DOCSLIB.ORG

What Means Czech in Music?

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
What Means Czech in Music? Nati onal identityies in Czech mu sıc edited by arts aNd th eat re i nstitu te | czech Music cO uN ciL prague 2012 Nati onal identityies in Czech mu sıc prague 2012 Content Dohnalová lenka A Definition Map of the Distinguishing Features of “National Identity” . 6 Jurková ZuZana Meditation on Identity in Czech National Music . 10 kratochvíl MatěJ supported by Ministry of Culture Cr Ethnomusicology and National Identity . 19 kaňka Petr Finding and Losing . 23 JanDová JarMila Meaning and Value of Contemporary Folklore Activities from the point of View of the folklore Association of the Czech republic . 30 ©2012 Arts and Theatre Institute First edition kroePer anDreas ISBN 978-80-7008-292-8 No: IDU 649 National Identity — An Example of J. J. Ryba . 35 MoJžíšová olga e Legacy of Bedřich Smetana — e Development and Changes in His Reception . 38 gabrielová JarMila Antonín Dvořák as a Czech National Composer? notes on How His Work and personality Were received . 44 havlíková helena e Flight of an Imprisoned Eagle — paradoxes of national identity in the Context of performances of leoš Janáček’s operas in the Czech republic and Abroad from 1996 to 2011 . 54 břeZina aleš “…My Music Is Czech; I Cannot Hide this Fact, Can I?“ 20 th Century political tremors and their immediate influence on Changes of perception of b. Martinů and His Work . 73 raušer Jaroslav Czech Identity Original or Production or Both? Editorial Note descartes’s famous Quote “I Think, Therefore I Am” Can be Altered to “I Communicate, Therefore I Am” . 80 ThIs AnThology originated at the conference organized by the Music section of the Arts and Theatre Institute and the Czech Music Council. It has a double direct purpose: 1. To map the topic of identity in the field of music within a bigger project called Mapping of Cultural and Creative Industries (DF 11 P01VV031) elaborated by the Arts and Theatre Institute. 2. The outputs can be applied in the prepared project The year of Czech Music 2014, coordinated by the Music section of the Arts and Theatre Institute. As for experience from the previous event (in 2004), we can claim that this discus sion is useful because the topic of “national identity” and the way it is perceived raise emotions. Moreover, the topic is not synthetically elaborated even in musicology. The anthology should be open at least in its electronic version, i.e. we are going to address people from the Czech Republic and abroad, who have something to say about this topic. Contributions of a more general nature can be found at the beginning of the anthology followed by those of historical sequence as well as genre and discipline. In the electronic version, you will be able to find documentation of discus sions and commentaries on the contributions. ( 5 ) We can say that the Internet and so-called ‘virtual reality’ have extended the A Definition Map possibilities of experiments with identity (A. Ševčíková, D. Šmahel). Politicians, in particular, experiment with identity on the level of traditionally larger groups of the Distinguishing Features (i.e. a nation) which results often in devastating consequences, yet artists perform of “National Identity” experiments as well. I think that an “image of oneself” has an important information value when we merge all these levels and understand their mutual connections, their hierar - chy and dynamics. It is common knowledge that pressure on the character of lenka dohna lová identity causes opposite tendencies in the subconscious and a social “shadows”. It is interesting to follow historic shifts and manipulations of identity perceptions with different authors and topics — e.g. Smetana –Dvořák or Janáček –martinů and their works. We can make a general note: the freer a person is in his mind, the LeT me BrIeFLy introduce a topic orientation scheme for the discussion, which more operative, conscious and integrated is his identity. It serves rather as a con - is an important part of our meeting knowing that the scheme is a certain operative scious operative support in practical life than an rigid obstacle in the develop - simplification of the problem. There are many books about a general definition ment. of “identity”. The following definition can serve as a reminder: Identity is, at least Speaking about “national” culture (music), I think it is necessary to distin - partially, “an explicit theory of itself.” (D. mosman). It is connected with self - guish formal general features which are easy to identify and are used in adminis - -reflection and self-presentation (D. Šmahel). I would add: in fact, identity as an tration or lexicography, and informal features. intellectual construct has more sometimes hidden layers influencing each other: 1. relatively objective , i.e. what a person/group “is like” based on psycho logical O ForMal general Distinguishing Features and sociological research and observation, controlled methods