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Julius Fučík – životopisný nástin a přehled díla

100%
Svobodova D.
Hudební věda (Musicology)
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2009
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vol. 46
|
issue 1-2
117-148
EN
Primarily, Julius Fucik is known as the author of up-to-now popular compositions for the orchestra; on the other hand, his life and other areas of work are far less known. The article illuminates Fucik's life journey from the early years of the Prague studies, when he was a student of Antonin Dvorak, through his short career as an orchestra player and choir master in Zagreb and Sisak up to the most important period of his career as a military orchestra conductor in Sarajevo, Budapest and Terezin. There, the majority of his well-known work was composed. The authoress also gives attention to the final, Berlin period of his life, overshadowed by a disease and war. For the first time, the article presents the catalogue of oeuvre by Julius Fucik.
2

„…als Sie in mir den Tonsetzer der Musikwelt vorgeführt…“ Ein unbekannter Autographer Brief von Wenzel Johann Tomaschek an Hans Georg Nägeli in Zürich

80%
Strebel H.
Hudební věda (Musicology)
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2009
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vol. 46
|
issue 1-2
65-90
EN
Together with the hitherto unpublished letter of 6 September 1831, Tomasek sent the score of his Requiem op. 70 to the Zurich publisher, music writer and composer Hans Georg Naegeli. The author of the letter expressed his firm belief that due to the 'prosperity of music practice in Switzerland' and the influence of the reputable Naegeli, it should not be a problem to find opportunity and funding to put on the enclosed work in that country. With gratitude, Tomasek puts Naegeli in mind of the fact that he had published some of his piano works between 1803 and 1805, calling him 'the one to determine the spirit in the music world'. He briefly mentions several of his earlier compositions and, with a great deal of sarcasm, criticizes the contemporary 'swamp of bad taste', in which the audience has recently fallen, misguided by the 'mendacious' Rossini and his followers. Tomasek draws Naegeli's attention to an enclosed article of his called 'On Criticism in Relation to Music', in which he appealed to 'all respectable priests of art' to cultivate sensible criticism. He encourages Naegeli not to let his 'whip' (meaning his feared sharp pen) 'rest until things have changed'.
3

NINETEENTH CENTURY EVANGELICAL CANTIONALIS FROM GDANSK

80%
Wozniak J.
Musicology Today
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2006
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vol. 3
39-52
EN
The article provides information on 19th-century Protestant cantionals, held at the Library of the Polish Academy of Sciences in Gdansk. Polish language editions of cantionals ceased to be published by the Gdansk printers at that time, when Gdansk was part of state of Prussia. The last Polish cantional published there dates from 1803. Subsequent German editions are described, as well as their authors, changes in the included repertoire, choice of texts, graphic appearance, and a musical 'supplement' to the fourth, 1841 edition: a collection of 136 choral melodies edited by the pastor of St Mary's Church, Theodor Friedrich Kniewel. This collection's significance and the place of the religious songs in the publishing houses of Gdansk are explained.
4
Content available remote

MUSIC AT THE COURT THEATRE OF DUKE FREDERICK AUGUSTUS OF BRUNSWICK AT OELS (Muzyka w teatrze dworskim ksiecia Fryderyka Augusta brunszwickiego w Olesnicy)

80%
Drozdzewska A.
Muzyka
|
2007
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vol. 52
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issue 3(206)
49-74
EN
The court theatre at Oels (today Olesnica), founded by Duke Frederick Augustus of Brunswick and built in 1793 according to Berlin models, was one of the few examples of private theatrical activity in Silesia. Initially, weekly performances at the theatre were given by the theatrical troupe of Maria Karolina Wäser from Wroclaw. 1794 saw the creation of a permanent company of singers and actors under the direction of Franz Joseph Alexi, who worked with the court orchestra conducted by Adolph Friedrich Metke. Collaboration with Carl Ditters von Dittersdorf had great significance for the court theatre at Oels. The musician composed altogether ten operas, singspiels and occasional works for the needs of the theatre. Most of the first performances of these works were conducted by the composer himself, who stayed at Oels on three occasions. During the eight years of the court theatre's existence about 70 operas and singspiels by composers popular at the time were performed, often on numerous occasions. They included works by W. A. Mozart, J. Haydn, D. Cimarosa, G. Paisiello, A. Salieri, F. X. Süssmayr, W. Müller, P. Winter, J. A. Benda, A. E. M. Grétry, N. M. Dalayrac, P. Anfossi and many others. The court theatre also organised celebrations of the most important holidays and ceremonies, as well as vocal-instrumental concerts. The activities of the ensemble of singers and actors were suspended at the beginning of 1802, and the theatre was officially closed three years later, on the death of Duke Frederick Augustus.
5

Bílá paní pernštejnská na operní scéně. Antonín Emil Titl: Die Burgfrau (1832)

80%
Trojan J.
Hudební věda (Musicology)
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2009
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vol. 46
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issue 1-2
91-116
EN
The opera Die Burgfrau (Brno 1832) is based on the local folk tale of the White Lady, a friendly ghost, who once used to reside in the castle of Pernstejn. In the first half of the nineteenth century pieces as such were shown on stage of the City Theatre at the Zelny trh in Brno, often of Singspiel quality. The opera of the White Lady surpasses all of them in structure and thorough elaboration. In spite of their young age, the authors represented first-class among contemporary artists in Moravia. The author of the libretto Antonin Bocek (1802-1847) was a known Moravian historian, whose premature death prevented him to finish his life-work. When composing the opera, the composer Antonin Emil Titl (1809-1882) was double-bass player in the Brno theatre; later, he went on to become bandmaster in Vienna. The opera combines elements of the tale with historical events. In part, it presents historical figures, and even gives the date of 1545. The ghost of the White Lady interferes in the events, in which love wins over hatred, and evil is punished. The opera met with warm welcome when first performed in Brno, and was later shown in Olomouc as well. However, it did not make it to the Vienna stage.
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