International Conference of Doctoral School for Theater and Performing Arts and the Research Center of The Faculty of Theater at the George Enescu National University of Arts
Joseph Haydn (1732-1809) and his brother Michael (1737-1806) were the most popular composers in eighteenth-century Bohemia, and their compositions have been preserved in collections in Prague, among other places. The study deals with Haydniana in the collection of Ondřej Horník (1864-1917) kept at the National Museum - Czech Museum of Music and with sacred works in particular. It notes the performances of compositions by both Haydn brothers given by the Brothers Hospitallers in Kuks, gives concrete examples of changes to instrumentation depending on changing tastes during the period, and touches on cases of doubtful authorship and practical questions concerning the manufacturing and distribution of paper. Among other things, it affirms the importance of Ondřej Horník's activity as a collector.
In the course of research on fragments from the National Museum Library, a large torso was discovered containing hitherto unknown organ tablatures from the early seventeenth century (shelf mark CZ-Pn 1 K 219). The author of the article reassemble the torso based on signatures and analyzed its content, which consists of intabulations of sacred compositions by leading Renaissance composers (e.g. Orlando di Lasso, Tomás Luis de Victoria, Jakob Handl-Gallus) as well as some lesser-known composers. On the basis of analysis, she then focused her attention on Silesia and the German-speaking milieu of northern Bohemia and Moravia, compared the tablature with similar sources from Czech and foreign collections, and placed it in the context of musical practice in the milieu of Lutheranism.
This study deals with Bedrich Smetanas encounters with the legacy of William Shakespeare. The introduction is devoted to Smetana’s participation at the celebration of Shakespeare’s 300th birthday in 1864, at which he took part in the organization and dramaturgy as a conductor and a composer. The next part deals with the possible sources of Smetana’s knowledge of Shakespeare’s plays, followed by compositions inspired by specific dramas. It describes the circumstances of the genesis of the symphonic poem Richard III and of the piano composition Macbeth and Smetana’s conception of those works’ subject matter in relation to the shift of his artistic orientation towards programme music during his stay in Sweden. Above all, on the basis of their exchanged correspondence, the study then examines the ups and downs of Smetana’s relationship with the Eliska Krásnohorská and the composer’s unfinished opera Viola based on Twelfth Night.
As part of his research on development of the traditions of “Jan Hus” and “Hussitism” as musical subject matter, the author of the article has concentrated on 1848, the Year of Revolution. The first part of the text introduces the texts of revolutionary songs and outlines the circumstances that led to the transformation of the reception of historical traditions, and thereby led to the new form of their influence on music. The second part is based on the contents of songbooks in which songs about Jan Hus and Hussitism were given a place of prominence. The concluding third part offers a retrospective of the development of (musical) theatre. Playing a dominant role is the music to the drama Žižkova smrt (The Death of Žižka), which was composed by Frantisek Skroup and has recently seen a revival in contemporary dramaturgy.
Dvořák's Mass in D was commissioned by the Czech architect and visionary Josef Hlávka for the consecration of the chapel of his mansion in Lužany; the première of the original version of the work was given at a private service on 11 September, 1887. However, the focus of the present article is on a version of the work subsequently prepared by Dvorak, incorporating an added part for violoncello and bass, and submitted by him to the publishing house of Novello. Though it came to be overshadowed by the later orchestration of the work, it possesses virtues worth cherishing. Haig IJtidjian conducted the first modern revival of this version in Cologne on 8 July, 2014 and is currently preparing a critical edition for publication. A thorough critical investigation of all extant manuscript sources (some hitherto neglected) is seen to shed light on the composer’s thinking and to help clarify his intentions more generally.
A commemorative album with the correspondence of Josef Suk (1874-1935) belonged to his son. It contains both commemorative inscriptions made by persons who were in contact with the composer Josef Suk, and also correspondence addressed to the composer, and later to his grandson - the violinist Josef Suk (1929-2011). The album contains a total of 237 items. The article draws attention to certain figures from politics (T. G. Masaryk, František Drtina), authors and poets (Otakar Březina, Antonín Sova, Karel Václav Rais), painters (Hugo Boettinger, František Bílek, Otakar Nejedlý, Čenĕk Kvíčala, Adolf Kašpar), musicians (Václav Talich, Jaroslav Kocian, Vítĕzslav Novák, George Szell, Vladimír Helfert, and Suk’s pupils - Pavel Bořkovec, Julius Kalaš, Jaroslav Jezek, Emil Hlo- bil, Bohuslav Martinů, Miroslav Pone, Dalibor C. Vačkář, Vladimír Štĕdron, Mihovil Logar), and other persons.
This study gives an overview of lute and guitar tablatures in the holdings of the National Museum (at the Czech Museum of Music and the National Museum Library), and it briefly characterizes them in the form of a catalogue. Since music from the Strahov and Lobkowicz collections, which also involve a rather large set of tablatures, has been returned to its original owners in restitution, the study provides up-to-date information about where this historical material is now kept. It reflects new knowledge and discoveries (lute tablature with the shelf mark KNM Nostic gg 412). The composers presented (e.g. G. P. Foscarini, P. Mutti, N. Vallet, Ch. Mouton, P. I. Jelínek, A. Dix, M. Galilei, J. Dowland, Ch. de Lespine, J. Regnart, S. L. Jacobides, J. Ch. Beyer and many others), living and working in the sixteenth through the eighteenth centuries, are primarily Italian, French, German, and Czech, and with respect to social classes, they represent practically all of the environments where playing on plucked instruments was cultivated.
Bedřich Smetana made three lists of his own compositions. The first, dated 1841, presents a selection of compositions from the period of his grammar school studies in 1840–1841. The second was made in Sweden in late 1858 and early ’59, and it contains works composed in Prague and Gothenburg between 1845 and 1858. The last, most extensive list was made gradually from 1875 until 1883. The most important list is the second one, which gives a nearly complete overview of Smetana’s works from the 1840s and ’50s, and it is of particular value for the Prague period through 1856, during which the genesis and chronology of his works are less clear. The introductory part of the study characterizes all three lists and provides information about their creation. This is followed by an edition of the second list with commentary. The edition presents a complete version of the list based on the original, and in the appended commentaries, it explains and, where necessary, corrects Smetana’s information on the basis of the sources and of the discoveries of existing Smetana research.
This study reports on interesting holdings in the musical iconography collection of the Czech Museum of Music. Drawings by the sculptor Karel Otáhal (1901–1972) that are related to music and musicians were created for the most part at concerts of the Prague Spring festival between 1946 and 1969. He had already begun making portraits of musicians by the end of his studies, when he created a sculpture of Jan Kubelík. His works are a specific expression of portrait realism and of the ability to capture the typical movement and characteristics of the person depicted. He met in person with musicians, and his drawings bear valuable dedications and commemorative musical quotations by important figures of Czech and foreign music. Unlike the other creators of such drawings, he was merely an enthusiastic observer, but not a caricaturist. Otáhal’s drawings serve as a unique source on the history and dramaturgy of the Prague Spring festival, including its politicization in the 1950s.