Wyniki wyszukiwania - Biblioteka Nauki

1

Rescued by Transplantation. An unorthodox approach to ‘lost’ chansons by Johannes Tourout in polyphonic sources from Bohemia

100%

van Benthem J.

Hudební věda (Musicology)

|

2013

|

tom 50

|

nr 3-4

221-238

EN

Upon closer study, the brief three-voice compositions by Johannes Tourout preserved in Bohemian sources of 15th-century polyphony with Latin texts turn out to be problematic. By analyzing the musical component of these compositions, the author of the study has determined that the works are contrafacta of chansons. At the same time, he has attempted to find the French texts for which Tourout’s music may have been originally composed. Although the reconstruction is purely hypothetical, the results are an important argument in the current discussions of the musical culture of Central Europe in the latter half of the fifteenth century.

2

Koncepce liturgického roku v hymnologické činnosti Jana Augusty

100%

Baťová E.

Hudební věda (Musicology)

|

2012

|

tom 49

|

nr 1-2

33-44

EN

The goal of the present study is to bring together the questions of hymnological research with the history of the liturgy and homiletics. In the integrated liturgical conception of Jan Augusta as it is known to us thanks to two Viennese manuscripts and a newly processed, unique printed document from the Unity of the Brethren church, these areas cannot be separated, since they mutually support each other to create a whole. The author has therefore dedicated herself to the broader context of the creating of a new arrangement of Biblical readings and songs in the Unity of the Brethren church, regarding which there were disputes from its inception in 1545 until the deaths of Jan Blahoslav and of Jan Augusta in 1572.

3

The Transmission of Hymn Tune Stäblein 752 in Europe during the Late Middle Ages

100%

Mráčková V.

Hudební věda (Musicology)

|

2012

|

tom 49

|

nr 1-2

19-32

EN

The hymn, one of the most frequently encountered songs in Western European sources, poses many questions with regard to the conflict between common and local traits. The Office hymns on which I focus were transmitted mainly in fourteenth- and fifteenth-century sources, which contain huge collections of hymns for different liturgical occasions, including those in honour of local saints. We still do not have a reasonable explanation of how or why the same tunes were adapted for different texts (or vice versa). The ‘Franciscan’ hymn melody Stäblein 752 (originally devoted to St Francis), for example, which occurs with different hymn texts in Austria, Germany, Bohemia, Poland and Spain, has many melodic variants reflecting regional characteristics. Why was this particular melody transferred to and adopted in other parts of Europe, where there was certainly no shortage of alternative hymn melodies? Is it a question of the adoption of favourite melodies in the Middle Ages? Were the same tunes used for hymns in honour of both male and female saints? What are the implications for us when the same ‘local’ tune can be identified in polyphonic hymn settings?

4

Janáčkovy srbské folklorní inspirace: Zpěvy lidu srbského

100%

Procházková J.

Hudební věda (Musicology)

|

2011

|

tom 48

|

nr 4

393-402

EN

This study is concerned with determining the previously unknown textual sources for Janáček’s lost chorus Ženich vnucený (The Enforced Bridegroom) from 1873, the composition of which testifies, as does that of his chorus Osudu neujdeš (You Cannot Escape Your Fate), to the composer’s interest at that time in South Slavic folklore. He took the texts for both pieces from the collection Zpěvy lidu srbského (Songs of the Serbian People) – Vol. I, Prague 1872 – in Czech translations by Siegfried Kapper (1821–1879), in which Kapper presented to the Czech public folk poetry from the collections of Vuk Stefanoviç Karadžiç (1787–1864). Kapper’s edition of the Czech translation was known also by Antonín Dvořák and Josef Suk, who used it in their vocal works composed to translations of Serbian folk texts.

5

Johannes Tourout and the Imperial Hofkantorei ca. 1460

100%

Gancarczyk P.

Hudební věda (Musicology)

|

2013

|

tom 50

|

nr 3-4

239-258

EN

Johannes Tourout is known to us from several Central European music sources and from a Vatican document dated 3 July 1460, which mentions him as a cantor of Emperor Frederick III. The author establishes a timeframe for his period of activity in Central Europe (late 1450s – before 1467) and postulates several hypotheses concerning the composer’s career. The author has reconstructed the personnel of the imperial cantors’ ensemble around the year 1460 and provides detailed biographies of its members.

