rss_2.0Musicalia FeedSciendo RSS Feed for Musicaliahttps://sciendo.com/journal/MUSCZhttps://www.sciendo.comMusicalia 's Coverhttps://sciendo-parsed-data-feed.s3.eu-central-1.amazonaws.com/6030d96a1ebc6815412c9195/cover-image.jpg?X-Amz-Algorithm=AWS4-HMAC-SHA256&X-Amz-Date=20210803T143053Z&X-Amz-SignedHeaders=host&X-Amz-Expires=604800&X-Amz-Credential=AKIA6AP2G7AKDOZOEZ7H%2F20210803%2Feu-central-1%2Fs3%2Faws4_request&X-Amz-Signature=26763172cfc7f67ee5c9277a13b12f09e9a1087aee765b3fa5fd66033de99d9d200300Smetana and Shakespearehttps://sciendo.com/article/10.1515/muscz-2017-0009<p> This study deals with Bedrich Smetanas encounters with the legacy of William Shakespeare. The introduction is devoted to Smetana’s participation at the celebration of Shakespeare’s 300<sup>th</sup> birthday in 1864, at which he took part in the organization and dramaturgy as a conductor and a composer. The next part deals with the possible sources of Smetana’s knowledge of Shakespeare’s plays, followed by compositions inspired by specific dramas. It describes the circumstances of the genesis of the symphonic poem Richard III and of the piano composition Macbeth and Smetana’s conception of those works’ subject matter in relation to the shift of his artistic orientation towards programme music during his stay in Sweden. Above all, on the basis of their exchanged correspondence, the study then examines the ups and downs of Smetana’s relationship with the Eliska Krásnohorská and the composer’s unfinished opera Viola based on Twelfth Night.</p>ARTICLE2018-01-23T00:00:00.000+00:00The Second Life of Master Jan Hus and Hussitism in Music of Bohemia and Around the World – The Revolutions of 1848https://sciendo.com/article/10.1515/muscz-2017-0008<p> As part of his research on development of the traditions of “Jan Hus” and “Hussitism” as musical subject matter, the author of the article has concentrated on 1848, the Year of Revolution. The first part of the text introduces the texts of revolutionary songs and outlines the circumstances that led to the transformation of the reception of historical traditions, and thereby led to the new form of their influence on music. The second part is based on the contents of songbooks in which songs about Jan Hus and Hussitism were given a place of prominence. The concluding third part offers a retrospective of the development of (musical) theatre. Playing a dominant role is the music to the drama Žižkova smrt (The Death of Žižka), which was composed by Frantisek Skroup and has recently seen a revival in contemporary dramaturgy.</p>ARTICLE2018-01-23T00:00:00.000+00:00The Works of Joseph and Michael Haydn in Ondřej Horník’s Collectionhttps://sciendo.com/article/10.1515/muscz-2017-0007<p> Joseph Haydn (1732-1809) and his brother Michael (1737-1806) were the most popular composers in eighteenth-century Bohemia, and their compositions have been preserved in collections in Prague, among other places. The study deals with Haydniana in the collection of Ondřej Horník (1864-1917) kept at the National Museum - Czech Museum of Music and with sacred works in particular. It notes the performances of compositions by both Haydn brothers given by the Brothers Hospitallers in Kuks, gives concrete examples of changes to instrumentation depending on changing tastes during the period, and touches on cases of doubtful authorship and practical questions concerning the manufacturing and distribution of paper. Among other things, it affirms the importance of Ondřej Horník's activity as a collector.</p>ARTICLE2018-01-23T00:00:00.000+00:00A Commemorative Album with the Correspondence of Josef Sukhttps://sciendo.com/article/10.1515/muscz-2017-0011<p> A commemorative album with the correspondence of Josef Suk (1874-1935) belon­ged to his son. It contains both commemorative inscriptions made by persons who were in contact with the composer Josef Suk, and also correspondence addressed to the composer, and later to his grandson - the violinist Josef Suk (1929-2011). The album contains a total of 237 items. The article draws attention to certain figures from politics (T. G. Masaryk, František Drtina), authors and poets (Otakar Březina, Antonín Sova, Karel Václav Rais), painters (Hugo Boettinger, František Bílek, Otakar Nejedlý, Čenĕk Kvíčala, Adolf Kašpar), musicians (Václav Talich, Jaroslav Kocian, Vítĕzslav Novák, George Szell, Vladimír Helfert, and Suk’s pupils - Pavel Bořkovec, Julius Kalaš, Jaroslav Jezek, Emil Hlo- bil, Bohuslav Martinů, Miroslav Pone, Dalibor C. Vačkář, Vladimír Štĕdron, Mihovil Logar), and other persons.