Czech Music Brozura.Pdf

Total Page:16

File Type:pdf, Size:1020Kb

Czech Music Brozura.Pdf CZECH MUSIC Theatre Institute 1 The publication was produced in cooperation with the Music Information Centre as a part of the program Czech Music 2004 Editor in chief: Lenka Dohnalová (Theatre Institute) Editorial team: L.Dohnalová, J. Bajgar, J. Bajgarová, J. Javůrek, H. Klabanová, J. Ludvová, A. Opekar, S. Santarová, I. Šmíd Translation © 2004 by Anna Bryson Cover © 2004 by Ditta Jiříčková Book design © 2004 by Ondřej Sládek © 2005 by Theatre Institute, Celetná 17, 110 00 Prague 1, Czech Republic First printing ISBN 80-7008-175-9 All rights of this publication reserved. 2 CONTENTS CALENDER 4 MIDDLE AGE (CA 850 - CA 1440) /Jaromír Černý 11 THE RENAISSANCE (CA 1440 - CA 1620) /Jaromír Černý 14 THE BAROQUE (CA 1620 - CA 1740) /Václav Kapsa 16 BOHEMIAN LANDS AND CLASSICAL STYLE IN MUSIC (CA 1740 - CA 1820) /Tomáš Slavický 20 FIRST HALF OF THE 19TH CENTURY /Jarmila Gabrielová 24 THE PERIOD AFTER 1860 /Jarmila Gabrielová 26 THE TURN OF THE CENTURY AND THE FIRST DECADES OF THE 20TH CENTURY /Jarmila Gabrielová 32 CZECH MUSIC FROM 1945 TO THE PRESENT /Tereza Havelková 38 THE HISTORY OF CZECH OPERA /Alena Jakubcová, Josef Herman 48 THE HISTORY OF CZECH CHAMBER ENSEMBLES /Jindřich Bajgar 59 THE HISTORY OF CZECH ORCHESTRAS AND CHOIRS /Lenka Dohnalová 62 FOLK MUSIC OF BOHEMIA AND MORAVIA /Matěj Kratochvíl 66 CZECH POPULAR MUSIC /Aleš Opekar 70 NON-PROFESSIONAL MUSICAL ACTIVITIES /Lenka Lázňovská 77 FESTIVALS IN CZECH REPUBLIC /Lenka Dohnalová 79 LINKS /Lenka Dohnalová 82 3 CALENDAR ca 800 emergence of a number of principalities on Bohemian territory and the beginnings of the Great Moravian state 863-885 the mission of Constantine and Methodius sent from Byzantium; they who create a Slav liturgy in Great Moravia ca 880 the Czech prince Bořivoj (+perhaps 890/891) accepts Christianity 906 fall of Great Moravia 935 murder of Prince Wenceslas, later canonised; establishment of a unified Czech state in the reign of Boleslav I. (+972) 973 foundation of a bishopric in Prague 1019 definitive annexation of Moravia to Bohemia 1063 foundation of a bishopric in Olomouc 1212 The Golden Bull of Sicily confirms and adds to the rights and privileges of the Bohemian kings and the Kingdom of Bohemia, recognising the independence and sovereignty of the Bohemia state later to be advanced still further in 1356 by The Golden Bull of Charles IV. 1306 end of the rule of the Czech Přemyslid dynasty, which becomes extinct in the male line 1310-1437 rule of the Luxembourg dynasty in the Lands of the Bohemian Crown 1344 foundation of an archbishopric in Prague 1348 Charles IV. founds a university in Prague 1378-1417 schism in the church; from the mid-14th century criticism of church abuses (such as sale of “indulgences”) grows in the Bohemian Lands, together with an emphasis on inner piety; inspired by “heretical” teachings of the period (John Wycliff), reformist thinkers and preachers come to the forefront (M. Jan Hus preaches in the Bethlem Chapel from 1402, from 1414 there is a campaign for communion in both kinds for the laity (symbolised by the chalice) 1415 the Church Council of Constance rejects several articles of the teaching of Master Jan Hus, who is then burnt at the stake there on the 6th of July 4 1419-1434 the Hussite Revolution – open rebellion against the existing order of church and state: efforts to make the law of God the highest authority in the life of society (law, politics, morals). The Czechs take up arms to defend their faith (Head Jan Žižka and so on), but the movement is accompanied by ideological disputes between different fractions. The most moderate demands of the Hussites are finally expressed in the so-called Compacts (e.g. wine at communion for the laity, the punishment of mortal sins) 1436 the Emperor Sigismund confirms the official co-existence of two parallel religions (Catholicism, Utraquism) in the Bohemian Lands ca 1450 beginnings of printing (Johannes Gutenberg) 