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Operno kazalište u kronikama Nedjeljka Fabrija Maestro i njegov šegrt

Author(s): Ana Lederer / Language(s): Croatian Issue: 2/2024

The paper deals with theatrological aspects of Nedjeljko Fabrio’s texts on opera productions in his musical chronicles The Maestro and His Apprentice, in the magazine Republika from 1986 to 1994, which were afterwards published in the book titled The Children of Orpheus (2008) and subtitled »a contribution to the history of reception in Croatia.« Continuing the line of Croatian writers who considered and evaluated both the musical and theatrical-musical art and confirming the continuity of multiple and diverse interconnections between Croatian music and literature, in The Children of Orpheus, Fabrio critically considered both the literary and musical components of operas and their theatrical-musical realisation on the stage. In each chronicle about a particular opera performance, Fabrio analyses the libretto, investigates the genesis of the work, the reception of all its performances in the history of the Croatian opera theatre, but also the reception and production context in which the opera is performed and critically evaluates it. The Children of Orpheus became an indispensable source for future theatrological research of the Croatian opera theatre.

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Lux Magna. The Spectacle of Light in Architecture and Art Oana Maria Nae, Lux Magna: o istorie culturală a utilizării luminii în artele vizuale din antichitatea târzie până în zorii modernităţii/ Lux Magna: A Cultural History of the Use of Light

Author(s): Irina-Andreea Stoleriu / Language(s): English Issue: 1/2024

Book review. Oana Maria Nae, Lux Magna: o istorie culturală a utilizării luminii în artele vizuale din antichitatea târzie până în zorii modernităţii/ Lux Magna: A Cultural History of the Use of Light in Visual Arts from Late Antiquity to the Dawn of Modernity, Editura Universităţii „Al. I. Cuza”, 2023, 315 p.

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The Question of National Identity in the Multiethnical Sopron Through the Activity of the Dalfüzér/Liederkranz (1847–1867)

Author(s): Rudolf Gusztin / Language(s): English Issue: 1/2023

Richard Taruskin describes the German choral movement as the hotbed of German nationalist unification, the musical precursor of a new nation-building ideology. However, the Liedertafel movement did not stop in Germany, but spread to the whole of Europe, practically without exception the founding of choirs had a national–political dimension, including Hungary. It is interesting to examine how nationalism overtones could take hold in the multiethnical Hungary, especially in the German-dominated cities. Sopron is an excellent case study, since this town, which lies in the western corner of the country, bordering Austria, had a large part of German population, and as a consequence had a German theatre and German speaking press. Christian Altdörfer, the choirmaster of the Lutheran church and founder of the Dalfüzér/Liederkranz, came from Württemberg to set up a singing group in the 1840s that sang in both German and Hungarian. This situation gives us an opportunity to examine how the association saw itself and how others saw it, and in doing so to highlight what national identity meant in mid-19th-century Hungary.

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The Inter-nationality of Late Nineteenth-Century Budapest Quartets and Their not Entirely Prejudice-free Reception in the Press

Author(s): Zsolt Vizinger / Language(s): English Issue: 1/2023

Pest-Buda already had two permanent ensembles during the 1830s – the Táborszky and the Szervacinszky quartets; in the 1850s, ambitious programs, explicitly labeled as “quartet concerts,” were performed by the short-lived Ridley-Kohne quartet. However, it was only in 1876, that the first Budapest-based quartet was founded that remained stable for the years to come. Although this ensemble, which was led by Dragomir Krančević and disposed of an excellent playing technique, was referred to in the press as the “Budapest quartet,” only the second violinist was of Hungarian origin and native of Pest. The case of the Hubay-Popper quartet – established ten years later, in 1886 – was quite similar: of its members, Jenő Hubay was only the one to be born and having studied in this city. In this paper, I will present the press reception of the two latter quartets, focusing on the following issues: How did a biased discourse emerge in the Hungarian press that made a clear distinction between the “German” and the “other” (e.g., French or Hungarian) manners of playing? What was the role played by the performers’ national origin, the influence of their teachers and of the schools they attended? How did the press reviews treat these aspects? How did the repertoire of these quartets evolve during this period, and was there any connection with the prejudices suggested by the press?

