Musical Institutions and Czech Identity in Nineteenth
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The Case of the Czech Language
E-Leader Berlin 2012 Celebrating EUROMOSAIC vs. language policies: the case of the Czech language Božena Bedna říková Dept. of Czech Studies Faculty of Arts Palacký University Olomouc, Czech Republic and Universita degli Studi di Udine Dipartimento delle Lingue e Letterature Straniere Udine/I, Italy 1. The EU language policy and the European Commission Project EUROMOSAIC The EU has a positive policy towards regional and minority languages which is enshrined in Article 22 of the European Charter of Fundamental Rights. It states that “The Union respects cultural, religious and linguistic diversity ”. The European Commision has been providing several projects supporting regional and minority languages, one of them being the NETWORK PROMOTING THE LANGUAGE DIVERSITY. It is a pan-European Network which covers regional, minority, indigenous, cross-border and smaller national languages with the task to promote linguistic diversity in Europe. The main focus is providing information about and easy access to a large network of organisations that can share ideas, information and best practice regarding the promotion of less widely used languages. In 1992, wishing to take stock of the situation of the various language communities in Europe, the Commission initiated a study on minority language groups in the European Union. The purpose of the study, entitled "EUROMOSAIC" (later EROMOSAIC I), was not only to support the regional and minority languages, but also to find out about the different regional and minority languages in existence and to establish their potential for expanding, i. e. for their production and reproduction, and to examine the difficulties, the barriers and the challenges they could encounter in doing so. -
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. -
Broadcasting the Arts: Opera on TV
Broadcasting the Arts: Opera on TV With onstage guests directors Brian Large and Jonathan Miller & former BBC Head of Music & Arts Humphrey Burton on Wednesday 30 April BFI Southbank’s annual Broadcasting the Arts strand will this year examine Opera on TV; featuring the talents of Maria Callas and Lesley Garrett, and titles such as Don Carlo at Covent Garden (BBC, 1985) and The Mikado (Thames/ENO, 1987), this season will show how television helped to democratise this art form, bringing Opera into homes across the UK and in the process increasing the public’s understanding and appreciation. In the past, television has covered opera in essentially four ways: the live and recorded outside broadcast of a pre-existing operatic production; the adaptation of well-known classical opera for remounting in the TV studio or on location; the very rare commission of operas specifically for television; and the immense contribution from a host of arts documentaries about the world of opera production and the operatic stars that are the motor of the industry. Examples of these different approaches which will be screened in the season range from the David Hockney-designed The Magic Flute (Southern TV/Glyndebourne, 1978) and Luchino Visconti’s stage direction of Don Carlo at Covent Garden (BBC, 1985) to Peter Brook’s critically acclaimed filmed version of The Tragedy of Carmen (Alby Films/CH4, 1983), Jonathan Miller’s The Mikado (Thames/ENO, 1987), starring Lesley Garret and Eric Idle, and ENO’s TV studio remounting of Handel’s Julius Caesar with Dame Janet Baker. Documentaries will round out the experience with a focus on the legendary Maria Callas, featuring rare archive material, and an episode of Monitor with John Schlesinger’s look at an Italian Opera Company (BBC, 1958). -
Czech Language Programs and Czech As a Heritage Language in the United States
