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K vídeňským létům (1903–1918) Josefa Bohuslava Foerstera

100%
Reittererová V., Velek V.
Hudební věda (Musicology)
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2010
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vol. 47
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issue 2-3
167-230
EN
Josef Bohuslav Foerster spent fifteen years of his active life in Vienna. Besides the works he composed during this period, and his published memoirs and the memories of his contemporaries among the Czech minority in Vienna that provided the information for his biographies as well as articles in the encyclopaedias, his stay in Vienna was not researched in detail. Upon the occasion of the conference Josef Bohuslav Foerster on the Threshold of the 21st Century organised in November 2009 by the Society of J. B. Foerster in cooperation with the National Museum – Czech Museum of Music, the two authors of this study were charged with the task to bring up further information and sources on the composer’s Viennese period. The study focuses on his activities beyond composing, i.e. his work as pedagogue, and musical reviewer of the Vienna press, his social contacts, his cooperation with the Vienna’s Czech associations, and on the performances of his compositions on the official Vienna stages as well as among the Czech minority.
2

THE CONCERT LIFE IN LWÓW IN 1790-1830 (Zycie koncertowe Lwowa w latach 1790-1830)

75%
Piekarski M.
Przegląd Muzykologiczny
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2011
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issue 8
93-114
EN
Lwów, previously one of the biggest and oldest Polish cities (now, after the Second World War, in the Ukraine), was in 1790-1830 an important musical centre. Its cultural core was a city theatre where numerous symphonic concerts took place as well as other dramatic performances. Music was also performed in some private houses and in churches. Since 1773 Lwów, as a city in that part of Poland which was annexed in 1772 by the Austro-Hungarian Empire (the first partition of Poland), became the capital of Galizia and Lodomeria, and was influenced by Vienna, the then musical capital of Europe. This was possible thanks to newly arrived citizens (mostly Austrian and Czech) who were coming to Lwów from various places in the Habsburg Empire and who then co-operated with the Poles and Russians. What was particularly close to the Viennese tradition were the oratorio concerts that engaged many musicians, both professionals and a growing number of amateurs. After the fashion of the Austrian capital, musical soirées were also organised in Lwów, where chamber works were played. The specific feature of Lwów was the multi-national character of its musical environment. In spite of the peripheral position of this city within the Habsburg empire, the musical life in Lwów was not provincial, which is proved by the presence of first-rate European musicians.
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