</p>ARTICLE2018-01-23T00:00:00.000+00:00Unknown Organ Tablature from the Early Seventeenth Centuryhttps://sciendo.com/article/10.1515/muscz-2017-0012<p> In the course of research on fragments from the National Museum Library, a large torso was discovered containing hitherto unknown organ tablatures from the early seventeenth century (shelf mark CZ-Pn 1 K 219). The author of the article reassemble the torso based on signatures and analyzed its content, which consists of intabulations of sacred compositions by leading Renaissance composers (e.g. Orlando di Lasso, Tomás Luis de Victoria, Jakob Handl-Gallus) as well as some lesser-known composers. On the basis of analysis, she then focused her attention on Silesia and the German-speaking milieu of northern Bohemia and Moravia, compared the tablature with similar sources from Czech and foreign collections, and placed it in the context of musical practice in the milieu of Lutheranism.</p>ARTICLE2018-01-23T00:00:00.000+00:00The Dvořák Mass in D (“Lužanská”) for chorus, organ, violoncello and double-basshttps://sciendo.com/article/10.1515/muscz-2017-0010<p> Dvořák's Mass in D was commissioned by the Czech architect and visionary Josef Hlávka for the consecration of the chapel of his mansion in Lužany; the première of the original version of the work was given at a private service on 11 September, 1887. However, the focus of the present article is on a version of the work subsequently prepared by Dvorak, incorporating an added part for violoncello and bass, and submitted by him to the publishing house of Novello. Though it came to be overshadowed by the later orchestration of the work, it possesses virtues worth cherishing. Haig IJtidjian conducted the first modern revival of this version in Cologne on 8 July, 2014 and is currently preparing a critical edition for publication. A thorough critical investigation of all extant manuscript sources (some hitherto neglected) is seen to shed light on the composer’s thinking and to help clarify his intentions more generally.</p>ARTICLE2018-01-23T00:00:00.000+00:00Smetana’s List of His Own Works until 1858https://sciendo.com/article/10.1515/muscz-2017-0003<p>Bedřich Smetana made three lists of his own compositions. The first, dated 1841, presents a selection of compositions from the period of his grammar school studies in 1840–1841. The second was made in Sweden in late 1858 and early ’59, and it contains works composed in Prague and Gothenburg between 1845 and 1858. The last, most extensive list was made gradually from 1875 until 1883. The most important list is the second one, which gives a nearly complete overview of Smetana’s works from the 1840s and ’50s, and it is of particular value for the Prague period through 1856, during which the genesis and chronology of his works are less clear. The introductory part of the study characterizes all three lists and provides information about their creation. This is followed by an edition of the second list with commentary. The edition presents a complete version of the list based on the original, and in the appended commentaries, it explains and, where necessary, corrects Smetana’s information on the basis of the sources and of the discoveries of existing Smetana research.</p>ARTICLE2017-06-06T00:00:00.000+00:00Prague Spring in the Drawings of Karel Otáhalhttps://sciendo.com/article/10.1515/muscz-2017-0001<p>This study reports on interesting holdings in the musical iconography collection of the Czech Museum of Music. Drawings by the sculptor Karel Otáhal (1901–1972) that are related to music and musicians were created for the most part at concerts of the Prague Spring festival between 1946 and 1969. He had already begun making portraits of musicians by the end of his studies, when he created a sculpture of Jan Kubelík. His works are a specific expression of portrait realism and of the ability to capture the typical movement and characteristics of the person depicted. He met in person with musicians, and his drawings bear valuable dedications and commemorative musical quotations by important figures of Czech and foreign music. Unlike the other creators of such drawings, he was merely an enthusiastic observer, but not a caricaturist. Otáhal’s drawings serve as a unique source on the history and dramaturgy of the Prague Spring festival, including its politicization in the 1950s.