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1
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Julius Fučík – životopisný nástin a přehled díla

100%
Svobodova D.
Hudební věda (Musicology)
|
2009
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vol. 46
|
issue 1-2
117-148
EN
Primarily, Julius Fucik is known as the author of up-to-now popular compositions for the orchestra; on the other hand, his life and other areas of work are far less known. The article illuminates Fucik's life journey from the early years of the Prague studies, when he was a student of Antonin Dvorak, through his short career as an orchestra player and choir master in Zagreb and Sisak up to the most important period of his career as a military orchestra conductor in Sarajevo, Budapest and Terezin. There, the majority of his well-known work was composed. The authoress also gives attention to the final, Berlin period of his life, overshadowed by a disease and war. For the first time, the article presents the catalogue of oeuvre by Julius Fucik.
2
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Hudební umění jako realizovaná pravdivost. Podíl Aloise Háby na stavbě a propagaci čtvrttónového klavíru

80%
Reittererova V.
Hudební věda (Musicology)
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2008
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vol. 45
|
issue 1-2
125-178
EN
Based on sources, this article sums up the pioneering period of assertion of micro interval music, and Alois Haba's direct participation in the activities of the music avant-garde between the two World Wars. The article covers the period 1923-1946, and is extended by a brief supplement dealing with the post-war fate of Haba's experiment. The article is based mainly on material from Alois Haba's estate, deposited in the National Museum-Czech Music Museum, Prague, in which survives copious correspondence and other material, documenting this particular segment of the history of Czech modern music. Research focused on Haba's co-operation with the August Foerster piano-making firm from Loebau, in Saxony, who had a filial in Georgswalde (today's Jirikov), in Northern Bohemia, and, according to Haba's design, built several quarter-tone keyboard instruments. Supported by and in co-operation with this firm, Haba launched a number of promotional quartertone music concerts, where he was joined, in the role of pianist, by the composer Erwin Schulhoff.
3

„…als Sie in mir den Tonsetzer der Musikwelt vorgeführt…“ Ein unbekannter Autographer Brief von Wenzel Johann Tomaschek an Hans Georg Nägeli in Zürich

80%
Strebel H.
Hudební věda (Musicology)
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2009
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vol. 46
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issue 1-2
65-90
EN
Together with the hitherto unpublished letter of 6 September 1831, Tomasek sent the score of his Requiem op. 70 to the Zurich publisher, music writer and composer Hans Georg Naegeli. The author of the letter expressed his firm belief that due to the 'prosperity of music practice in Switzerland' and the influence of the reputable Naegeli, it should not be a problem to find opportunity and funding to put on the enclosed work in that country. With gratitude, Tomasek puts Naegeli in mind of the fact that he had published some of his piano works between 1803 and 1805, calling him 'the one to determine the spirit in the music world'. He briefly mentions several of his earlier compositions and, with a great deal of sarcasm, criticizes the contemporary 'swamp of bad taste', in which the audience has recently fallen, misguided by the 'mendacious' Rossini and his followers. Tomasek draws Naegeli's attention to an enclosed article of his called 'On Criticism in Relation to Music', in which he appealed to 'all respectable priests of art' to cultivate sensible criticism. He encourages Naegeli not to let his 'whip' (meaning his feared sharp pen) 'rest until things have changed'.
4

REAL CONTRA SUCCESSFUL IN THE CONCEPTION OF ROMAN BERGER

80%
Adamov N.
Musicologica Slovaca et Europaea
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2006
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vol. 25
273-280
EN
Roman Berger is not only a composer but also a philosopher and sociologist. His literary work is not only a marginal or supplementary concern; it is as important as his compositional work and even more, these two fields of his work are narrowly interconnected. In the first place, Berger in his texts expresses his existential needs. However, it is not only a statement of a composer about the starting points of his creation, but it is also a statement of a reformer of society, who is asking where the contemporary culture is facing and where it should be facing. The problems of the influence of the media as an important bearer of cultural information are also closely associated with it. The aim of this study is to name the most essential problems, which Berger deals with and submit their solution to a critical evaluation, particularly by means of confrontation with other contemporary thinkers.
5
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On the Subject of Antonín Dvořák’s Ancestors