1457 establishment of the Unity of Czech Brethren 1458-1471 reign of George of Poděbrady 1471-1526 rule by the Jagiellons (Vladislav, +1516, Ludvík, +1526) ca 1500 beginnings of printing of music notation (contemporary polyphony: O. dei Petrucci in Venice from 1501) 1517 public protest by Martin Luther (1483-1546), the beginning of the Protestant Reformation in Germany 1526-1918 rule of the Habsburg Dynasty in the Bohemian Lands 1556 the Prague Clementinum becomes the seat of a Jesuit College; beginnings of an increasingly strong Counter-Reformation in the Bohemian Lands 1583 the Emperor and King of Bohemia Rudolf II moves to Prague with his capella 1618-1648 the Thirty Years War; beginning of the Revolt of the Bohemian Estates 1620 defeat of the army of the Bohemian Estates at the Battle of the White Mountain, unconditional capitulation and the occupation of Prague 1621 condemnation of the leaders of the Estates rebellion, 27 of them are executed on Old Town Square; issue of decree banishing all non-Catholic priests from Bohemia 1624 the Catholic religion is declared the only permitted faith in Bohemia by imperial decree 1639 the Swedish armies invade Bohemia (theft of pictures from the royal collections) 1648 Peace of Westphalia, system of peace agreements ending the Thirty Years War. Fighting nevertheless continues, with treachery enabling the Swedish army to take Hradčany and the Lesser Town in Prague and to occupy them for more than a year, while the Old and New Towns resist Swedish attacks 1654 a decree of Ferdinand III establishes the Carolo-Ferdinandea University in Prague under the supervision of the Jesuits 5 1679 plague hits the Bohemian Lands, coming from Vienna through Moravia and Southern Bohemia; the largest number of fatalities in 1680 are in Prague and its surroundings 1683 Siege of Vienna by the Turks, the Turkish army is repelled with the help of Polish and German divisions 1711 Charles VI. becomes Habsburg monarch and Holy Roman Emperor 1712 the first working steam engine is made in England 1713-1714 the last plague epidemic in Bohemia and Moravia 1723 coronation of the Austrian ruler Charles VI. as King of Bohemia, one of the works presented in Prague is J. J. Fux‘s Costanza e Fortezza, involving more than 200 musicians including not only the court cappella but local musicians and many virtuosi from all over Europe 1724 start of regular opera performances in Prague 1732 in Brno the Italian impressario Angelo Mingotti starts an opera company 1735 break-up of A. Denzio‘s Italian opera company in Prague, one of its last productions was the opera Praga nascente da Libussa e Primislao (Prague founded by Libuše and Přemysl) with Denzio‘s libretto; after two years another opera company directed by Santo Lapis starts to operate in Prague 1729 massive celebration of the canonisation of John of Nepomuk in Prague (a priest murdered in the reign of King Wenceslas IV., who became the most popular saint of the Bohemian Baroque) 1738 the theatre V Kotcích, the first Prague public theatre set up by the city, starts to operate 1740 Marie Teresie ascends the throne, start of the Wars of the Austrian Succession which severely hit the Bohemian Lands (1743 - Marie Teresie is crowned Queen of Bohemia in Prague) 1744 the Prussian army invades Bohemia and seizes Prague 1756 beginning of the Seven Years War. The conflict acquires global dimensions – the Prussians invade Saxony and Bohemia, the Anglo-French War moves to the sea and the colonies (Africa, India, Canada) 1771-72 two years of black frosts and catastrophic harvest failure in Bohemia, triggering a number of peasant revolts. Visit to Bohemia by Charles Burney, the author of an 18th-century musical travel journal 1773 dissolution of the Jesuit order (that had a great effect on the way of education, including musical) 6 1774 introduction of compulsory schooling for children from 6 to 8 years old in state schools, designed to provide general education and with German as the teaching language in