DOCSLIB.ORG

Marketing Fragment 6 X 10.T65

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Marketing Fragment 6 X 10.T65 Cambridge University Press 978-0-521-02772-4 - Janacek Studies Edited by Paul Wingfield Index More information Index Abbate, Carolyn, 119, 263 Ayrey, Craig, 200,243, 245, acoustic scale,249,251,252,253, 265n 254, 256,257, 260 Adelaide, 148, 155 Bach,Johann Sebastian,7,68 Festival,148–52,159,165 ‘Es ist genug’,249 Festival Theatre, 150,159 Bakala,Brˇetislav, 64n,76,176 South Australian Symphony Baker, James,246 Orchestra,150 Bakhtin,Mikhail Mikhailovich,68, State Opera of South Australia 71 (formerly New Opera of South Bardac,Emma (née Moyse) 265 Australia),148,150, 152, 159, Barraqué, Jean, 190–1,192, 193, 199, 160, 161 201, 208–9,210–11,213,215, Adès, Thomas,vii 235, 240–1,243, 254 Allman,Robert, 157 Bartók, Béla, 136n American Musicological Society, Bartoˇs, Frantiˇsek,127n 192 Bauer, Glen, 121n, 207n,245n Anderson, Ross, 149 Beach,David,246n Ansermet, Ernest,232,235 Beckerman, Michael, viii, 3n, 4n, 5, Antokoletz,Elliot,254n 55n, 104n,121n, 144n,183, Aristotle,74 184n,185–6,207n, 221,225n, Aristoxenus, 225–6,227 245n,247n, 248n Armfield,Neil,164,165,166 Beethoven, Ludwig van,64,68,128, Arrighi, Luciana,159 202 Asher, Linda,110n Missa Solemnis, 143 Ashkenazy,Vladimir, 232 Symphony no. 5, 188,262 Auckland,155, 156 Symphony no. 6, 264 Auden,W.H., 8, 77–8 Bekenntnis,59 aufgehobene Tonalität, 247,248, Belfast,166 255 Bellini,Vincenzo, Norma,78 Austin,William,191 Bellman,Jonathan,122n 281 © Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-02772-4 - Janacek Studies Edited by Paul Wingfield Index More information index Bent, Ian,185, 204n,226n, 228n, Brixi,Frantiˇsek Xaver,Erat unus 244n, 246n cantor bonus,87 Berg,Alban,5, 6, 144 Brno, 29, 129n,143, 170–7,205, Lulu,9 207 Violin Concerto, 248–9,257 Beseda concerts, 173 Wozzeck, 9, 10, 64, 117 Brno National Theatre, 177 Berlin,166 Janácˇek Archive, 202n, 206n Staatsoper, 64n Publications Berlin Philharmonic Orchestra, Hudební besídka, 177 205 Lidové noviny, 68, 269 Berman, Laurence, 192,193, 196, Publishers 201, 210–11,212–14,218, Barviˇc, Jozˇa, 173 235–6,237 Benedictine Printing House, Berry,Wallace,227–8 172, 174,175–7 Bildungsroman, 262–3 Friends of Art Club, 30n, 37, Biss, Rod, 162n 173–5 Bizet, Georges,Carmen, 78, 123 Gregor, Josef, 177 Bjørnson, Maria, 157 Pazdírek,Oldrˇich, 172–3,175–7 Black, Leo, 189n Písˇa,Arnosˇt, 172 Blanks,Fred, 157,158, 165 Svoboda,Boleslav, 177 Blaˇzek,Zdenˇek, 80, 184, 185,206n, Winkler, Karl, 172,173 215n, 221n,223n, 224n,225n, Brod,Max,60,64,176n,205,206 247n Browne, Lindsay, 154 Bogart, Humphrey, 118 Bruckner,Anton, 11 Bojkovice (Moravia): Bunˇata, Bülow, Hans von, 170 Vladimír (publisher), 176 Burghauser, Jarmil,23n, 30n, 31, Bond,Russell,156 32n, 35n, 37n, 40n Bouis,Antonia,4n Butlin,Roger, 157 Boulez,Pierre, 189, 191,192, 193, 195, 198,200, 207, 232,237 Cadle,Guy, 163 Brahe,Tycho, 111 Campbell,Ian,161 