6

Nová zjištění k latinské karnevalové opeře Facetum musicum / Musicalisches Kurtzweil-Spiel (Osek 1738)

100%

Spáčilová J. , Macek O.

Hudební věda (Musicology)

|

2011

|

tom 48

|

nr 2-3

143-160

EN

This article presents new findings concerning a Latin carnival opera preserved in the collection from the Osek Cistercian monastery now held by the Czech Museum of Music in Prague under shelfmark XXXIV A 191. The opera has no title page, but in the manuscript librettos (shelfmark B 7478 and B 7479) it is called a ‘musical piece for passing the time’ (Facetum musicum / Musicalisches Kurtzweil-Spiel). The music is preserved in manuscript performing parts dated 1738. When the opera was performed in 2004 it was discovered that this is not a work by an unknown Czech composer but rather a retexted pasticcio of Italian operatic arias. Identified so far are the overture (sinfonia) and six arias, coming from the following operas: G. F. Handel’s Agrippina, Antonio Lotti’s Isacio tiranno (identified based on the score of Carmine Giordani’s La Vittoria d’Amor coniugale, which is an arrangement of that opera), Lotti’s Il tradimento traditor di se stesso, and Antonio Vivaldi’s Orlando finto pazzo. It has not yet been determined who arranged the work. The present article includes a thematic catalogue of arias, as well as a comparison of the texts of the identified arias in their adaptations as opposed to their original forms.

7

„Naše pouť“. Svatojanské hudební akademie Spolku českých žurnalistů na pozadí proměn svatojanského kultu v letech 1878–1885

100%

Kolátorová P.

Hudební věda (Musicology)

|

2013

|

tom 50

|

nr 3-4

271-298

EN

The Academies of St John presented by the Society of Bohemian Journalists in the form of a series of orchestral concerts held in Prague took place as a part of celebrations in honor of St John of Nepomuk held each May from 1878 until 1885. The Society of Bohemian Journalists held the events for the purpose of raising money, and on an ideological level, the events were intended to create room for the presentation of orchestral works by Bohemian composers. The organizer of the Academy was the writer, poet, and journalist Jan Neruda, whose feuilletons and reviews in the newspaper Národní listy reflect on the academies that they produced, but on a broader level, they also reveal his attitude towards the saint and the traditional veneration of John of Nepomuk. As a source, this period correspondence of the direct or indirect participants in the Academies of St John or in another project with similar aims (the Slavonic Concerts of the Academic Readers’ Association) has not previously been exhaustively studied, and it offers insight into Prague’s concert life at the time.

8

Hudební album Fr. A. Urbánka. K nereflektovaným vydáním děl Antonína Dvořáka, jeho současníků a k některým aspektům dobové nakladatelské praxe

100%

Matějčková H.

Hudební věda (Musicology)

|

2013

|

tom 50

|

nr 3-4

299-334

EN

This study is dedicated to a collection of compositions titled Hudební album (A Musical Album), volumes of which were issued in print from 1891 until 1896 by the Prague publisher Fr. A. Urbánek. The collection focused primarily on piano compositions by contemporary Bohemian composers. The first part of the study is devoted principally to the contents of the collection and to the circumstances of its publishing, then the second part examines the printing of compositions by A. Dvořák (All through the night a bird will sing from the song cycle Evening Songs, op. 31, Furiant, op. 12/2, and Dumka, op. 12/1) in Hudební album in versions that differ from the first editions published by Fr. A. Urbánek. This fact has not yet been researched by Dvořák scholars.

9

Moravské prameny mešní tvorby Antonia Caldary: problém autenticity

100%

Spáčilová J.

Hudební věda (Musicology)

|

2012

|

tom 49

|

nr 1-2

45-80

EN

This article is dedicated to the problem of the erroneous attribution of authorship of Masses to Antonio Caldara in Moravian collections of church music. It contains information about extant records of Masses by Caldara and methodological discussion concerning the reliability of sources with respect to authorship. Also included is an overview of Caldara sources of Moravian provenience, including both extant music and entries in period inventories. Attention is dedicated both to compositions by others regarded in Moravia as works by Antonio Caldara, and to works by Caldara under the names of other composers. Works identified as having been written by other composers are presented in the form of tables, including signatures of all concordant sources found so far in European libraries. The purpose of the article is to give an idea of the standing of Caldara’s works in the repertoire of Moravian church music and to prepare material for a future thematic catalog of Moravian sources of Masses by Caldara.

