The Thirty Years War (1618–48) had resulted in the Hapsburgs taking over the kingdom of Bohemia, but it was impossible to suppress the Czech love for music, a fact exploited by the Austrian nobles who filled their new Bohemian estates with musical talent. Once government had been transferred to Vienna, many Czech musicians moved away from their homeland to find work. As one Czech historian put it, ‘[A] lmost all the musical sources which welled up from the soil of Bohemia sped by the shortest course to join the main stream of the world’s music.’ … Some went to Vienna itself: Bárta, Fiala, Vent, Koželuh, Vanhal and the Vranickýs, but some went to Berlin, others to Mannheim, while Mysliveček made his home in Italy.

The range of the Bohemian – and to a lesser extent Moravian – musical diaspora can be very adequately gauged from the composers in this survey. Some underwent name-changing, Germanicising being the most opportune thing to do if seeking preferment in a ducal court, not least as regards pronunciation. In the first volume therefore we find Jiří Antonín Benda becoming Georg Anton and Jan Křitetel Vaňhal turning into Johann Baptist Vanhal, even Wanhal. And so on.