Brahms,Johannes,5, 6, 7, 128,133, Canberra, 154 170, 245 Cˇapek,Karel, 111–12 Branberger, Jan, 177n,205 The Makropulos Affair, 111–17, Brecht, Bertolt, 155 120, 125,165n Bridgewater, Tim, 162 Rossum’s Universal Robots, 111 Brisbane,166 Carter, Roy, 247n Briscoe,James,191 Casella,Alfredo, 205 Britten, Benjamin Cˇech,Svatopluk,The Fiddler’s Child, Billy Budd, 9, 14,16 37–40,42–3,55n Death in Venice, 159 Cˇelansky´, Ludvík, 205 282 © Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-02772-4 - Janacek Studies Edited by Paul Wingfield Index More information index Charpentier, Marc Antoine,7 Images for orchestra, 189,197, Charpentier, Gustave,Louise,14 200, 205 Chekhov,Anton, 14 Jeux, 189–90,191,193, 195,197, Chew, Geoffrey, vii, 9n 198, 233 Chicago, 166 La mer, viii,184, 186–223,229–38, Chlubna, Osvald,64n, 76, 261 240–4,248,249–62,264–81 Chopin,Frédéric, 7, 128 Nocturnes, 205 Chopin,Kate, The Awakening, 270 Pelléas et Mélisande,7,8,9,10, Christchurch, 166 187, 200,205, 206,207 Christiansen, James,160 ‘Poe’Symphony, 265 Cillario,Carlo Felice,157 Prélude à l’après-midi d’un faune, Coad, Conal, 163 188, 191 Cologne, 189 String Quartet, 205 Cone, Edward, 228 Suite bergamasque, 205 Connell,Elizabeth,153–4,155 Three Sonatas,188 Cooke, Deryck, 244n Debussy, Lilly (née Texier), 265 Cooper, Grosvenor, 227 Defoe, Daniel,Moll Flanders, 268 Copley, John, 153,154, 155 Delius, Frederick, 5 Coppola, Piero, 188 Demel, Jiˇrí, 69n Covell, Roger, 156, 161 Dempsey, Gregory, 150,152, 158, Cox, David, 193, 209, 210–11,213, 160 241 Denygrová,Antonie,163 Crowe, David, 121n, 122n developing variation, 189 Dickens,Charles, Great Dahlhaus,Carl, 57n, 66–7 Expectations, 263 Danton, 102 direct discourse, 79–108 Danube, the,145,262, 268 dno scˇasovací (scˇasovací base),222–5 Dargomyzhsky,Alexander Dömling,Wolfgang, 194,208, Sergeyevich,Rusalka, 270 210–11,213, 241 Dart,William,163 Donizetti, Gaetano, Lucia de Davison, Peter, 163 Lammermoor,78 de Man, Paul, 200,245 Dostoyevsky, Fyodor Mikhail,16, Debussy, Claude, 3, 7, 8, 15n, 61,64, 56–66 67, 187–9,191,193, 194,195, Crime and Punishment,71 196, 197,199, 200,205, 206, Devils,71 208, 215,221, 236,237, 264,265 The Brothers Karamazov, 58n, 63 Children’s Corner, 205, 206,238 The Idiot,71 La chute de la maison Usher, 265 Notes from the House of the Dead, Deux arabesques, 205 56–65,68, 69–76,78, 108 En blanc et noir, 265 Notes from the Underground,70 Fêtes galantes, set 1,206 Poor People, 71–2 283 © Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-02772-4 - Janacek Studies Edited by Paul Wingfield Index More information index Dowd, Ronald, 157 Fauré,Gabriel, 7 Downes,Edward, 153,154 Fibich, Zdeneˇk, 37 Drabkin,William, 204n,226n, 228n, Blaník,48 244n, 246n Firkusˇn´y, Leosˇ, 63n Dresden, 166 Firkusˇn´y,Tatiana,184–5n Drlík,F.,176 Flaubert, Gustave, Madame Bovary, Dunsby, Jonathan,265,272 264, 267 Durand,Jacques, 190n Foerster, Josef Dusˇa, Ferdisˇ,176 Eva, 268 Düsseldorf, 166 Legend of Happiness,54 Dvorˇák,Antonín, 