of self -reflection. e.g. This layer includes research of unconscious processes. The result corresponds citizenship the Cr-territorial concept with the level of knowledge of sociology and psychology. nationality Czech 2. subjective a) how a person/group interprets and feels itself: on a national level, residency ≤183 days/year i.e. the nation of “DIy guys”, “musicians”, “complainers” e.g. the artist -resident can national language Czech feel as if he belongs to the new environment or s/he can relate only to their coun - the place of origin of a work the Cr try or see oneself as a “nomad” or “cosmopolitan”. b) how a person/group is pre - sented (in front of oneself and the others). A person/group often suppresses or Commentary: there are different approaches from the point of view of professional life and private projects their “shadow” to the others and emphasizes their imperfections but life practice. some states (nations) tend to include artists and artefacts in “their group” more than a) does not always equal b). The difference between a) and b) is amplified by the others do. marketing and Pr. An artist is stylized for marketing purposes, yet this stylization does not always draw from his/her feeling and self-image. Identification with If we speak about lexicology practice then Austrian, German and American lexi - construed identity can be either beneficial or it can destroy the inner integrity cography and journalism tend to absorb and include residents and their works of an artist. more than the Czech disciplines, for instance. Czech lexicography and journalism 3. how the others see (interpret) a person/group — this is a subjective/inter-subjec - rather exclude artists who work abroad for a longer period of time (both emi - tive factor (e.g. “Aryan” interpretations of various nations). We can work with grants and residents), including the period after 1989 when we cannot say it is be - surveys of the ministry of Foreign Affairs which show the difference between cause of some political doctrine. And vice versa: it does not really want to include “how” we are interpreted and our own “self-image”. foreign residents in the Cr (see the situation of foreign artists in the Cr as seen ( 6 ) ( 7 ) by journalist P. Slabý). Formal characteristics sometimes clash with content and scious and semantic function (e.g. violation of declamation or a song as a sign of axiological ones: e.g. speaking about the culture of minorities and residents. exotic or mental specificity of a character, tension between symbolism of melody Therefore , informal features consist of those we are unable to identify immedi - and its music adaptation — e.g. the case when the group Czech rAPublic altered ately. They either need an analysis or rely on some author’s declaration and moti - the anthem). Naturally, some features are included spontaneously and uncon - vation. sciously. examination of a “national identity(ies)” situation, not only in music, is neces - O inForMal Features oF national iDentity Mostly drAW froM sary to understand in historical and regional contexts; an ethologic point of view tradition/archives shared tradition of regional habits, opinions, tangible heritage, is inspiring, too. According to K. Lorenz, one of the “deadly sins” of the people (Foucault) reflection of tradition, rituals etc. is “separation from tradition” and its shallow scientistic understanding. It leads education language education, so-called education in humanities to the fact that contributions or risks of “whatever, which is present in culture (including art) for a long time, eventually gains the character of a superstition or doctrine” value orientation acknowledgement of the importance of so-called native country, (K. Lorenz: Eight Deadly sins, Reprint Ed. 1973, pp. 60 –61 ). its history as well as structure and value hierarchy in the region, Let us add, that a tradition is mostly maintained through rituals. We must hierarchy of key symbols etc. suppose various degrees of historical, regional, social and individual perceptive - ness of the topic. O froM tHe MusiCAl point of VieW, it eMbodies Current general discussions prove that the younger generation does not re - subject matter national and regional mythology in particular, history, “national heroes”, flect this topic named “identity” but when we “translate” it into more specific top - current events and feelings in the region ics (a relation to home, language, specific artworks etc.), it is easier to understand idiomatics tectonics, melody, rhythm, instrumentation etc. and perceive more vividly. The method of mapping of this phenomenon not re - symbolism spontaneous or conscious application of music and music-language duced to the map of folklore traditions and current folklore or maps of authors symbols and features (an anthem, quotations of national and folk songs and periods would be very useful as a basis for a deeper social discussion. of the region etc.) relation to a language both on “langue” and “parole” levels about f.
