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Jak vydávat českou raně novověkou kancionálovou píseň?

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Škarpová M.

Česká literatura (Czech Literature)

2007

vol. 55

issue 1

86-98

In this article the author follows on from Jan Malura’s “Jak dnes vydávat českou barokní hymnografii” (Publishing Czech Baroque Hymns Today, Česká literatura, no. 1, 2005) and Jan Linka’s “Co z raněnovověkých textů vydávat? A jak?” (What Early Modern Texts Should Be Published and How?, Česká literatura, no. 2, 2005). She mentions Škarka and Lehár’s work as editors, and regrets that the opportunities for collaboration between scholars of hymns and Bohemists, as proposed by Škarka, were missed. She sees the hymn as a syncretic literary-musical form in which the text is more important than the music, but she also points out that the poetic language of the song is not autonomous, that is to a certain extent dependent on the music. She points out the somewhat problematic nature of publishing Early Modern anthologies of hymns on the principle of chronology and composer, since they omit anonymous compositions. A possible starting point, she believes, would be Smrtí tanec: Barokní poezie (1941), compiled and edited by Josef Vašica’s (1884–1968), who made his selection according to the ability of the works to attract readers. She proposes publishing an edition of anonymous songs, which would not attempt a precise determination of authorship or of the first hymnal to contain a certain composition, but would present a work as a “piece composed and disseminated in a certain period,” and would include commentary about hymnals. She concludes by outlining the tasks of compiling and editing Baroque hymns today, which, she says, lie in the continuation and revision of Škarka’s Thesaurus, the continuation of making accessible the repertoire of Czech Baroque hymnals and, last but not least, the necessity of compiling an anthology of anonymous Early Modern literary-musical compositions.

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Jak vydávat českou raně novověkou kancionálovou píseň?