UNIVERSITAS PALACKIANA OLOMUCENSIS 2018 27 MUSICOLOGICA OLOMUCENSIA 27 MUSICOLOGICA Musicologica ISSN 1212-1193 Olomucensia ACTA UNIVERSITATIS PALACKIANAE OLOMUCENSIS
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UNIVERSITAS PALACKIANA OLOMUCENSIS 2018 27 MUSICOLOGICA OLOMUCENSIA 27 MUSICOLOGICA musicologica ISSN 1212-1193 olomucensia ACTA UNIVERSITATIS PALACKIANAE OLOMUCENSIS FACULTAS PHILOSOPHICA PHILOSOPHICA – AESTHETICA 51 – 2018 MUSICOLOGICA OLOMUCENSIA 27 Universitas Palackiana Olomucensis 2018 Musicologica Olomucensia Editor-in-chief: Lenka Křupková Editorial Board: Michael Beckerman – New York University, NY; Mikuláš Bek – Masaryk University, Brno; Roman Dykast – Academy of Performing Arts, Prague; Jarmila Gabrielová – Charles University, Prague; Yvetta Kajanová – Komenský University, Bratislava; Magdalena Dziadek – Jagiellonian University in Kraków; Jiří Kopecký – Palacký University, Olomouc Executive editors of Volume 27 ( June 2018): Jan Blüml, Jiří Kopecký, Marta Ottlová „Zpracování a vydání publikace bylo umožněno díky fi nanční podpoře, udělené roku 2018 Ministerstvem školství, mládeže a tělovýchovy ČR v rámci Institucionálního rozvojového plánu, Filozofi cké fakultě Univerzity Palackého v Olomouci.“ „Processing and publication of this issue was made possible through the fi nancial support granted in 2018 by Ministry of Education, Youth and Sports of the Czech Republic within the Institutional development plan, to Faculty of Arts, Palacký University in Olomouc.“ Th e scholarly journal Musicologica Olomucensia has been published twice a year (in June and December) since 2010 and follows up on the Palacký University proceedings Acta Universitatis Palackianae Olomucensis – Musicologica Olomucensia (founded in 1993) and Kritické edice hudebních památek [Critical Editions of Musical Documents] (founded in 1996). Journal Musicologica Olomucensia can be found on RILM and EBSCOhost databases. Th e present volume was submitted to print on May 31, 2018. Předáno do tisku 31. května 2018. [email protected] www.musicologicaolomucensia.upol.cz ISSN 1212-1193 Reg. no. MK ČR E 19473 CONTENTS Editorial.......................................................................................................... 7 Living conditions and physical appearance of Bedřich Smetana Olga MOJŽÍŠOVÁ: Th e Financial Situation of Bedřich Smetana in the Light of Historical Sources ................................................................. 12 Anders CARLSSON: Smetana’s Importance for the Development of Musical Life in Göteborg ...44 Marie KLIMEŠOVÁ: Portraits of Bedřich Smetana: On the Nationality and Courage of Visual Artists ...................................................................... 56 Emanuel VLČEK: Bedřich Smetana’s Physiognomic Appearance ............................................. 64 Jan BETKA: Bedřich Smetana’s Deafness ......................................................................... 83 Th e work of Bedřich Smetana, its (re)interpretation and reception Markéta ŠTĚDRONSKÁ: On the Unity of the Sonata Cycle in the Piano Trio in G Minor, op. 15 by Bedřich Smetana and the Piano Trio in F Sharp Minor, op. 1, No. 1 by César Franck ............................................................................................ 91 Cyril ŠÁLEK: Th e Lullaby Scene in Smetana’s Opera Hubička [Th e Kiss] ..........................104 Klaus DÖGE: Nature – Counterpoint – Reception. On Smetana’s Symphonic Poem Z českých luhů a hájů [From Bohemian Fields and Groves] ..............................110 Albert GIER: Th e Devil in the Opera. On the Motif and the Historical Background of Čertova stěna [Th e Devil’s Wall] ................................................................118 Marta OTTLOVÁ: On the Conception of Smetana’s Dalibor ....................................................131 Petr KADLEC: On the Reception of Operas by Bedřich Smetana in Prague in the Years 1884–1892 ...............................................................................148 Hubert REITTERER: No Compromise by Notes – Prodaná nevěsta [Th e Bartered Bride] in Vienna in the Years 1893 and 1896 ..........................................................................156 Vlasta REITTEREROVÁ: Smetana between Operetta and Opera. Singers in the Th eater an der Wien in 1893 and in the Court Opera in 1896 .....................................................168 Bedřich Smetana in the 20th century Jan PANENKA – Taťána OPATOVÁ SOUČKOVÁ: Prodaná nevěsta [Th e Bartered Bride]: A Unique Cultural-Political Issue (a topic from the book Prodaná nevěsta na jevištích Prozatímního a Národního divadla 1866–2004 [Th e Bartered Bride on the Stages of the Provisional Th eatre and the National Th eatre in 1866–2004]) ......................................................180 Ivan KLIMEŠ: Th e Motive of Vyšehrad as a Wireless Signature Tune on the Waves of Praha Radio Station and in Feature Films ..............................................195 Arnold JACOBSHAGEN: Operas by Smetana on the Stages of German-Speaking Countries ............218 Miloslav BLAHYNKA: Operas by Bedřich Smetana in Slovakia in the Years 1920–1939 ................235 M. R. CHERKASHYNA-HUBARENKO: Operas by Bedřich Smetana on the Ukrainian Stage ..................................243 OBSAH Editorial .......................................................................................................... 