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Časopis Českého Muzea Hudby Journal of the Czech Museum of Music 1–2 / 2014 OBSAH

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Časopis Českého Muzea Hudby Journal of the Czech Museum of Music 1–2 / 2014 OBSAH Musicalia Časopis Českého muzea hudby Journal of the Czech Museum of Music 1–2 / 2014 OBSAH 6 ––– Milan Pospíšil: Antonín Dvořák – operní skladatel 28 ––– Kateřina Nová: Dvořákův jubilejní rok 1941 53 ––– Tereza Berdychová: Výstavní činnost Společenstva hotovitelů hudebních nástrojů v Praze 73 ––– Jana Fojtíková: Neznámá korespondence Josefa Bohuslava Foerstera a Františka Bílka 110 ––– Jana Vojtěšková: Další památky z rodiny Josefa Suka 137 ––– Petr Daněk – Tereza Daňková: Začněte panny zpívati … a hráti, aneb líbezně rozšafná marginálie k ritornelům Michnovy Loutny české 1 5 9 ––– Dagmar Štefancová: Příbor, Wendelin Hueber a Bonifazio Gratiani ve světle dosud neznámého rukopisu 175 ––– Eva Paulová: Století valčíku a polky. Výstava v Českém muzeu hudby (19. 4. 2013 – 5. 5. 2014) 2 Musicalia 1–2 / 2014 CONTENT 16 ––– Milan Pospíšil: Antonín Dvořák: The Opera Composer 39 ––– Kateřina Nová: The Dvořák Jubilee of 1941 61 ––– Tereza Berdychová: Exhibition Activity of the Association of Musical Instrument Makers in Prague 90 ––– Jana Fojtíková: Previously Unknown Correspondence between Josef Bohuslav Foerster and František Bílek 121 ––– Jana Vojtěšková: More Memorabilia from the Family of Josef Suk 145 ––– Petr Daněk – Tereza Daňková: Begin, O Virgins, to Sing … and Play! – Pleasingly Generous Marginalia for the Ritornellos of Michna’s Loutna česká 166 ––– Dagmar Štefancová: Příbor, Wendelin Hueber, and Bonifazio Gratiani in Light of a Previously Unknown Manuscript 178 ––– Eva Paulová: A Century of the Waltz and Polka. An Exhibition at the Czech Museum of Music (19 April 2013 – 5 May 2014) Musicalia 1–2 / 2014 3 Editorial Vážení čtenáři, letošním šestým ročníkem vstupují Musicalia do druhého pětiletí své existence. Časo- pis se stačil zařadit mezi odborná periodika uznávaná doma i v zahraničí, má velký počet přispěvatelů a čtenářů a – jak věřím – dlouhou budoucnost před sebou. Jeho cestu sleduji od počátku jako člen redakční rady a od roku 2011 zároveň jako ředitel Českého muzea hudby. K tomu, jak muzeum vystupuje navenek, přispívá i naše publikační činnost, skutečnost, že si návštěvníci mohou zakoupit důsledně česko-anglická Musicalia a další tiskoviny, na- příklad katalogy nebo průvodce jednotlivými expozicemi. A návštěvníků není málo. V po- sledních dvou letech obdrželo České muzeum hudby prestižní ocenění Travellers’ Choice a Certificate of Excellence, která vyjadřují spokojenost návštěvnické obce a recenzentů na celosvětovém cestovatelském portálu TripAdvisor. Bez práce se sbírkami a jejich vědecké reflexe by ani výstavní či koncertní projekty nedosáhly takové úrovně. Rok 2014 byl vyhlášen Rokem české hudby. Na tomto programu, podporovaném Mini- sterstvem kultury ČR, spolupracovalo samozřejmě také naše muzeum. Letošní Musica- lia se proto na prvním místě zaměřují na české skladatele, jejichž „čtyřková“ výročí jsme oslavili (Antonín Dvořák, Josef Suk), a na polokulaté výročí Josefa Bohuslava Foerstera. Připomínají zásluhy Společenstva hotovitelů hudebních nástrojů na poli výstavním (Tereza Berdychová), oslavy Jubilejního roku Antonína Dvořáka v roce 1941 (Kateřina Nová) a cha- rakterizují Dvořákovu operní tvorbu (Milan Pospíšil). Časopis stejně jako v minulých roč- nících zveřejňuje výsledky objevné práce s dosud neznámými prameny z našich sbírek: tentokrát se jedná o korespondenci mezi výtvarníkem Františkem Bílkem a skladatelem Josefem Bohuslavem Foersterem (Jana Fojtíková), nové dokumenty k životu a tvorbě Jo- sefa Suka, které letos muzeum dostalo darem od paní Marie Sukové (Jana Vojtěšková), či o opis raně barokních duchovních skladeb, provozovaných kolem poloviny 17. století v severomoravském městečku Příbor (Dagmar Štefancová). Tématu českého baroka a in- terpretační praxe se týká také článek o Michnově Loutně české (Petr Daněk – Tereza Daňková), opět s přesahem do muzejních fondů, konkrétně do sbírky Emiliána Troldy. Již tradičně se můžete dočíst o hlavním výstavním projektu uplynulé sezóny, totiž o výstavě Století valčíku a polky (Eva Paulová). Vážení čtenáři, přeji vám, abyste v Musicaliích získali nové, zajímavé informace a abyste se k časopisu i do našeho muzea rádi vraceli. EMANUELE GADALETA, ředitel Českého muzea hudby 4 Musicalia 1–2 / 2014 By Way of Introduction Dear readers, With this year’s sixth volume, Musicalia enters the second half of its first decade of existence. The journal has successfully assumed a place alongside the scholarly periodicals that are recognized in this country and abroad. It has large numbers of contributors and readers, and – I hope – a long history ahead of it. I have been following its progress from the beginning as a member of the editorial staff, and since 2011 