</p>ARTICLE2017-06-06T00:00:00.000+00:00Sources of Lute- and Guitar Music in the Holdings of the National Museum in Praguehttps://sciendo.com/article/10.1515/muscz-2017-0005<p>This study gives an overview of lute and guitar tablatures in the holdings of the National Museum (at the Czech Museum of Music and the National Museum Library), and it briefly characterizes them in the form of a catalogue. Since music from the Strahov and Lobkowicz collections, which also involve a rather large set of tablatures, has been returned to its original owners in restitution, the study provides up-to-date information about where this historical material is now kept. It reflects new knowledge and discoveries (lute tablature with the shelf mark KNM Nostic gg 412). The composers presented (e.g. G. P. Foscarini, P. Mutti, N. Vallet, Ch. Mouton, P. I. Jelínek, A. Dix, M. Galilei, J. Dowland, Ch. de Lespine, J. Regnart, S. L. Jacobides, J. Ch. Beyer and many others), living and working in the sixteenth through the eighteenth centuries, are primarily Italian, French, German, and Czech, and with respect to social classes, they represent practically all of the environments where playing on plucked instruments was cultivated.</p>ARTICLE2017-06-06T00:00:00.000+00:00Musical Events at the Prague Convent of Elizabethan Nuns in 1776https://sciendo.com/article/10.1515/muscz-2017-0006<p>In 1776, the convent of Elizabethan Nuns in Prague’s New Town was commemorating the fiftieth anniversary of two events: the profession of the former Mother Superior M. Deodata a Presentatione B. V. Mariae OSE (née Anna Justina von Klausniz) and the laying of the foundation stone of the convent building. The celebrations of this dual anniversary were also reflected in the institution’s musical life. There was a performance at the convent of a congratulatory cantata with a libretto by the ex-Jesuit Rochus Elinger, and music was composed for it by the local choirmaster M. Juliana a Septem BB. Patribus OSE. On Holy Saturday, there was a performance of the sepolcro <italic>Der verlorne Sohn</italic> (The Prodigal Son), composed by Emilián Rickert OCist. from the monastery in Zbraslav. That same year, Jáchym Štěpanovský, the cantor from České Budějovice, also dedicated his works to the Mother Superior.</p>ARTICLE2017-06-06T00:00:00.000+00:00The First Two Viennese Productions of and Their Performershttps://sciendo.com/article/10.1515/muscz-2017-0002<p>In June of 1892, Smetana’s <italic>Prodaná nevěsta</italic> (The Bartered Bride) was heard in Vienna for the first time as part of a guest appearance by the Czech National Theatre at the International Musical and Theatrical Exhibition. The clear success of the opera and of the performances of the National Theatre ensemble was reflected in the reviews of the Viennese critics, who were calling for German-language performances of <italic>Prodaná nevěsta</italic> on the stage of the Court Opera. On the basis of information from the archives of the Court Opera (Haus-, Hof- und Staatsarchiv), one can document the reasons why, as it turned out, the first Viennese (and German-language) stage to produce the opera was the Theater an der Wien in April 1893, and why the premiere at the Court Opera did not occur until three years later. The study also devotes attention to the first performers for both productions of <italic>Prodaná nevěsta</italic> and to the circumstances of the two Viennese premieres, which opened up the pathway to other stages around the world after a thirty-year delay.</p>ARTICLE2017-06-06T00:00:00.000+00:00Harps Made by Franz Brunner in the Collection of the Czech Museum of Musichttps://sciendo.com/article/10.1515/muscz-2017-0004<p>The collection of the National Museum – Czech Museum of Music contains the largest set of harps built by Franz Brunner. This instrument maker was one of the most important builders of pedal harps in Vienna in the late 18<sup>th</sup> and early 19<sup>th</sup> centuries. Brunner’s harps use a single-action pedal design, the fourchette mechanism, decorations in the Empire style, and in a few cases, the application of a new design principle with the use of an eighth pedal. This documents an important stage in the instrument’s development, in which the single-action pedal harp was gaining ground in competition with the double-action harp. In the course of research, the maker was identified for another two instruments that had previously been listed as harps by anonymous makers. The comparisons include another three specimens of harps made by Brunner from other music collections abroad.</p>ARTICLE2017-06-06T00:00:00.000+00:00Erard Harps in the Collection of the Czech Museum of Musichttps://sciendo.com/article/10.1515/muscz-2018-0003<p>The present harp collection of the National Museum – Czech Museum of Music contains Erard pedal harps from various periods of that famed Parisian company’s activity. In creating musical instruments, Sébastian Erard built upon the work of G. Cousineau and C. Groll and became the most successful manufacturer of double-action pedal harps with a fourchette (fork) mechanism (<italic>mécanique à fourchettes et à double mouvement</italic>). Erard’s work as an instrument maker influenced not only the historical development of the harp, but also the work of other instrument makers. In Bohemia, the Czech harp maker Alois Červenka (1858–1938) built upon Erard’s work with great success. The Erard harps in the collection of the Czech Museum of Music document the Czech socio-cultural context in which the harps of the French instrument maker were used from the late nineteenth century until the middle of the twentieth.