Load more

Recommended publications
  • 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]
  • Philharmonic Hall Lincoln Center F O R T H E Performing Arts
    PHILHARMONIC HALL LINCOLN CENTER F O R T H E PERFORMING ARTS 1968-1969 MARQUEE The Chamber Music Society of Lincoln Center is Formed A new PERFORMiNG-arts institution, The Chamber Music Society of Lincoln Center, will begin its first season of con­ certs next October with a subscription season of 16 concerts in eight pairs, run­ ning through early April. The estab­ lishment of a chamber music society completes the full spectrum of perform­ ing arts that was fundamental to the original concept of Lincoln Center. The Chamber Music Society of Lin­ coln Center will have as its home the Center’s new Alice Tully Hall. This intimate hall, though located within the new Juilliard building, will be managed by Lincoln Center as an independent Wadsworth Carmirelli Treger public auditorium, with its own entrance and box office on Broadway between 65th and 66th Streets. The hall, with its 1,100 capacity and paneled basswood walls, has been specifically designed for chamber music and recitals. The initial Board of Directors of the New Chamber Music Society will com­ prise Miss Alice Tully, Chairman; Frank E. Taplin, President; Edward R. Ward­ well, Vice-President; David Rockefeller, Jr., Treasurer; Sampson R. Field, Sec­ retary; Mrs. George A. Carden; Dr. Peter Goldmark; Mrs. William Rosen- wald and Dr. William Schuman. The Chamber Music Society is being organ­ ized on a non-profit basis and, like other cultural institutions, depends upon voluntary contributions for its existence. Charles Wadsworth has been ap­ pointed Artistic Director of The Cham­ ber Music Society of Lincoln Center. The Society is the outgrowth of an in­ tensive survey of the chamber music field and the New York chamber music audience, conducted by Mr.
    [Show full text]
  • 2 Marek Kopelent
    2_17 Marek Kopelent Brno? For Opera? For Sure! The Janáček Academy Antonín Reichenauer 1177 2_ Dear readers, Contents: two articles in the current issue Cleaning the Score pertain to Brno, the Czech Republic’s An interview with Marek Kopelent second-largest city, a city that today is by Matěj Kratochvíl the seat of renowned universities and page 2 numerous technology companies, a city that can pride itself in a remarkable Brno? For Opera? For Sure! cultural past and present. The text about by Helena Havlíková the Brno Opera, written by Helena page 9 Havlíková, in particular shows that the Czech Republic does not begin 70th anniversary of the Janáček Academy of Music and end with Prague, an impression and Performing Arts in Brno than often arises as a result of mass by Monika Holá tourism. Furthermore, the issue contains page 18 the second and fi nal part of the article about Miloslav Kabeláč’s symphonies, Czech music Every day – Events at home and abroad and, most signifi cantly, an interview in the spring of 2017 with the composer Marek Kopelent, by Barbora Vacková who this year is celebrating his 85th page 22 birthday. Based in Prague, he continues to have a bold impact on Czech music, First edition of Antonín Reichenauer’s as a composer and infl uential teacher Concerto in G major alike. by Lukáš M. Vytlačil page 24 Wishing you a beautiful summer Petr Bakla Miloslav Kabeláč – Symphonist (Part 2) by Jaromír Havlík page 27 Reviews page 34 cover: Marko Ivanović – Čarokraj (Enchantia) photo © National Theatre Brno Czech Music Quarterly is issued ISSN 1211-0264 (Print), ISSN 1804-0586 (Online) by the Czech Music Information Centre MK ČR E 7099 with support of the Ministry of Culture of the Czech Republic and the Czech Music Fund.