I have also been serving as the director of the Czech Museum of Music. Our publication activities contribute towards the public presentation of the museum, as does the fact that museum visitors can buy Musicalia, which is completely bilingual in Czech and English, as well as other printed materials such as catalogues or guides to individual exhibits. And the number of visitors is not small. During the last two years, the Czech Museum of Music has won the prestigious Travellers’ Choice Award and the Certificate of Excellence, expressing the satisfaction of the museum’s visitors and of reviewers on the worldwide tourism portal TripAdvisor. Without our work on and scholarly study of our collections, our exhibitions and concert projects would not have achieved such standards of quality. 2014 has been announced as the Year of Czech Music. Naturally, our museum has also cooperated on this programme supported by the Ministry of Culture of the Czech Republic. The articles in this year’s Musicalia therefore focus primarily on Czech composers whose anniversaries with years ending in ‘four’ we have been celebrating (Antonín Dvořák, Josef Suk), along with Josef Bohuslav Foerster, who is half way between round-numbered anniversaries. The articles recall the work done by the Association of Musical Instrument Makers in the field of exhibitions (Tereza Berdychová) and the celebrations of the Antonín Dvořák jubilee in 1941 (Kateřina Nová), and they characterize Dvořák’s operatic works (Milan Pospíšil). As in past years, the journal is publishing the results of research discovering heretofore unknown sources from among our collections. This time, there is the correspondence between the visual artist František Bílek and the composer Josef Bohuslav Foerster (Jana Fojtíková), new documentation of the life and creative work of Josef Suk that the museum received this year as a gift from Mrs. Marie Suková (Jana Vojtěšková), and a copy of early Baroque sacred compositions performed around the middle of the 17th century in the town of Příbor in northern Moravia (Dagmar Štefancová). Another article on the topic of the Czech Baroque and performance practice concerns Michna’s Loutna česká (Petr Daněk – Tereza Daňková), which also ties in with the holdings of the museum, specifically with the Emilián Trolda collection. In accordance with tradition, you will also be able to read about the main exhibition project from the past season, namely the exhibition A Century of the Waltz and Polka (Eva Paulová). My hope is that you, our respected readers, will find new, interesting information on the pages of Musicalia, and that you will gladly be returning both to the journal and to our museum. EMANUELE GADALETA, Director of the Czech Museum of Music Musicalia 1–2 / 2014 5 MUSICALIA 1–2 / 2014, 6–15 Antonín Dvořák – operní skladatel MILAN POSPíŠIL ntonín Dvořák podle vlastního sdělení ve vůbec posledním interview považoval od A počátku tvůrčí dráhy operu za svůj hlavní kompoziční obor. „Chtěl jsem se ze všech sil […] věnovat opernímu tvoření. Ne snad z ješitné touhy po slávě, nýbrž z toho důvodu, že považuji operu za nejvhodnější výtvor také pro národ. [...] Považují mne za symfonika, a přece jsem už před mnoha lety dokázal svůj převažující sklon k dramatické tvorbě“.1 Dvořák sám tím naznačil rozpornost svého hodnocení jako operního skla datele v do- mácím, ale ještě více v mezinárodním měřítku. Bylo do značné míry podmíněno recepcí jeho operního díla, kterou v Čechách určovalo jediné česky hrající divadlo v Praze. Všechny premiéry Dvořákových oper v letech 1874–1904 provedl operní soubor Královského zem- ského českého divadla (od roku 1862 tzv. Prozatímního, od roku 1881 Národního divadla) v Praze. Další stálé české scény s operním provozem v Plzni (od roku 1868) a v Brně (od roku 1884) byly vyloženě lokálního charakteru a nemohly svým významem Praze konku- rovat. Pokud z jakéhokoli důvodu původní česká opera při prvním provedení neuspěla, mívalo to pro její další osud fatální následky. Cesta do ciziny s důležitou podmínkou vydání přinejmenším klavírních výtahů zase vedla přes úspěšné proniknutí v hlavním městě mo- narchie. Sebevětší úspěch původní opery v českém divadle v Praze, provinčním městě Rakouska-Uherska, byl v 19. století pro její renomé v zahraničí nepodstatný, jak potvrzuje Eduard Hanslick: „Takový úspěch v českém divadle znamená ovšem pro absolutní hodno- cení uměleckého díla asi tolik, jako furore nějaké maďarské národní opery v Pešti“,2 a jak se o tom přesvědčili přes ojedinělá zahraniční nastudování svých oper Smetana (Prodaná Předložená1 práce vznikla za finanční podpory Ministerstva kultury v rámci institucionálního financování dlouhodobého koncepčního rozvoje výzkumné organizace Národní muzeum (DKRVO 2014/40, 00023272). 1) „Ich wollte mich mit allen Kräften, […] dem Opernschaffen widmen. Nicht etwa aus eitler Ruhmsucht, sondern aus dem
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