7 Životní podmínky a fyzická osobnost Bedřicha Smetany Olga MOJŽÍŠOVÁ: Finanční situace Bedřicha Smetany ve světle pramenů .................................12 Anders CARLSSON: Smetanův význam pro rozvoj hudebního života v Göteborgu ...................... 44 Marie KLIMEŠOVÁ: Portréty Bedřicha Smetany: o národnosti a odvaze výtvarných umělců ........ 56 Emanuel VLČEK: Fyziognomie Bedřicha Smetany ................................................................... 64 Jan BETKA: Hluchota Bedřicha Smetany ........................................................................ 83 Dílo Bedřicha Smetany, jeho (re)interpretace a recepce Markéta ŠTĚDRONSKÁ: K jednotě sonátového cyklu v Klavírním triu g moll, op. 15 Bedřicha Smetany a Klavírního tria fi s moll, op. 1, č. 1 Césara Francka ......... 91 Cyril ŠÁLEK: Scéna s ukolébavkou ve Smetanově opeře Hubička ......................................104 Klaus DÖGE: Příroda – kontrapunkt – recepce. K Smetanově symfonické básni Z českých luhů a hájů .....................................................................................110 Albert GIER: Ďábel v opeře. K motivicko-historickému pozadí Čertovy stěny ..................118 Marta OTTLOVÁ: K pojetí Smetanova Dalibora .......................................................................131 Petr KADLEC: K recepci oper Bedřicha Smetany v Praze v letech 1884–1892 ...................148 Hubert REITTERER: Žádné vyrovnání podle not – Prodaná nevěsta ve Vídni v letech 1893 a 1896 ....................................................................................156 Vlasta REITTEREROVÁ: Smetana mezi operetou a operou. Zpěváci Divadla na Vídeňce v roce 1893 a ve dvorní opeře v roce 1896 .......................................................................168 Bedřich Smetana ve 20. století Jan PANENKA – Taťána SOUČKOVÁ: Prodaná nevěsta – jedinečné kulturní politikum (téma z knihy Prodaná nevěsta na jevištích Prozatímního a Národního divadla 1866–2004) .................................................................180 Ivan KLIMEŠ: Motiv ze symfonické básně Vyšehrad jako znělka na vlnách rozhlasu Praha a na fi lmovém plátně ...................................................................................195 Arnold JACOBSHAGEN: Smetanovy opery na scénách německy mluvících zemí ...............................218 Miloslav BLAHYNKA: Opery Bedřicha Smetany na Slovensku v letech 1920 až 1939 ...................235 Marina ČERKAŠINA-HUBARENKO: Opery Bedřicha Smetany na ukrajinské scéně .............................................243 Musicologica Olomucensia 27 – June 2018 Editorial In 2004, on the anniversary of Bedřich Smetana’s birth and death (1824–1884), the international scholarly conference “Obraz Bedřicha Smetany v proměnách času / Bedřich Smetana’s Image over Time” took place in Litomyšl. The academic guarantor was Marta Ottlová. A collection of studies concerning the phenom- enon of Bedřich Smetana in the Czech and European context was created from selected conference papers. This collection was supposed to be published in the periodical Miscellanea musicologica (Charles University Prague – Karolinum Publishing House 2008) but a sequence of unfortunate events led to constant delays and, finally, the edition was cancelled. Fourteen years after the conference, we repay the debt to Smetana research, with the approval and under the supervi- sion of Marta Ottlová. We present to the public a new collection of studies, not in the Prague musicological journal, but in the one published by the Department of Musicology of Palacký University Olomouc. The perspective of 2018 has revealed that several of the former conference papers lost relevancy and some of the contributors already published their texts elsewhere (e.g. Milada Jonášová, Jitka Ludvová, Milan Pospíšil, Tomislav Volek). It was therefore necessary to revise the content once again. The studies were thoroughly rewritten and, in case of those authors who had already passed away (M. Blahynka, K. Döge, J. Panenka, E. Vlček), elaborated with the help of the authors’ notes. In order to make it possible for the readers to compare the changes that have occurred in terms of the sorting of the content, we reprinted the 2004 conference program. On behalf of the editorial team Jan Blüml, Jiří Kopecký, Marta Ottlová Dedicated to the memory of Klaus Döge 7 Musicologica