    [Show full text]
  • Newsletter12010englisch:UE NL 1 2005 1.Qxd 25.11.2009 10:26 Seite 1
    Newsletter12010englisch:UE_NL_1_2005_1.qxd 25.11.2009 10:26 Seite 1 31 Franz Schreker Der Schmied von Gent – Magical opera in Chemnitz 09 Friedrich Cerha A tragi-comedy for orchestra 23 Ernst Krenek Krenek focus in Berlin 29 Franz Schmidt Harnoncourt opens Das Buch mit sieben Siegeln 37 Gustav Mahler Mahler symphony reductions Franz Schreker “I am a sound artist, sound fantasist, sound magician, sound aesthete ... and a melodist of the purest lineage.” (Franz Schreker) newsletter 01/10 • winter 2009/2010 Newsletter12010englisch:UE_NL_1_2005_1.qxd 25.11.2009 10:26 Seite 2 Contents NEWS Gustav Mahler: New Video-Interviews — 4 New Study Scores — 5 COMPOSERS Haas — 7 Pärt — 8 Cerha — 9 Staud — 9 Halffter — 10 Sotelo — 10 Luke Bedford — 11 Sawer — 11 Borisova-Ollas — 12 Kurtág — 12 Schwartz — 12 Rihm — 13 Baltakas — 14 Lentz — 14 Birtwistle — 14 Boulez — 15 Kagel — 16 Stockhausen — 16 Berio — 17 Ligeti — 18 Feldman — 18 Weill — 19 Schnittke — 20 Tansman — 20 Martin — 21 Mossolow — 21 Krenek — 23 Milhaud — 24 Braunfels — 24 Bartók — 25 Kodály — 25 Eisler — 26 WP = World Premières Grosz — 26 2 contents 01/2010 Newsletter12010englisch:UE_NL_1_2005_1.qxd 25.11.2009 10:26 Seite 3 Martinů — 26 Schoeck — 27 Marx — 27 Schulhoff — 28 Szymanowski — 28 Dear Readers, Schmidt — 29 Foerster — 29 Schreker — 31 “Life isn’t fair – nor is the history of Gurlitt — 32 music.” With these words, Lucerne Zemlinsky — 33 director Dominique Mentha d’Albert — 33 opened his speech of thanks after Delius — 34 the enthusiastically applauded Webern — 34 première of Manfred Gurlitt’s Berg — 35 Wozzeck at his theatre. Schönberg — 36 In 1926, a year after Alban Berg’s Mahler — 37 epoch-making opera, the “other Janáček — 38 Wozzeck” fell victim to the over- whelming competition.
    [Show full text]
  • Supraphon Classical Music Catalogue 2019
    s cla ssical music cat alogue 2020 Pavel Haas Quarte t 2 # Gramophone Award, 2007 # BBC Music Magazine Award, 2007 # BBC Radio 3 Disc of the Week, 2006 # Supersonic Award of Pizzicato, 2006 SU 3877-2 # BBC Music Magazine Chamber Choice, 2008 # BBC Radio 3 Disc of the Week, 2007 # Gramophone Editor’s Choice, 2008 # Cannes Classical Award, MIDEM 2009 SU 3922-2 # Gramophone Disc of the Month, 2010 # BBC Radio 3 Disc of the Week, 2010 # Caecilia, 2010 # Diapason d’Or de l’Année, 2010 # Choc de Classica, 2011 SU 3957-2 # Gramophone Award, Recording of the Year, 2011 # BBC Music Magazine Disc of the Month, 2010 # Sunday Times Album of the Week, 2010 # ClassicsToday Disc of the Month, 2011 SU 4038-2/1 # Gramophone Award, 2014 SU 4110-2 # Gramophone Award, 2015 # BBC Music Magazine Award, 2016 # Presto Classical Recordings of the Year, 2016 # Sinfini Best Chamber Album of the Year, 2015 # BBC Radio 3 Disc of the Week, 2015 # MusicWeb International Recording of the Month, 2015 SU 4172-2/1 SU 3877-2 SU 3922-2 SU 3957-2 SU 4038-2/1 # Gramophone Award, 2018 # Presto Classical Recordings of the Year, 2017 # Gramophone Editor’s Choice, 2017 # BBC Music Magazine Disc of the Month, 2017 # Sunday Times Album of the Week, 2017 # Diapason d’Or, 2018 SU 4195-2/1 # Presto Classical Recording of the Week, 2019 # Europadisc Disc of the Week, 2019 # The Times 100 Best Records of the Year, 2019 SU 4110-2 SU 4172-2/1 SU 4195-2/1 SU 4271-2 SU 4271-2 tomáš NetoPil co ndu ctor 3 You hear everything and yet not a single note obtrudes.