10

Hudební produkce Žofínské akademie v letech 1841–1850

100%

Matějčková H.

Hudební věda (Musicology)

|

2011

|

tom 48

|

nr 2-3

173-200

EN

This study is aimed primarily at acquainting the reader with musical events presented by the Žofínská akademie / Sophien-Akademie during the first decade of this society’s existence, which is a topic that has not yet been investigated. In the programs of the various events, reconstructed based on press reports from the time, one can easily trace changes in their programming conception that resulted mainly from priorities established by the academy’s leaders. The study also includes a summary of the institution’s origin and structure, and characterizes the various types of musical events it presented or in which it participated.

11

„… jistý stupeň ztráty vnitřního napětí.“ Nad notovými rukopisy Luboše Fišera

100%

Hájek J.

Hudební věda (Musicology)

|

2011

|

tom 48

|

nr 2-3

221-292

EN

This study summarizes new knowledge acquired through cataloguing materials from the estate of the composer Luboš Fišer (1935–1999). An inseparable part of the study, and its main contribution, is a complete annotated list of Fišer’s compositions intended for the concert hall. The introductory text formulates and considers various issues connected with the cataloguing of the materials and associated factual matters. In addition to providing a general characterization of the collection, it opens a series of new topics, above all various aspects of notation including analysis of special traits thereof, as well as such matters as period reception and changes in tonal material.

12

Leoš Janáček a brněnské paměťové instituce

100%

Procházková J.

Hudební věda (Musicology)

|

2013

|

tom 50

|

nr 3-4

335-350

EN

This study deals with the heretofore unknown activity of Leoš Janáček at the two main museum institutes in Brno. It asserts that from ca. 1888 until the end of his life, Leoš Janáček was a member of the Brno Museum Association, and it also makes reference to previously unknown sources from scholarly literature to which he had access as a member of the association. A surprising discovery is that the composer’s participation in the German-Czech Moravian Museum Society from 1900 was connected with the creation of the first collection of Moravian composers’ manuscripts (1903) and with an attempt to obtain financial support from the Provincial Committee for a printed edition of works by Moravian composers. We thus get a more complete picture of Janáček’s interactions and contacts in the environment of the Czech and German intellectuals who surrounded him and of the composer’s involvement in professional activities.

13

In the Shadow of the Conservatoire: the Prague Organists College (1830–1889/1890)

100%

Freemanová M.

Hudební věda (Musicology)

|

2011

|

tom 48

|

nr 4

369-392

EN

In the early decades of the 19th century, three important music institutions were founded in Prague – the Tonkünstler Wittwen-und-Waisen Societät, the Conservatoire and the Organists College, opened in 1830 by the Verein der Kunstfreunde für Kirchenmusik in Böhmen (the Society for Sacred Music in Bohemia, founded in 1826). The aim of the Society was to awaken an interest among the wider public in sacred music which, at that time, was neglected and in decline. The Organists College offered tuition to members of the Christian churches as well as to Jewish communities. During the one-year course, later extended to two, and subsequently to three years, the organists, and later also choirmasters, acquired a knowledge of harmony, counterpoint, figured bass, improvisation and composition, and also learnt how to perform sacred music. The school was attended by numerous outstanding musicians, from home and abroad, among them Antonín Dvořák and Leoš Janáček; in 1890, it merged with the Prague Conservatoire.

14

Neznámý hudební jednolist Jana Otmara Dačického (1590)

100%

Baťa J.

Hudební věda (Musicology)

|

2011

|

tom 48

|

nr 4

361-368

EN

This report draws attention to a previously-unknown music broadsheet of Czech provenance deposited in the Newberry Library in Chicago under the call number ‘Case folio VM 1705.L232’. Its content is described and discussed and the printer identified; an attempt is also made to interpret the composer’s monogram ‘S. P. Z. P’. Together with other material for comparison, the report presents the printed sheet itself to the broader scholarly community for discussion, in the form of a facsimile and a critical edition.

15

Česká reformace a hudba. Studie o bohoslužebném zpěvu českých nekatolických církví v období 1420–1620.