6, 8, 15, 37, 64, Fonseca,Isabel,122n 128, 170,172, 206 formalism,4, 67, 68, 262 Dimitrij, 48n Forte,Allen, 245–6 The Golden Spinning Wheel, 48, Fowler, Henry, 227 55, 184n Frank,Joseph, 56–7 The Jacobin,87 Fretwell, Elizabeth,155,156 Nature,54 Freud, Sigmund, 263 The Noon Witch, 48, 55, 184n Furtwängler,Wilhelm, 205 Rusalka, 112, 270 The Water Goblin, 48,55, 184n Gard, Robert, 153, 158,159 The Wild Dove, 48, 55, 184n,269 Garrett, David, 154n Dyk,Viktor, 63 Gestehen,59 Gifford, Henry, 56n Eco, Umberto, The Name of the Rose, Gilson, Paul, La mer, 187 68, 70 Glyndebourne, 166 Edinburgh Festival, 149 Festival,156,157 Edmonds,Thomas, 151, 160 Goethe,Johann Wolfgang von, 71 Edwards,Gale,163 Gogol,Nikolai Vasilyevich, 67 Eimert, Herbert, 189, 198, 199 Dead Souls,56 Eisenstein,Sergei Mikhailovich, 74 Taras Bulba, 43–4,46, 55 Eisler, Hanns,vii Golden Section, 136n, 195–7,236–7 Elder, Mark, 157 Gousset, Bruno, 198 Eliot,George,The Mill on the Floss, Gozenpud,Abram,66n 270 Greager, Richard, 163 Elisˇka, Radomil, 37n, 40n Green, Douglass, 192,215 Erben, Karel, 48, 55 Greimas,A. J., 268 Everist,Mark, 265n Griffiths, Dai, 184n extended tonality, 248–9,251, 257 Grundgestalt, 245 Gurney, Ivor, 5 Fábián,Ladislaus,188 Gyger, David, 153,154, 158, 160, Faltusˇ, Leosˇ,60n 163, 165n 284 © Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-02772-4 - Janacek Studies Edited by Paul Wingfield Index More information index Haag, Stefan,149, 150 Impressionism,191 Hamburger, Paul, 40n Ives,Charles,5 Hammet,Dashiell,The Maltese Falcon, 118 Jackendoff, Roy, 228–9 Hannan, Eilene, 155, 157 jádro (kernel), 248,256 Hanslick, Eduard, 68 Jakobik,Albert, 194–5,209, Harris,Geoffrey, 160 210–11 Hauptmann, Moritz, 184, 226 Janácˇek, Leoˇs Haydn, Joseph, 1 Works Healey, Ken, 160, 161 The Adventures of the Vixen Hegel, Georg Wilhelm Friedrich, 66, Bystrouˇska, 13, 16, 34, 95–101, 226 110, 120,125, 130,136, 139–43, Ästhetik, Part III,226 144, 146–7,156–7,164, 166, Heine,Heinrich,70 207, 245,268 Helfert,Vladimír, 80 Amarus, 175 Hellmesberger Quartet, 170 Anna Karenina, 268 Helmholtz,Hermann, 184,225 The Ballad of Blaník, 36, 48–55, Hemingway, Ernest,‘The Hills Like 207 White Elephants’,110 The Beginning of a Romance, Herbart, Johann,144 79–80,81–2,93 Higonnet,Margaret,267 Capriccio, 7, 18n, 34–5 Hince,Kenneth,151,161 Concertino,7,34 Hindemith, Paul,Die Harmonie der The Danube, 207,266, 269 Welt, 112 Detvan Songs (Brigand Ballads), Hoad,Brian,154,156,158 133–6,141,146 Hoffmann, E. T.A. The Diary of One Who Atlantis,66 Disappeared, 11, 13, 16, 17n, Dschinnistan,66 68–9,72, 121, 122–3,125, Hofmann,Josef, 170 175–6 Hokusai,Katsushika,The Hollow of Exaudi Deus, 170, 172 the Wave off Kanagawa, 191,194 The Excursions of Mr Broucˇek, Hollander, Hans,40, 80 29–30,89–92,148–52,156, 159, Holloway, Robin, vii 165, 166 Homer, 58 Fairy Tale,36 Howat, Roy, 192,193n, 194,195–7, Fate, 6, 9, 13–14,86–9, 166 199, 201,208–15,218,220, The Fiddler’s Child, 36, 37–43,48, 