all cases 1780 death of Marie Teresie, Joseph II. becomes ruler of the Habsburg Monarchy and institutes major reforms: he abolishes serfdom and issues the „Patent of Toleration“ granting freedom of religion (1781). He dissolves, among other things, most monasteries (1782) and religious brotherhoods (1787) 1783 a spoken drama and opera theatre built at the expense of Count F. A. Nostitz-Rhieneck is opened in Prague, in its time the largest theatre in Central Europe (today the Estates Theatre) 1786 W. A. Mozart comes to Prague for the production of his opera The Marriage of Figaro (Le nozze di Figaro) 1787 Mozart‘s opera Don Giovanni, commissioned by the Prague impressario Bondini, is premiered with triumphant success at the Nostitz Theatre 1791 Leopold II. is crowned King of Bohemia. The Bohemian Estates (resp. Guardasoni) commission W. A. Mozart to compose his coronation opera on the libretto La clemenza di Tito. On the occasion of the coronation the first industrial exhibition on the European continent is organised 1805 The Napoleonic Wars spread to the Bohemian Lands, the “Battle of the Three Emperors” takes place by Slavkov (Austerlitz) in Moravia 1809 Joseph Dobrovský publishes the first Czech Grammar (in German) which standardises the grammar and codifies modern orthography 1811 a conservatory is established in Prague by a group of noblemen. It is the first institution of its kind in Central Europe 1813 defeat of Napoleon at Leipzig in the „Battle of the Nations“ 1814-1815 The Congress of Vienna – which determines the nature of the European order after the Napoleonic Wars 1818 founding of the National Museum in Prague 1835-1848 the reign of Emperor Ferdinand V. (I), known as “the Beneficent” 1839 Joseph Jungmann (1773-1847) completes publication of his Czech-German Dictionary 1848-1849 the year of revolution and its consequences: the February Revolution in Paris; March movements in Vienna and in the Hungarian Lands; abolition of the corvée; the Slav Congress and Whitsun Disturbances in Prague; the October Revolution in Vienna; bloody suppression of the revolution in the Habsburg Lands (in Hungary), in Germany and in Italy 7 1848-1916 reign of Emperor Franz Joseph I.
Recommended publications
  • Czech Philharmonic
    Czech Philharmonic Semyon Bychkov Chief Conductor and Music Director Alisa Weilerstein / Cello Thursday Evening, November 1, 2018 at 7:30 Hill Auditorium Ann Arbor 13th Performance of the 140th Annual Season 140th Annual Choral Union Series This evening’s performance is supported by Ken and Penny Fischer and by Martha Krehbiel in memory of David Krehbiel. Media partnership provided by WGTE 91.3 FM and WRCJ 90.9 FM. Special thanks to Matt Albert, Erin Burris, Anthony Elliott, Paul Feeny, and Stephen Shipps for their participation in events surrounding this evening’s performance. Special thanks to Tom Thompson of Tom Thompson Flowers, Ann Arbor, for his generous contribution of lobby floral art for this evening’s performance. The Czech Philharmonic appears by arrangement with Columbia Artists. The Czech Philharmonic’s US tour is sponsored by the Karel Komarek Family Foundation. In consideration for the artists and the audience, please refrain from the use of electronic devices during the performance. The photography, sound recording, or videotaping of this performance is prohibited. PROGRAM Antonín Dvořák Cello Concerto in b minor, Op. 104 Allegro Adagio, ma non troppo Finale: Allegro moderato Ms. Weilerstein Intermission Piotr Ilyich Tchaikovsky Serenade for Strings in C Major, Op. 48 Pezzo in forma di sonatina: Andante non troppo — Allegro moderato Valse: Moderato — Tempo di Valse Élégie: Larghetto elegiaco Finale: Andante — Allegro con spirito Tchaikovsky Francesca da Rimini: Symphonic Fantasia after Dante in e minor, Op. 32 Andante lugubre — Allegro vivo 3 A NOTE FROM THE CONDUCTOR On October 28, 2018 the Czech it remains true today. How fitting Republic celebrated 100 years of is it then, that in the very year that independence.
