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in years of legal wrangling; see eVelIn oBerHaMMer, Viel ansehnliche Stuck und Güeter: Die Entwicklung
des fürstlichen Herrschaftsbesitzes, in Der Ganzen Welt ein Lob und Spiegel: das Fürstenhaus Liechtenstein
in der frühen Neuzeit, cit., pp. 33-45: 43-44. In 1718 anton Florian exchanged his estate of rumburg for
the Grafschaft of Vaduz and the Herrenschaft of schellenberg, both of which had been inherited by
prince Joseph Wenzel of liechtenstein (1696-1772). on 23 January 1719 these two territories were
united and elevated to a principality by Charles VI under the name of liechtenstein in gratitude to
his trusted and loyal servant, anton Florian, who now received a seat in the Reichsfürstenrat.
48 JaCoB Von FalKe, Geschichte des fürstlichen Hauses Liechtenstein, cit., vol. 3, 1882, pp. 83-90.
JÓHannes ÁGústsson
– 16 –
prince in the private accounts of anton Florian in 1702, when he was assigned a
Hofmeister and a chamber servant – both of whom would continue to serve Joseph
Johann adam for a long time.49 From this year onwards we can follow the
maintenance and education of the prince through payments for his clothes, wigs,
regular horse riding and dancing instruction – the latter initially from a certain
Johann la notte (Motte)50 and subsequently from the imperial court dancer Franz
Joseph selliers,51 who taught the prince and his younger sister Maria Karolina
anna (1694-1735) for many years.
a notable change can be seen in the accounts following anton Florian’s
departure for spain in 1703. over the next five years a burst of musical activity
becomes evident from payments for various musical services and the regular
tuning of instruments in the princely chambers. during this period Joseph Johann
adam’s mother eleonore Barbara held regular concerts in her palace, but it is not
known who participated in these. the princess played the lute and as late as 1702,
at the age of 41, was taking lessons from the imperial lutenist andreas Bohr (Boor,
later von Bohrenfels).52 Perhaps these were concerts where she and other
members of the nobility practised their skills, or where musicians from the
Hofmusikapelle appeared as guests. during the long absence of her husband the
princess maintained a small and modest court, and while it is possible that some
of her servants played music in these concerts, no mentions of their musical
activities appear in the sources.
up to 1707 Joseph Johann adam’s name does not appear in connection with
any of the music-related payments, but he must have witnessed the regular
music-making of his mother and her guests. and, like many other noble princes
in Vienna, he took up an instrument: almost certainly the newly fashionable
transverse flute, the “Cavalierinstrument” played by emperor Joseph I and taught
to the Edlknaben at the imperial court at that time.53 on 2 February 1707 Joseph
49 the Hofmeister Joseph raab, who was later ennobled, and the valet Johannes umbscheÿden
served Joseph Johann adam until c. 1720, when they were pensioned off.
50 “no. 153. tanzmaister. Johann la notte. dem 13.t d. besag inhalt quittung, wegen von 1.t aug.
1701 biß 1.t meÿ 1702. dem Fürst Joseph geleÿster instruction, bezalt | 24 f.”; HalW, Ha 924
Liechtenstein, Fürst Anton Florian; Finanzen: Rayttung über die fürstlich (Anton Florianischen) Cassagelder,