236–7,241 55, 175 Howell, Roger, 160 From the House of the Dead, vii,8, Hrábal,Bohumír,‘Romance’,121 12, 13, 14–16,57, 60–5,73–8, Hrub´y, Jaromír (alias H.Jarosˇ), 56n, 79, 101,108, 166 60 Glagolitic Mass, 7, 11, 13, 113,149 285 © Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-02772-4 - Janacek Studies Edited by Paul Wingfield Index More information index Janácˇek, Leoˇs (cont.) Suite for Strings, 6, 176–7 Her Stepdaughter (Jenu˚fa), 6, 54, Taras Bulba, 36, 43–8,55, 207, 82–5, 86,101, 110, 130,150, 266 152–6,157, 158,161, 164,166, Ten Czech Hymns, 172 171, 173–4,268 Violin Concerto,‘The Pilgrimage Idyll, 6, 129 of a Soul’,60n In memoriam, 18–21,22, 23 ‘The Wild Duck’,173 In the Mists, 30–4,35, 175 Youth, 13, 177,269 Intermezzo erotico (no.
Load more

Recommended publications
  • A Survey of Czech Piano Cycles: from Nationalism to Modernism (1877-1930)
    ABSTRACT Title of Dissertation: A SURVEY OF CZECH PIANO CYCLES: FROM NATIONALISM TO MODERNISM (1877-1930) Florence Ahn, Doctor of Musical Arts, 2018 Dissertation directed by: Professor Larissa Dedova Piano Department The piano music of the Bohemian lands from the Romantic era to post World War I has been largely neglected by pianists and is not frequently heard in public performances. However, given an opportunity, one gains insight into the unique sound of the Czech piano repertoire and its contributions to the Western tradition of piano music. Nationalist Czech composers were inspired by the Bohemian landscape, folklore and historical events, and brought their sentiments to life in their symphonies, operas and chamber works, but little is known about the history of Czech piano literature. The purpose of this project is to demonstrate the unique sentimentality, sensuality and expression in the piano literature of Czech composers whose style can be traced from the solo piano cycles of Bedřich Smetana (1824-1884), Antonín Dvořák (1841-1904), Leoš Janáček (1854-1928), Josef Suk (1874-1935), Bohuslav Martinů (1890-1935) to Erwin Schulhoff (1894-1942). A SURVEY OF CZECH PIANO CYCLES: FROM ROMANTICISM TO MODERNISM (1877-1930) by Florence Ahn Dissertation submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Doctor of Musical Arts 2018 Advisory Committee: Professor Larissa Dedova, Chair Professor Bradford Gowen Professor Donald Manildi Professor
    [Show full text]
  • FJB 2019 Programova Skladacka AJ.Indd
    7th InternationalInternatioonal Opera and Music Festival Programmee JANÁČEČE JANÁČEKJANÁ 28/ 9 – 16/ 10 BRNOBR 20200 Opera productions 7 p.m. Janáček Theatre 28. 9. Ceremonial opening of the festival LEOŠ JANÁČEK – DESTINY premiere conductor: Marko Ivanović, director: Robert Carsen Živný: Enrico Casari, Philip Sheffield / Míla Válková: Alžběta Poláčková / Míla’s Mother: Szilvia Rálik National Theatre Brno’s Janáček Opera repeat performances 29. 9. and 14. 10., 7 p.m. echoes of the festival 28. 11. and 29. 11., 5 p.m. 1. 10. 