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Dittersovy skladby ve schwarzenberské hudební sbírce a v hudebním životě knížecího dvora

Author(s): Martin Voříšek / Language(s): Czech Issue: 1/2019

From the perspective of the number of Dittersdorf's compositions preserved, the Schwarzenberg music collection is a relatively small, but very valuable one, particularly in the field of orchestral music. Some of the copies preserved here could be considered unique with regard to the present state of investigation (although their authorship is therefore questionable). Despite this fact, this source of information on Ditters' music presently remains rather unknown, and for instance in the RISM catalogue it is recorded only partially. The aim of this study is therefore to create a more detailed overview of the identified Dittersiana, as well as to reflect on the role of these compositions in the music activities of the Schwarzenberg princes and their employees.

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Smetana's Importance for the Development of Musical Life in Göteborg

Author(s): Anders Carlsson / Language(s): English Issue: 1/2018

At the time of B. Smetana's stay in Sweden (1856-1861), Göteborg was a rather small city and also the residence of several very wealthy families. The city a had good institutional basis for the development of music life. The standard for the audience as well as the level of musicians was influenced in particular by the experience with classicist musical works only sporadically influenced by new styles of the first half of the nineteenth century. With his intensive involvement in the organization of a musical life, and also as a teacher, piano virtuoso and a composer, Smetana gave Göteborg incentives that brought fruits already during his stay and were apparent even after his departure and deep into the nineteenth century. The inspiration was, however, mutual: the environment of Göteborg influenced Smetana and provided him with a wealth of rare life and artistic experience.

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Operas by Bedřich Smetana on the Ukrainian Stage

Author(s): M. R. Cherkashyna-Hubarenko / Language(s): English Issue: 1/2018

The last decades of the eighteenth century and the beginning of the nineteenth century saw an intensive development of theatre life in Ukraine. The core repertory consisted of plays with a high proportion of incidental music. Motifs from rural life were particularly popular. The plot of Smetana's Prodaná nevěsta [The Bartered Bride] matched the traditional repertory well. What is more, it was possible for the local theatre companies to perform Smetana's score at an appropriate level. Smetana became one of the most frequently performed opera composers thanks to his second opera and was regularly included in the programme of Ukrainian theatres before the First World War, along with S. Moniuszko, P. Mascagni, W. Zeleński, S. Gulak-Artemovsky or M. Lysenko. At the time of the establishment of Ukrainian opera stages after the World Wars, Smetana was still a popular author, as documented in detail by the study. Apart from Prodaná nevěsta, his Dalibor also began to be performed.

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Neznámý známý Robert Smetana

Author(s): Pavlína Přibilová / Language(s): Czech Issue: 1/2016

In this text, Robert Smetana is introduced as an important person of post-war Olomouc. The short biographical chapter shows Smetana's most important moments, including crucial personalities who formed and lead his journey to Olomouc. Among others, Vladimír Helfert, Stanislav Souček and long-time friend and colleague Bedřich Václavek are mentioned. Last but not least, Smetana's regional importance is examined primarily in the context of the process of the renewal of university education in Olomouc.

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A Musical Analysis of Mythical Thought in the Work of Claude Lévi-Strauss

Author(s): David Kozel / Language(s): English Issue: 1/2015

This study addresses the music-related aspects of the works of Claude Lévi-Strauss within the context of musicology and with a specific focus placed on his Mythologiques tetralogy. The aim is to define thematic categories for the individual theses within which they are further contextually understood. Selected references to music from Lévi-Strauss's work were analysed, compared, and interpreted, taking into consideration the theories of structural linguistics and anthropology. The topics chosen for the investigation include the system of relationships between language, mythology, and music, the analysis of myths using musical scores, the thesis that both music and myth are instruments that suppress time, the mythical nature of musical forms, and an analysis of Maurice Ravel's Bolero. The study takes into account current musicological applications that use the structural analysis of myths, and also critical reflections regarding Lévi-Strauss's theories. The individual categories were defined as structural homologies of myth and music, methodological tools of a metaphorical type to analyse myths using music, and the area commenting on the principles governing the styles and forms in the development of European art music and composed poetry.

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Exploring ancient musical ratios

Author(s): Matin Celhoffer / Language(s): English Issue: 1/2013

Diese Studie geht den möglichen anthropologischen und kulturellen Voraussetzungen für die Errichtung der Zahlenverhältnisse als Analogie zum musikalischen Intervallen nach. Es befasst sich mit der Beziehung zwischen frühen Ausprägungen der Geometrie und Arithmetik, und stellt sich die Frage: inwieweit sind diese Beziehungen eine notwendige Voraussetzung für eine idealisierte Auffassung von der aus der pythagoreischen Tradition bekannten Tonstrukturen.