Czech Language Programs and Czech as a Heritage Language in the United States Simone J. Hrouda, Portland State University, Oregon Introduction Czech language schools and Czech classes exist across the United States because of the efforts of Czech heritage language speakers to preserve the language spoken by their ancestors. These programs provide heritage speakers with the opportunity to further develop and maintain their Czech oral and written skills. Even though the language and culture are vital to the identity of individuals in states such as Nebraska, Texas, and Wisconsin, the importance of sustaining the language is not recognized on a national level. Czech is not considered a critical foreign language, and limited opportunities are available for language courses and scholarship programs. It is up to Czech heritage societies to keep Czech classes alive. Czech is a less commonly taught language (LCTL) in the United States, and locating Czech classes is difficult. However, these challenges and many others do not hinder Czech speakers from learning the Czech language. Though small, there is a Czech-speaking population made up of heritage, non-heritage, and native speakers who are making efforts to keep the Czech language alive. History of the Czech Language in the United States The largest immigration of Czechs to the United States took place between the years 1848 and 1914, when over 350,000 Czechs fled their homeland and established Czech communities across the United States (Thernstorm, 1981). Over time, language attrition and acculturation have led to loss of the Czech language within these communities (Dutkova-Cope, 2006; Eckert, 1987; Hannan, 2003; Vasek, 1996). -
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. -
Avant Première Catalogue 2018 Lists UNITEL’S New Productions of 2017 Plus New Additions to the Catalogue
CATALOGUE 2018 This Avant Première catalogue 2018 lists UNITEL’s new productions of 2017 plus new additions to the catalogue. For a complete list of more than 2.000 UNITEL productions and the Avant Première catalogues of 2015–2017 please visit www.unitel.de FOR CO-PRODUCTION & PRESALES INQUIRIES PLEASE CONTACT: Unitel GmbH & Co. KG Gruenwalder Weg 28D · 82041 Oberhaching/Munich, Germany Tel: +49.89.673469-613 · Fax: +49.89.673469-610 · [email protected] Ernst Buchrucker Dr. Thomas Hieber Dr. Magdalena Herbst Managing Director Head of Business and Legal Affairs Head of Production [email protected] [email protected] [email protected] Tel: +49.89.673469-19 Tel: +49.89.673469-611 Tel: +49.89.673469-862 WORLD SALES C Major Entertainment GmbH Meerscheidtstr. 8 · 14057 Berlin, Germany Tel.: +49.30.303064-64 · [email protected] Elmar Kruse Niklas Arens Nishrin Schacherbauer Managing Director Sales Manager, Director Sales Sales Manager [email protected] & Marketing [email protected] [email protected] Nadja Joost Ira Rost Sales Manager, Director Live Events Sales Manager, Assistant to & Popular Music Managing Director [email protected] [email protected] CATALOGUE 2018 Unitel GmbH & Co. KG Gruenwalder Weg 28D 82041 Oberhaching/Munich, Germany CEO: Jan Mojto Editorial team: Franziska Pascher, Dr. Martina Kliem, Arthur Intelmann Layout: Manuel Messner/luebbeke.com All information is not contractual and subject to change without prior notice. All trademarks used herein are the property of their respective owners. Date of Print: February 2018 © UNITEL 2018 All rights reserved Front cover: Alicia Amatriain & Friedemann Vogel in John Cranko’s “Onegin” / Photo: Stuttgart Ballet ON THE OCCASION OF HIS 100TH BIRTHDAY UNITEL CELEBRATES LEONARD BERNSTEIN 1918 – 1990 Leonard Bernstein, a long-time exclusive artist of Unitel, was America’s ambassador to the world of music. -
The Czechs and the Lands of the Bohemian Crown
6 Rebellion and Catastrophe The Thirty Years’ War was the last great religious war in Europe, and the first Europe-wide conflict of balance-of-power politics. Beginning with the Bohemian rebellion in 1618, the war grew into a confrontation between the German Protestant princes and the Holy Roman Emperor, and finally became a contest between France and the Habsburgs’ two dynastic monarchies, involving practically all other powers. The war may be divided into four phases: the Bohemian-Palatinate War (1618– 23), the Danish War (1625–29), the Swedish War (1630–35), and the Franco-Swedish War (1635–48). When the war finally ended with the Peace of Westphalia in 1648, the treaties set the groundwork for the system of international relations still in effect today. The outcome of the war integrated the Bohemian crownlands more fully with the other Habsburg possessions in a family empire that aspired to maintain its position as one of the powers in the international state system. This aspiration involved recurrent conflicts, on one side with the Turks, and on the other with Louis XIV’s France. .......................... 10888$ $CH6 08-05-04 15:18:33 PS PAGE 68 Rebellion and Catastrophe 69 VAE VICTIS!: THE BOHEMIAN CROWNLANDS IN THE THIRTY YEARS’ WAR After the Battle of the White Mountain and Frederick’s flight from Prague (his brief reign earned him the epithet ‘‘The Winter King’’), the last garrisons loyal to the Estates in southern and western Bohemia surrendered in May 1622. Even before these victories Ferdinand II began to settle accounts with his Bohemian opponents. -