7 p.m., Reduta Theatre (Mozart Hall) LEOŠ JANÁČEK – THE DIARY OF ONE premiere of a production based on the author’s stage notes WHO DISAPPEARED tenor: Pavol Breslik, alt: Štěpánka Pučálková piano: Róbert Pechanec with the participation of soloists from National Theatre Brno’s Janáček Opera ensemble JAN JIRASKÝ’S PIANO RECITAL will take place in the first half of the evening Leoš Janáček – In the Mists, Béla Bartók – Allegro barbaro, Kryštof Mařatka – Onyrik, future and exotic tales for piano, Igor Fyodorovich Stravinsky – Piano Rag Music 2. 10. 7 p.m., Mahen Theatre LEOŠ JANÁČEK – JENŮFA conductor: Yoel Gamzou, director: Armin Petras Jenůfa: Nadine Lehner Theater Bremen 3. 10. 7 p.m., Janáček Theatre LEOŠ JANÁČEK – JENŮFA premiere conductor: Robert Kružík, director: Claus Guth Kostelnička: Karita Mattila / Jenůfa: Jana Šrejma Kačírková / Laca Klemeň: Jaroslav Březina National Theatre Brno’s Janáček Opera, in cooperation with Royal Opera House (London) repeat performance 5. 10., 7 p.m. 10. 10. 7 p.m., Janáček Theatre RICHARD STRAUSS – SALOME conductor: Balázs Kocsár, director: András Almási-Tóth Salome: Annemarie Kremer Hungarian State Opera (Budapest) 12.
    [Show full text]
  • Downloaded From
    BÄRENREITER URTEXT offering the best CZECHMUSIC of Czech music BÄRENREITER URTEXT is a seal of quality assigned only to scholarly-critical editions. It guarantees that the musical text represents the current state of research, prepared in accordance with clearly defined editorial guidelines. Bärenreiter Urtext: the last word in authentic text — the musicians’ choice. Your Music Dealer SPA 314 SPA SALES CATALOGUE 2021 /2022 Bärenreiter Praha • Praha Bärenreiter Bärenreiter Praha | www.baerenreiter.cz | [email protected] | www.baerenreiter.com BÄRENREITER URTEXT Other Bärenreiter Catalogues THE MUSICIAN ' S CHOICE Bärenreiter – Bärenreiter – The Programme 2019/2020 Das Programm 2018/2019 SPA 480 (Eng) SPA 478 (Ger) Bärenreiter's bestsellers for The most comprehensive piano, organ, strings, winds, catalogue for all solo chamber ensembles, and solo instruments, chamber music voice. It also lists study and and solo voice. Vocal scores orchestral scores, facsimiles and study scores are also and reprints, as well as books included. on music. Bärenreiter – Bärenreiter – Bärenreiter Music for Piano 2019/2020 Music for Organ Music for Organ 2014/2015 SPA 233 (Eng) 2014/2015 SPA 238 (Eng) Bärenreiter's complete Urtext Bärenreiter's Urtext programme for piano as well programme for organ as well as all educational titles and as collections and series. collections for solo and piano You will also find jazz works, four hands. Chamber music transcriptions, works for with piano is also listed. Your Music Dealer: organ and voice, as well as a selection of contemporary music. Bärenreiter-Verlag · 34111 Kassel · Germany · www.baerenreiter.com · SPA 238 MARTINŮ B Ä R E N R E I T E R U R T E X T Bärenreiter – Bärenreiter – Music for Strings 2018/2019 Choral Music 2018/2019 Nonet č.