100%

Horyna M.

Hudební věda (Musicology)

|

2011

|

tom 48

|

nr 1

5-40

EN

This study is concerned with the relationship between musical repertoire and worship services in non-Catholic churches. The repertoire of the Czech Reformation retained many traits from Catholic worship services, such as a large share of Gregorian chant (translated into Czech) and of songs related to late Medieval cantiones. Chant and polyphony were entrusted to the schola (choir), while monophonic songs could be sung by the whole congregation. The main part of the article is devoted to non-Catholic liturgical services – two types of mass (Matura and Summa) and several of the canonical hours (Matins, Prime, Vespers, and Compline) – and to forms of vocal music associated with them. Prescribed liturgy for worship services is compared with the preserved musical repertoire with the goal of understanding better the place of paraliturgical forms (motets and songs) in the framework of vocal music used in worship services.

16

Cantio, Lied or Chanson? The Strahov Codex as a 15th Century Song Treasury

100%

Hlávková-Mráčková L.

Hudební věda (Musicology)

|

2013

|

tom 50

|

nr 3-4

259-270

EN

A large number of songs have been preserved in the Strahov Codex (ca. 1465/67–1470), an important collection of polyphony from the latter half of the fifteenth century. These songs were once generally regarded as cantiones in Latin or as instrumental compositions, but a detailed study of this repertoire shows that the manuscript is an important source of secular compositions, and especially of chansons. Most of these songs have been preserved only in this manuscript. Questions remain as to when they were composed and how they found their way into a manuscript that originated in one of the Catholic regions of Bohemia.

17

Ikonografie Antonína Dvořáka

100%

Dobrinčicová J.

Hudební věda (Musicology)

|

2011

|

tom 48

|

nr 4

325-360

EN

This study deals with the numerous visual depictions of the well-known Czech composer Antonín Dvořák, both photographic and artistic. His lifespan covered the emergence and further development of photography. However, with his rising fame in the second part of his life the need arose to provide ‘true’ likenesses in classical disciplines such as portrait painting, sculpture, and graphic art. The study discusses numerous individual images of Dvořák, and presents many of them in visual reproductions. Only on a few occasions did he actually sit for an artist; the majority of the images are photographs taken in studios or portraits based on photographs. His death in 1904 stimulated further efforts to commemorate him in public spaces and funereal sculpture.

18

K možným předlohám libreta Dvořákovy opery Vanda a k jeho dramatické výstavbě

100%

Gabrielová J.

Hudební věda (Musicology)

|

2012

|

tom 49

|

nr 3

233-246

EN

The article deals with select adaptations of the Vanda-theme in the 19th century dramatic writing (Zacharias Werner, Tekla Łubieńska, Francyszek Więżyk, and Matija Ban). On the basis of these works, possible models for the libretto of Antonín Dvořák’s Vanda op. 25 are discussed.

19

Ein kleiner Beitrag zur Brahms-Forschung

100%

Nouza Z.

Hudební věda (Musicology)

|

2011

|

tom 48

|

nr 2-3

201-208

EN

This article is devoted to two photographs of Johannes Brahms taken by the Viennese painter and sculptor Maria Fellinger in 1893 and 1895 which Brahms inscribed respectively to Antonín Dvořák and his daughter Otilie. The author discusses the timing and the circumstances under which Brahms made the inscriptions and presents facsimiles thereof; in addition, based on a review by Hanslick in the Neue Freie Presse he corrects information found elsewhere concerning the program of the Vienna concert of the Bohemian Quartet given on 27 March 1896.

20

Bohuslav Martinů’s Symphony No. 4 (1945). Evaluation of the Sources and Effects on Performance

100%

Choa S.

Hudební věda (Musicology)

|

2011

|

tom 48

|

nr 2-3

209-220

EN

As far as it is known, there are more extant sources for Martinů’s Fourth Symphony than any of his other symphonic works. Examining these sources reveals a series of changes Martinů made in his score since its first completion in June 1945. Even though the changes are not very substantial, they were sufficiently significant to alter an interpreter’s view of the orchestration of the work; in particular, the role of the piano within the orchestral texture. Collecting and examining the sources per se have also led to a better understanding of performance, editorial and publishing practices in Martinů’s time, and consequently, a clearer view of the composer’s intentions behind the sheer notations in the score.