ARSC Journal
THE MARKETPLACE HOW WELL DID EDISON RECORDS SELL? During the latter part of 1919 Thomas A. Edison, Inc. began to keep cumulative sales figures for those records that were still available. The documents were continued into 1920 and then stopped. While the documents included sales figures for all series of discs time allowed me to copy only those figures for the higher priced classical series. Thus the present article includes the 82,000 ($2.00); 82,500 ($2.50); 83,000 ($3.00) and 84,000 ($4.00) series. Should there be sufficient interest it may be possible to do the other series at a later date. While the document did list some of the special Tone-Test records pressing figures were included for only two of them. I have arbitrarily excluded them and propose to discuss the Edison Tone Tests at a later date. The documents also originally included supplementary listings, which, for the sake of convenience, have been merged into the regular listings. The type copy of the major portion of the listings has been taken from regular Edison numerical catalogs and forms the framework of my forthcoming Complete Edison Disc Numerical Catalog. Several things may be noted: 1) Many of the sales figures seem surprisingly small and many of the records must be classed as rarities; 2) Deletion was not always because of poor sales-mold damage also played a part; 3) Records were retained even with extremely disappointing sales. Without a knowledge of the reason for discontinuance we cannot assume anything concerning records that had already been discontinued. -
Le Petit Duc
LE PETIT DUC /''twi' --•i^^î'fcS , THEATRE W D AVIGNON ET DES PAYS DE VAUCLUSE Ik iiAH Ò a i s 0 n 1999/2000 i'it ' LE FORUM Restaurant - Bar - Cocktails - Glacier Au cœur d'AvignoUy place de l'Horloge face à rOpéra et ouvert après le spectacle Salle pour banquets et séminaires, Salle de conférences 100 places, Location de salle. Capacité d'accueil : 200 personnes Terrasse ombragée, _ Établissement climatisé ^^H 20, place de l'Horloge - 84000 AVIGNON Tél. 04 90 82 43 17 - Fax 04 90 82 28 37 Samedi 25 mars - 20h30 Dimanche 26 mars - I4h30 Nouvelle Production LE PETIT DUC Opéra-comique en trois actes Livret de Henri Meilhac et Ludovic Halévy Musique de Charles LECOCQ (Editions musicales Chappell) Production de l'Opéra-Théâtre de Metz en collaboration avec 'Opéra-Théâtre d'Avignon et des Pays de Vaucluse o [' Ê II A Théâtre DISTRIBUTION Direction musicale Bruno MEMBREY Etudes Musicales Marie-Charlotte LE ROUX Mise-en-scène et décors Eric CHEVALIER Chorégraphie Eric BELAUD Costumes Arthur ABALLAIN Eclairages Denis VIENS La Duchesse de Parthenay Mylène MORNET Diane de Château-Lansac Florence RAYNAL Melle Saint-Anémone/Marion Isabelle GUILLAUME Melle de la Roche Tonerre Béatrice MEZRICH Melle de Champlatré Catherine de Y Ninette Rolande GARCIA Mariette Vanina MERINIS Ninon Muriel PITT Hélène, demoiselle d'honneur Marie-Claude BURGER Première sous-maîtresse Catherine BENTEJAC Deuxième sous-maîtresse Victoria FERMENT Le Duc de Parthenay Eve CHRISTOPHE Montlandry Michel VAISSIERE Frimousse Christophe CRAPEZ Roger Isabelle GUILLAUME Gérard Béatrice -
Czech Music and Politics from the Late 19Th Century to Early 20Th Century : Formation of a Modern Nation and the Role of Art Music