    [Show full text]
  • C.P.E. Bach 3 Livres Sur Des Sujets Divers, Évoquant Aussi C.P.E
    DOCUMENTS SUR Carl Philipp Emanuel BACH (1714-1788) (Mise à jour le 15/04/2015) Médiathèque Musicale Mahler 11 bis, rue Vézelay – F-75008 Paris – (+33) (0)1.53.89.09.10 Médiathèque Musicale Mahler – Carl Philipp Emanuel Bach Documents sur Carl Philipp Emanuel BACH Livres 3 Biographies de C.P.E. Bach 3 Livres sur des sujets divers, évoquant aussi C.P.E. Bach 4 Partitions 6 Périodiques 9 Enregistrements sonores 9 2 Médiathèque Musicale Mahler – Carl Philipp Emanuel Bach MONOGRAPHIES Sur C.P.E. Bach Bach et les siens / [textes de] S. d'Otremont, G. Duhamel, J. Chailley, M. Beaufils, R. Steglich, M. Pincherle, A. Cellier, B. de Schloezer, R. Leibowitz, H. Klotz, J. Rivière, C. Claoue, C.Marcel-Dubois, E. Marc, E. Borrel, P.J. Richard, R. Benecke,J. Witold, J.J. Brothier, H. Wirth, N. Dufourcq, J. Handschin, V. Fedorov, R. Wangermée, M. Delannoy, A. Panigel. - Paris : La Revue Internationale de Musique, 1950. - 195 p. - (BM BAC E5) Jean-Sébastien Bach et ses fils / [textes de] E. Weber, M. Petzoldt, G. Cantagrel, J. Lyon, J. Speerstra, U. Bartels, H.G. Ottenberg, D. Schulenberg, R. Klemm, M. Barbe, B. Robison ; présentation de J.C. Teboul. - Paris : Place, 2004. - 235 p. - (BM BAC E16) BACH Carl Philipp Emanuel. - Briefe von Carl Philipp Emanuel Bach an Johann Gottlob Immanuel Breitkopf und Johann Nikolaus Forkel / C.P.E. Bach ; hrsg und kommentiert von Ernst Suchalla. - Tutzing : Schneider, 1985. - 605-19 p. - (BM BAC (CPE) B3) BACH Carl Philipp Emanuel. - Carl Philip Emanuel Bach's autobiography : facsimile of the original ed.
    [Show full text]
  • ART, and TATUM Through the Jazz Medium but Who Has Since Departed from Those Beginnings Into His Own Peculiar, Restless Firma­ Ment of Expression
    44 long ago should have been placed, as a remarkably gifted technician who happened to learn his instrument ART, AND TATUM through the jazz medium but who has since departed from those beginnings into his own peculiar, restless firma­ ment of expression. ATUM's individuality as a musician Tis partl. y the result of his unique ex­ perience as a jazz performer. Since his professional emergence in 1931 he has worked almost entirely as a solo mu­ sician, with the exception of his vari­ ous sublimated trios (guitar and bass), a few studio bands, and occasional all- star recordings. In contrast, there are the remaining ninety-nine jazz pian­ ists who have had to work either with their own groups or as sidemen: Jess Stacy and Teddy Wilson with Benny Goodman; Billy Kyle with John Kir- by; Basie with Bennie Moten and his own band; Bud Powell with Cootie Williams and Charlie Parker, and so forth. Tatum, then, with his burgeon­ ing technical facilities, has been chiefly By WHITNEY BALLIETT who, a little overripe on the bough, responsible to himself. As a result, he exhibits, within the confines of his does not fit easily into the collective areas of big and small-band jazz. ART Tatum, the partly blind, fifty- materials, an extraordinary set of There was always the feeling, in fact, /% year-old pianist from Dayton, pianistic exercises that are, simpjy, in many of his recordings made in the -^•*-Ohio, who has undistinguished, demonstrations of how to play the Forties with his trios, that he was stubby fingers and a dumpy figure, has piano perfectly.
    [Show full text]
  • Czech Philharmonic
    Biography Czech Philharmonic “The Czech Philharmonic is among the very few orchestras that have managed to preserve a unique identity. In a music world that is increasingly globalized and uniform, the Orchestra’s noble tradition has retained authenticity of expression and sound, making it one of the world's artistic treasures. When the orchestra and Czech government asked me to succeed beloved Jiří Bělohlávek, I felt deeply honoured by the trust they were ready to place in me. There is no greater privilege for an artist than to become part of and lead an institution that shares the same values, the same commitment and the same devotion to the art of music.” Semyon Bychkov, Chief Conductor & Music Director The 125 year-old Czech Philharmonic gave its first concert – an all Dvořák programme which included the world première of his Biblical Songs, Nos. 1-5 conducted by the composer himself - in the famed Rudolfinum Hall on 4 January 1896. Acknowledged for its definitive interpretations of Czech composers, whose music the Czech Philharmonic has championed since its formation, the Orchestra is also recognised for the special relationship it has to the music of Brahms and Tchaikovsky - friends of Dvořák - and to Mahler, who gave the world première of his Symphony No. 7 with the Orchestra in 1908. The Czech Philharmonic’s extraordinary and proud history reflects both its location at the very heart of Europe and the Czech Republic’s turbulent political history, for which Smetana’s Má vlast (My Homeland) has become a potent symbol. The Orchestra gave its first full rendition of Má vlast in a brewery in Smíchov in 1901; in 1925 under Chief Conductor Václav Talich, Má vlast was the Orchestra’s first live broadcast and, five years later, the first work that the Orchestra committed to disc.
