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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.
EN
Josef Bohuslav Foerster’s Eva, the most frequently-performed of his operas, was characterized by the composer himself and by earlier musicological literature as a purely Czech work linked to the tradition of Smetana. However, in 2004 Cyril Šálek subjected Eva to a stylistic analysis and demonstrated its international character. While composing this second opera of his Foerster was intensively occupied with contemporary French works, and in his letters he responded animatedly to the debate unleashed by Louis Gallet, the librettist of Massenet’s opera Thaïs. It seems that – apart from other more-or-less probable models – clarification of fundamental dramatic issues in Eva was influenced especially by the dramatic character of French opéra lyrique.
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