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J. Kopecký, L. Křupková: Německá operní scéna v Olomouci 1770–1920

Author(s): Filip Válek / Language(s): Czech Issue: 1/2013

Review of: J. Kopecký, L. Křupková: Německá operní scéna v Olomouci 1770–1920.

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Prof. PhDr. Jiří Sehnal, CSc.

Author(s): Not Specified Author / Language(s): Czech Issue: 1/2011

Published outputs of Jiří Sehnal's lifelong research in the field of musicology cover several important thematic areas. Presumably, the majority of his publications deal with the history of musical culture in Moravia in the 17th and 18th century, which is the main topic of Sehnal's scholarly concern. Within this group one can find a great amount of writings devoted to church and sacred Catholic music, hymnology, secular music of that historical period - mostly concerning the music of aristocratic court bands -, or regional musicological research. The next category of Sehnal's academic publications relates to the issues of pipe organs and pipe organ building in Moravia, especially in the 17th and 18th centuries. Last but not least, it is necessary to mention Sehnal's editions of early music. Jiří Sehnal is also the author or co-author of several important monographs and individually published books, as well as the writer of a wide range of entries in prestigious musicological and other encyclopedias. A great deal of Sehnal's scholarly work was published in German. However, one should not forget a number of writings of great importance published in English - for instance the monograph on the composer P. J. Vejvanovský and the Kroměříž music collection, which was highly appraised by the scholarly community.

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Josef Nešvera a hudba v olomoucké katedrále v letech 1884–1914

Author(s): Eva Vičarová / Language(s): Czech Issue: 1/2011

Nešvera Josef (1842, Hořovice - 1914, Olomouc), a major representative of Smetana and Dvořák composer's school, choir director, a much sought-after teacher and performer, an honorary member of many Czech and Moravian associations and the holder of state honors, conducted the orchestra of the Cathedral of St. Wenceslas in Olomouc for thirty years (1884-1914). In promoting the Cyrillic reforms he relied on his predecessor Pavel Křížkovský (1820-1885). His period meant the stabilization of organization and repertoire. The choir consisted of six singers and an equal number of pupils of the foundation school, it was strengthened by hiring scholars on Sundays and holidays. In his repertoire - except Křížkovský and numerous Nešvera's works - occurred compositions by Renaissance authors (J. Handl-Gallus, O. di Lasso, G. P. da Palestrina and T. L. de Victoria), representatives from the German reform-oriented schools (F. X. Witt, E. Stehle, J. B. Benz and M. Brosig) and finally compositional domestic range (J. B. Foerster, K. Stecker, F. Picka, F. Hruška, J. C. Sychra, etc.). Nešvera's foundation also enjoyed good reputation and it produced many celebrities who were also applied in the professional music sector (S. Tauber, H. and M. Doležil and J. Kvapil). During Nešvera's tenure, Olomouc Dom choir ranked among the best church ensembles in Moravia. The study deals with the compositional activities of Josef Nešvera. From more than 400 liturgical songs the sacramental significance reached 31 compositions and 4 requiems. Nešvera's compositional language is introduced through the analysis Missa sancti Theodori honorem in B flat major, Op. 67 (1893) and sacred cantatas St. Wenceslas (end of 80s of the 19th century).

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Vítězslav Novák als Tourist

Author(s): Lenka Křupková / Language(s): German Issue: 1/2011

In her paper, the author focuses on the folklorism of Novák in comparison with other Czech artists of the period. At the end of the 19th century, the painter Joža Uprka, the architect Dušan Jurkovič, and the composer Leoš Janáček were also looking for inspiration in the folk art and culture of Moravia and Slovakia. The author presents their biographical profiles and identifies similarities and differences of their artistic techniques.

