ACTA UNIVERSITATIS PALACKIANAE OLOMUCENSIS FACULTAS PHILOSOPHICA PHILOSOPHICA – AESTHETICA 36 – 2010 MUSICOLOGICA OLOMUCENSIA 12 Zdeněk Fibich as a Central European Composer at the End of the Nineteenth Century Universitas Palackiana Olomucensis 2010 Musicologica Olomucensia Editor-in-chief: Jan Vičar Editorial Board: Michael Beckerman – New York University, NY, Mikuláš Bek – Masa- ryk University in Brno, Roman Dykast – Academy of Performing Arts, Prague, Jarmila Gabrielová – Charles University, Prague, Lubomír Chalupka – Komenský University in Bratislava, Dieter Torkewitz – Universität für Musik und darstellende Kunst Wien, Jan Vičar – Palacký University in Olomouc Executive editors of Volume 12 (December 2010): Patrick F. Devine, Vladislava Kopecká and Jiří Kopecký The publication of this issue was supported by grants of the Ministry of Culture, Youth and Sports, Czech Music Fund Foundation and Leoš Janáček Foundation. The 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). The present volume was submitted to print on October 5, 2010. Dieser Band wurde am 5. Oktober 2010 in Druck gegeben. Předáno do tisku 5. října 2010. [email protected] www.musicologicaolomucensia.upol.cz ISSN 1212-1193 Reg. no. MK ČR E 19473 Musicologica Olomucensia 12 – December 2010 CONTENTS Zdeněk Fibich and the Musical Output of the Vienna–Prague–Berlin Axis Vlasta REITTEREROVÁ, Viktor VELEK: Vienna ca. 1900 and the Viennese Reception of Works by Zdeněk Fibich ...........................17 Jiří KOPECKÝ: From Melodrama to Opera via Music Drama and Historical Reprises ................................63 Marek PECHAČ: Wagnerianism in the Czech Lands in the 1880s...................................................................73 Patrick F. DEVINE: The Fin-de-Siècle Symphonies of Zdenĕk Fibich: Parallels and Contrasts with Contemporary Austro-Germanic Models .......................................................................81 Jana GAJDOŠÍKOVÁ: European and Czech Salon Piano Music in the Second Half of the 19th Century ...............95 Judith FIEHLER: “I Fear not Wave nor Wind”: Aspects of Fibich’s Journey toward Modern Music ..............101 Nors S. JOSEPHSON: Progressive Stylistic Features in Fibich’s Late Opera Šárka (1896–1897) ......................... 111 Jan KACHLÍK: A Missing Fibich Autograph Found in Vienna ....................................................................119 Martin RUDOVSKÝ: Zdeněk Fibich’s Variations in B Flat Major for Piano – the Discovery of an Autograph ...129 3 Jana VOJTĚŠKOVÁ: Zdeněk Fibich, Jan Ludevít Procházka, and Early Performances of Fibich’s Works .........141 Hermann JUNG: Towards a Characterization of the Symphonies of Zdenĕk Fibich and Antonín Dvořák ...151 Markéta KOPTOVÁ: Czech and German Music in Prague before the First World War. The Personality of Music Critic and Historian Richard Batka...........................................163 Melodrama: a Vital but Unprized Genre Věra ŠUSTÍKOVÁ, Marta HRACHOVINOVÁ: Changes in Theatrical Performance and Their Infl uence on the Interpretation of the Melodramas of Zdeněk Fibich ..................................................................................173 Helmut LOOS: Zdenĕk Fibich’s Musical Speech in His Concert Melodramas ...........................................183 Věra ŠUSTÍKOVÁ, Jiří PETRDLÍK: The Context of the Melodrama Cycle Hippodamia by Jaroslav Vrchlický and Zdeněk Fibich ...............................................................................................................195 Michael BECKERMAN: Medea, Melodrama and the Limitations of Perception ..................................................... 203 Judith MABARY: Securing a Place in History: The Promotion of Fibich’s Melodramas ............................... 209 Jean-Christophe BRANGER: Uses of Melodrama in Massenet’s Operas after Manon: Sources and Dramatic Functions ........................................................................................217 Jitka BAJGAROVÁ: Kamillo Horn and Melodrama .......................................................................................... 229 Lenka PŘIBYLOVÁ: Expressive Possibilities of Contemporary Czech Melodrama with a Focus on the Works of Václav Bůžek, Petr Ježil and Martin Hybler .................................................................. 239 4 Zdeněk Fibich and His Contemporaries Eva DRLÍKOVÁ: Zdenĕk Fibich’s Place in Janáček’s Literary and Theoretical Oeuvre................................251 Jiří ZAHRÁDKA: Šárka in the Eyes of Czech Composers, Attractive as Well as Ill-Favoured ....................... 