    [Show full text]
  • Navigating, Coping & Cashing In
    The RECORDING Navigating, Coping & Cashing In Maze November 2013 Introduction Trying to get a handle on where the recording business is headed is a little like trying to nail Jell-O to the wall. No matter what side of the business you may be on— producing, selling, distributing, even buying recordings— there is no longer a “standard operating procedure.” Hence the title of this Special Report, designed as a guide to the abundance of recording and distribution options that seem to be cropping up almost daily thanks to technology’s relentless march forward. And as each new delivery CONTENTS option takes hold—CD, download, streaming, app, flash drive, you name it—it exponentionally accelerates the next. 2 Introduction At the other end of the spectrum sits the artist, overwhelmed with choices: 4 The Distribution Maze: anybody can (and does) make a recording these days, but if an artist is not signed Bring a Compass: Part I with a record label, or doesn’t have the resources to make a vanity recording, is there still a way? As Phil Sommerich points out in his excellent overview of “The 8 The Distribution Maze: Distribution Maze,” Part I and Part II, yes, there is a way, or rather, ways. But which Bring a Compass: Part II one is the right one? Sommerich lets us in on a few of the major players, explains 11 Five Minutes, Five Questions how they each work, and the advantages and disadvantages of each. with Three Top Label Execs In “The Musical America Recording Surveys,” we confirmed that our readers are both consumers and makers of recordings.
    [Show full text]
  • The Dracula Film Adaptations
    DRACULA IN THE DARK DRACULA IN THE DARK The Dracula Film Adaptations JAMES CRAIG HOLTE Contributions to the Study of Science Fiction and Fantasy, Number 73 Donald Palumbo, Series Adviser GREENWOOD PRESS Westport, Connecticut • London Recent Titles in Contributions to the Study of Science Fiction and Fantasy Robbe-Grillet and the Fantastic: A Collection of Essays Virginia Harger-Grinling and Tony Chadwick, editors The Dystopian Impulse in Modern Literature: Fiction as Social Criticism M. Keith Booker The Company of Camelot: Arthurian Characters in Romance and Fantasy Charlotte Spivack and Roberta Lynne Staples Science Fiction Fandom Joe Sanders, editor Philip K. Dick: Contemporary Critical Interpretations Samuel J. Umland, editor Lord Dunsany: Master of the Anglo-Irish Imagination S. T. Joshi Modes of the Fantastic: Selected Essays from the Twelfth International Conference on the Fantastic in the Arts Robert A. Latham and Robert A. Collins, editors Functions of the Fantastic: Selected Essays from the Thirteenth International Conference on the Fantastic in the Arts Joe Sanders, editor Cosmic Engineers: A Study of Hard Science Fiction Gary Westfahl The Fantastic Sublime: Romanticism and Transcendence in Nineteenth-Century Children’s Fantasy Literature David Sandner Visions of the Fantastic: Selected Essays from the Fifteenth International Conference on the Fantastic in the Arts Allienne R. Becker, editor The Dark Fantastic: Selected Essays from the Ninth International Conference on the Fantastic in the Arts C. W. Sullivan III, editor Library of Congress Cataloging-in-Publication Data Holte, James Craig. Dracula in the dark : the Dracula film adaptations / James Craig Holte. p. cm.—(Contributions to the study of science fiction and fantasy, ISSN 0193–6875 ; no.