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Jaroslav Křička und Olmütz

Author(s): Alena Burešová / Language(s): German Issue: 1/2011

Jaroslav Křička (27 August 1882 - 23 January 1969) was one of the renowned Czech composers who were attached to musical traditionalism. Apart from his profession as a composer, Křička also successfully followed career as a conductor, choirmaster, organiser, pedagogue, and publicist. His compositional output encompasses almost every musical style and genre. Křička also created a brand-new genre with his works for children. Although native of Moravia, Křička spent most of his creative life in Prague. He was always in touch with many semi-professional and professional musicians for whom he gratuitously composed occasional musical pieces. In the old Olomouc - the city with traditional professional institutions as well as a solid culture of amateur musicianship - Křička found an accommodating background and performers. Křička's contacts with Olomouc are visible for practically the whole of the last century. A closer look reveals that Olomouc was not only the place where composer's works were performed, but the city also functioned as a deep source of inspiration, which epitomized to Křička relationship to home and his inner attitudes.

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Wien um 1900 und die Wiener Rezeption der Werke von Zdeněk Fibich

Author(s): Vlasta Reittererová,Viktor Velek / Language(s): German Issue: 1/2010

Vienna was a city of many nationalities with a population coming from all parts of the monarchy. This fact established the prerequisites for relations of a positive nature and yielded positive results, such as the capability of communication in more than one language, opportunities for mutual cultural inspiration, and the like, but also created a hotbed for growth of xenophobic feelings aimed in various directions. Assimilated Bohemians, Moravians, and Slovaks with their pro-Austrian sentiments formed a strong contrast to German nationalists and thus served as a reinforcement for liberal and social-democratic political agendas. As concerns Vienna, Czechs were the only stratum of its population that could really be considered a national minority and acted as such in relation to the state and the land of their origin. The exclusive position of the Czech minority was determined by geographical proximity to the motherland, with which ties were maintained, and by its social makeup. No other minority created a structure of organizations and societies in Vienna with such a broad range of interests. The share of Bohemians and Moravians in the city's cultural life played a role in the reception of artists coming from those regions and of their works, in their integration into Viennese cultural life, and in generating feedback to the land of their origin. This contribution is devoted to the reception of works by Zdeněk Fibich on both levels: in official Viennese (German-language) musical life and in enterprises of the Czech minority. Period opinions concerning Fibich and his works are documented based on responses to performances of his works, while broader geopolitical and aesthetic associations are also suggested. Although incomparably fewer works by Fibich were performed in Vienna than by other Czech composers (quite apart from Dvořák, who clearly predominated), he did find his devotees and promoters in Vienna among journalistic, artistic, and private circles. Fibich was considered a modern composer with the courage to experiment, although he built on the bequest of his precursors and linked his work to theirs. He was called the continuation of the Smetana-Dvořák line of development, but was viewed as having freed himself from stylistically-narrow nationalist ties, taking instead a cosmopolitan stance.

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Progressive Stylistic Features in Fibich’s Late Opera Šárka (1896–1897)

Author(s): Nors. S. Josephson / Language(s): English Issue: 1/2010

Zdeněk Fibich's Oper Šárka entstand in den späteren 1890er Jahren und steht somit an der Schwelle zum angehenden 20. Jahrhundert. Ihre höchst konzentrierte motivische und intervallische Tonsprache wird vom tschechischen Komponisten systematisch entwickelt um ihre dramatische Ausdruckskraft zu verstärken. Außerdem werden ihre tonalen Stilmittel enorm erweitert. Letztere betonen oft Kleinsekundbeziehungen, so z.B. g-As oder C-Des in der letzten Szene des III. Aktes. Zudem verbindet Fibich seine schroffen dramatischen Gegensätze (die oft männlich-weibliche Konflikte betonen) auf meisterliche Art, eine Technik, die bereits auf ähnliche dramatische Polaritäten in den Opern Janáčeks hinweist. Obwohl sublimierte Erinnerungen an Smetanas Libuše und Wagners Tristan und Parsifal noch vorkommen (so besonders im herrlichen Liebesduett am Ende des II. Aktes), erreicht Fibich in Šárka einen künstlerischen Höhepunkt in der Geschichte der tschechischen Nationaloper.

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Variationen B-Dur für Klavier von Zdeněk Fibich – Fund eines Autographs

Author(s): Martin Rudovský / Language(s): German Issue: 1/2010

The report deals with the Variations in B flat major for piano by Zdeněk Fibich (1850-1900) which Vladimír Hudec, author of the Zdeněk Fibich: Tematický katalog [Zdeněk Fibich: Thematic Catalogue], believed to have been lost. Its complete autograph, however, was recently discovered by the author of this article in the music collection of the Prague Hlahol Choral Society. The discovery of this composition, therefore, has substantially changed the existing knowledge of the work-as shown in this paper, describing its context, such as the Fibich sources linked to it (including the Moser catalogue and the estate of Stanislav Kamenický). The article also points out the discrepancies found in the secondary literature.