80%
Vichta J.
Hudební věda (Musicology)
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2007
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vol. 44
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issue 1
51-60
EN
The present article follows upon the work of Jan Miroslav Kvet and Jiri Musil concerning ancestors of the Czech composer Antonin Dvorak and corrects some mistaken conclusions they reached. Attention is devoted primarily to ancestors of Dvorak's grandfather on his mother's side, Josef Zdenek, whose parents - and therefore other ancestors as well - were wrongly identified by the above-mentioned researchers. It turns out that some of Dvorak's ancestors came from Bystrice (Wistritz), a village in Northern Bohemia near Teplice which at that time had mainly a German population. This is where the earliest determined ancestors of Antonin Dvorak lived, in the 17th century. Appended to the article is a list of all known ancestors of Dvorak's grandfather Josef Zdenek giving dates of births, deaths, and marriages.
6

CONTRIBUTION OF WROCŁAW-BASED COMPOSERS TO SILESIAN AND NATIONAL MUSICAL CULTURE IN POLAND AFTER 1945

80%
Granat-Janki A.
Musicologica Slovaca
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2020
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vol. 11 (37)
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issue 2
190 – 204
EN
When attempting to discuss and appraise the contribution of Wrocław-based composers to the Silesian and national musical culture in Poland, one should remember that the Wrocław music milieu came into existence only after the Second World War, and it developed from scratch, with no Polish roots it could refer to. However, in spite of difficult conditions in which it emerged, the milieu of Wrocław-based composers has always been open to new trends and movements. The article presents the achievements of the composers during different periods in the post-war Polish music history of the 20th and 21st centuries in the context of political and cultural changes, which provide a reference frame for the critical discourse. The aim is to determine characteristic features of the music of Wrocław-based composers and assess the significance of their cultural achievements from a local and national perspective.
7
Content available remote

WORLD NEW MUSIC DAYS – FESTIVAL OTVÁRANIA BRÁN DO SVETA

70%
Kopilcová J.
ESPES
|
2013
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vol. 2
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issue 2
61 – 67
EN
The authoress deals with the Festival of the present music in the proposed essay. She also brings the information about his origin and tries to write down the summary of historical events. In thees say there are mentioned concrete grouping which presented on the Festival works of well-known composers or their own outputs. Besides her own exploration she also uses the professional literature grounded on some works e.g. from A. Rossa and journals about music. She confronts experiences of her own reflexion with opinions of pedagogues and theorists. In conclusion she brings her own impressions from performance on which she was present.
8

HUDBA V ŠKOLSKEJ HRE PIARISTOV NA SLOVENSKU V 17. A 18. STOROČÍ

61%
Kačic L.
Musicologica Slovaca
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2012
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vol. 3 (29)
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issue 2
165 - 194
EN
The article addresses the question, hitherto very little studied in Slovakia, of the Piarist theatre and the part played in it by music. The Piarist school drama, while it has a number of features in common with that of the Jesuits, also differs from the latter in several respects. There is not only a wider thematic scope and a greater stress on secular themes but also a different structure of the school drama in detail. We take as our starting point the relevant passages concerning drama in Vita poetica (1693), an authoritative textbook on poetics by Fr. Lucas Mösch a S. Edmundo SchP. In our text we provide a concise analysis, based on primary and secondary sources, of the level of the Piarist theatre, seen in terms of the musical component, in the individual colleges (the most important of which were in Podolínec, Prievidza and Nitra). A number of performances must have attained an excellent musically standard. In the beginning the Piarists (like the Jesuits) had prominent musicians collaborating in their dramas. However, from the 1770s the musical component of the Piarist theatre fell into gradual decay.
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