    [Show full text]
  • Univerzita Palackého V Olomouci Filozofická Fakulta Witold Lutosławski a Varšavský Podzim V Zrcadle Dobového Tisku V Letec
    UNIVERZITA PALACKÉHO V OLOMOUCI FILOZOFICKÁ FAKULTA Katedra muzikologie WITOLD LUTOSŁAWSKI A VARŠAVSKÝ PODZIM V ZRCADLE DOBOVÉHO TISKU V LETECH 1956–1994 WITOLD LUTOSŁAWSKI AND WARSAW AUTUMN IN THE MIRROR OF CONTEMPORARY PRESS BETWEEN THE YEARS 1956–1994 Diplomová práce Autor: Adéla Koryťáková Vedoucí práce: Doc. PhDr. Jiří Kopecký, Ph.D. Olomouc 2015 Prohlašuji, že jsem diplomovou práci na téma: „Witold Lutosławski a Varšavský podzim v zrcadle dobového tisku v letech 1956–1994“ vypracovala samostatně pod odborným dohledem vedoucího diplomové práce a uvedla jsem všechny použité podklady a literaturu. V Olomouci dne .................... Podpis ....................................... Poděkování Mé poděkování patří především doc. PhDr. Jiřímu Kopeckému, Ph.D., za odborné vedení práce, podporu a obrovskou trpělivost, za čas, který mi věnoval a zejména za množství cenných podnětů a rad. Dále pak všem organizacím a jednotlivým osobám, které mi podaly pomocnou ruku, poskytly cenné rady, informace a prameny i literaturu, bez kterých by diplomová práce nemohla vzniknout. Poděkování samozřejmě také rodičům a příteli za velkou podporu v době studií. OBSAH OBSAH ......................................................................................................................................... 4 ÚVOD ........................................................................................................................................... 6 STAV BÁDÁNÍ ...........................................................................................................................
    [Show full text]
  • Contemporary Composed Music in the Czech Republic
    CONTEMPORARY COMPOSED MUSIC IN THE CZECH REPUBLIC ENSEMBLES FESTIVALS CONCERT SERIES What is happening in the field of contemporary composed music in the Czech Republic? You hold in your hand a publication whose aim is to answer this question by presenting the work of those who make these activities possible and push them forward: on the one hand, ensembles focused on contemporary music, on the other, festivals, concert series, organisers and associations. We tried to approach everyone on the Czech scene for whom contemporary notated music is, if not at the centre of their attention, then at least an important part of their activities. All the responses were positive, for which we are very grateful. The presentations are ordered alphabetically, with the same space for everyone: one page in Czech and English. The texts were polished by our editors, but the content of each individual contribution was left up to the discretion of the individual subjects – everyone said what they wanted Deadline: August 2017. NOT FOR SALE. to say about themselves. This publication, which the Czech Music Information Centre offers freely for Translation: Ian Mikyska distribution in both paper and electronic form, captures Published by the Czech Music Information Centre the state of the matter in the summer of 2017. Supported by the Ministry of Culture of the Czech Republic, Inevitably, it will gradually become dated. It is my hope, Prague City Council and the Foundation of the Czech Music Fund however, that this will happen due to the establishment of new ensembles and events. In fact, I hope that Besední 3, 118 00 Praha 1 circumstances will force us to prepare a new edition www.musica.cz e-mail: [email protected] soon – and that it will be appropriately thicker.
