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1

DOPISY JÁNA LEVOSLAVA BELLY LUDEVÍTU PROCHÁZKOVI

100%
Vojtěšková J.
Musicologica Slovaca
|
2012
|
vol. 3 (29)
|
issue 1
98 - 106
EN
This article presents hitherto unpublished letters from the Slovak composer and pedagogue Ján Levoslav Bella to the music critic, editor, organiser, pianist, conductor, and composer Jan Ludevít Procházka. Two letters and one commemorative inscription of Bella augment the correspondence between the two men published in 1924 by Dobroslav Orel, which is more or less one-directional from Procházka to Bella. These new sources are preserved in the Procházka album deposited in the Czech Museum of Music (part of the National Museum) in Prague. The letters attest to Procházka’s importance for Bella’s development as a composer during the time when he wrote his symphonic poem Osud a ideál (Destiny and Ideal).
2

HARMONICKÉ PREFERENCIE AKO ŠTÝLOVÝ ZNAK SKLADATEĽSKEJ POETIKY. PRÍSPEVOK K CHARAKTERISTIKE ÚPRAV ĽUDOVÝCH PIESNÍ PRE KLAVÍR MILOSLAVA FRANCISCIHO

75%
Ferková E.
Musicologica Slovaca
|
2017
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vol. 8 (34)
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issue 2
169 – 187
EN
This article presents an application of software instruments for detection and quantification of the incidence of eleven chords of classical harmony in three groups of songs. The first two groups consist of selections from piano adaptations of Slovak folk songs by Miloslav Francisci entitled Trávnice I (Haymaking Songs I: a selection of 78 compositions from 100) and Trávnice II (Haymaking Songs II: a selection of 13 compositions from 100). The third is a group of 38 original songs by Ján Levoslav Bella, which we acquired already in digital form in MIDI format. The software instruments are described in the article, and in the tables of results of computer analysis of the three groups we present findings on the percentage incidence of the individual chords in each song individually. This result may be regarded as new information about the harmonic preferences of the composers, in terms of the selection of chords for harmonisation and musical creation. Between Francisci and Bella there is an obvious difference in preference: Bella worked with a greater variety of types of chords, and in this regard his compositional style is more complex and expressively more multiform.
3

ČESKÉ LITERÁRNE INŠPIRÁCIE V HUDOBNEJ TVORBE JÁNA LEVOSLAVA BELLU

75%
Lengová J.
Musicologica Slovaca
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2012
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vol. 3 (29)
|
issue 1
45 – 84
EN
The composer Ján Levoslav Bella (1843 – 1936) maintained close contacts with personalities of Czech musical culture, especially in the years 1868 – 1881 and 1921 – 1936. Tanks to this he took a more intensive interest in Czech literature, which ultimately led to his taking a number of Czech literary models to set to music. The following works are extant: choirs to words by František Sušil (St. Cyril’s Deathbed Prayer) and Adolf Heyduk (Little White Shirt, I’m a Great Lady!), songs for the voice and piano Good Night and To the Singers to words by Eliška Krásnohorská, the opera fragment Jaroslav and Laura according to the verse drama by Václav Pok Poděbradský, and a song for higher bass and orchestra Credo to words by Jaroslav Martinec. The study is centred on analysis of individual works, taking into account the circumstances of their emergence and reception.
4

PRINCÍP BALADICKOSTI V DIELACH JÁNA LEVOSLAVA BELLU A TADEÁŠA SALVU

75%
Lengová J.
Musicologica Slovaca
|
2013
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vol. 4 (30)
|
issue 1
58 – 76
EN
This analysis of selected works on ballad poetry by Ján Levoslav Bella (1843 – 1936) and Tadeáš Salva (1937 – 1995) addresses structural-formal aspects, the relationship of texts and music, semantics, and musical symbolism. J. L. Bella composed three ballad songs for vocals and piano: Sehnsucht (ca. 1905) in German, Románc (ca. 1905) in Hungarian and Gajdoš Filúz (Filúz the Bagpiper, 1927) in Slovak. They are distinguished by a highly composed form, integrity of the vocal and instrumental components, and rich musical symbolism. T. Salva created the first Slovak television opera Margita a Besná (Margita and the Fury) for soprano, contralto, sixteen-voice mixed choir and a silent dancer (1971), on the model of a ballad by J. Botto. He worked freely with the musically arranged text, in the typical manner of literary adaptations. Salva used the technique of limited aleatory, sound blocks, and the timbral capacities of the human voice. The differentiated compositional approaches of both authors stem from their individual musical poetics, the different genre form, and the change of music-stylistic paradigm.
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