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Dichter-Komponist Graf Géza Zichy

Author(s): Branko Ladič / Language(s): English Issue: 2/2023

Géza Zichy (1849–1924) was prominent in artistic and social life in Hungary and Central Europe in the last third of 19th century and the early part of the 20th century. As an aristocrat he belonged to the social elite of the monarchy, as a one-handed pianist he aroused the enthusiasm of European audiences (he gave performances not only in Austria-Hungary, but also in Germany, France, Denmark, Switzerland, the Netherlands, Italy, Sweden, Norway, and in Russia). Later he established himself as a conductor and also as a composer – at the beginnig of his career he wrote several shorter pieces for left hand – his own compositions and some adaptations were written by him because of the entire lack of the left-handed repertory. Later he composed also orchestral pieces, vocal works (Cantatas, choral and orchestral ) and operas (between 1896–1912 he wrote 5 operas), whereby he stayed faithful to the principles of romanticism. This strong affinity to romanticism was formed not only by his personal preferences, but also by his teachers R. Volkmann and F. Liszt. The aim of this study is to briefly evaluate Zichy’s work through the analyse of some piano, orchestral and operatic compositions and put it into the context of central European music.

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Към историята на арабската буква waw в турското изкуство (По материали от България и Турция)

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Към историята на арабската буква waw в турското изкуство (По материали от България и Турция)

Author(s): Lyubomir Mikov / Language(s): Bulgarian Issue: 2/2024

The paper examines examples of Ottoman calligraphical inscriptions including the Arabic letter waw. In Turkish art, these cases are represented by two types of calligraphic compositions: A) a calligram containing mirrored or symmetrically written two waws; B) a calligram containing one waw and one alif. Both types of calligrams were inspired by the doctrine of Sufism, and were introduced and spread by calligraphers professing Hurufism and Bektashism or sympathizing with these mystical currents in Turkish traditional culture. In conclusion, it is summarized that calligraphy has unlimited possibilities for turning Arabic letters both into highly specific artifacts and into a means of expressing very diverse religious views.

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Korespondence Ranieri Calzabigiho Václavu Antonínu z Kounic-Rietbergu jako pramen ke studiu nejen hudebních dějin

Author(s): Jana Franková / Language(s): Czech Issue: 1/2022

The Kounitz family archive, housed in the Moravian Provincial Archive, contains a very extensive fund of correspondence with Wenzel Anton of Kounitz-Rietberg, consisting of interesting sets of letters with various personalities of his time. A set of letters by the Italian poet and librettist Ranieri Calzabigi, which is stored here, represents almost the complete surviving correspondence of both persons. Two other letters are stored in another folder of the same archive, and one letter is stored for unknown reasons in the Morgan Library and Museum in New York. We also know of the existence of one letter from Kounitz to Calzabigi, which has survived only in its published form, and a draft of one of Kounitz’s replies is also part of the Grosse Korrespondenz collections of the Austrian State Archives. The correspondence thus assembled, comprising over 300 folios of manuscripts mostly in French and partly in Italian (49 letters and 16 enclosures in total), is a very valuable source of information for 18th century cultural history and is now the subject of a modern edition supplemented by English translations of the originals. The surviving correspondence consists mainly of letters from Calzabigi to Kounic, which can be divided into three time periods, among which no letters have survived: ca 1764–1775, 1780–1784 and 1789–1791. The letters written while both were in Vienna are more technical in content, relating to the operations of the French theatre in Vienna and to lotteries. After Calzabigi’s departure for Italy in 1774, the letters become a very comprehensive glossary of contemporary events, in which the writer draws Kounitz’s attention with information about musical theatre or the visual arts, but does not neglect to comment on the broader interests of both protagonists. This correspondence thus becomes an invaluable source of information about contemporary events not only in Italy.

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Velek, Viktor: Hudební umělci mezi Ostravou a Vídní 2

Author(s): Miriam Hasíková / Language(s): Czech Issue: 1/2022

Review of: Velek, Viktor: Hudební umělci mezi Ostravou a Vídní 2 / Tonkünstler zwischen Ostrau und Wien 2, Český Caruso Richard Kubla / der tschechische Caruso Richard Kubla, Nakladatelství Lidové noviny, Praha 2021.

