English Translation

" by mentioning unfaithful leut, lost in uncertain Bereckwerkth (so now almost all fell into frey) and left behind still debts. It took years before the Hofkasse paid. Also Luyton had to warn again and again because of payment of his uprisings at Hofe. Rudolf seems to have found no relationship with the largest of the Dutch dukes at that time, Orlando di Lasso. Until his accession to the government, it rains honors, great gifts of money, dress of honor and golden chains from the imperial court to the famous artist and ducal Bavarian Kapellmeister. Then it suddenly becomes quiet around him in Prague. However, we can assume that his works, along with the leading Italian and Dutch schools, had the right to live on the programmes of the Prague Court Concerts. Viewed as a whole, the then Prague musical life conveys the image of a pool of the highest Western values. However, it should not be overlooked that all these personalities were imported from many corners of Europe, but mainly from the Netherlands. And although surely the people of Bohemia made their contribution to these choirs, it was strongly pushed back by members of the countries in which the music had reached its highest flowering at that time. It seems remarkable, however, that the Czech population in the list of names of the Hofkapelle is almost zero. We find Bavarian, SudetenGerman, Dutch, Italian and French names. Czech names are almost completely missing. Whatever this fact may be to be interpreted, one thing is certain: the Prague music culture, which at that time was a summit in European music life, was to the decisive and far greater part carried by artists of German and Dutch Flemish, i.e. also Germanic blood. H.H. Stuckenschmidt VOM "PRANGER CONSERVATORIUM" TO THE "Hochschul INSTITUTE FOR MUSIC" The year 1808 was written. The glamour of Mozart's work in Prague had faded. Although Mozart' s worship remained a guiding principle for Prague's musical life for decades to come, it was a new and, as the contemporaries felt, by no means a better time. War noise roared all over Europe, and the social life of the art-preserving strata was gone, and it was necessary to restrict itself. The house chapels of the Prague nobles had been dissolved one after the other, and many young people took up military service. There was hardly any more powerful orchestra in Prague, an art life on a larger scale was missing and the catching up of good external forces was left to chance. Some Prague aristocrats, the Counts Wrthy, Sternberg, Nostitz, Clam-Gallas, Firmian, Pachta and Klebelsberg came to the public with a call for the formation of a "Verein zur Verförderung der Tonkunst in Böhmien" (Association for the Promotion of Sound Art in Bohemia). In the call, the next steps were already clearly outlined, with which a rise of music life in Prague was to be achieved. In order to ensure the existence of an efficient orchestra, an excellent artist should be contracted for several years for each instrument to which the obligation would be imposed, not