“The Librettist Wears Skirts”: Female Librettists in 19Th-Century Bohemia
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Czech Language and Literature Peter Zusi
chapter 17 Czech Language and Literature Peter Zusi Recent years have seen a certain tendency to refer to Kafka as a ‘Czech’ author – a curious designation for a writer whose literary works, without exception, are composed in German. As the preceding chapter describes, Kafka indeed lived most of his life in a city where Czech language and society gradually came to predominate over the German-speaking minor- ity, and Kafka – a native German-speaker – adapted deftly to this changing social landscape. Referring to Kafka as Czech, however, is inaccurate, explicable perhaps only as an attempt to counterbalance a contrasting simplification of his complicated biography: the marked tendency within Kafka scholarship to investigate his work exclusively in the context of German, Austrian or Prague-German literary history. The Czech socio-cultural impulses that surrounded Kafka in his native Prague have primarily figured in Kafka scholarship through sociological sketches portraying ethnic animosity, lack of communication and, at times, open violence between the two largest lin- guistic communities in the city. These historical realities have given rise to the persistent image of a ‘dividing wall’ between the Czech- and German- speaking inhabitants of Prague, with the two populations reading different newspapers, attending separate cultural institutions and congregating in segregated social venues. This image of mutual indifference or antagonism has often made the question of Kafka’s relation to Czech language and cul- ture appear peripheral. Yet confronting the perplexing blend of proximity and distance, famil- iarity and resentment which characterized inter-linguistic and inter- cultural contact in Kafka’s Prague is a necessary challenge. -
TOCC0358DIGIBKLT.Pdf
1 JOSEF SCHELB: CHAMBER MUSIC WITH CLARINET by Hartmut Becker Te composer and pianist Josef Schelb is one of the most important creative musicians from south-western Germany in the early to mid-twentieth century. Unlike the older Julius Weismann (1879–1950), who came from the same area of southern Baden, Schelb belonged to the generation of Frank Martin, Prokofev, Honegger, Milhaud and Hindemith. All were raised in conservative traditions; no sooner had they completed their studies than they experienced the cataclysmic cultural collapse that was the First World War. It is easier to understand Josef Schelb’s intellectual origins and creative activities if one considers the context and the events in his musical training. Josef Schelb was born on 14 March 1894, the son of a spa doctor in the tranquil watering place of Bad Krozingen. Te young Josef’s musical talent developed very early and at such a rate that while he was a pupil at the Bertold Gymnasium in Freiburg, no suitable teacher could be found for him locally. His parents therefore decided that he should pay regular visits to Basle, where he could be taught to an appropriate standard by the director of the city conservatoire, Hans Huber (1852– 1921), who himself had trained as a pianist and composer under Carl Reinecke at the Leipzig Conservatoire. Under Huber the young Josef reached the point where, afer gaining his Abitur in Freiburg in 1913, he felt equipped for the life of a professional musician. Schelb chose to study in the French-Swiss city of Geneva. Franz Liszt’s last important pupil, Bernhard Stavenhagen (1862–1914), had been active there since 1907. -
Marta Filipová, National Treasure Or a Redundant Relic: the Roles of The
