https://journals.phil.muni.cz/musicologica-brunensia cs-CZ mb@phil.muni.cz (Musicologica Brunensia) journals@phil.muni.cz (Technická podpora OJS FF MU) Čt, 27 čen 2024 00:00:00 +0200 OJS 3.2.1.4 http://blogs.law.harvard.edu/tech/rss 60 https://journals.phil.muni.cz/musicologica-brunensia/article/view/38793 Leoš Janáček did not return to composing a string quartet until 1923, almost 45 years after his student composition for this instrumentation. The earlier Piano trio premiered in 1908 has direct relation with Quartet after Tolstoy's "Kreutzer sonata", but Janáček was not convinced of the Trio quality and destroyed it in 1923. However, some moments from the Trio could form the basis of the future quartet. Janáček composed the piece at the initiative of České kvarteto between October and November 1923 and then sent the score to the ensemble. Nonetheless, the first performance was not scheduled until 17 October 1924, when České kvarteto performed the piece at the Mozarteum in Prague. Subsequently, the score and parts were printed in Hudební matice of Umělecká beseda. Josef Suk, the second violinist of České kvarteto, made a significant contribution to the printed form of the composition. The material was published in 1925 and the first foreign performance - critically acclaimed - took place the same year at the festival of International Society for Contemporary Music (ISCM) in Venice. This study deals with the complicated genesis of the composition, Suk's changes and the principles of the forthcoming edition. Furthermore, it publishes a complete inventory of sources for the first time and describes them in detailed manner. Jiří Zahrádka Copyright © https://creativecommons.org/licenses/by-sa/4.0/legalcode.cs https://journals.phil.muni.cz/musicologica-brunensia/article/view/38793 Čt, 27 čen 2024 00:00:00 +0200 https://journals.phil.muni.cz/musicologica-brunensia/article/view/38794 Leoš Janáček's feuilletons from Lidové noviny form a substantial part of his literary work. Inspired by music on several levels, they are both valuable musicological documents and original literary works. This article focuses mainly on their literary qualities, observing Janáček's music-related figurative language, particularly musical metaphors. It shows how the author combines the motifs of nature and music and how he treats the motif of a musical tone. It also demonstrates the ambiguity of musical images, which could be interpreted both literally and figuratively. Such ambiguity is presented as an efficient literary device, which connects diverse styles, themes, or locations, and thus contributes to the heterogeneity of Janáček's texts. Markéta Herzánová Vlková Copyright © https://creativecommons.org/licenses/by-sa/4.0/legalcode.cs https://journals.phil.muni.cz/musicologica-brunensia/article/view/38794 Čt, 27 čen 2024 00:00:00 +0200 https://journals.phil.muni.cz/musicologica-brunensia/article/view/38795 This text describes the life of Josef Blatný (1891-1980), Brno-based composer, organist and teacher. It provides an insight into his education in composition under Leoš Janáček (1909-1912) and his work at the Brno Conservatory as an organ teacher (1928-1956). Through personal correspondence with the painter and poet Bohuslav Reynek, the personality of this composer is approached. The focus is on his membership of the Moravian Composers' Club, which performed Blatný's compositional novelties from 1922 until 1948 and where he was in contact with Janáček as its chairman. Attention is paid to Josef Blatný's compositional style and possible influences of Janáček. The text includes an overview and background information on organ compositions. There has been no specific publication on Josef Blatný yet. This research aims to provide a comprehensive overview of the findings about this Brno composer of the last century. Daniela Hřebíčková Copyright © https://creativecommons.org/licenses/by-sa/4.0/legalcode.cs https://journals.phil.muni.cz/musicologica-brunensia/article/view/38795 Čt, 27 čen 2024 00:00:00 +0200 https://journals.phil.muni.cz/musicologica-brunensia/article/view/38796 Raymond Murray Schafer, a composer, writer, environmentalist, and long-time leading figure in acoustic ecology, would have celebrated his 91st birthday this year. A versatile artist and theorist, he expanded his musical compositions to include a layer of natural-environment sound and took interpretations of his concert-hall compositions outdoors. This text works with Schafer's approach to acoustic ecology. By drawing on acoustic-ecological