    [Show full text]
  • OS-ETHOS International Festival of Contemporary Music Bratislava, 7-16 November 2003 7Th INTERNATIONAL FESTIVAL Ol CONTEMPORARY MUSIC
    OS-ETHOS International Festival of Contemporary Music Bratislava, 7-16 November 2003 7th INTERNATIONAL FESTIVAL Ol CONTEMPORARY MUSIC Member ol the European Conference of Promoters of New Music Bratislava 7-16 November 2003 The festival is supported by Ministry of Culture of the Slovak Republic MAIN ORGANIZER Music Centre Slovakia as delegated by Ministry of Culture of the Slovak Republic Organizers Melos-Ethos Association Slovak Music Union Co-organizers Slovak Philharmonic Slovak Radio Academy of Music and Performing Arts, Bratislava In collaboration with Goethe-lnstitut Inter Nationes PRO HELVETIA Polish Institute, Bratislava Cultural Institute of the Hungarian Republic, Bratislava Czech Centre, Bratislava Russian Cultural Centre, Bratislava Belgian Ministery of Culture Embassy of the Kingdom of the Netherlands, Bratislava Music Fund Bratislava, Capital of the Slovak Republic Association of Slovak Composers ISCM - Slovak Section Foundation - Center for Contemporary Arts Gaudeamus Foundation, Netherlands Fonds voor Amatenrkunst en Podiumkunsten Theatre Astorka Korzo'90 Slovak Sinfonietta Zilina Association for Spiritual, Cultural and Social Development and Collaboration 3sat Television Experimental Studio of Slovak Radio Centre for Electroacoustic and Computer Music Lithuanian Music Information nad Publishing Centre Enterpreneur Association of Slovakia Slovenske elektrarne, a.s. Radisson SAS Hotel Carlton Supported by Storck Slovakia ISBN 80-88884-44-6 FESTIVAL COMMITTEE Jozef Luptak, Artistic Director Vladimir Bokes Ivan Marton Ivan Parfk Adrian Rajter Ol'ga Smetanova Marek 2offaj Festival secretary Silvia Zvarova The organizers express their warmest gratitude towards all institutions and com­ panies for their support and assistance. CONCERT CALENDAR Friday s 7 november si 7.30 p.m p. 9 Slovak Philharmonic Concert Hall BOKES LUTOSLAWSKI BERIO Slovak Philharmonic Orchestra Synergy Vocals Nagy -1 Saturday • 8 november rs 7.30 p.m p.
    [Show full text]
  • Lietuvos Muzikologija 21.Indd
    Lietuvos muzikologija, t. 21, 2020 Eva VIČAROVÁ The Czech Lands and Sacred Music Before and After 19891 Čekų žemės ir sakralinė muzika prieš 1989-uosius ir po jų Palacký University Olomouc, Univerzitní 3–5, 771 80 Olomouc, Czech Republic [email protected] Abstract Sacred music was barely tolerated in the former Czechoslovakia between 1948 and 1989, and composing or performing required courage. Liturgical and non-liturgical texts, biblical materials, and religious musical symbols expressed the distress that composers and performers felt and helped them find lost hope and spiritual balance. Czech liturgical and sacred music entered a new phase after the Velvet Revolu- tion in 1989. The atmosphere of freedom had a positive impact on this genre: the increased number and artistic value of compositions as well as the increased number of concerts and new festivals enjoyed the great attention of the audience. Sacred music has remained popular with music artists, organizers, and the public and has not it lost any of its topicality or artistic value throughout the first twenty years of the twenty-first century. Keywords: sacred music, Czechoslovakia, the Czech Republic, composers, compositions, 1948, 1968, 1989, Petr Eben. Anotacija Buvusioje Čekoslovakijoje nuo 1948 m. iki 1989 m. sakralinė muzika buvo sunkiai toleruojama: ją rašyti ar atlikti reikėjo drąsos. Liturginiai ir neliturginiai tekstai, Biblijos medžiaga ir religiniai muzikiniai simboliai puikiai perteikė sielvartą, išgyvenamą kompozitorių ir atlikėjų, ir padėjo jiems atgauti prarastą viltį bei dvasinę pusiausvyrą. Čekų liturginė ir sakralinė muzika įžengė į naują etapą po 1989 m. Aksominės re- voliucijos. Sakralinė muzika populiari tarp muzikos atlikėjų, organizatorių ir klausytojų; per pirmuosius du XXI a.
    [Show full text]
  • Explorations of Dissent in the Music of Czech-Born Composers Marek Kopelent and Petr Kotík
    Notes from the Underground: Explorations of Dissent in the Music of Czech-born Composers Marek Kopelent and Petr Kotík by Victoria Johnson A Thesis Presented in Partial Fulfillment of the Requirements for the Degree Master of Arts Approved November 2015 by the Graduate Supervisory Committee: Sabine Feisst, Chair Robert Oldani Jody Rockmaker ARIZONA STATE UNIVERSITY December 2015 ABSTRACT Since the collapse of the Soviet Union, musicologists have been delving into formerly inaccessible archives and publishing new research on Eastern Bloc composers. Much of the English-language scholarship, however, has focused on already well-known composers from Russia or Poland. In contrast, composers from smaller countries such as the Czech Republic (formerly Czechoslovakia) have been neglected. In this thesis, I shed light on the new music scene in Czechoslovakia from 1948–1989, specifically during the period of “Normalization” (1969–1989). The period of Normalization followed a cultural thaw, and beginning in 1969 the Czechoslovak government attempted to restore control. Many Czech and Slovak citizens kept their opinions private to avoid punishment, but some voiced their opinions and faced repression, while others chose to leave the country. In this thesis, I explore how two Czech composers, Marek Kopelent (b. 1932) and Petr Kotík (b. 1942) came to terms with writing music before and during the period of Normalization. My research draws on the work of Cold War scholars such as Jonathan Bolton, who has written about popular music during Normalization, and Thomas Svatos, who has written about the art music scene during the fifties. For information particular to art music during Normalization, I have relied on primary sources including existing interviews with the composers.