    [Show full text]
  • NORTHWESTERN UNIVERSITY Leoš Janáček and His Works for Piano
    NORTHWESTERN UNIVERSITY Leoš Janáček and His Works for Piano in Musical, Aesthetic, and Cultural Context MAJOR DOCUMENT SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLMENT OF THE REQUIREMENTS for the degree DOCTOR OF MUSICAL ARTS Field of Piano Performance By David Kalhous EVANSTON, ILLINOIS July 2013 2 © Copyright by David Kalhous 2013 All Rights Reserved 3 ABSTRACT In the first part of my document, I will briefly examine Leoš Janáček’s situation as a young artist in the cultural environments of Prague (Janáček studied and taught at the Organ School in the mid-1870s), Leipzig and Vienna (he studied in each city for several months in 1789- 80) and Brno (where he spent his adolescence and then almost his entire adult life). This sketch will provide the background for a discussion of Janáček’s growing interest in folk music, as well as the ideas of pan-Slavism in fin-de-siècle Austria-Hungary, and their impact on his artistic growth before 1900. In the second part, I will discuss Herbartian aesthetics and psychology and their influence on Janáček’s theoretical treatise, The Complete Harmony Manual (first published in 1911), which contains analyses and practical applications of the fundamental features of Janáček’s compositional style. I will focus on his ideas formulated in the decade leading to his first compositions for piano such as atomism (reduction of the motivic material to its lowest terms), layering and stratification (smaller units serving as building block for longer ones), and spletna or twine (which is revealed in melting, overlapping melodic and rhythmic figures). In the third part of the document, I will discuss Janáček’s piano and composition studies and his dream of becoming a piano virtuoso, as well as the possible reasons why this dream remained unfulfilled.
    [Show full text]
  • HARMONIA Leoš Janáček: Life, Work, and Contribution
    HARMONIA Leoš Janáček: Life, Work, and Contribution Special Issue ▪ May 2013 The Journal of the Graduate Association of Musicologists und Theorists at the University of North Texas Editor Clare Carrasco Associate Editors Abigail Chaplin J. Cole Ritchie Benjamin Dobbs Jessica Stearns Andrea Recek Joseph Turner Typesetters Clare Carrasco Emily Hagen Abigail Chaplin J. Cole Ritchie Benjamin Dobbs Jessica Stearns Jeffrey Ensign Joseph Turner Faculty Advisor for Special Issue Dr. Thomas Sovík GAMuT Executive Committee Andrea Recek, President Benjamin Graf, Vice President Emily Hagen, Secretary Jeffrey Ensign, Treasurer GAMuT Faculty Advisor Dr. Hendrik Schulze http://music.unt.edu/mhte/harmonia HARMONIA Leoš Janáček: Life, Work, and Contribution Special Issue ▪ May 2013 CONTENTS From the Editor 1 Leoš Janáček: Biography 3 JENNIFER L. WEAVER Reconsidering the Importance of Brno's Cultural Milieu for the 8 Emergence of Janáček's Mature Compositional Style ANDREW BURGARD The Originality of Janáček's Instrumentation 22 MILOŠ ORSON ŠTĚDROŇ The Search for Truth: Speech Melody in the Emergence of 36 Janáček's Mature Style JUDITH FIEHLER Does Music Have a Subject, and If So, Where is it? Reflections on 51 Janáček's Second String Quartet MICHAEL BECKERMAN, Keynote Speaker Untangling Spletna: The Interaction of Janáček's Theories and the 65 Transformational Structure of On an Overgrown Path ALEXANDER MORGAN Offstage and Backstage: Janáček's Re-Voicing of Kamila Stösslová 79 ALYSSE G. PADILLA Connecting Janáček to the Past: Extending a Tradition of 89 Acoustics and Psychology DEVIN ILER Childhood Complexity and Adult Simplicity in Janáček’s 96 Sinfonietta JOHN K. NOVAK Leoš Janáček: “The Eternally Young Old Man of Brno” 112 CLARE CARRASCO The Czech Baroque: Neither Flesh nor Fish nor Good Red Herring 121 THOMAS SOVÍK About the Contributors 133 From the Editor: It is my pleasure to introduce this special issue of Harmonia, the in- house journal of the Graduate Association of Musicologists und Theorists (GAMuT) at the University of North Texas.