    [Show full text]
  • Martinu° Classics Cello Concertos Cello Concertino
    martinu° Classics cello concertos cello concertino raphael wallfisch cello czech philharmonic orchestra jirˇí beˇlohlávek CHAN 10547 X Bohuslav Martinů in Paris, 1925 Bohuslav Martinů (1890 – 1959) Concerto No. 1, H 196 (1930; revised 1939 and 1955)* 26:08 for Cello and Orchestra 1 I Allegro moderato 8:46 2 II Andante moderato 10:20 3 III Allegro – Andantino – Tempo I 7:00 Concerto No. 2, H 304 (1944 – 45)† 36:07 © P.B. Martinů/Lebrecht© P.B. Music & Arts Photo Library for Cello and Orchestra 4 I Moderato 13:05 5 II Andante poco moderato 14:10 6 III Allegro 8:44 7 Concertino, H 143 (1924)† 13:54 in C minor • in c-Moll • en ut mineur for Cello, Wind Instruments, Piano and Percussion Allegro TT 76:27 Raphael Wallfisch cello Czech Philharmonic Orchestra Bohumil Kotmel* • Josef Kroft† leaders Jiří Bělohlávek 3 Miloš Šafránek, in a letter that year: ‘My of great beauty and sense of peace. Either Martinů: head wasn’t in order when I re-scored it side lies a boldly angular opening movement, Cello Concertos/Concertino (originally) under too trying circumstances’ and a frenetically energetic finale with a (war clouds were gathering over Europe). He contrasting lyrical central Andantino. Concerto No. 1 for Cello and Orchestra had become reasonably well established in set about producing a third version of his Bohuslav Martinů was a prolific writer of Paris and grown far more confident about his Cello Concerto No. 1, removing both tuba and Concerto No. 2 for Cello and Orchestra concertos and concertante works. Among own creative abilities; he was also receiving piano from the orchestra but still keeping its In 1941 Martinů left Paris for New York, just these are four for solo cello, and four in which much moral support from many French otherwise larger format: ahead of the Nazi occupation.
    [Show full text]
  • THE VIRTUOSO UNDER SUBJECTION: HOW GERMAN IDEALISM SHAPED the CRITICAL RECEPTION of INSTRUMENTAL VIRTUOSITY in EUROPE, C. 1815 A
    THE VIRTUOSO UNDER SUBJECTION: HOW GERMAN IDEALISM SHAPED THE CRITICAL RECEPTION OF INSTRUMENTAL VIRTUOSITY IN EUROPE, c. 1815–1850 A Dissertation Presented to the Faculty of the Graduate School of Cornell University in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Zarko Cvejic August 2011 © 2011 Zarko Cvejic THE VIRTUOSO UNDER SUBJECTION: HOW GERMAN IDEALISM SHAPED THE CRITICAL RECEPTION OF INSTRUMENTAL VIRTUOSITY IN EUROPE, c. 1815–1850 Zarko Cvejic, Ph. D. Cornell University 2011 The purpose of this dissertation is to offer a novel reading of the steady decline that instrumental virtuosity underwent in its critical reception between c. 1815 and c. 1850, represented here by a selection of the most influential music periodicals edited in Europe at that time. In contemporary philosophy, the same period saw, on the one hand, the reconceptualization of music (especially of instrumental music) from ―pleasant nonsense‖ (Sulzer) and a merely ―agreeable art‖ (Kant) into the ―most romantic of the arts‖ (E. T. A. Hoffmann), a radically disembodied, aesthetically autonomous, and transcendent art and on the other, the growing suspicion about the tenability of the free subject of the Enlightenment. This dissertation‘s main claim is that those three developments did not merely coincide but, rather, that the changes in the aesthetics of music and the philosophy of subjectivity around 1800 made a deep impact on the contemporary critical reception of instrumental virtuosity. More precisely, it seems that instrumental virtuosity was increasingly regarded with suspicion because it was deemed incompatible with, and even threatening to, the new philosophic conception of music and via it, to the increasingly beleaguered notion of subjective freedom that music thus reconceived was meant to symbolize.