Czech Music and Politics from the Late 19th Century to Early 20th Century : Formation of a Modern Nation and the Role of Art Music Litt. D. Hisako NAITO 地域学論集(鳥取大学地域学部紀要) 第14巻 第2号 抜刷 REGIONAL STUDIES (TOTTORI UNIVERSITY JOURNAL OF THE FACULTY OF REGIONAL SCIENCES) Vol.14 / No.2 平成30年3月12日発行 March 12, 2018 180308_3rd_抜粋論文表紙.indd 8 18/03/08 12:40 Czech Music and Politics from the Late 19th Century to Early 20th Century: Formation of a Modern Nation and the Role of Art Music Litt. D. Hisako NAITO* 19 世紀末から 20 世紀初頭のチェコ音楽と政治 - 近代国家の成立と芸術音楽の役割 - 内 藤 久 子* Key Words: Czech Music, National Revival, Cultural Nationalism, Czech Nationalist School, Hussite Revolution キーワード:チェコ音楽、民族再生、文化ナショナリズム、チェコ国民楽派、フス派革命 1. Culture and Nationalism — How were Music and Politics Related? The development of art, in particular the development of musical culture, has occasionally been influenced by strong political ideologies. Since musical development is strongly linked to the guiding principles of national policy, it can certainly be considered an important key for particular eras. Perhaps, the most striking example of this situation existed in Europe between the 19th and 20th centuries, a period characterized by the successive formation of new nations, each determining its own form of government. This occurred in several different contexts, for example, when nations (e.g., Hungary, Czech Republic, Poland, Norway, and Finland) were gaining independence from an empire, when nations were uniting with other nations from which they had previously separated (e.g., Italy and Germany), or when nations were undergoing a transition from monarchy to democracy (e.g., Great Britain and France). -
The German National Attack on the Czech Minority in Vienna, 1897
THE GERMAN NATIONAL ATTACK ON THE CZECH MINORITY IN VIENNA, 1897-1914, AS REFLECTED IN THE SATIRICAL JOURNAL Kikeriki, AND ITS ROLE AS A CENTRIFUGAL FORCE IN THE DISSOLUTION OF AUSTRIA-HUNGARY. Jeffery W. Beglaw B.A. Simon Fraser University 1996 Thesis Submitted in Partial Fulfillment of The Requirements for the Degree of Master of Arts In the Department of History O Jeffery Beglaw Simon Fraser University March 2004 All rights reserved. This work may not be reproduced in whole or in part, by photocopy or other means, without the permission of the author. APPROVAL NAME: Jeffery Beglaw DEGREE: Master of Arts, History TITLE: 'The German National Attack on the Czech Minority in Vienna, 1897-1914, as Reflected in the Satirical Journal Kikeriki, and its Role as a Centrifugal Force in the Dissolution of Austria-Hungary.' EXAMINING COMMITTEE: Martin Kitchen Senior Supervisor Nadine Roth Supervisor Jerry Zaslove External Examiner Date Approved: . 11 Partial Copyright Licence The author, whose copyright is declared on the title page of this work, has granted to Simon Fraser University the right to lend this thesis, project or extended essay to users of the Simon Fraser University Library, and to make partial or single copies only for such users or in response to a request from the library of any other university, or other educational institution, on its own behalf or for one of its users. The author has further agreed that permission for multiple copying of this work for scholarly purposes may be granted by either the author or the Dean of Graduate Studies. It is understood that copying or publication of this work for financial gain shall not be allowed without the author's written permission. -
Eighteenth-Century Reception of Italian Opera in London
University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 8-2013 Eighteenth-century reception of Italian opera in London. Kaylyn Kinder University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Recommended Citation Kinder, Kaylyn, "Eighteenth-century reception of Italian opera in London." (2013). Electronic Theses and Dissertations. Paper 753. https://doi.org/10.18297/etd/753 This Master's Thesis is brought to you for free and open access by ThinkIR: The University of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The University of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. EIGHTEENTH-CENTURY RECEPTION OF ITALIAN OPERA IN LONDON By Kaylyn Kinder B.M., Southeast Missouri State University, 2009 A Thesis Submitted to the Faculty of the Division of Music History of the University of Louisville in Partial Fulfillment of the Requirements for the Degree of Master of Music Department of Music University of Louisville Louisville, Kentucky August 2013 EIGHTEENTH-CENTURY RECEPTION OF ITALIAN OPERA IN LONDON By Kaylyn Kinder B.M., Southeast Missouri State University, 2009 A Thesis Approved on July 18, 2013 by the following Thesis Committee: Jack Ashworth, Thesis Director Douglas Shadle Daniel Weeks ii ACKNOWLEDGEMENTS I would like to thank my advisor, Dr. Jack Ashworth, for his guidance and patience over the past two years. I would also like to thank the other members of my committee, Dr.