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Alessandro Poglietti na Moravě

Author(s): Jana Michálková Slimáčková / Language(s): Czech Issue: 2/2022

The imperial court organist Alessandro Poglietti was an important and respected personality in his time, but only 22 years of his life are documented – from 1661 to his death in 1683. His main place of work was Vienna, but he also had a connection with Moravia and certainly resided there. He was acquainted with Count Anton Franz Collalto of Brtnice, who was the godfather of Poglietti’s children. He was involved in an inheritance dispute over a house in Vyškov and properties in Dědice, for which he tried to win the favour of Olomouc Bishop Karl Lichtenstein-Castelcorn and his officials, as evidenced by surviving letters. He made his will in Vyškov. Poglietti’s compositions have been preserved in autographs and copies in the Kroměříž music collection. The Department of the History of Music of the Moravian Museum in Brno has preserved Poglietti’s textbook Directorium und Manier. The study summarizes the findings to date and suggests directions for further research.

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Testamente und Nachlassverzeichnisse als wertvolle Belege für Erforschung der städtischen Musikkultur in der frühen Neuzeit (an Beispielen von Brünn, Znaim und Olmütz)

Author(s): Hana Studeničová / Language(s): German Issue: 2/2022

Research into the urban musical culture of Early Modern cities is impossible due to the frequent absence of primary musical monuments without a systematic study of non-musical sources. These are sources that are linked to the functioning of specific urban institutions, such as the town office or the parish. In addition to account books, council books, books of town correspondence, or the rather varied record material, probate books and inventories of estates also contain partial information on music. The sources have often survived continuously since the Middle Ages and their contents have not yet been properly evaluated. From a musical point of view, these sources mainly provide information on individual musicians and their estates, on specific music books or musical instruments in their possession, as well as partial reports on the bequests of music-loving burgesses. The study points out the importance of studying these sources, with specific examples from three Moravian royal cities. More than a dozen wills or inventories of the estates of organists, organ builders, cantors and town trumpeters have been preserved in Brno, Znojmo and Olomouc, which contain information essential for understanding the musical culture in these cities in the 16th and early 17th centuries.

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Dopisy Václava Jana Tomáška z Morawetzovy sbírky

Author(s): Jana Vojtěšková / Language(s): Czech Issue: 2/2022

The article deals with the letters of Václav Jan Křtitel Tomášek from the Morawetz Collection, housed in the National Museum – Czech Museum of Music. In a critical edition, it publishes and comments on the letters Tomášek addressed to the publishers Ambrosius Kühnel, Carl Friedrich Peters, and Immanuel Guttentag, as well as to the poet and editor Rudolph Hirsch, Tomášek’s pupil Alexander Dreyschock and an unnamed (probably Amelia Illaire to Berlin). The edition also includes an appraisal of the compositions of Josef Zvonař and Tomášek’s request for an increase in his annual rent, addressed to Count George Franz August Buquoy in 1829. For the first time, a letter by Johann Wolfgang Goethe, the original of which is considered lost by the current edition of Goethe’s correspondence, is published here according to the original.

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„Dílo jeho mistra“ – Otakar Ostrčil jako propagátor Zdeňka Fibicha

Author(s): Markéta Kratochvílová / Language(s): Czech Issue: 1/2021

This paper looks at the role Ostrčil played in the dissemination of Fibich’s work. Their relationship began during Ostrčil’s studies, when Fibich entrusted him with revisions of his scores before publication, and even letting him finish the instrumentation of several of his works. Besides, already at that time Ostrčil was arranging some of Fibich’s compositions for piano. After Fibich’s death and after he started his own career as a composer, conductor and artistic director, Ostrčil continued to devote his attention to the music of his teacher. He arranged and prepared his works for publication at F. A. Urbánek, and conducted his operas in the National Theatre including the dramaturgy of a Fibich cycle. He also promoted Fibich’s music abroad, e.g. conducting the overture from The Fall of Arkona in Göteborg, Sweden.