RIHA Journal 0066 | 26 February 2013 National treasure or a redundant relic: the roles of the vernacular in Czech art Marta Filipová Editing and peer review managed by: Iain Boyd Whyte, Visual Arts Research Institute Edinburgh (VARIE) Reviewers: Christopher Long, Tomáš Winter Abstract The article examines the reception of folk art in the visual culture of Bohemia and Czechoslovakia and focuses on the shift in the meaning of folk art in the period of early twentieth-century modernism. It examines closely the main attitudes and approaches to folk art in examples drawn from painting, sculpture and architecture as well as art theory in the Czech-speaking regions from the end of the nineteenth century until the early 1930s. This politically important period that saw the transformation of the Habsburg monarchy into new independent states, including Czechoslovakia, was also marked by the establishment of modernism in Central Europe. Many Czech artists were turning to more cosmopolitan ideas, while simultaneously they retained some of the ideas and ideals from the nineteenth century national revival. These shifts were reflected in the various roles folk art was given, ranging from its association with a nostalgic return to pre-industrial society, to an ideological tool of national revival, and to a redundant relic of the past. Folk art, therefore, is understood as a complex phenomenon, which disrupts the reading of modernism in Central Europe as a straightforward embrace of cosmopolitan ideas in the visual arts and art theory and that challenges the historical opposition between folk art and high art. Simultaneously, its central role in the formation of Central European modernism is emphasized as crucial to our understanding of Central European art in this period. -
CUMULATIVE INDEX: SECTION (A): ARTICLES
CUMULATIVE INDEX to Czech Music and Other Society Journals: 1974-1994 Abstracted by Richard Beith Issue 2 July 1995 INTRODUCTION The Dvořák Society has always published a journal since the Society was founded in 1974. In the early years, the format and title changed frequently, but the name Czech Music has been used since 1978 and the familiar A5 format has been in use since 1980. Journal size has varied from the first issue, a single sheet of foolscap, printed on both sides, to the latest issue with 192 A5 size pages. Up until the Autumn 1987 issue, Czech Music also contained the “current information” listing concert dates, latest record news and forthcoming Society events. Since 1988 the entirely separate Newsletter has been published to cover such “current information”. Ephemeral items such as crosswords, concert announcements and new record issue news are omitted from the index, particularly such information appearing in the Journals prior to 1988, i.e. before the introduction of the separate Newsletter. The titles of articles, as printed, have occasionally been expanded by additional explanations in parenthesis. For example, “Music to Dismember” referring to cuts in live performances of Dvořák’s works now has the added comment: (Performance Cuts). Titles of musical works have generally been left in the language of the original articles, Czech, English or Slovak as appropriate. As the journals have not been given continuous pagination within one volume, i.e., as every separate issue starts with a page 1, a very full reference is given, egg: “March 74 1:1:1” = March 1974 issue, Volume 1, No 1, article starting on page 1; Summer 1993 18:1:87 = Summer 1993 issue, Volume 18, No 1, article starting on page 87. -
Musik Aus Versailles Werke Von Louis-Gabriel Guillemain, Jean-Philippe Rameau, Georg Philipp Telemann, Jean-Marie Leclair Und Anderen
Kammermusik im Bibliothekssaal des Agrarbildungszentrums Landsberg am Lech Sonntag 25. Februar 2018, 18 Uhr Mendelssohn II Jugend & Alter Joseph Haydn, Ignaz Lachner und Felix Mendelssohn Bartholdy Rodin Quartett Sonja Korkeala, Gerhard Urban, Violine Martin Wandel, Viola // Clemens Weigel, Violoncello www.kammermusik-landsberg.de Programm Ignaz Lachner (1807 – 1895): Streichquartett Nr. 5 G-Dur op. 104 • Allegro ma non troppo • Andante grave • Allegro vivace • Allegro vivace Joseph Haydn (1732 – 1809): Streichquartett G-Dur op. 77/1 Hob.III:81 (1799) • Allegro moderato • Adagio • Menuetto. Presto • Finale. Presto – Pause – Felix Mendelssohn Bartholdy (1809 – 1847): Streichquartett a-moll op. 13 (1827) • Adagio – Allegro vivace • Adagio non lento • Intermezzo. Allegretto con moto – Allegro di molto • Finale. Presto – Adagio non lento Ich bin eben im Begriff ein Violin-quartett zu beendigen, es ist zum Weinen sentimental und sonst nicht übel glaube ich. Mendelssohn am 23. Oktober 1827 „Was dein Schüler jetzt schon leistet, mag sich zum damaligen Mozart verhalten wie die ausgebildete Sprache eines Erwachsenen zum Lallen eines Kindes.