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Bohuslav Martinů und der intellektuelle Skeptizismus

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Jonté G.

Hudební věda (Musicology)

2010

tom 47

nr 2-3

267-272

Those engaged in research on Bohuslav Martinů are not uncommonly viewed with amusement by Germano-centric musicology. Here Martinů’s aesthetic of ‘Latin’ clarity and simplicity comes up against opposition that does not seem justifiable through purely rational considerations. It was Martinů’s special desire to avoid exaggerated pathos and false tragedy; rather, music was to convey joy – in the sense of his models Mozart and Dvořák. Martinů speaks of ‘poetry’ and ‘absolute beauty’ as the ‘hidden essence of art’. It can be supposed that opponents of Martinů adopt an ideology of scepticism that veils their latent but ever-present desire for ‘poetic’ music.

ON THE DRAMATURGY OF MARTINU'S OPERAS (K problematike dramaturgie opier Martinu)

100%

Blahynka M.

Slovenské divadlo (Slovak Theatre)

2009

tom 57

nr 2-3

134-143

It is well known that Bohuslav Martinu never solved in two operas the same dramaturgic issue. Each opera has a new dramaturgic form, and each time, the quality of a libretto and the requirements of a medium via which the opera was transmitted were captured differently. Martinu was in constant quest of parallels and contrasts between the various options of style plurality of his music and the plurality of the forms of dramaturgic solutions of the 20th century opera. He was able to garner ingenious dramaturgic solutions from these parallels, which have retained their attractiveness for both the music theatre and contemporary opera.