research mapping and the relationships between people and their environment, it shows Schafer's approaches to the investigation of our sound environment and updates of some of his theories with the soundscape of the city centre of Brno, Czech Republic. Filip Johánek Copyright © https://creativecommons.org/licenses/by-sa/4.0/legalcode.cs https://journals.phil.muni.cz/musicologica-brunensia/article/view/38796 Čt, 27 čen 2024 00:00:00 +0200 https://journals.phil.muni.cz/musicologica-brunensia/article/view/38797 Ivo Stolařík was certainly the most important researcher in the field of music-historical and ethnographic research in northeast Moravia and "Czech" Silesia. The authors of the study evaluate the lifelong contribution of this scholar to music history and folklore studies. Stolařík was the first (before the arrival of other musicologists in Ostrava in the second half of the 20th century, graduates of musicology from the universities in Brno or Olomouc, such as Vladimír Gregor, Miroslav Malura, Karel Boženek and others) to begin to systematically research the musical culture of the wider Ostrava region. This was firstly in the Department of Musicology of the Silesian Study Institute in Opava (from 1958 the Silesian Institute of the Czechoslovak Academy of Sciences) where he virtually laid the foundations for systematic research into the musical culture of the region. Stolařík was very active both in scientific publishing and in his other jobs, as Director of the Ostrava State Philharmonic (renamed the Janáček Philharmonic in 1971), A&R Specialist of the Supraphon record label in Prague, and before his retirement at the Wallachian Open Air Museum in Rožnov pod Radhoštěm. The paper also presents analytical probes into Stolařík's two most important monographs, Umělecká hudba v Ostravě 1918–1938 (Art Music in Ostrava 1918–1938) and Hrčava. Monografie goralské obce ve Slezsku (Hrčava. A Monograph of a Goral Village in Silesia). Jiří Kusák, Karel Steinmetz Copyright © https://creativecommons.org/licenses/by-sa/4.0/legalcode.cs https://journals.phil.muni.cz/musicologica-brunensia/article/view/38797 Čt, 27 čen 2024 00:00:00 +0200 https://journals.phil.muni.cz/musicologica-brunensia/article/view/38798 Within the framework of research on older book culture, which currently appears to be quite robust and is being carried out from the perspective of several different research disciplines, it is possible to identify certain less-explored areas or topics. This paper examines closely oldest known book inventories of diocesan churches in Moravia with an emphasis on so-called libri cantuales, books that were used for singing during the liturgy. The scope of examined inventories remains rather modest, analysed were lists of the Olomouc cathedral from the first half of the 15th century and inventories from parish churches in Boskovice and Brno from the second half of the 15th century. With a closer look, those inventories reveal besides the usual types of liturgical books also less frequented manuscripts, which contained for instance chant repertoire for the Holy Week. Detailed study of inventories brings also important clues and impulses in the field of fragmentology. Vladimír Maňas Copyright © https://creativecommons.org/licenses/by-sa/4.0/legalcode.cs https://journals.phil.muni.cz/musicologica-brunensia/article/view/38798 Čt, 27 čen 2024 00:00:00 +0200 https://journals.phil.muni.cz/musicologica-brunensia/article/view/38799 The biblical subject of Jephthah lends itself very well to translating into music some strong and contrasting 'Affetti', first that between the virtue of Jephthah, who must honour the vow made to God, and the love that binds him to his daughter, destined to die. The essay focuses on an unknown score, composed in 1794 for the Mantuan academic milieu by V. Benatti and L. Gatti, based on a libretto by A. Scarpelli and an earlier score by L. Carusio. The work presents an interesting situation from a philological point of view, only hinted at, however, in the essay. The constellation of affections is complicated by the presence of added characters, such as Azael, betrothed of Seila (the Daughter), and Bersheba, Jephthah's sister. We thus have different shades of love and virtue, depending on the relationships between the characters; the score reflects well the multiple contrasts of the poetic text. Angela Romagnoli Copyright © https://creativecommons.org/licenses/by-sa/4.0/legalcode.cs https://journals.phil.muni.cz/musicologica-brunensia/article/view/38799 Čt, 27 čen 2024 00:00:00 +0200