“ Goethe im Jahr 1821 an Mendelssohns Lehrer Carl Friedrich Zelter Einer der härtesten und dringlichsten Sozialhilfefälle wären sie heutzutage, die Lachners, die im späten 18. und im früheren 19. Jahrhundert im Organisten- häuschen der altbayerischen Stadt Rain am Lech ihr kärgliches Dasein fristeten. Kaum mehr als siebzig Quadratmeter maß die Dienstwohnung des katholischen Stadtpfarrorganisten. Keller gab es -
85 ANTONÍN DVOŘÁK Musician and Craftsman John
Naturally his son would follow in the traditional family business. Accordingly, having spent six years at school, Antonín left shortly before his twelfth birthday and became 8 apprenticed to his father in the butchers’ trade. In order to improve the lad’s chances ANTONÍN DVOŘÁK of success he was sent a year later to become a butcher’s apprentice at Zlonice, Musician and Craftsman where he stayed with his mother’s younger brother, Antonín Zdeněk (b. 1823). His John Clapham uncle, who was steward to Count Kinsky, treated him like a son, for he had no chil- I dren of his own. This attractive Czech town, lying some twenty or more miles away Biographical Sketch by road to the west of Nelahozeves, offered chances of picking up a little German, Antonín Dvořák came of sturdy peasant stock. His great-grandfather Jan Dvořák which was an important point for one who was destined to become a publican, but (1724-1777) lived just beyond the north-eastern fringe of Prague at Třeboradice, the musical opportunities were very much greater. Josef Toman, schoolmaster, and where he combined farming with innkeeping. Eventually he died in the house in organist and choirmaster of the church, was a baritone singer, and played the violin, which he had been born. Six out of his family of ten survived infancy, the third of trumpet and double bass in addition to the organ. Antonín Liehmann (1808-1879), a these being the composer’s grandfather, Jan Nepomuk Dvořák (1764-1842). The teacher of German and music and a typical Czech Musikant, was an excellent organist latter became both publican and butcher, first at Vodolka (now known as Odolena with a talent for improvisation, a good violinist and clarinettist who also played the Voda), and from 1818 at Nelahozeves, where the composer himself was to be born. -
17-0211 Program
New England Conservatory Opera Studies Department presents Cendrillon Opera in four acts by JULES MASSENET Libretto by HENRI CAÏN Conductor Hugh Wolff Stage Director Joshua Major Set Design by Cameron Anderson Costume Design by Gail Astrid Buckley Lighting Design by Chris Hudacs Chorus Master Daniel Wyneken Musical Preparation Michael Strauss Daniel Wyneken This organization is supported in part by the Massachusetts Cultural Council, a state agency, Production Stage Manager Amanda Otten and by a grant from the Boston Cultural Council, Production Manager Rich Frost a local agency funded by the Massachusetts Cultural Council and administrated by the Mayor’s Office of Arts, Tourism, and Special Events. Please switch off cellular phones, pagers, and watch alarms. Connect with NEC and our music on Facebook, Twitter, and beyond, Performed at the and sign up for e-mail news bulletins. Emerson Cutler Majestic, Boston, MA February 11-14, 2017 There will be a 15-minute Intermission between Act II and Act III. necmusic.edu/concerts CAST OF CHARACTERS February 11 & 13, 2017 February 12 & 14, 2017 Erica Petrocelli CENDRILLON Sooyeon Kang Margaret Bridge LE PRINCE CHARMANT Niru Liu Josh Quinn PANDOLFE Chauncey Blade Brindley McWhorter MADAME DE LA HALTIÈRE Whitney Robinson Morgan Middleton DOROTHÉE Rhiannon Vaughn Chang Liu NOÉMI Jeongmin Kim Helen Zhibing Huang LA FÉE Gyuyeon Shim February 11-14, 2017 Chi Xue LE ROI Thomas E. Hamilton LE SURINTENDANT DES PLAISIRS Judson Virden LE DOYEN DE LA FACULTÉ Allyn McCourt LE PREMIER MINISTRE Special thanks to: ENSEMBLE Jim deVeer and Advanced Lighting and Production Services David Rivera Bozon, Grant Braider, Rush Dorsett, Julia Dwyer, Chelsea DeSouza Liz Perlman Corey Gaudreau, Michael González, Jordan Harrington, Kaitlin Loeb, Jordan Reynolds Costume Works, Inc. -