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Zdeněk Fibich's Place in Janáček's Literary and Theoretical Oeuvre

Author(s): Eva Drlíková / Language(s): English Issue: 1/2010

Die bisherige Meinung, dass Janáček der Persönlichkeit Fibichs und dessen musikalischem Schaffen nur ausnahmsweise seine Aufmerksamkeit gewidmet habe, kann man nach einer ausführlichen Untersuchung seines literarischen und theoretischen Werkes nur bestätigen. Obwohl das Schaffen Fibichs (Janáček analysierte und beurteilte vor allem dessen Opern Hedy und Šárka) nicht im Zentrum des Interesses von Janáček stand, wusste er dessen unbestrittenen Qualitäten zu schätzen, sei es, was die Dramaturgie des Werkes betrifft, wie auch in Bezug auf seine eigene Auffassung von der Proportionalität, der ästhetischen Kriterien und dramatischen Wirkung einer Oper. Die Beurteilungen Janáčeks sind eigenartig und spiegeln sein bereits gereiftes kompositorisches Denken sowie auch seine langjährige Praxis eines Musikkritikers wider, dem die Objektivität bei der Beurteilung der Werke anderer Komponisten nicht fremd war.

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Music under the Sediment of Ideology: Development of the Reception of the Work of Otakar Ostrčil

Author(s): Markéta Kratochvílová / Language(s): English Issue: 1/2009

Gegenstand der vorliegenden Studie ist einerseits die Entwicklungsgeschichte der Rezeption des Werkes von Otakar Ostrčil als Komponist, andererseits sind es die Einflüsse, von denen die Rezeption im Laufe des 20. Jahrhunderts geprägt wurde. Otakar Ostrčil (1879-1935) war tschechischer Komponist, Dirigent und Organisator des musikalischen Lebens. Seine Ära im Nationaltheater, wo er fünfzehn Jahre lang die Stellung des Operndirektors innehatte, zeichnete sich durch systematische Dramaturgie und gleichzeitigen Aufschwung der tschechischen Operninterpretation aus. Von großer Bedeutung war sein kompositorisches Interesse, das vor allem dem Gebiet der Oper und der symphonischen Werke galt. Bei der Ermittlung des Stellenwertes der Musik von Ostrčil in der tschechischen Kultur und der musikalischen Fachliteratur kamen nicht selten auch außermusikalische, ideologische bzw. politische Aspekte zur Geltung, man wollte in seinen Kompositionen verschiedene Bedeutungen bzw. Motivationen gefunden haben. In einigen Auslegungen standen jeweils die subjektiven Wünsche und Einstellungen der Interpreten im Vordergrund. Insbesondere heutzutage muten ihre Deutungen einigermaßen zugespitzt an, als Aussagen, die ihrer Zeit verpflichtet sind und eher von den Verfassern zeugen als von der Musik dieses Komponisten selbst. Der Ton, der die Debatten über das Œuvre Ostrčils in nicht unwesentlichem Maße beherrschte, wurde von Zdeněk Nejedlý, der zeitgenössischen Autorität im kulturellen Leben mit späterem politischem Einfluss, angegeben.

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From Moravian Zauchtenthal through German Herrnhut to American Indians: On the Origins of Brass Music among American Moravians

Author(s): Jan Vičar / Language(s): English Issue: 1/2009

Die Studie, die an einen im Jahre 2002 in der Zeitschrift Opus musicum publizierten Artikel anknüpft, beschäftigt sich mit den kulturellen mährischen und böhmischen Wurzeln der Musik amerikanischer Mährer, die ab den vierziger Jahren des 18. Jahrhunderts von Herrenhut in der Oberlausitz nach Pennsylvania und Nord Carolina gelangten. Eine besondere Aufmerksamkeit wurde den Blechblasinstrumenten gewidmet, insbesondere den Posaunen, die im Leben der mährischen Kommunität, aber auch im Rahmen der Missionstätigkeit unter Indianern, eine besondere Rolle spielten. Es werden dabei auch wichtige Persönlichkeiten, die aus Zauchtenthal stammen, darunter zum Beispiel der berühmteste Missionär der mährischen Kirche David Zeisberger (1721-1808), erwähnt.

