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HUDOBNÁ TVORBA A AKTIVITY SLOVENSKÝCH HUDOBNÝCH SKLADATEĽOV V EMIGRÁCII A ICH REFLEXIA V SLOVENSKEJ MUZIKOLÓGII

100%
Juhaščiková A.
ESPES
|
2017
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vol. 6
|
issue 1
22 – 28
EN
The study deals with music works and art activities of Slovak music composers in emigration. The main focus is on the revealing the answers on ˊifˊ and ˊhowˊ are the works and activities reflected in the theoretical works of Slovak musicology and aesthetics. The analysis of the primary and secondary sources is aimed to reveal the measure of influence of the composers ́ leave on the theoretical works written about them – either negative, positive or silencing (ignorance, overlooking, etc.). The objective is to draw the attention on information gaps in reflection of activities and works of these composers as well as in common knowledge on the personalities and their input into Slovak music culture.
2
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BALADICKÉ TENDENCIE V OPERNÝCH DIELACH SLOVENSKÝCH SKLADATEĽOV 20. STOROČIA

100%
Ščepán M.
Slovenské divadlo (Slovak Theatre)
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2022
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vol. 70
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issue 2
109 - 131
EN
The notion of being balladic is primarily linked to the idea of an atmosphere that is the sum of tragic, dramatic, and lyrical elements. The piercing atmosphere of balladic poetry and prose inspired several composers, and the balladic phenomenon was gradually adopted not only into short vocal genres, but also into large vocal-instrumental ones, including operas. In the course of the twentieth century, several operas were composed in Slovakia, which may be termed balladic due to their specific features. This study focuses on six Slovak operas. It examines the main inspiration factors that led their composers to adopt balladic subjects. It also introduces the motifs in the original literary works that contribute to creating this phenomenon and discusses what interventions and deviations were made with respect to the original literary model while writing the opera libretto and in what way the composers worked while composing the music to achieve the set balladic character and the musical characterization of the characters and the plot.
3

POÉZIA ANDREJA SLÁDKOVIČA V HUDOBNEJ TVORBE SLOVENSKÝCH SKLADATEĽOV

88%
Gotthardtová K.
Slovenská literatúra (Slovak Literature)
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2021
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vol. 68
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issue 2
135 – 144
EN
The poetry of Andrej Sládkovič (1820 – 1872) has become a strong source of inspiration for several Slovak musical composers. Their motivation, choice of poems and compositional approaches varied in time. In the 19th century, adaptations of Sládkovič’s shorter poems for a cappella choirs were popular (J. L. Bella, A. H. Krčméry, M. Francisci). The ideas of national emancipation formed the background for these. In the 20th century, greater variance in compositional approaches can be observed. However, these were based on a smaller number of the poems. The article analyses concretisations of various musical genres from the musical adaptation (of the long poem Marína) for a cappella choir (Andrej Očenáš, 1957) and vocal-instrumental oratorio (Cyril a Metod – Constantine and Methodius, Tibor Andrašovan, 1987) through musical theatre and scenic music to multimedia composition. It takes a closer look at three adaptations of Detvan and describes the different authorial handlings of the poem. While Viliam Figuš-Bystrý’s opera (premiered 1928) illustrates the musical thinking of the late of the 19th century on a representative genre, the further two point to the use of progressive compositional techniques of the second half of the 20th century and represent utility music (Bartolomej Urbanec, 1963; Tadeáš Salva, 1975).
4

JÁN MÓRY A BRATISLAVSKÉ INSCENÁCIE JEHO OPERIET V PRVEJ POLOVICI 20. STOROČIA

88%
Bárdiová M.
Musicologica Slovaca et Europaea
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2006
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vol. 23
117-140
EN
The composer and hotel owner Jan Mory (1892-1978) entered the scene of the Slovak National Theatre in Bratislava in 1932 as the well-known author of vocal, chamber, orchestral and musical-theatre works. They were successfully played at some concerts and the theatre stages in the twenties and the thirties of the 20th century, especially in Germany, Czech Republic and Slovakia. At that time the Slovak National Theatre was going through complicated development in the sphere of financing, organization, professional and national problems. In the effort to achieve values of European music, operetta genre was underestimated and professional sphere took it into consideration only for its popularity in audience and financial addition. The operetta 'Zimny romanik' (The Winter Story) by Jan Mory was the first one performed in Slovak National Theatre from the native author (1932). After this his historical 'song-play' La Valliere (1935), operetta 'Slecna vdova' (Miss Widow) (1940) and revised operetta by F. Zell and F. Genee 'Namorny kadet' (The Naval Cadet) (1943) were followed. The success of his works was also achieved by excellent protagonists in the main roles. Jan Mory successfully established himself at the most prestigious Slovak professional scene as a major of Slovak operetta in the strong home and foreign rivalry.
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