263 Veronika VEJVODOVÁ: Zdeněk Fibich as Viewed by Leoš Janáček .........................................................................273 Filip VÁLEK: Fibich’s Disciple Otakar Ostrčil and His Suite in C Minor .................................................281 David R. BEVERIDGE: Fibich and Dvořák: The Hidden Friendship between Two “Enemies” ...................................287 Lenka KŘUPKOVÁ: Zdeněk Fibich as a Case in Novák’s Dispute with Nejedlý .................................................297 Josef ŠEBESTA: Zdeněk Fibich and Rudolf Nováček. Years of Cooperation in the Umělecká beseda, 1884–1890 .................................................................................. 309 Markéta KOUTNÁ: Betty Fibichová, Alto in the Provisional and National Theatre ...........................................321 Michal FRÁNEK: Anežka Schulzová as a Theatre Critic ................................................................................327 Eva VIČAROVÁ: Zdeněk Fibich and Olomouc ...............................................................................................343 Tomáš VÍŠEK: Zdeněk Fibich’s Piano Works from the Performer’s Position ............................................. 355 Vít ZOUHAR: Mente and Expressive Possibilities of Morphing in Contemporary Melodrama ................361 5 Varia Jiří KOPECKÝ: Zdeněk Fibich as a Central European Composer at the End of the Nineteenth Century: A Report from Conference ...................................................................................................373 Contributors .........................................................................................................................377 6 Musicologica Olomucensia 12 – December 2010 INHALT Zdeněk Fibich und musikalische Produktion an der Achse Wien–Prag–Berlin Vlasta REITTEREROVÁ, Viktor VELEK: Wien um 1900 und die Wiener Rezeption der Werke von Zdeněk Fibich ............................17 Jiří KOPECKÝ: Vom Melodrama zur Oper, über das Musikdrama zur historischen Rückkehr ....................63 Marek PECHAČ: Wagnerianismus in Tschechischen Ländern in achtziger Jahren des 19. Jahrhunderts ......73 Patrick F. DEVINE: Zdeněk Fibichs Fin de Siècle-Symphonien im Vergleich zu zeitgenössischen österreichisch-deutschen Modellen ........................................................................................81 Jana GAJDOŠÍKOVÁ: Europäische und tschechische Salonklaviermusik in der zweiten Hälfte des 19. Jahrhunderts ..............................................................................................................95 Judith FIEHLER: „I Fear not Wave nor Wind“: Das Charakter des Weges Fibichs zur modernen Musik .....101 Nors S. JOSEPHSON: Progressive stylistiche Züge in Fibichs Spätoper Šárka (1896–1897) ................................ 111 Jan KACHLÍK: Fibichs verschollenes Autograph in Wien gefunden ............................................................119 Martin RUDOVSKÝ: Variationen B-Dur für Klavier von Zdeněk Fibich – Fund eines Autographs .....................129 7 Jana VOJTĚŠKOVÁ: Zdeněk Fibich und Jan Ludevít Procházka. Zu den ersten Auff ührungen der Werke von Zdeněk Fibich ...............................................................................................................141 Hermann JUNG: Zdeněk Fibich und Antonín Dvořák. Zur Charakteristik ihrer Symphonien .....................151 Markéta KOPTOVÁ: Tschechisches und deutsches musikalisches Prag vor dem 1. Weltkrieg. Persönlichkeit des Musikkritikers und -schriftstellers Richard Batkas ...............................163 Das Melodram, eine unterschätzte, aber lebensfähige Gattung Věra ŠUSTÍKOVÁ, Marta HRACHOVINOVÁ: Die Metamorphosen des schauspielerischen Ausdrucks und ihr Einfl uss auf die Interpretierung eines Melodrams ............................................................................173 Helmut LOOS: Zdenĕk Fibichs Musiksprache in seinen Konzertmelodramen ...........................................183 Věra ŠUSTÍKOVÁ, Jiří PETRDLÍK: Die ideellen Zusammenhänge des Zyklus Hippodamia von Zdeněk Fibich ......................195 Michael BECKERMAN: Medea, Melodram und die Grenzen der Wahrnehmung ................................................... 203 Judith MABARY: Ein fester Platz in der Geschichte: Die Propagierung von Fibichs Melodramen ............... 209 Jean-Christophe BRANGER: Die Verwendung des Melodrams in den Opern von Jules Massenet nach seiner Manon: Quellen und dramaturgische Funktion ..............................................217 Jitka BAJGAROVÁ: Kamillo Horn und das Melodram ...................................................................................... 229 Lenka