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Permanent Values and Variability in Janáček´s Opinions on National and Regional Identity in Relation to Music

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Procházková J.

Polski Rocznik Muzykologiczny

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2021

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vol. 19

134-146

PL

Leoš Janáček (1854–1928) jest jednym tych z kompozytorów, których twórczość pod wieloma względami była ściśle związana z aktualnymi wydarzeniami społecznymi, a jednocześnie niosła głębokie i ponadczasowe przesłanie etyczne. W działalności Janáčka, jako aktywnego artysty, pedagoga i organizatora, znalazły odzwierciedlenie zmiany w paradygmacie politycznym i kulturalnym, jakie na przestrzeni ponad sześciu dziesięcioleci rozprzestrzeniały się w krajach europejskich. Sam przeszedł interesującą drogę rozwoju wewnętrznego, co było wynikiem studiów, doświadczeń życiowych i artystycznych, a także empatii, dotyczącej nie tylko wąskiej przestrzeni indywidualnej, ale i szerszej - zbiorowej. Jego względna izolacja od oficjalnego establishmentu artystycznego w Pradze dała mu możliwość sformułowania oryginalnych poglądów na temat tożsamości europejskiej, narodowej i regionalnej. Obok rozmaitych form literackich jego podstawowym środkiem wyrazu była kompozycja muzyczna. W tym kontekście niniejszy artykuł jest próbą określenia podstawowych kierunków dynamicznej ewolucji Janáčka oraz tych parametrów, w obrębie których jego poglądy pozostały niezmienne.

EN

Leoš Janáček (1854–1928) was one of those composers whose work was in many respects closely connected with current social events and yet it carried a deep and timeless ethical message. Janáček’s activity as an artist, teacher and organiser reflected changes in the political and cultural paradigm disseminated in the European countries in the course of more than six decades. He himself went through an interesting inner development resulting from his studies, artistic and life experience, as well as his empathy related not only to his narrow individual but also a wider collective space. His relative isolation from the official artistic establishment of Prague gave him an opportunity to formulate his original views on the European, national, and regional identity. In addition to various literary forms, music composition remained his fundamental means of expression. In this context, this paper will attempt to define the basic directions in Janáček ́s dynamic evolution and the areas in which his key values and priorities remained constant.

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Moravské písně milostné – nedoceněný milník moravské hudební folkloristiky

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Toncrová M., Uhlíková L.

Národopisná revue (Journal of Ethnology)

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2017

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vol. 27

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issue 1

44 - 59

EN

The study sets out the first scientifically treated Czech edition of songs – Moravské písně milostné [Moravian Love Songs] prepared by the composer Leoš Janáček and the philologist Pavel Váša, and published in parts between 1930 and 1937. The authors assess the collection´s importance, explain the reasons why its publishing lasted for more than twenty years (and Janáček did not live to see it), set out an unusual structure of the edition as well as possible causes for the insufficient appreciation of the work. They state that within the Czech context, the publication is a unique event in publishing for more reasons: 1. it can justly be described as the first scientifically treated edition of one sort of songs in the Czech folkloristic research; 2. based on a peculiar conception, mainly by Leoš Janáček, the material is divided into groups of songs based on the relationship between the musical and the literary component as well as the psychic and the emotional effect; 3. it is the first scientific edition supplemented with a lot of registers, although that part of the work has not overcome initial difficulties yet and it has introduced many inaccuracies into the collection; as a collection of love songs from Moravia and Silesia, it represents an important stage of development on the way to a model edition of scientific type.

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Existence a ten, kdo omdlívá ve V(v)ěci Makropulos, Tažení stínů (moderny) a v Duchu (středoevropské) země

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Celhofferová K.

Slovo a smysl - Word & Sense

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2016

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vol. 13

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issue 26

61-76

EN

This study is concerned with the swooning as one of the characteristic motifs of modernism, arising from a period of reflexive attention. First it will examine this in the dramas of Arthur Schnitzler Zug der Schatten and Frank Wedekind’s Erdgeist, then will turn to the demarcated realm of Central European Modernism (with support from Moritz Csáky’s characterization of Zentraleurope) as located in the works of Karel Čapek. Janáček’s libreto The Makropulos Affair comments on the basic polemics in whose background are shown the crucial importance of the motif of fainting in the overall construction of Čapek’s early works.

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1 Národopisná revue (Journal of Ethnology)

1 Polski Rocznik Muzykologiczny

1 Slovo a smysl - Word & Sense

1 Celhofferová K.

1 Procházková J.

1 Toncrová M.

1 Uhlíková L.

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Permanent Values and Variability in Janáček´s Opinions on National and Regional Identity in Relation to Music

Moravské písně milostné – nedoceněný milník moravské hudební folkloristiky

Existence a ten, kdo omdlívá ve V(v)ěci Makropulos, Tažení stínů (moderny) a v Duchu (středoevropské) země