    [Show full text]
  • Sára Medková Ostrava Days 2017 the Golden Prague Festival Jan Václav Stamic a DATABASE YOU CAN LISTEN TO
    317 _ Sára Medková Ostrava Days 2017 The Golden Prague Festival Jan Václav Stamic A DATABASE YOU CAN LISTEN TO COMPOSERS SCORES AUDIO EXAMPLES COMPOSITIONS A database of compositions and composers of contemporary classical music from the Czech lands, ranging from the mid-20th century till recent times Czech Music Information Centre 1177 3_ Dear readers, Contents: as you must have noticed, the present Sára Medková: autumn issue of our magazine includes Some performers need to create stories; an attached Czech-English brochure I rather strive to fi lter them titled “Contemporary composed music by Boris Klepal in the Czech Republic – ensembles, festivals, page 2 concert series”. Its mission and aim are, we hope, elucidated in the editorial on its fi rst The Golden Prague Festival page, so there is no need for me to repeat by Helena Havlíková it here. Just like this quarterly, the brochure page 8 is one of the outputs of the Czech Music Information Centre, and it is also available Ostrava Days 2017 free in electronic form. You can fi nd it on by Boris Klepal our portal musica.cz (tell your friends!), page 13 which I would like to invite you to visit. Among other things, it provides access Czech music Every day to the MusicBase (see the teaser on Events at home and abroad in the summer of 2017 the opposite page), which contains records by Barbora Vacková on contemporary and slightly historical page 20 pieces by Czech composers and, in many cases, views of scores and recordings. We are Jan Václav Stamic constantly updating the MusicBase, and 1717 • 1757 • 2017 are planning to further extend it in 2018.
    [Show full text]
  • Ndb DIVA Noviny FJB 2018 EN DEF.Indd
    6th InternationalInternational OpOperaera and Music NationalNational Theatre Brno MagazineMagazine FFestivalestival JANÁČEKJANÁČEK BRNBRNOO 6thth InternationalInternational OOperapera and Music FestivalFestival JANÁČEKJANÁČEK BRNOBRNO I’m on the trail of the melodmelodyy of the CCzechzech word: it does not growgrow out of chords. Its source is deeper; I recorecognizegnize that it wells upup within each of us. I recognizerecognize howhow sweet it is from thethe moutmouthshs of cchildren,hildren, its girlishgirlish passion, its manlymanly terseness.terseness. I recognizerecognize itsits span.span. In Fate I expand it with children’s melodic way of speaking,speaking, in JenůfaJenůfa I express the spiritual torment of Kostelnička and Jenůfa,Jenůfa, in Brouček’s excursions I turn towards the heavens, in KaKa a Kabanova I diff erentiate temperaments, in the CunningCunning Li le Vixen I acknowledgeacknowledge the shadow of the forests, the morningmorning dayspring.dayspring. Oh,Oh, all the placesplaces where I have stoppedstopped and found ppleasureleasure duringduring my wanderingswanderings in search of the tone and its extent. I am wallowingwallowing in nature, but I won’t drown. With e Makropulos AffAff air it will be necessarynecessary to draw on the dry springs.springs. A historical modern opera. Leoš JanáčekJanáček HonoraryHonorary committeecommittee ProgrammeProgramme boardboard RobertRobert CarsenCarsen – StageStage Direct oror Patricie ČástČást kováková – DramaturDramaturgege of the Janáček OperaOpera companycompany PetrPetr DvořákDvořákk
    [Show full text]
  • Káťa Kabanová Leoš Janáček