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Leoš Janáček, Karel Kovařovic a Její pastorkyňa

Author(s): Jiří Zahrádka / Language(s): Czech Issue: 1/2021

This study focuses on the complicated relationship between Leoš Janáček and Karel Kovařovic, composer, conductor and head of the opera of the National Theatre in Prague. As an reviewer, Janáček was critical not only of Kovařovic’s conducting, but also of his compositions. When he offered his recently completed opera Její pastorkyňa to the Prague National Theatre in 1903, the management of the theatre and with it Kovařovic refused the work. Although Janáček tried to submit it several more times, Kovařovic insisted on his decision. The reason could be not only a mutual animosity, but also a misunderstanding of Janáček’s new approach to opera and probably also the fact that Janáček presented Její pastorkyňa in its first version, which in a compositional and dramaturgical way did not reach the quality of later renditions. After considerable efforts on the part of the composer, Kovařovic’s resistance to the staging of Její pastorkyňa on the boards of the National Theatre was broken in 1915. The staging did not take place, as might be expected, as a matter of course: Kovařovic’s devotion to Janáček’s opera was above and beyond the call of duty. In good faith, he intervened fundamentally in the instrumentation of the score and thus in its character. However, Janáček acknowledged the changes and even kept them in the printed Universal Edition score. As it turned out, he did not have a complete overview of their quantity and character. It was only after Kovařovic’s death, in connection with the payment of royalties to his widow Anna, that Janáček strongly objected to these modifications. Sources prove that Janáček never forgave Kovařovic for his twelve-year rejection of the opera Její pastorkyňa.

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Zdeněk Fibich’s Missa brevis in F Major op. 21 in the Context of Czech Liturgical Compositions of the 1870s–1880s

Author(s): Eva Vičarová / Language(s): English Issue: 1/2021

The Missa brevis in F Major op. 21 Hud 279 (1885) was composed by Fibich during his two-year compositional crisis. The composition was frequently performed in Bohemian and Moravian churches and remained part of their repertory up until the 1940s. The composition manifests the influence of compositional techniques of Renaissance vocal polyphony, basso continuo, the harmonization technique of the Protestant chorale, as well as elements of contemporary figural music. Apart from an analysis of the composition’s style and evaluation of Fibich’s relationship to liturgical music, this paper also presents the reception of the composition and reflections on it, and classifies it within the context of the liturgical repertory performed in the Czech Lands in the 1870s and 1880s. Particular attention is paid to the characteristics of two contemporary tendencies: figural music and the reformation of the Cyril (Cecilian) Movement.

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Písňový skladatel Zdeněk Fibich?

Author(s): Barbora Cupáková / Language(s): Czech Issue: 2/2021

The composer Zdeněk Fibich (1850–1900) is seldom associated with vocal compositions. More often is expressed Fibich’s affinity with opera and melodrama even though he set songs throughout his career. Fibich set to music more than two hundred German and Czech texts. Songs to poetry by Heinrich Heine and Johann Wolfgang von Goethe were created the most. Thus songs to Goethe’s poems are the core of the study. Fifteen solo songs, three duets, two choral works, and the incidental music Clavigo were written during Fibich’s study period from 1865 to 1873. Only ten solo songs and the duet O tobě sním (I Dream about You, Hud. 172/7) have survived up to day. These compositions, with the exception of the duet, remained only in the autograph until two years ago when the first publication was issued. The study introduces selected songs in order to characterise Fibich’s early compositional language as well as to highlight inspirations by German composers, namely Franz Schubert and Robert Schumann.

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Působení pěvce Karla Buriana v Národním divadle v Praze v letech 1899 až 1903

Author(s): Petr Venglař / Language(s): Czech Issue: 2/2021

This study focuses on the work of the Czech singer Karel Burian at the National Theatre in Prague from 1899 to 1903. The first section deals with Burian’s singing repertoire at the Prague National Theatre and his further work during his stay in Prague. The second section considers musical reviews of Burian’s singing performances at the National Theatre in Prague. The following section is concerned with the income of Burian and his colleagues who worked at the National Theatre. The fourth section focuses on the relationship between Burian and the head of the National Theatre Opera, other artists and visitors to operatic performances during Burian’s work at the Prague National Theatre. The study concludes with the reasons for Burian’s departure from Prague.

