Moravské zemské muzeum
Národní muzeum

One of the typical expressions of Baroque religiosity in Moravia were

pilgrimages; besides those of local importance (e.g. Vranov, Provodov,

St. Antonius near Blatnice) they concentrated to several centres with

broader outreach (Hostýn, Sv. Kopeček, Frýdek, Velehrad, Brno – Virgin

Mary of St.Thomas and Our Lady of Tuřany, Žarošice, Hluboké Mašůvky).

A typical representative of this period is the pilgrimage place Tuřany near

Brno connected with a legend of the arrival of the apostles Cyril and


After the Thirty Years’ War, Moravia became the centre of the upswing

of Baroque music coming here from Italy, especially via the imperial

court in Vienna. In the second half of the 17th century, Kroměříž became

famous for its rich musical life. Pavel Josef Vejvanovský (ca 1639 – 1693)

was employed there as trumpeter and composer. In the 1720s and 1730s

there were three centres of performing Italian operas in Moravia: the castle

Jaroměřice nad Rokytnou belonging to count Jan Adam Questenberg,

bishop’s seats Kroměříž and Vyškov under the cardinal Wolfgang Hannibal

Schrattenbach, and Holešov, the seat of count František Antonín of Rottal.

Operas by home-grown composers František Antonín Míča (1696 – 1774)

and Václav Matyáš Gurecký (1705 – 1743) were staged there.

In the second half of the 18th century, so-called Haná singspiels in Czech

language with elements of dialect from the region Haná were composed

in monasteries and small towns. In many cases the authors of the libretto

and music as well as the way of their performing are unknown. The most

famous Haná singspiel is the opera on Landerbork (Kterak Landerbork

od Prahe z královsktví českého ani nepškna s Bohem hébal), probably

by Josef Schreier, a school director from Bílovice near Uherské Hradiště.

Another one is Pargamotéka dealing with the Pragmatic sanction and

the wars of Austrian succession, or the most recent Zpěvohra o císaři

Josefovi II.

© Moravské zemské muzeum 2010, vytvořila Adamna NET (