Gender Subversion and Resilience in Leoš Janáček's Jenůfa
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Masters Theses Graduate School 8-2017 Mothers Who Live: Gender Subversion and Resilience in Leoš Janáček’s Jenůfa Megan Lynne Whiteman University of Tennessee, Knoxville, [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_gradthes Part of the Musicology Commons Recommended Citation Whiteman, Megan Lynne, "Mothers Who Live: Gender Subversion and Resilience in Leoš Janáček’s Jenůfa. " Master's Thesis, University of Tennessee, 2017. https://trace.tennessee.edu/utk_gradthes/4912 This Thesis is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a thesis written by Megan Lynne Whiteman entitled "Mothers Who Live: Gender Subversion and Resilience in Leoš Janáček’s Jenůfa." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Master of Music, with a major in Music. Rachel M. Golden, Major Professor We have read this thesis and recommend its acceptance: Leslie C. Gay Jr., Jacqueline Avila Accepted for the Council: Dixie L. Thompson Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) Mothers Who Live: Gender Subversion and Resilience in Leoš Janáček’s Jenůfa A Thesis Presented for the Master of Music Degree The University of Tennessee, Knoxville Megan Lynne Whiteman August 2017 ii Copyright Ó 2017 by Megan Lynne Whiteman. -
Antonin Dvorak, Biblical Songs, Op. 99: a Transcription for Wind Orchestra with Historical Context and Transcription Method
UNLV Theses, Dissertations, Professional Papers, and Capstones 5-2010 Antonin Dvorak, Biblical Songs, Op. 99: A transcription for wind orchestra with historical context and transcription method Raymond T. Brown University of Nevada, Las Vegas Follow this and additional works at: https://digitalscholarship.unlv.edu/thesesdissertations Part of the Music Commons Repository Citation Brown, Raymond T., "Antonin Dvorak, Biblical Songs, Op. 99: A transcription for wind orchestra with historical context and transcription method" (2010). UNLV Theses, Dissertations, Professional Papers, and Capstones. 887. http://dx.doi.org/10.34917/2238502 This Dissertation is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. This Dissertation has been accepted for inclusion in UNLV Theses, Dissertations, Professional Papers, and Capstones by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. ANTONIN DVORAK, BIBLICAL SONGS, Op.99: A TRANSCRIPTION FOR WIND ORCHESTRA WITH HISTORICAL CONTEXT AND TRANSCRIPTION METHOD by Raymond Thomas Brown Bachelor of Music Education Brigham -
Robert Schumann and the Gesangverein: the Dresden Years (1844 - 1850) Gina Pellegrino Washington University in St
Washington University in St. Louis Washington University Open Scholarship All Theses and Dissertations (ETDs) January 2011 Robert Schumann and the Gesangverein: The Dresden Years (1844 - 1850) Gina Pellegrino Washington University in St. Louis Follow this and additional works at: https://openscholarship.wustl.edu/etd Recommended Citation Pellegrino, Gina, "Robert Schumann and the Gesangverein: The Dresden Years (1844 - 1850)" (2011). All Theses and Dissertations (ETDs). 276. https://openscholarship.wustl.edu/etd/276 This Dissertation is brought to you for free and open access by Washington University Open Scholarship. It has been accepted for inclusion in All Theses and Dissertations (ETDs) by an authorized administrator of Washington University Open Scholarship. For more information, please contact [email protected]. WASHINGTON UNIVERSITY IN ST. LOUIS Department of Music Dissertation Examination Committee: Hugh Macdonald, Chair Garland Allen Todd Decker Martin Kennedy Michael Lützeler Craig Monson John Stewart ROBERT SCHUMANN AND THE GESANGVEREIN: THE DRESDEN YEARS (1844–1850) by Gina Marie Pellegrino A dissertation