</p>ARTICLE2019-06-13T00:00:00.000+00:00The Correspondence of Bohuslav Martinů with Josef Munclinger and his Comments on the Stage Direction of the Four-Part Opera Hry o Marii in the Collections of the National Museumhttps://sciendo.com/article/10.1515/muscz-2018-0005<p>The collections of the Theatre Department at the National Museum in Prague contain a set of sources that allow us to see how Bohuslav Martinů participated in preparing productions of his stage works. This is a collection of the composer’s correspondence and comments on stage direction written on the occasion of the first Prague performance of the four-part opera <italic>Hry o Marii</italic> (The Plays of Mary), H 236 in 1936. The text publishes full transcripts of all of these sources with critical commentary. This involves two letters from Bohuslav Martinů addressed to Josef Munclinger, one letter from the management of the National Theatre in Prague to Bohuslav Martinů, and two lists of the composer’s comments on stage direction.</p>ARTICLE2019-06-13T00:00:00.000+00:00Musical Activity of the Cantors of the Studnička Family from Suchomasty near Berounhttps://sciendo.com/article/10.1515/muscz-2018-0002<p>The music library of the Elizabethan Nuns in Prague contains a collection of music that was copied by cantors of the Studnička family from the village Suchomasty near Beroun. The first cantor in Suchomasty from 1769 was Josef Jan Jakoubek (1751–1810), the uncle of Jakub Jan Ryba, and after his departure for Mníšek pod Brdy in 1785, his successor was František Vincenc Studnička (1764–1826). František Ladislav Studnička (1797–1864) carried on the family tradition, followed by Otomar Studnička (1845 – after 1900), who later went to Prague and took the family music collection with him. He worked as a teacher at a public school in Libeň, then at the Saint Wenceslas Prison in Prague’s New Town. From 1884 he continued his work as a teacher at the prison in Pilsen-Bory. In 1889 he donated the family music collection to a convent of the Elizabethan Nuns. That material was integrated into the convent’s collection, and it was still being used in the twentieth century.</p>ARTICLE2019-06-13T00:00:00.000+00:00Medieval Organ Tablature on a Manuscript Fragment from the National Museum Libraryhttps://sciendo.com/article/10.1515/muscz-2018-0001<p>The manuscript fragment in the collection of the National Museum Library in Prague under shelf mark 1 D a 3/52 is a sheet of paper with writing on both sides, containing two strata of inscriptions. The first stratum consists of accounting records, one of which is dated to 1356. That is also the <italic>terminus post quem</italic> for the other stratum of inscriptions, namely the musical notation of two liturgical plainchants in two-voice organ paraphrases. This involves the introit <italic>Salve, sancta parens</italic> and the <italic>Kyrie magne Deus</italic>. The discant is written in black mensural notation on a staff, while the tenor, which quotes the plainchant melody, is partially written in musical notation on the same staff, partially notated by letters for note names, and partially only indicated by syllables of text of the original plainchant. This notation documents the transition from practise without notation to the written notation of music for keyboard instruments, and it significantly supplements the material found in treatises from the milieu of the <italic>ars organisandi</italic>, which are available to us from fifteenth-century manuscripts.</p>ARTICLE2019-06-13T00:00:00.000+00:00Emmy Destinn Memorabilia from the Estate of Hilda Schueler-Moserthttps://sciendo.com/article/10.1515/muscz-2018-0004<p>In 2017 the National Museum – Czech Museum of Music obtained a rare set of memorabilia for the singer Emmy Destinn (1878–1930) from the estate of her friend Hilda Schueler-Mosert (1888–1965). The two women met in ca. 1905, and they remained in contact until Emmy Destinn’s death. Hilda Schueler, a German sculptress and painter, was forced to flee Germany with her husband in 1942 because of their Jewish origins. After the war, they settled in Sweden. The set of material contains letters, programmes and posters, newspaper clippings, photographs of the two women, and phonograph records. The items were donated by Hilda Schueler’s grandchildren, who live in Sweden.</p>ARTICLE2019-06-13T00:00:00.000+00:00en-us-1