    [Show full text]
  • 4 Emmanuel Villaume
    4_16 Emmanuel Villaume Charles IV and Music Contempuls / Space & Sound Music in the Stalinist Era PRAGUE SPRING 12. 5. – 2. 6. 2017 72nd International Music Festival fig. 2 fig. 3 nRohaRetohhtatattkatktkkaa líbelíllíbaíbmameznázná}bib lel a ArArpip{iHarfHHastatrfosofeníkenesníkík vznvvzzaešenešeesšensntotý} sos PrPrimim{JarnJaavanvíkíkere radosardodisiosos tipltipgpplnýauýu} d 13. 5. MARTINŮ 21. 5. SKOUMAL 30. 5. SVOBODA Concerto for Harpsichord The Jongleur Ouverture of the and Small Orchestra H 246 28. 5. JANOVICKÝ Season Op. 89 15. 5. BUFFA Piano Quartet 31. 5. SRNKA Identity 29. 5. RATAJ / TROJAN Simple Space 18. 5. KAŠLÍK Sentenceless Sentence / 1. 6. WAJSAR Krakatit Circulation The Rest Is Song 19. 5. MORAVEC 2. 6. KREJČÍ Carnival Ouverture Serenade for Orchestra General Partner Festival Partner Financial Support General Media Partner Official Car Official Hotel www.festival.cz 1166 4_ Dear readers, Contents: __________ Dear readers, “There was a spark.” As is customary, the fi nal issue of the year An interview with Emmanuel Villaume maintains a fi ne balance between by Dita Hradecká current events and excursions into page 2 history. Martin Horyna’s article about the music in the Czech lands during Charles IV and music the reign of Charles IV reveals that even by Martin Horyna at a relatively cursory glance, which page 8 the scope of a magazine study only allows, the matters seem to be far more complex Contempuls restarted than they are depicted within school by Matěj Kratochvíl history lessons. This actually holds true page 14 in the case of all high-quality texts about history, as evidenced by the fi nal part Space & Sound of Viktor Pantůček’s series dedicated to by Matěj Kratochvíl socialist realism in the era of Stalinism and page 19 the article by Tom Moore, who points out that the simplifi cation we apply to telling Czech Music Every Day.
    [Show full text]
  • The Film Music of Luboš Fišer
    Musicalia 1–2 / 2020, 110–125 DOI 10.37520/muscz.2020.004 The Film Music of Luboš Fišer Věra Šustíková Abstract: Luboš Fišer (1935–1999) was a prominent and original composer of the twentieth century. All his life, he worked as a freelance composer of classical music and film music. He combined these two fields, and in both he won a number of Czech and international awards. The article surveys Fišer’s film music from four decades (1960s–1990s) in the context of the music of other Czech composers, and it relies on the collection of source material from Luboš Fišer’s estate kept at the Czech Museum of Music, which was subjected to continuous comparison with available film databases. Fišer collaborated with important Czech film directors and took part in making many television series. He was able to compose original music for any film genre and to make his music into a dramaturgically substantive, full-fledged component of a cinematographic work. Key words: Luboš Fišer, film music, Czech film directors, film genres, the collection of personal estates at the Czech Museum of Music, music of the 20th century Luboš Fišer (30 September 1935 – 22 June 1999) was an important and original composer of the twentieth century. From his student days (he studied composition at the Prague Conservatoire from 1952 to 1956 under Emil Hlobil and then at the Academy of Performing Arts in Prague from 1956 to 1960), he divided his creative production between works for the concert hall1 and music for film, television, and the theatre. He achieved noteworthy successes in both fields at home and abroad.
    [Show full text]