    [Show full text]
  • 000000018 1.Pdf
    THE BOHUSLAV MARTINŮ FOUNDATION THE BOHUSLAV MARTINŮ INSTITUTE THE INTERNATIONAL MARTINŮ CIRCLE INTERVIEW WITH CONDUCTOR JIŘÍ BĚLOHLÁVEK martinůJANUARY—APRILrevue 2010 VOL.X NO. FESTIVAL IN BASEL 2009 1 MARTINŮ EVENTS IN LONDON MARTINŮ RECORDINGS ķ IN THE GERMAN RADIO ARCHIVES contents 3 Martinů Revisited Highlights 4 news —Anna Fárová Dies —Zdeněk Mácal’s Gift 5 International Martinů Circle 6 festivals —The Fruit of Diligent and Relentless Activity CHRISTINE FIVIAN 8 interview …with Jiří Bělohlávek ALEŠ BŘEZINA 9 Liturgical Mass in Prague MILAN ČERNÝ 10 News from Polička LUCIE JIRGLOVÁ UP 0121-2 11 special series —List of Martinů’s Works VIII 12 research —Martinů Treasures in the German Radio Archives GREGORY TERIAN 13 review —Martinů in Scotland GREGORY TERIAN 14 review —Czech Festival in London UP 0123-2 UP 0126-2 PATRICK LAMBERT 16 festivals —Bohuslav Martinů Days 2009 PETR VEBER 17 news / conference 18 events 19 news UP 0106-2 UP 0122-2 UP 0116-2 —New CDs, Publications ARCODIVA Jaromírova 48, 128 00 Praha 2, Czech Republic tel.: +420 223 006 934, +420 777 687 797 • fax: +420 223 006 935 e-mail: [email protected] ķ highlights IN 2010 TOO WE ARE CELEBRATING a momentous anniversary – 120 years since the birth of Bohuslav Martinů (8 December 1890, Polička). Numerous ensembles and music organisations have included Martinů works in their 2010 repertoire. We will keep you up to date on this page with the most significant events. MORE INFORMATION > www.martinu.cz > www.czechmusic.org ‹vFESTIVALS—› The 65th Prague Spring The 65th PRAGUE SPRING INTERNATIONAL MUSIC FESTIVAL International Music Festival Prague, 12 May—4 June 2010 Prague / 12 May—4 June 2010 www.festival.cz 15 May 2010, 11.00 am > Martinů Hall, Lichtenštejn Palace Scherzo, H.
    [Show full text]
  • Download (210Kb)
    The “Slavic Spirit” and the Opera Scene in Olomouc, 1830–19201 Jiří KOPECKÝ Department of Musicology, Faculty of Arts of Palacký University Olomouc Univerzitní 3, 771 80 Olomouc, Czech Republic E-mail: [email protected] Lenka KřUPKOVÁ Department of Musicology, Faculty of Arts of Palacký University Olomouc Univerzitní 3, 771 80 Olomouc, Czech Republic E-mail: [email protected] (Received: June 2017; accepted: September 2017) Abstract: In 1830, a new theater building was opened in the Olomouc Upper square. The stable theatrical life enriched enormously the cultural life of the city and en- couraged the development of publishing activities in the field of music journalism and publishing. The public debates on the artistic value of theater performances, on abilities of particular artists and on other subjects gained new quality after the 1860 October diploma because Czechs living in and around the traditional German town put pressure on theater directors and demanded Czech plays on the stage. The fights for the national repertoire on the stage of the Olomouc Provincial Theater are demon- strated in this essay in two contrary ways: at first, the introduction of Czech dramas into the German scene during the 1860s is discussed, then the intensive promotion of German operas during the 1880s and 1890s when internationally played Slavonic operas were performed in all theaters. The director Carl König (1862–1868) offered a contract to many artists who were able to speak both German and Czech, so he could open an independent subscription for the Czech public. The relatively tolerant atmos- phere allowed König’s company to give performances in both languages and connect the Olomouc theatrical life to the Prague Provisional Theater.
