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Ecce nomen Domini - Haja pupaia - Hajej můj andílku: další příspěvek k historii jednoho putovního motivu

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Slavický T., Dramlitsch I.

Hudební věda (Musicology)

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2006

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vol. 43

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issue 4

369-384

EN

The article deals with the origins of the much discussed travelling motive, made popular by B. Smetana, who used it in his opera Hubička (1874). As a lullaby, this motive appears in the Bohemian collections of folkloric songs, and in the 17th–19th century Christmas pastorellas. Recent research revealed its existence also in the Austrian and South-German folklore, as well as in the (mainly pastoral) works by other composers, such as J. S. Bach, M. Haydn, or W. A. Mozart. The search for its origins lead back to the late medieval Christmas antiphon Resonet in laudibus, known as contrafactum Joseph lieber, Joseph mein. The existence of a Bohemian contrafactum, Publisher in the 17th century Czech Catholic hymn-books, (such as J. Hlohovský, F. Bridel, or M. V. Šteyer), and relating to the cantio Magnum nomen Domini , found in the important 15th and 16th century sources, (among others the Jistebnice Gradual, and the Franus Hymn-book), as well as to the earlier xantip Ecce nomen Domini, helped to add substantially to the picture of the origins and reception of the motive, which appears in the music of several centuries, and links together music history, hymnography and ethnomusicology.

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Libuše poprvé na operní scéně 19. století

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Trojan J., Dramlitsch I.

Hudební věda (Musicology)

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2007

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vol. 44

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issue 1

35-50

EN

Among the operas including the subject of the Bohemian royal legend, is Eduard Lannoy’s Libussa (Brno 1819), an isolated case. From the late 17th century, Libu‰e, a Bohemian Queen (sic!), became a leading character of several German baroque operas. In the early 18th century, she appeared in the Italian opera seria, also in Prague. The author of the first German 19th century Libu‰e (Konradin Kreutzer’s Libussa was given its premiere in Vienna only at the end of 1822) treated this work as a serious singspiel, interspersed by comic episodes. The libretto, probably also written by the composer, stresses liberalism in the traditional legend elements. The form of the opera is traditional, vocal numbers are bound together by spoken dialogues. The vocal and instrumental setting is mature, but the work lacks originality of invention.

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Neznámý pražský opis partitury Dona Giovanniho ve sbírce hudebnin premonstrátského kláštera na Strahově

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Jonášová M., Dramlitsch I.

Hudební věda (Musicology)

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2005

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vol. 42

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issue 3-4

301-330

EN

The newly discovered copy of a fragment of the score of Don Giovanni, surviving in the music collection of the Premonstratensian monastery at Strahov, in Prague, consists of seven of eleven numbers and five of fourteen recitatives of the second act of the opera. The paper shows that the score was written in the Prague copying workshop of Anton Grams, from which also originated the so called ‘Donaueschingen score’. It was probably copied from Donebauer’s score. From Strahov score was copied Donaueschingen score or both scores were written simultaneously. The Prague copy of the so called ‘Lobkowitz score’, and also the Stuttgart score, were used for comparison.

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3 Hudební věda (Musicology)

3 Dramlitsch I.

1 Jonášová M.

1 Slavický T.

1 Trojan J.

1 2007

1 2006

1 2005

Ecce nomen Domini - Haja pupaia - Hajej můj andílku: další příspěvek k historii jednoho putovního motivu

Libuše poprvé na operní scéně 19. století

Neznámý pražský opis partitury Dona Giovanniho ve sbírce hudebnin premonstrátského kláštera na Strahově