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Thus Composed the Philosopher: On the Occasion of the 160th Anniversary of the Birth of Friedrich Nietzsche

Author(s): Elena Letňanová / Language(s): English Issue: 1/2005

Friedrich Nietzsches philosophische Werke sind voll der Bemerkungen und Betrachtungen zur Kunst, insbesondere zur Musik. Mann konnte versucht sein, Nietzsches Interesse für die Musik aus der für ihn so schicksalhaften Begegnung mit Richard Wagner herzuleiten. Dem widerspricht aber ein umfangreicher musikalischer Nachlass, mehr als 70 vokal und instrumental Werke, der zur Hauptsache vor der Wagnerbekannschaft stammt. Nur 40 Werke überlebten den zweiten Weltkrieg; viele sind Fragmente, oder Kompositionen ohne klare Instrumentation. Nietzsche erhielt als Knabe von neun Jahren Klavierunterricht und wurde ein guter Klavierspieler und Improvisator, aber die Grundlagen des Komponierens wurde ihm nicht gegeben hatten; seinen musikalischen Arbeiten haftet immer etwas Laienhaftes an. Nietzsche entwickelte eine kurze aphoristische Forme von Variationen. Schumann, Wagner, Beethoven bedeuteten ihm das Höchste in der Musik. Die umfangreichste Fantasien mit der Charakteristik von Rapsodien, wie Hymnus an die Freundschaff oder dramatische Ermanarich erinnern uns an Beethoven und an Lisztische Transkriptionen. Gelingen ist ihm im Bereich der lyrischen Schubertischen Lieder mit Klavier (17) und der poetischen, melancholischen, romantischen Klavierstücken wie Im Mondschein auf der Puszta, So lach doch mal und Monodie und vierhändigen Monodie à deux (Lob der Barmherzigkeit).

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From folklore to world music: Czech scene

Author(s): Helena Chaloupková / Language(s): English Issue: 1/2007

World music as a typical product of a multicultural society does not have a strong position in the Czech Republic, is a result of complicated and long (mainly politically influenced) process. Ethnic fusions seem to be in their infantile stage there - performances, festivals etc. as well as their appearance in the press are more casual than systematic. It is more about enthusiasm of a few fans than about a business based on strategic plans. The process of infiltration of both local and exotic ethnic elements into Czech popular music has been slow and quite complicated on account of specific pressure from the socialistic governments. Besides the "official" folk music scene (heavily influenced by state surveillance) and again the "official" pop music scene (rejecting "western, non-socialistic" music), there was at least some sporadic contacts with Latin American, Indian, Caribbean, African, Gypsy music as well as a few interesting projects mainly inspired by Moravian folk music. The infiltration of ethnic elements into the Czech scene is not just a result of specific politic conditions. Admittedly, not until recent decade has Czech society been familiarizing itself with a rich multicultural life, a life that has been existing for more than 20 years in Western Europe. The situation after 1989 is considered as a fundamental and positive reversal of the history of intercultural communication in the Czech Republic. Opening the Czech borders either in economical or cultural meanings, caused crumbling of actual barriers, liberalization of both the market and thinking of people as well. At this moment, the situation in Bohemia and Moravia is much better with a huge influx of foreign ethnic tradition and at the same time a (re)discovering of domestic traditions (specifically, a complicated relationship to folk heritage that has its roots in the movement of so-called folklorism). A deep-rooted tradition to get to know and appreciate others from one's perspective has been largely attacked as intercultural communication slowly infiltrates the whole society. Presently, the quite conservative popular music scene offers world music projects, but only on the periphery. Few performers of folk based fusions remain on the edge of mass audience interest or business, and that could be said about top figures as well. Only a few of recordings have international distribution and only a few of musicians perform abroad. Among these exceptions are Hradišťan, Vlasta Redl, Ad libitum Moravia (Viklický, Pavlica, Lapčíková) and Čechomor, who several times took part in the world music festival in Germany, Rudolstadt. Viklický together with Lapčíková and Pavlica performed in Japan, Mexico and the USA. Teagrass and Věra Bílá and Ida Kelarová co-operate with foreign producers and they are regular guests of international meetings. Currently, Iva Bittová is the most successful "exported" figure of not only the Czech world music scene, but also, at the same time, of ethno-music and the so-called alternative scene.

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Seznam diplomových a bakalářských prací obhájených na katedře muzikologie Filozofické Fakulty Univerzity Palackého V Olomouci v letech 1993–2006

Author(s): Not Specified Author / Language(s): Czech Issue: 1/2007

List of bachelor and master theses at the department of musicology Of Palacký University In Olomouc In The Years 1993–2006.

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