    [Show full text]
  • 28Apr2004p2.Pdf
    144 NAXOS CATALOGUE 2004 | ALPHORN – BAROQUE ○○○○ ■ COLLECTIONS INVITATION TO THE DANCE Adam: Giselle (Acts I & II) • Delibes: Lakmé (Airs de ✦ ✦ danse) • Gounod: Faust • Ponchielli: La Gioconda ALPHORN (Dance of the Hours) • Weber: Invitation to the Dance ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ Slovak RSO / Ondrej Lenárd . 8.550081 ■ ALPHORN CONCERTOS Daetwyler: Concerto for Alphorn and Orchestra • ■ RUSSIAN BALLET FAVOURITES Dialogue avec la nature for Alphorn, Piccolo and Glazunov: Raymonda (Grande valse–Pizzicato–Reprise Orchestra • Farkas: Concertino Rustico • L. Mozart: de la valse / Prélude et La Romanesca / Scène mimique / Sinfonia Pastorella Grand adagio / Grand pas espagnol) • Glière: The Red Jozsef Molnar, Alphorn / Capella Istropolitana / Slovak PO / Poppy (Coolies’ Dance / Phoenix–Adagio / Dance of the Urs Schneider . 8.555978 Chinese Women / Russian Sailors’ Dance) Khachaturian: Gayne (Sabre Dance) • Masquerade ✦ AMERICAN CLASSICS ✦ (Waltz) • Spartacus (Adagio of Spartacus and Phrygia) Prokofiev: Romeo and Juliet (Morning Dance / Masks / # DREAMER Dance of the Knights / Gavotte / Balcony Scene / A Portrait of Langston Hughes Romeo’s Variation / Love Dance / Act II Finale) Berger: Four Songs of Langston Hughes: Carolina Cabin Shostakovich: Age of Gold (Polka) •␣ Bonds: The Negro Speaks of Rivers • Three Dream Various artists . 8.554063 Portraits: Minstrel Man •␣ Burleigh: Lovely, Dark and Lonely One •␣ Davison: Fields of Wonder: In Time of ✦ ✦ Silver Rain •␣ Gordon: Genius Child: My People • BAROQUE Hughes: Evil • Madam and the Census Taker • My ■ BAROQUE FAVOURITES People • Negro • Sunday Morning Prophecy • Still Here J.S. Bach: ‘In dulci jubilo’, BWV 729 • ‘Nun komm, der •␣ Sylvester's Dying Bed • The Weary Blues •␣ Musto: Heiden Heiland’, BWV 659 • ‘O Haupt voll Blut und Shadow of the Blues: Island & Litany •␣ Owens: Heart on Wunden’ • Pastorale, BWV 590 • ‘Wachet auf’ (Cantata, the Wall: Heart •␣ Price: Song to the Dark Virgin BWV 140, No.
    [Show full text]
  • CM 2-10.Indd
    czech music quarterly Jan Mikušek The Bartered Bride Jazz of the 50s and 60s 2 0 1 0 2 | CM 2-10 obálka strany.indd 1 21.6.2010 14:51:46 International Music Festival Radio Autumn 12|10>16|10>2010 www.radioautumn.cz 12| 10| Tue 7.30 pm| Rudolfi num - Dvořák Hall 15| 10| Fri 7.30 pm| Bethlehem Chapel PRAGUE PREMIERS Contemporary Music Showcase Ferenc Liszt Concert of Laureates of Concertino Praga International Music Competition 2010 Hungarian Rhapsody No. 2 14| 10| Thu 7.30 pm| Martinů Hall Fryderik Chopin | Piano Concerto No. 2 Antonín Rejcha | Overture in D Major Béla Bartók Antonio Vivaldi | Guitar concerto Pavel Zemek (Novák) Dance Suite for orchestra Johann Sebastian Bach Concerto (Consonance) for Cello and Chamber Orchestra Maurice Ravel | La Valse Violin concerto in A minorr Wojciech Widłak | Shortly „on Line“ Wolfgang Amadeus Mozart Aleksander Nowak PRAGUE RADIO SYMPHONY Piano Concerto No. 23 Dark Haired Girl in a Black Sports Car ORCHESTRA Joseph Haydn | Symphony No. 45 „Farewell“ Tomáš Netopil | conductor Raminta Šerkšnytė Fairy Tale about the Little Prince Alexander Ghindin | piano COLLEGIUM OF PRAGUE RADIO SYMPHONY PLAYERS Erkki-Sven Tüür | Symphony No. 8 Tickets prices Alfonso Scarano | conductor 690, 490, 290, 90 CZK Veronika Hrdová | guitar CZECH CHAMBER PHILHARMONIC Julie Svěcená | violins ORCHESTRA PARDUBICE 13| 10| Wed 7.30 pm| Rudolfi num - Dvořák Hall Anastasia Vorotnaya | piano Marko Ivanovič | conductor Tickets prices Tickets prices Bedřich Smetana 290, 190, 90 CZK 150, 100 CZK Šárka, symphonic poem Witold Lutoslawski | Cello concerto 16| 10| Sat 7.00 pm| Rudolfi num - Dvořák Hall 15| 10| Fri 7.00 pm| Martinů Hall Zygmunt Noskowski Wojciech Kilar | Orawa for string orchestra Eye of the Sea, symphonic poem Wojciech Kilar Ignacy Jan Paderewski Leoš Janáček Ricordanza for string orcherstra Piano Concerto in A Minor Taras Bulba, rhapsody for orchestra Anatolius Šenderovas Antonín Dvořák | Symphony No.
    [Show full text]