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BRATISLAVSKÁ „KRÁDEŽ“ SVÄTÉHO GRÁLU. REKONŠTRUKCIA INSCENÁCIE WAGNEROVHO PARSIFALA V SLOVENSKOM NÁRODNOM DIVADLE Z ROKU 1935

100%
Bayer R.
Slovenské divadlo (Slovak Theatre)
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2019
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vol. 67
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issue 1
5 – 22
EN
The study focuses on the dramaturgy of the late-romantic Richard Wagner’s masterpiece in the Opera of Slovak National Theatre during the Karel Nedbal era. In addition to The Rine Gold (1928) and Tristan and Isolde (1934), the author focuses primarily on the Parsifal staging analysis – Richard Wagner‘s last stage production, composed for the Bayreuth Festival Theatre. The text reflects in adequate archive materials that document this unique and – as until today – unprecedented staging achievement within the SNT. The author‘s ambition is to reconstruct the dramaturgical intent of conductor Karel Nedbal and director Bohuš Vilím in Ľudovít Hradský‘s scenography, which exhibits the clear aesthetic influences of the reformers of Wagner’s stage poetics of Adolphe Appia and Alfred Roller. Although expressionist scenography was not an aesthetic sensation in the European production context of 1935, but in the context of the young ensemble of the SNT, it was proof of its artistic ambition and determination. The author considers the possible obstacles and complexities of the staging process, such as the complex conditions of musical preparation, lack of technical equipment for the stage and so on. This text is conceived as an attempt of stage historiography, recognizing the pitfalls of the subjectivity of artistic criticism characteristic of this period.
2
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DVE ŠTÚDIE ADOLPHA APPIU RÉŽIA WAGNEROVSKEJ DRÁMY AKO ZREFORMOVAŤ NAŠU RÉŽIU

100%
Mistrík M.
Slovenské divadlo (Slovak Theatre)
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2020
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vol. 68
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issue 4
397-426
EN
The publication of a Slovak translation (by Martin Brtko) of two studies by Adolphe Appia: La mise en scène du drame wagnérien [The Staging of the Wagnerian Drama, 1895] and Comment réformer notre mise en scène [How to Reform Our Theatre Directing, 1904] with an introduction by Miloš Mistrík. This edition of Slovak Theatre is part of a project in which Appia´s book L´Oeuvre d´art vivant [The Work of Living Art, 1921] has already been published, Bratislava: VEDA, 2020, and the Slovak translation of the book Die Musik und die Inszenierung [Music and Staging, 1899] is under preparation.
3

CLAUDE DEBUSSY, FRENCH MUSICAL TRADITION AND THE HERITAGE OF THE MUSICAL PAST (Francuska tradycja muzyczna oraz muzyczne dziedzictwo przeszlosci w pogladach Claude'a Debussy'ego)

100%
Kulig M.
Przegląd Muzykologiczny
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2004
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issue 4
53-79
EN
This essay focuses on Claude Debussy's opinions, voiced in his written texts and letters after 1903, about issues of musical heritage. Debussy criticized contemporary French music for a lack of national character and for drawing heavily upon German and Italian influences. Through an unequivocal rejection of 19th-century music and of the romantic heritage, particularly with respect to Wagner and Wagnerism, Debussy advocated a return to the French national tradition, embodied by the 18th century and particularly the works of Jean-Baptiste Rameau. He also encouraged a creative approach to the French musical heritage; he was convinced of the necessity of revitalizing French music in its traditional, Gallic spirit. Typical of France's distinctive turn-of-the-century intellectual climate, opinions and declarations on the national musical tradition occur in Debussy's writings between 1902 and 1917. The composer's nationalist notion of musical tradition was voiced e.g. in 1910, when he called himself a 'nationalist-traditionalist'. Yet Debussy remained an independent thinker. He unequivocally rejected the cult of Wagner so vivid in late 19th- century France, always arguing instead for the musical past and the inspiration of the heritage of two great masters: Bach and Rameau.
4

Lévi-Strauss, Schaeffer, Wagner: hudební struktura mýtu

88%
Fulka J.
Teorie vědy (Theory of Science)
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2009
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vol. 31
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issue 1
119-140
EN
The aim of the present paper is to analyse briefly the complicated references to musical composition in the work of Claude Levi-Strauss. In his monumental tetralogy entitled 'Mythologiques', Levi-Strauss considers the musical composition as a paradigm for structural analysis of myths. In this respect, the author compares Levi-Strauss' position with that of Pierre Schaeffer whose project of the 'concrete music' is strongly criticised by Levi-Strauss. In the second part of the text, Levi-Strauss' structural analysis of Wagner's operas are examined, as well as the criticism addressed to Levi-Strauss by Jean-Jacques Nattiez - universalist pretension and vagueness of the method based upon binary oppositions seems to represent weak points of Levi-Strauss' impressive effort to set new bases for human sciences.
5

WAGNER - RICHTER - BATKA: K IDENTIFIKÁCII ADRESÁTA JEDNÉHO LISTU

88%
Lengová J.
Musicologica Slovaca et Europaea
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2006
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vol. 23
164-192
EN
Two letters written by Richard Wagner in connection with Bratislava are known in Slovak music historiography. The first one is from the 29th August 1871 (Tribschen), which has remained as a well-preserved copy. It was addressed to the Bratislava archivist, Johann (Jan, Janos) Batka (1845-1917), that was active as a musical critic and organiser. The supposed recipient of the second Wagner's letter dated on 30th September 1871 in Luzern was considered to be the Bratislava lawyer and music lover Karol Junerak junior (1822-1911). The object of the study is to identify the true recipient of the second Wagner's letter and to point out the assumptions of Wagner's reception in Bratislava within the years 1858-1913. On the base of the consequent source comparison, it can be pointed out, that Johann Batka was also the recipient of the second Wagner's letter. He also contributed to the reception of Wagner's music in Bratislava in a great deal.
6
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ALFRED ROLLER – NOVÁTOR A TRADICIONALISTA

75%
Zavarský J.
Slovenské divadlo (Slovak Theatre)
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2017
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vol. 65
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issue 4
383 – 401
EN
This study focuses on the scenographer Alfred Roller (1864–1935) and his productions of Wagner’s musical dramas, with emphasis on Tristan and Isolde and Parsifal. It places Roller’s aesthetics in a historical, aesthetic, and artistic context, points to his inspiration by the Swiss scenography reformer Adolphe Appia, and cooperation with the music composer and conductor Gustav Mahler in the Vienna Court Opera. The text analyses the specifics of Roller’s scenography, which diverged from illusive stage and used light work as an important production principle. It concludes with a summary of the effect of Roller’s aesthetics on Ľudovít Hradský, the first leader of the production team at the Slovak National Theatre (1923–1928). The visual aspects of the Slovak National Theatre’s productions in that period were strongly inspired by expressionism and Art Nouveau, which were typical of German theatre at that time.
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