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Experimental Construction of Musical Instruments between 2017 and 2022

Author(s): Jiří Höhn / Language(s): English Issue: 1/2020

Traditional musical instruments of folk culture quickly disappear from common use and, unfortunately, often from society's general awareness. Mentions about these instruments, contained in songs and surviving in names, are just unknown terms for many people. But in fact these instruments accompanied many generations of our ancestors in their childhood. Although we cannot find any record, it is possible to suppose that musical instruments such as willow whistle were one of the first entries into the world of music for many future musicians. More difficult instruments, for example kobza and koncovka, brought musical culture even to regions where people only seldom encountered figural church music, and village dance parties were much poorer in terms of instrumentation. At the same time, these instruments directly influenced the melodies of folk songs. Despite technical limitations, given by their simple construction, we can perceive their contribution even these days. This concerns for example sound enrichment of current instrumentation, or musical projects based on these instruments (for example the RukyNaDudy music band). As it turns out, these musical instruments (both the kobza, and simple aerophones) show a great potential to be used for the need of music therapy. It is also important that, due to the simplicity of their production, the construction of these instruments can become part of educational system. We can still draw on the benefit of the transfer of knowledge about the production and playing from musicians and producers, who are still alive. This is the only way to confront the newly built instruments with original models, not only as to their visual and functional aspect. The above-presented results submit detailed knowledge of the research into kobza in the years 2017-2018 and also first partial results of the construction of simple aerophones from the year 2020. All these instruments are linked to their applicability for music therapy as well as their partial local overlap to the region of the Carpathians.

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Herbert Hiebsch: hudebník, spisovatel, Brucknerův ctitel, sudetský Němec a jeho osud mezi Čechy

Author(s): Jitka Bajgarová / Language(s): Czech Issue: 1/2020

The study captures the personality and activities of Herbert Hiebsch (1905-1948), conductor, writer, music organizer, co-founder of several Bruckner societies in Bohemia, a humanitarian-educated Sudeten German from Litoměřice/Leitmeritz, brought up a Catholic, who in the 1930s and during the Protectorate of Bohemia and Moravia was involved in promoting the goals of National Socialist cultural policy. It deals in more detail with Hiebsch's origin and his studies at the grammar school in Litoměřice and the German Academy of Music and Drama in Prague, but also with the analysis of his novel Das göttliche Finale. Ein Buch vom Erleben Bruckners (1931), and unpublished memorial file Herbert Hiebsch - Deutsches Schicksal unter Tschechen. Ein Lebensbericht (1938). The study concludes with information about the end of his life in Baden-Württemberg.

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Jana Laslavíková: Mestské divadlo v Prešporku (1886–1899) v kontexte dobovej divadelnej praxe

Author(s): Jiří Kopecký / Language(s): Czech Issue: 1/2020

Review of: Jana Laslavíková: Mestské divadlo v Prešporku (1886–1899) v kontexte dobovej divadelnej praxe. Pôsobenie riaditeľov Maxa Kmentta a Emanuela Raula, Ars Musica ve spolupráci s Katedrou muzikologie FiFUK a Ústavom divadelnej a filmovej vedy CVU SAV v Bratislave, Bratislava 2018, ISBN 978-80-971672-3-3.

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Johann Georg Orsler – slezský hudebník ve šlechtických službách a otazníky jeho tvorby

Author(s): Václav Kapsa / Language(s): Czech Issue: 1/2019

Originally a Silesian musician, Johann Georg Orsler (or Orschler) was active in many places that are important for the music history of the Czech Lands: he was sent by the Count of Zerotin to study music at Rosetter and Fux in Vienna; in 1720s his activities are documented in Prague, followed by Moravia and Vienna in the service of Johann Matthias of Thurn and Valsassina, Count Franz Anton von Rottal, Count Joseph Johann Adam of Liechtenstein, or Count Thomas Vinciguerra of Collalto. The study summarizes the currently known biographic facts, and searches for the answer to the question of which of the prevalently instrumental compositions preserved under this particular surname were composed by the father, and which have to be attributed to his son Josef, a cellist of the Viennese court music ensemble.

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