Faculty or unit | |
| Citation | |
| Field | Art, architecture, cultural heritage |
| Keywords | Bioni Antonio; history of music; 18th century; Central Europe; Italian opera; Prague; Kuks; Wroclaw; Jaroměřice nad Rokytnou; Vienna; Johann Adam Count of Questenberg; Franz Anton Count of Sporck |
| Description | The contribution of Italian opera composer Antonio Bioni (1698?-?) provides not only the summary of existing research, but as well as new knowledge about his life and work. Its purpose is primarily Bioni’s action in major music centers of the Habsburg monarchy in the early 18th century, with special respect for Jaroměřice nad Rokytnou and also for the Count of Questenberg. Bioni is one of the major propagators of Italian musical culture in the transalpine area in the first half of the 18th century. His life story and work are also connected with the Bohemia lands, especially with the opera of Count Sporck in Prague and Kuks. In the years 1725- 1734 he acted in Wroclaw, where he wrote most of his operas. His name appears also in connection with musical events in Jaroměřice nad Rokytnou and with the Count of Questenberg. The recent years of Bioni’s life are connected with Vienna. There is just a fragment which remained from his work; however, of a total of twentythree compositions of various genres, seven of them are deposited in Czech archives. The part of the study is also an appendix in the form of two tables. The first table provides an inventory of Bioni’s operas. The second table records his preserved compositions including the scoring summary, storage locations and literature references. The reader has the opportunity to become familiar with a comprehensive list of Bioni’s surviving pieces, including those, which are so far not mentioned in any musicological literature. |
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