presented to the Graduate School of Arts and Sciences of Washington University in partial fulfillment of the requirements for the degree of Doctor of Philosophy May 2011 Saint Louis, Missouri ABSTRACT Nineteenth-century Germany saw an expansion of choral music in a secular context, bringing about changes not only in the nature of the organizations but also in the character of the music. Often depicted in history books as the age of the Lied, the early nineteenth century was also the age of the Chorgesang, creating a demand for music for social gatherings. Amateur choruses and partsinging reached their peak of popularity in nineteenth-century Germany. -
Consortium Classicum
Große Kammermusik Samstag 12. Januar 2013, 18 Uhr, Fiskina Fischen Consortium classicum Gunhild Ott, Flöte Andreas Krecher, Violine Pavel Sokolov, Oboe Niklas Schwarz, Viola Manfred Lindner, Klarinette Armin Fromm, Cello Helman Jung, Fagott Jürgen Normann, Kontrabass Jan Schröder, Horn Programm: Louis Spohr Gran Nonetto, F-Dur, op.31 (1819) W. A. Mozart Flötenquartett D-Dur, KV 285 (1777/78) Franz Lachner Nonett F-Dur, (1875) `Hommage à Franz Schubert´ 29 Mit der Grundung des Consortium Classicum betrat vor Darüber hinaus wird die Arbeit des CC durch ein hausei- etwa fünfzig Jahren ein deutsches Kammerensemble die genes Musikarchiv unterstützt, welches exklusiv einen Musikszene, um in variabler Besetzung, neben der selbst- reichhaltigen Bestand an Werken zu Unrecht vergessener verständlichen Pflege des Standardrepertoires auch zahl- Meister des 18. und 19. Jahrhunderts beinhaltet. Dieses reiche wiederentdeckte Musikschätze lebendig werden zu Archiv, das seit Jahrzehnten der Grundlagenforschung lassen. Initiator war der inzwischen verstorbene verpflichtet ist, garantiert, daß auch in Zukunft auf CD, Klarinettist Dieter Klöcker, der bis zu zehn Solisten, im Fernsehen und selbstverständlich ganz besonders im Hochschulprofessoren und Stimmfuhrer aus Konzertleben die Breite der künstlerischen Aussagen und Spitzenorchestern um sich scharte und mit ihnen den die Qualität der Ausfuhrungen auf hohem Niveau Ensemblegedanken in einer sehr eigenen und konsequen- gewährleistet ist. ten Form pflegte. Diese Vielfalt von solistischem Können, Ensemblegeist Eine internationale Konzerttätigkeit sowie zahlreiche und Forschung bestätigt den exzeptionellen Rang dieses ehrenvolle Auszeichnungen und Einladungen zu promi- in jeder Hinsicht einzigartigen Ensembles. nenten Festivals, wie den Salzburger Festspielen oder den Festwochen in Wien und Berlin, brachten dem Ensemble Pavel Sokolov, Oboe, lernte ab 1981 bei Sergej Burdukov weltweite Anerkennung. -
W&M Scholarworks Dvořák and James: Pragmatism and the Music
W&M ScholarWorks Undergraduate Honors Theses Theses, Dissertations, & Master Projects 2013 Dvořák and James: Pragmatism and the Music of America's Fin de Siècle Matthew F. Reese College of William and Mary Follow this and additional works at: https://scholarworks.wm.edu/honorstheses Part of the Music Commons Recommended Citation Reese, Matthew F., "Dvořák and James: Pragmatism and the Music of America's Fin de Siècle" (2013). Undergraduate Honors Theses. Paper 618. https://scholarworks.wm.edu/honorstheses/618 This Honors Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Undergraduate Honors Theses by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. Dvořák and James: Pragmatism and the Music of America’s Fin de Siècle A thesis submitted in partial fulfillment of the requirements for the degree of Bachelors of Arts in Music by Matthew Frerking Reese Accepted for ___________________________ (Honors, High Honors, Highest Honors) ___________________________ James I. Armstrong, Director (Music) ___________________________ Tuska Benes (History) ___________________________ Chandos Brown (History) ___________________________ Katherine Preston (Music) The College of William and Mary Williamsburg, Virginia Friday, 12 April 2013 Table of Contents Introduction ..................................................................................................................... 3 An Historical