    Programme 6th International Opera and Music Festival 17/ 11 –5/12 2018 www.janacek-brno.cz Opera Productions 7 pm, Janáček Theatre 17. 11. Ceremonial opening of the festival Leoš Janáček – The Cunning Little Vixen Premiere Conductor: Marko Ivanović, Director: Jiří Heřman Janáček Opera of National Theatre Brno Reprise 18. 11. 2018, 3 pm 7 pm, , Orlí Street Theatre 18. 11. World premieres of operas by students of the Music Faculty of the Janáček Academy of Music and Performing Arts Jiří Najvar – Falstaff, Daniel Šimek – Unknown Chamber opera by the Janáček Academy of Music and Performing Arts Reprise 28. 11. 2018, 7 pm 7 pm, 19. 11. Janáček Theatre Leoš Janáček – Káťa Kabanová Conductor: Ondrej Olos, Director: Robert Carsen Janáček Opera of National Theatre Brno The licence owner is Opera Vlaanderen, Antwerp/Ghent 7 pm, Reduta Theatre (Mozart Hall) 21. 11. Concert performance of an opera Leoš Janáček – Šárka Opera performed with piano accompaniment, 1887 version Conductor: : Gabriela Tardonová Opera Diversa Tomáš Netopil Tomáš Hanus Leoš Janáček – Jenůfa, Teatr Wielki im. Stanislawa Moniuszki w Poznaniu photo: Magdalena Ośko 7 pm, 22. 11. Reduta Theatre Leoš Janáček – Šárka Premiere Version from 1887 instrumented by Ondřej Kyas Conductor: Gabriela Tardonová, Director: Kristiana Belcredi Opera Diversa Reprise 28. 11. 2018, 7 pm 7 pm, 23. 11. Mahen Theatre Leoš Janáček – The Beginning of a Romance, Rákos Rákoczy Premiere Conductor: Tomáš Krejčí, Director: Kristiana Belcredi Brno Conservatory Reprise 26. 11. 2018, 7 pm 7 pm, 24. 11. Mahen Theatre Leoš Janáček – Destiny Conductor: Jakub Klecker / Robert Kružík, Director: Jiří Nekvasil The National Moravian-Silesian Theatre 7 pm, 25.
    [Show full text]
  • Ndb DIVA Noviny MFJB 2020 EN.Indd
    JANÁČČE ANÁČEKN 28/ 9 – 16/ 10 BR BRNOB 20200 JANÁČEKJAN K NationalNational TheTheatreatre BBrnorno EEKK MagazinMagazinee BRNOO 7th Internationalnal Opera and Music O 2020 FFestivalestival ForFor peoppeople,le, tthehe wwishish to ssinging iinn a new way means composcomposing.ing. It is not enouenoughgh to wish to be successful if you want to compose in a new wayway.. There are manmanyy levels to ffolkolk compositioncomposition.. EEveryvery variantvariant bringsbrings somethingsomething new, andand new types ststillill moremore.. OOutut of all that is new, new ttypesypes can be bornborn.. New means: to resist the spiritlessnessspiritlessness ofof musical fforms;orms; it means to have such aa lively lively mood –mood – one thatthat iiss enrenrichediched wwithith hheritage –eritage – tthathat iitt cannot enenduredure ananyy rrepetitionepetition ofof expressionexpression in the same place.place. OOnene does not need to bow to the authority of foreignforeign ways of expressionexpression.. New and beautibeautiful,ful, thouthough,gh, is the second requirement: we can say that ifif it is ssuccessful –uccessful – it isis,, iiff not – then it is notnot.. We are powerless in that arena. I must endure mymy speech and it must ffullyully satissatisfyfy mme.e. To deliberately ggoo to musical delidelight,ght, whose patterns are printed in heaps, or to didissonances –ssonances – bbothoth mean pplaying.laying. What is comcomposedposed must be the fflamelame ooff the comcomposer’sposer’s ppleasure.leasure. SSometimesometimes you cannot stop the flow of thought,thought, another time it is hard to wake; yyouou wouldwould no llongeronger bbelieveelieve iinn your tatalent!lent! LeošLeoš JanáčekJanáček in the afterwordafterword to the article RozhraníRozhraní mluvymluvy a zpěvu (The Boundary Between SpeechSpeech and SSongong, 19061906,, Hlídka 2323,, No.
    [Show full text]